moving. And he sees himself moving, too. And
everything he feels emotionally is moving.Yet when he reads philosophy,
it always assumes things are primarily still. He's quite concerned with
the world of philosophy. But, mostly, he just sees everything always
already moving, relentlessly forging itself. No bird songs here except
as something else that moves.

Kant's world is the madness of reason. He doesn't trust or believe in his senses: the world does not reveal itself to him, or to anyone, through its appearances. There's a kind of paranoia there. But in order to dissipate that paranoia, he goes in search of ideas and concepts that can reveal the order of things, a secret structure of how things go. It all gets messy when he does engage the senses, when he look at art,might. We often cringe and furrow our brows. But we have neither identification nor loathing. He's a character in the colloquial sense, something to behold, never something to identify with or love. He is spectacle.

He does not have a secret heart of gold, either (ignoring the later seasons). He has the most extraordinary loneliness that pervades every fiber of his being which can make him act softly. But, through and through, he's lonely, sad, stupid, and selfish — extraordinarily so. The loneliness may predate his job but it does not predate his participation in the American Spectacle. He was, in fact, on TV as a child. He has been inside out from the get go, an American casualty.

The obvious set up is for us to identify with Pam