Wednesday, October 14, 2020

Shingon (Japanese Esoteric Buddhism): Myoe & Kukai (men of erudition and refined taste)

Buddha at Muzeum Fryderyka Chopina (picture by A/Z, for more se here); 
Korean Buddhism (Robert Buswell/University of California, talk at Univ. of Michigan, 2008);

Orations & disputations (to cut no contemptible figure in a metaphysic circle):

"Eben darum fordert er auch keinen Kampf gegen Andersdenkende; seine Lehre wehrt sich gegen nichts mehr als gegen das Gefühl der Rache, der Abneigung, des ressentiment (— 'nicht durch Feindschaft kommt Feindschaft zu Ende': der rührende Refrain des ganzen Buddhismus...)."
"... man darf sich vielleicht an jenen Athener erinnern, der der reinen 'Wissenschaftlichkeit' gleichfalls den Krieg machte, an Sokrates, der den Personal-Egoismus auch im Reich der Probleme zur Moral erhob."
Nietzsche (Der Antichrist)

"Ce n'est pas vous qui serez reçues en partage par un Démon, mais c'est vous qui choisirez un Démon: que celui que le sort aura désigné pour être le premier, choisisse le premier l'existence à la compagnie de laquelle il y a nécessité qu'il soit uni!... c'était le plus souvent en rapport avec les conditions concrètes de leur vie antérieure qu'elles [les âmes] faisaient leur choix. (Donc exactement le: Voudrais-tu encore une fois ceci et cela? de la parabole nietzschéenne!) Quand toutes les âmes eurent choisi leur existence, gardant le rang que le sort leur avait assigné, elles s'avancèrent en fille vers Lachésis; et celle-ci donna à chacun pour compagnon le Démon qu'il avait choisi, ce gardien de son existence, préposé à l'accomplissement intégral de tout ce qui est compris dans ce choix... Une fois ce passage effectué par leur bande, tous sans exception se mirent alors en route vers la plaine du Léthé (l'Oubli) par une terrible et suffocante chaleur; et de fait ce lieu était vide d'arbres et de tout ce que produit la terre. Ils dressèrent ensuite leur tente le long du fleuve Amélès (absence d'inquiétude) dont aucun récipient ne peut retenir l'eau. Or, c'etait pour tous une nécessité d'avoir bu de cette eau une quantité mesurée, mais ceux que la prudence ne sauvegarde point en boivent plus que la mesure et, chaque fois qu'on en boit, on oublie tout..."
Pierre Klossowski (Un si funeste désir)

Notable and curious conclusions from a dissertation as ever was engendered in the womb of speculation: 

