I no longer feel joy: Aida Loos on world pain and gloating

Aida Loos has expressed a profound sense of emotional detachment, describing her current state as one where she “feels no joy anymore.” In a recent interview published by Kurier, Loos delves into the concept of world sorrow and the paradoxical nature of schadenfreude, reflecting on how modern life has distanced individuals from genuine happiness. The piece, titled “Ich empfinde keine Freude mehr,” captures a philosophical and introspective tone, questioning the very essence of joy in contemporary society. The interview begins with a metaphor comparing the experience of joy to a long-abandoned carousel in the Prater, suggesting that while the structure remains intact, there is no power supply, symbolizing a lack of engagement or stimulation. Loos suggests that joy is often treated as a commodity, something that can be purchased and consumed, whereas true joy requires effort and presence. She contrasts this with the fleeting nature of amusement, which relies on external validation and audience participation. Loos describes her attempts to cultivate joy through small rituals such as taking baths with candles and champagne, yet these efforts seem to fall short. She critiques the notion of using such activities as a means to combat existential sadness, arguing that they merely mask deeper issues rather than address them directly. Her self-deprecating humor underscores a sense of resignation, as though she is trapped in a cycle of self-inflicted melancholy. In discussing the barriers to experiencing joy, Loos touches on the idea of finding one’s place in the world. She questions whether this involves occupying a specific space or simply being present, suggesting that the act of placing oneself physically in a location can lead to a form of psychological alignment. However, she notes that the world does not assign such spaces freely, implying a broader societal disconnection from individual fulfillment. Loos also explores the role of language in shaping emotional experiences, pointing out that German has contributed the term “schadenfreude” to the global lexicon. This word, she argues, reflects a unique cultural perspective, one that finds pleasure in others' misfortunes, a sentiment that other cultures might struggle to articulate. She contrasts this with more universally recognized expressions of joy, such as “Dolce Vita” and “Joie de vivre.” Despite her apparent despair, Loos hints at a subtle hope. She suggests that even in the absence of joy, there may be room for schadenfreude, a darker but perhaps more authentic emotion. She ends with a suggestion that readers should find moments of ease, even if it means standing near a window during icy conditions, and offers a fee for such an exercise, a humorous yet pointed comment on the commodification of emotional experiences. As the conversation unfolds, Loos continues to challenge conventional notions of happiness, offering a deeply personal and philosophical reflection on the complexities of human emotion. Her words resonate with a quiet intensity, capturing both the weight of existential doubt and the faint glimmer of possibility.