  Kuki distinguishes two further “moments” of iki in addition to its basis in seductiveness or coquetry (bitai): “brave composure” (ikiji) and “resignation” (akirame). Insofar as iki as seductiveness is concerned “to maintain a dualistic relationship, protecting the possibility as possibility”—an allusion to Heidegger’s existential conception of death as ultimate possibility—it already embraces impermanence and mortality. This protection of possibility is thus enhanced by brave composure, which for Kuki is exemplified in the attitude toward death (his own and others’) on the part of the samurai warrior and his way of living (bushidō). It is enhanced too by the moment of resignation, which Kuki understands as the Buddhist attitude of non-attachment to a world of impermanence. All together they enable a kind of aesthetic “play”, thanks to a (phenomenological) “bracketing” of the concerns of everyday life (Nara, 18–23).