"Shingon is the Japanese pronunciation for the Chinese 'Zhenyan,' meaning literally 'mantra'; thus the Shingon is the Mantra sect. It is the esoteric or tantric branch of Japanese Buddhism, the counterpart to the Vajrayana in Tibetan Buddhism and traces its origins to Indian tantra... The Shingon headquarters was established on Mount Köya, relatively far removed from the capital of Kyoto, for centuries the political, cultural, and religious center of Japan. The Shigon founder Kükai had located it on Mount Koya for good reason, in part to establish the religious and institutional independence of this esoteric form of Buddhism in Japan."
"Myoe was a Buddhist monk ordained in the Shingon tradition, but this was not his only sectarian affiliation. In the latter half of his career, he served as abbot of Kozanji, a temple of the Kegon (Chinese Huayan) sect... it was not uncommon for Buddhist monks in medieval Japan to be ordained in multiple sectarian lineages."
"Among the various Buddhist doctrines Myoe invoked, he placed particular emphasis on the classic Mahayana notion of emptiness, first formulated by Nagarjuna. This provided Myoe with a widely accepted basis for his Buddhist thought; ironically, very few other Buddhists of his time made it the cornerstone of their thought... there [also] some striking similarities with the Daoist thought of the fourth-century BCE figure Zhuangzi. In particular, both Myoe and Zhuangzi closely analyze the use of language, its limits and possibilities, and its relation to illusion and reality."
"Myoe came to form close relationships with a number of women, both historical and mythic. These relationships raise questions about the relationship between form and emptiness, samsara and nirvana, eros and compassion. For Myoe, who largely rejected the dominant patriarchy of his day, women came to play crucial roles both in his mantra practice and in his life as a whole... He was recognized by the foremost contemporary authority on waka poetry Fujiwara Teika as a preeminent poet, and he kept a diary of his dreams and visions for over thirty-five years."
"For the purposes of articulating their visions of spiritual liberation, historical accuracy was not necessarily important; Honen, Shinran, Dogen, and others are well known for their creative 'misreadings' of sacred texts... Of course, much of the literature of the Mahayana including the sutras is built not on historical literal truths but on the idea of discerning the highest truth of emptiness beyond the artificiality  of fixed ideas... highest spiritual truth takes priority over conventional historical truth... Myoe invokes transcendent, cosmic deities expressing the highest truth as the very source of immanent, earthly lineages."
"In China, Tantric Buddhism was first introduced by the Indian monk Vajrabodhi (671-741), who translated key  sutras, introduced methods of practice, and won the favor of many Chinese from the emperor down... When we turn to the case of India, however, the Tantric lineage quickly becomes more obscure. Vajrabodhi's master was Nagabodhi, who in turns was tutored by Nagarjurna. Now, Vajrabodhi lived during the seventh and eight centuries, and Nagarjuna approximately during the second. This would mean that Nagabodhi would have to have lived at least five hundred years. To make matters even more complicated, the Tantric Nagarjuna, scholars now believe, differed from Nagarjuna the Madhyamika dialectician, the first Mahayana exponent of emptiness. The Tantric Nagarjuna's master was an even more mythical figure, Vajrasattva, who purportedly heard Mahavairocana expound the dharma..."
"Unlike Zen and most other schools, then, Indian and Chinese Tantric Buddhism, the ancestors to Japanese Shingon, do not appeal to a purely historical lineage originating with the person of Buddha Sakyamuni [Gautama]; instead, they trace their ancestry to ever more legendary and mythic figures until one reaches the cosmic scale fo the Buddha Mahavairocana [regarded as the dharma body, containing all other buddhas and bodhisattvas]."
"According to Myoe, the 'profoundity of the profound dharma is constant. The Shingon is profound because it expounds the shallow as profound."
"With the all-inclusive cosmologies of the Shingon and Kegon with Mahavairocana as the center... virtually any celestial deity could infuse Myoe with its mystic power."
"Most monks these days envisage the buddha dharma they have chanced to learn not as a key to emancipation but as a means fro attaining high rank, a trivial, contemptible thing" [Myoe].
"... truly sudden realization is to be found in gradual practice, and true immediacy in meditation."
"'To believe, accept, and obtain virtue is like becoming intoxicated with the mushrooms' [Myoe]... Furthermore, 'intoxicating' carries both the positive connotation of 'inspiring' or 'entrancing' on the one hand, and the negative connotation of 'poisonous' on the other."
"Social and moral decay, institutional corruption, and spiritual lassitude plagued China in the fourth century BCE as much as in thirteenth-century Japan."
"If one's heart is pure, the truth can be found in wiping one's behind" [Myoe].
"Wonhyo was told by an elder master he would not know the full meaning of the dharma as long as he remained attached to purity, and so... he set off into town and the redlight district."
"In the Buddha Way, one should first of all obtain the appropriate amount of knowledge such that it will empower one's practice. To know the appropriate amount is to be the one who truly knows" [Myoe].
"One will know well if ignorance is removed. Those who know well always desire to act" [Myoe].
"Sentient beings believing [in what they say] is as though they eat the mushrooms. To believe, accept, and obtain virtue is like becoming intoxicated [entranced & also 'poisoned'] with the mushrooms."
"... the pharmakon of the Mantra of Light does adhere even to bodies in impure places... before it is scattered the sand should be revered like the relics of the Buddha."
"... when I was still a child, I went to the meditation hall to practice in the middle of the night without anyone's knowledge, seeking to attain true faith and wisdom... In observing the practices of the masters of the exoteric and esoteric teachings, I was grieved by their outrageous behavior about which I did not know what should be done..."
- Mark Unno, Shingon Refractions: Myoe and the Mantra of Light (Boston: Wisdom Publications, 2004); 

"This versatile man [Kukai] has often been depicted as a scholar-monk with three faces and six arms. Such a representation implies a mysterious entity whose entirety can be grasped only vaguely."
"Esoteric Buddhism was for a while perhaps the most international form of Buddhism in the East. Though it was short lived in China and in the Southeast Asian regions such as Ceylon and Indonesia, it survives to this day in Tibet and in the Himalayan kingdoms."
"Kukai did not actually invent the kana syllabary, but its emergence owed much to his introduction of Sanskrit studies, for the kana system is formed on the basis of the Sanskrit alphabet."
"The Esoteric Buddhism of Kukai, though incomparably more complex and sophisticated than Shinto, had many elements compatible with the later. A few of these were the idea of the oneness of man and nature, a belief in the magical efficacy of the word (mantra in the former, kotodama in the latter), and the concept of a ritually consecrated realm."
"Kukai's The Secret Treasure-house of the Mirrors of Poetry is the most important extant book about the poetical theory and phonology of Six Dynasties and Early T'ang China..."
"The Mahavairocana Sutra was the basic text of Esoteric Buddhism representing the most recent phase of seventh-century Indian Buddhism."
"Chinese civilization attained its peak of glory in the T'ang period (618-907). When Kukai reached Ch'ang-an, the city was the cultural center both of China and of Central and Eastern Asia... Of the foreign temples it is certain that one was Nestorian Christian and one was Zoroastrian or Manichaean."
"Kukai met Master Hui-kuo (746-805), the patriarch of Esoteric Buddhism in China, who lived in the East Pagoda Hall of the Ch'ing-lung Temple. Master Hui-kuo (Keika in Japanese) had inherited the Dharma of the Esoteric tradition from the famed master Pu-k'ung, or Amoghavajra (705-74). This Buddhist school was transmitted to China in 716 when an Indian master, Subhakarasimha (637-735), came to China by invitation of the Emperor Hsüan-tsung (r. 713-55)... in 720, another great master of Esoteric Buddhism, Vajrabodhi (d. 741), arrived in Canton by sea..."
"Though Kukai [at the time Emperor Saga turned out to be his promoter] remained inactive socially, he must have been well known as a poet, calligrapher, writer, and master of Esoteric Buddhism."
"The School of Arts and Sciences was a private school open to all students, regardless of their social status or economic means. It was the first school in Japan to provide for universal education. Behind it was Kukai's convinction of the oneness of humanity, his ideal of equal opportunity in education, and his belief in the intrinsic value of each individual. Affirming the importance of both religious and secular studies, Kukai included in his curriculum Buddhism, Taoism, and Confucianism." 
"According to Kukai, the historical Buddha is but one manifestation of Mahavairocana, who exists in history and yet at the same time transcends it. Mahavairocana in his samadhi is timeless and eternally present in a state of bliss... Those who have been denied a chance of salvation by the Exoteric teachings—such as the cursed ones (icchantika) and those guilty of serious crimes—can be saved by the  most rudimentary Esoteric practice of reciting a mantra."
" It was in 830, five years before his death, that Kukai produced his most ambitious work, the Ten Stages, perhaps the most comprehensive religious work that has come down to us in Japan."
"Kukai conceives man as 'body-mind,' not as mind or body, nor body and mind, and holds that this 'body-mind' is grounded in the 'Body-Mind,' the secret and sacred living Body-Mind of all, the Dharmakaya Mahavairocana... all men as well as all other sentient beings are particular 'body-mind' beings participating in the 'Body-Mind.' It is this 'Body-Mind' that is represented in the Shingon mandalas, which describe various aspects of Mahavairocana."
"... Kukai's motto reads 'attaining enlightenment in this very body'... 'bod (shin)' clearly does not mean the body as opposed to the mid but stands for 'existence' or 'body-mind-being.' The choice of the word 'body' over the normally expected 'mind' underscores the basic character of Kukai's religion: emphasis on direct religious experience through one's total being and not merely through the intellect."
"... the mantras, conveying as they do the essential meaning of these sutras, are most thoroughly impregnated with the preacher's spirit, compassion, wisdom, and saving power... Oral preaching is only one means of communication; preaching may sometimes be pursued by non-oral means, such as silence, gesture, color or form... all things in the universe reveal the presence of Mahavairocana."
"On his return from China Kukai said: 'Since the Esoteric Buddhist teachings are so profound as to defy expression in writing, they are revealed through the medium of painting.'"
"...  it was probably Hui-kuo who stressed the identity of Mahavairocana with the timeless Dharmakaya Buddha and who also taught that the Mahavairocana Sutra and Vajrasekhara Sutra were preached by the Dharmakaya Mahavairocana himself rather than by the historical Buddha, as Buddhist had always held."
"By defining Mahavairocana as the Dharmakaya, Kukai identified Mahavairocana with the eternal Dharma, the uncreated, imperishable, beginningless, and endless Truth. It is the realization of this truth which made Gautama the Enlightened One and which makes all bodhisattwas into Buddhas. The sun is the source of light and warmth, the source of life. Similarly, Mahavairocana is the Great Luminous One... 'Where is the Dharmakaya? It is not far away; it is in our body.'"
"... the Body of Wisdom is represented by the Diamond Mandala; the Body of Principle, by the Matrix Mandala. Kukai interpreted these two aspects of Mahavairocana as being inseparably related and asserted that both Bodies are nondual (richi funi)."
"... the term principle, in Chinese li and in Japanese ri, is Chinese in origin and has no exact counterpart in Sanskrit. 'Body of Principle' is therefore a Chinese concept... Li is one of the key words in  Hua-yen Buddhism and  means the universal principle underlying the multiplicity of particulars (shih)."
"The Six Great Elements are earth, water, wind, space, and consciousness... There is no creator other than the Six Great Elements, which are at once the creating and the created; the Six Great Elements are in a state of perpetual interfusion."
"The Sixt Great Elements are clearly analogous to the well-known five natural elements—fire, wood, earth, metal, and water; the Body of Wisdom and that of Principle, symbolized by the vajra and the lotus, or by the Diamond and the Matrix Mandalas, resemble yin and yang; and Mahavairocana, the Great Sun Buddha, recalls the Great Sun Goddess. In  the proposition that Mahavairocana is in a state of eternal harmony, the word 'harmony' is a translation of yuga, which in turn is a transliteration of yoga."
"... faith comes through the grace of the Buddha: it is not acquired by the individual but given."
"In the triple world [of desire, form, and non-form] there is no permanent residence; there is no fixed place in the world of transmigration. Sometimes my home is in heaven; sometimes, in hell. Sometimes I may be your wife or your son; at other times, your father or your mother. Sometimes the Tempter King is my teacher and heretics, my friends. Ghosts, birds, and animals may be our parents, children, or wives. From the beginning to the present, there has been no such thing as first and second... From the beginningless beginning, you and I have been transmigrating continuously without stopping in any fixed life" [the mendicant, in Kukai's Indications of the Goals of the Three Teachings].
"Since the Esoteric Buddhist teachings are so profound as to defy expression in writing, they are revealed through the medium of painting to those who are yet to be enlightened. The various postures and mudras [depicted in Mandalas] are products of the great compassion of the Buddha" [Kukai's A Memorial Presenting a List of Newly Imported Sutras].
"They are bound by the rope of deluded thoughts and are intoxicated by the wine of ignorance. Their union is comparable to someone meeting another in a dream, or to travelers meeting each other by chance at the same inn" [Kukai's The Precious Key to The Secret Treasury].
"The Sravakas recognize the five sense perceptions and mind, but not the seventh or the eighth [consciousness]" [Precious Key].
"The good and wise are rare, the bad and foolish, abundant" [Precious Key].
"The mind, whose caracteristic is like that of empty space, transcends both individuation and nonindividuation" [Precious Key].
"... the various objects of sight are harmful like poison to the foolish, but beneficial like medicine to the man of wisdom" [The Meanings of Sound, Words, and Reality].
"... the colors of the five great elements are identified as yellow [earth], white [water], red [fire], black [wind], and blue [space]" [The Meanings of Sound...].
- Yoshito S. Hakeda, Kukai: Major Works (New York: Columbia University  Press, 1972);

See also: 

Friday, July 31, 2020

The Willy-Mina Adventures (Erlebnisse): Is life itself professional? PLUS Derrida & Max Stirner, Sylvia Leclercq, Spinoza &c...

A/Z montage (Image de la Vierge from Sylvia Leclercq's Theresa mon amour + Rembrandt's Le sacrifice d'Abraham  from Derrida, Donner la mort), (Greek vases photographed at the Louvre), for more see here;
Colloque de Cerisy: Dostoïevsky, l'auteur de ma vie (Julia Kristeva & Nicolas Aude);
Jacobe Boehme, par J.-M. Vivenza (France Culture, 2008);
The Theosophical System of Jakob Böhme (Wouter Hanegraaff/Univ. of Amsterdam 2013); 
Transcripción de una conferencia de Borges sobre Swedenborg (Universidad de Belgrano, 1978); 
Emanuel Swedenborg - The man who had to know (1978 documentary/Youtube 2018);
Immortality: An Egyptian Dream (Jan Assmann/University of California, 2015);
Ilé Aiyé: The House of Life (documentary about Salvador/Bahia's Candomblé by David Byrne, 1989);
María Lionza, detrás del culto (Bexandra Morillo, Patricia Arvelaez, 2011); 
Exorcismo Negro (José Mojica Marins, 1974); 
The Phrygian Scale (Jake Lizzio/Signals Music, 2018); 
Film Scoring/The Phygian Mode (Rick Beato, 2016);  
Code Morel & One Hundred Forty Nine Inches (montage A/Z, for more see here);

Foundation (with the whole of it):

"Do demo: digo?"
Guimarães Rosa/Augusto de Campos (Um Lance de Dês)
"C'est un être perdu à jamais que cet être dont il est impossible de retrouver le commencement et le fin. Le démoniaque est ce non-être qui se manifeste comme pure agression: le défiguré."
Enrico Castelli/André Masson (Le Jardin des Délices/Écrits, anthologie établie par Françoise Levaillant)
"Sie unterrichtet weiter darüber, was unter diesen Massen eigentlich zu denken ist. Von keiner Klasse, von keinem irgendwie strukturierten Kollektivum kann die Rede sein. Es handelt sich um nichts anderes als um die amorphe Menge der Passanten, um Straßenpublikum... Dieser Menge eine Seele zu leihen, ist das eigenste Anliegen des Flaneurs. Die Begegnungen mit ihr sind ihm das Erlebnis, das er unermüdlich zum Besten gibt. Au. Baudelaires Werk sind gewisse Reflexe dieser Illusion nicht hinwegzudenken."
Walter Benjamin (Über einige Motive bei Baudelaire)

"Der Christ, diese ultima ration der Lüge..."
Nietzsche (Der Antichrist)
"Von allem Wunderbaren — so erzählte mir Paracelsus — was ich je sah und hörte, ist Eins das Erstaunlichste, und ich muß nicht nur ein muthiges Herz wie ein Löwe, sondern auch die unschuldige Geduld eines Lammes dazu haben, es gerade so zu berichten, wie es sich zugetragen hat. Denn gesetzt, es wäre das Blendwerk eines mir übel wollenden Geistes gewesen, so gab es nie für mich eine ärgere Versuchung: und sprach das, was mir erschien, die Wahrheit..."
Nietzsche (Nachgelassene Fragmente, 1881)

"Notre intérêt proclamé pour l'art des fous et des médiums n'était pas fait pour arranger les choses!"
André Masson (A Joan Mirò pour son anniversaire/Écrits, anthologie établie par Françoise Levaillant)
"Mais, au moment où j'écris ces lignes, conclut-elle, je n'en suis plus là: j'ai compris que désirer aussi consciencieusement la 'santé' dans le but de 'servir', fût-ce Dieu, ne peut que causer ma 'ruine'..."
Sylvia Leclercq
"Yo después anoche no me podía dormir pensando en eso. Qué suerte tienen estos ignorantes. Qué lindo sería llegar a esa pieza primera, te imaginás?"
Lídia (Cae la noche tropical)
"E tinha muito passarinho que voava do abismo para a estrada... Então, como estava cansada, a velha encostou a cabeça no tronco da árvore e morreu."
Clarice Lispector (Viagem a Petrópolis)

"... je dirais qu'il décrit d'abord l'incorporation platonicienne du mystère démonique et de l'irresponsabilité orgiaque. Ne peut-on aller plus loin et dire que cette incorporation est à son tour refoulée par un certain christianisme?"
"Telle serait l'Unheimlichkeit du Geheimnis et il nous faudrait interroger systématiquement la portée de ce concept de Unheimlichkeit."
Jacques Derrida (Donner la mort)
"... this is the deep contradiction in the demonic, and in a certain sense there is infinitely more goodness in a demonic than in shallow people."
Kierkegaard (Fear and Trembling, Sylvia Walsh's translation)
"... gosto de andar por diversas cloacas. Esse clima, essa ária tartamudeante de Lucia [di Lammermoor], esses criados em trajes russos que beiram a indecência, essa fumaça de tabaco, esses gritos oriundos da sala de sinuca — tudo isso é tão banal e prosaico que quase confina com o fantástico..."
Viersílov (O Adolescente, tradução de Paulo Bezerra)
"Diga-me o que o motiva a atos tão descomedidos, fora de quaisquer condições e medidas aceitas? O que podem significar semelhantes extravagâncias que parecem cometidas em delírio?"
Ivan Óssipovitch à Nikolai Vsievolódovitch (Os Demônios, tradução de Paulo Bezerra)
"Once I was at a house on Riverside Drive where people were invited to be present at a Zen service conducted by a Japanese Roshi. He did the ritual, rose petals and all. Afterwards tea was served with rice cookies. And then the hostess and her husband, employing an out-of-tune piano and a cracked voice, gave a wretched performance of an excerpt from a third-rate Italian opera. I was embarrassed and glanced towards the Roshi to see how he was taking it. The expression on his face was absolutely beatific."
John Cage (The Future of Music: Credo)

"Les normes mêmes de la démonologie non seulement décrivent l'existence d'un point de vue différent de celui de la croyance en général; elles forment de surcroît une méthode, telle qu'elle est conçue à l'origine par les néo-platoniciens, en dernier lieu par l'herméneutique scolastique — prônant une traduction spectaculaire des puissances avec lesquelles on compose — en fin de compte analysant jusqu'aux procédures de la pensée même —, et qui concourt, contre toute 'pathogénie' critique, à figurer plutôt une 'pathophanie': soit à considérer en nous l'insidieuse présence des esprits, mais aussi toute façon de penser et de sentir comme une expression indissociable de leur dissimulation. De là vient, dirai-je à la suite de Varron, le caractère théâtrique de la théologie, dont le théâtre occidental, strindbergien et shakespearien, à son tour dérive indirectement."
"Parce que l'affabulation, dans La Vocation suspendue, est en réalité plus autobiographique que l'autobiographie n'eût semblé le permettre, même si en fin de compte cette affabulation se retourne contre elle-même — et de fait aujourd'hui à vos yeux, je me comporterais comme un athée, quoique je ne cache point mon non-athéisme. Kierkegaard indique bien que tous les chrétiens ne peuvent que se comporter comme des athées. D'avoir abandonné l'habit ne me rend pas moins sensibles aux motifs particuliers dont s'est servi mon propre mouvement ver la foi. Bien au contraire — et ainsi que, lors de mon expérience conventuelle, je découvris que de fuir les 'ténèbre'au-dehors, celles-ci n'en paraissaient que plus présentes à l'esprit sou la persécution des âmes où le Vatican menait une parti de l'Eglise, — de même, j'ai voulu prouver à l'inverse, dans le style de cette confession, que la réduction à l'état laïc fasait encore dépendre cet état d'une conception religieuse de la vie profane."
Pierre Klossowski (entretiens avec Jean-Maurice Monnoyer)
''Zarathoutra, dès lors qu'il a voulu l'éternel retour de toutes choses, a d'avance choisi de voir tourner en dérision sa propre doctrine... Quel autre sens, si ce n'est celui-là, attribuerait-on à l'extraordinaire parodie de la Cène où le meurtrier de Dieu est aussi celui qui offre le calice à l'âne — figure sacrilège du Dieu chrétien du temps de la réaction païenne, mais plus spécifiquement animal sacré des mystères antiques, l'âne d'or de l'initiation isiaque, animal digne par son infatigable Ia (ita est!) — son infatigable oui donné au retour de toutes choses — digne de représenter la longanimité divine, digne donc aussi d'incarner une antique divinité, Dionysos, le dieu de la vigne, ressuscité dans l'ivresse générale. Et en effet, comme Voyageur le déclare à Zarathoustra: la mort, chez les dieux, n'est jamais qu'un préjugé."
Pierre Klossowski (Un si funeste désir) 

"The  confusion which obliterates the controls' grasp of science and philosophy does not prevent them from spouting realms of pompous nonsense upon religious and philosophical topics and presenting it as profoundest truth, sometimes in the teeth of the sitters' queries;  so that we have to attribute to them not just confusion but downright tale-spinning, which was certainly not a habit of the purported communicators in life, nor yet of the normal Mrs Piper."
"Several communicators showed a somewhat marked interest in clothes and hats, which would not have been characteristic of them in life, but was characteristic of Mrs Piper."
"The most remarkable cases of trance mediumship illustrate what may happen when a telepathic agent, with his powers thus emancipated, works upon a gifted psychic—one, say, at least as remarkable as the best of Osty's sensitives—who adds to these essential gifts the psychological quirk, whatever it may be (a tendency to dissociation, perhaps, or a liability to sink into unstructured reverie), which makes her in addition highly responsive to suggestions conveyed by or implicit in the telepathic influences playing upon her."
Alan Gauld (Mediumship and Survival: A Century of Investigations)
"'Extraneous 'wills to communicate' may contribute to the results as well as a 'will to personate', and the two kinds of will may be distinct in entity, though capable of helping each other out. The will to communicate, in our present instance, would be, on the prima facie view of it, the will of Hodgson's surviving spirit, and a natural way of representing the process would be to suppose the spirit to have found that by pressing, so to speak, against 'the light', it can make fragmentary gleams and flashes of what it wishes to say mix with the rubbish of the trance-talk on this side. The wills might thus strike up a sort of parternship and reinforce each other. It might even be that the 'will to personate' would be comparatively inert unless it were aroused to activity by the other will."  
William James ("Report on Mrs Piper's Hodgson Control", Proceeding of the Society for Psychical Research, 23/1909, as quoted by Alan Gauld)

"Sylvia Beach found Joyce a series of typists to finish the Circe episode, but for one reason or another they dropped out in quick succession. 'Circe herself is punishing me for having written it,' he told Miss Beach. One typist had to stop because her father suffered a seizure, and Joyce noted that coincidentally this was an incident in the chapter. At last he found a Mrs. Harrison, whose husband had a post at the British Embassy. She made good progress until on April 8 her husband glanced at the manuscript, and, scandalized, threw it into the fire."
"'Why are you so afraid of thunder?' asked [Arthur] Power, 'your children don't mind it.' 'Ah,' said Joyce contemptuously, 'they have no religion.'"
Richard Ellmann

"Les abolisseurs d'âmes (matérialistes) sont nécessairement des abolisseurs d'enfer; ils sont, à coup  sûr, intéressés. Tout au moins ce sont de gens qui ont peur de revivre, — des paresseux."
Baudelaire (Mon coeur mis a nu)
"De même une certaine école spiritualiste, qui a ses représentants en Angleterre et en Amérique, considère les phénomènes surnaturels, tels que les apparitions de fantômes, les revenants, etc., comme des manifestations de la volonté divine, attentive à réveiller dans l'esprit de l'homme le souvenir des réalités invisibles."
"Dans le sommeil, ce voyage aventureux de tous les soirs, il y a quelque chose de positivement miraculeux; c'est un miracle dont la ponctualité a émoussé le mystère... le rêve absurde, imprévu, sans rapport ni connexion avec le caractère, la vie et les passions du dormeur! ce rêve, que j'appellerai hiéroglyphique, représente évidemment le côté surnaturel de la vie, et c'est justement parce qu'il est absurde que les anciens l'ont cru divin."
Baudelaire (Les Paradis artificiels)

"Il était mort. Mort à jamais? Qui peut le dire? Certes, les expériences spirites pas plus que les dogmes religieux n'apportent de preuve que l'âme subsiste. Ce qu'on peut dire, c'est que tout se passe dans notre vie comme si nous y entrions avec le faix d'obligations contractées dans une vie antérieure; il n'y a aucune raison dans nos conditions de vie sur cette terre pour que nous nous croyions obligés à faire le bien, à être délicats, même à être polis, ni pour l'artiste athée à ce qu'il se croie obligé de recommencer vingt fois un morceau dont l'admiration qu'il excitera importera peu à son corps mangé par les vers, comme le pan de mur jaune que peignit avec tant de science et de raffinement un artiste à jamais inconnu, à peine identifié sous le nom de Ver Meer. Toutes ces obligations qui n'ont pas leur sanction dans la vie présente semblent appartenir à un monde différent, fondé sur la bonté, le scrupule, le sacrifice, un monde entièrement différent de celui-ci, et dont nous sortons pour naître à cette terre, avant peut-être d'y retourner, revivre sous l'empire de ces lois inconnues auxquelles nous avons obéi parce que nous en portions l'enseignement en nous, sans savoir qui les y avait tracées, ce lois dont tout travail profond de l'intelligence nous rapproche et qui sont invisibles seulement — e encore! — pour les sots. De sorte que l'idée que Bergotte n'était pas mort à jamais est sans invraisemblance. On l'enterra, mais toute la nuit funèbre, aux vitrines éclairées, ses livre, disposés trois por trois, veillaient comme des anges aux ails éployées et semblaient pour celui qui n'était plus, le symbole de sa résurrection."
"... une véritable différence, celle qu'il y avait entre la pensée de tel musicien et les éternelles investigations de Vinteuil, la question qu'il se posa sous tant de formes, son habituelle spéculation, mais aussi débarrassée des formes analytiques du raisonnement que si elle s'était exercée dans le monde des anges, de sorte que nous pouvons en mesurer la profondeur, mais pas plus la traduire en langage humain que ne le peuvent les esprits désincarnés quand, évoqués par un médium, celui-ci les interroge sur les secrets de la mort; un accent, car tout de même en tenant compte de cette originalité acquise qui m'avait frappé dans l'après-midi, de cette parenté aussi que les musicographes pourraient trouver entre des musiciens, c'est bien un accent unique auquel s'élèvent, auquel reviennent malgré eux ces grands chanteurs que sont les musiciens originaux, et qui est une preuve de l'existence irréductiblement individuelle de l'âme."
Marcel Proust (le narrateur, La Prisonnière)
"Aussi à ces moments-là si j'avais pu réussir à l'évoquer en faisant tourner une table comme Bergotte croyait que c'était possible, ou à la rencontrer dans l'autre vie, comme le pensai l'abbé X, je ne l'aurais souhaité que pour lui dire: 'Je sais pour la blanchisseuse. Tu disais: tu me mets aux anges, j'ai vu la morsure.'"
"... souvent, ce souvenir qu'Albertine était morte se combinait sans la détruire avec la sensation qu'elle était vivante. Je causais avec elle, pendant que je parlais ma grand-mère allait et venait dans le fond de la chambre... à ce qu'on dit, les morts ne peuvent rien sentir, rien faire. On le dit, mais cela n'empêchait pas que ma grand-mère qui était morte continuait pourtant à vivre depuis plusieurs années et en ce moment allait et venait dans la chambre."
Marcel Proust (le narrateur, Albertine disparue)

"... c'est le désir de mourir sans doute, mais c'est en même temps le désir de vivre, aux limites du possible et de l'impossible, avec une intensité toujours plus grande. C'est le désir de vivre en cessant de vivre ou de mourir sans cesser de vivre, le désir d'un état extrême que saint Thérèse peut-être seule a dépeint assez fortement par ces mots: 'Je meurs de ne pas mourir!' Mais la mort de ne précisément n'est pas la mort, c'est l'état extrême de la vie; si je meurs de ne pas mourir, c'est à la condition de vivre: c'est de la mort qu'en vivant j'éprouve, en continuant de vivre. Saint Thérèse chavira mais ne mourut pas réellement du désir qu'elle eut de chavirer réellement."
Georges Bataille (Mystique, L'Érotisme)
"Si nous suivons la voie indiquée par le christianisme, il est vrai, nous pouvons non seulement sortir de la solitude, mais accéder à une sorte d'équilibre, qui échappe au déséquilibre premier, dont je pars, qui nous empêche de concilier la discipline et le travail avec l'expérience de l'extrême."
Georges Bataille (Sainteté, L'Érotisme)

"... the inadequate knowledge of external bodies found in imagination, sense, and memory (and also implicated in the passive emotions) ceases when the human body ceases to endure (E 5P2i,34). Yet, the essence of the human body is in God (without regard to duration) and is conceived through God "by a certain eternal necessity"; thus: "[T]here is necessarily in God an idea which expresses the essence of this or that human body under the aspect of eternity" (E 5P22). That is, the human mind, insofar as it expresses the essence of the human body—and so is "part of the infinite intellect of God"—is itself eternal; or, as Spinoza somewhat misleadingly expresses the point (E 5P23): "The human mind cannot be absolutely destroyed along with the body, but something of it remains, which is eternal." Here again we find Spinoza succumbing to a temptation to exalt mind over body, with regard to some kind of permanence; yet correctly (in accordance with his own carefully developed principles) he could and should be holding simply this: that the human mind has a noneternal part that perishes when the body ceases to endure,—but also an eternal part, to be understood as knowledge of the essence of the body from the point of view of eternity: "[W]e nevertheless sense that our mind, in so far as it involves the essence of the body under the aspect of eternity, is eternal, and that this existence of it cannot be defined by time, nor explained through duration" (E 5P23S; cf. E 5p29)."
"As I have already mentioned, one of Spinoza's central views, with regard to knowledge and the achievement of human perfection, is that our mind's ability to understand the essence of various things under the aspect of eternity is a function of its ability to understand or know or conceive the essence of its own body under the aspect of eternity. Because such knowledge, like all knowledge, involves understanding its object in relation to its cause—God—this knowledge that the mind has in relation to its body and external bodies satisfies the definition of "the third kind of knowledge."
"The third kind of knowledge, Spinoza goes on to argue, brings pleasure "accompanied by the idea of God as its cause" and hence (partly by some previous remarks about the nature of love) love of God, conceived as eternal (E 5P32). Thus it is tied not only to self-contentment, but also to what Spinoza calls "intellectual love of God" (amor intellectualis Dei), which is itself "eternal" (E 5P32C and 5P33). This condition Spinoza identifies, in succeeding propositions, with perfection of mind, and blessedness or salvation or freedom (E 5P33S and 5P36S)."
"The more things a given human mind understands adequately, the larger portion of it belongs to the infinite intellect of God, and so is eternal; and the less reason is there to fear death (E 5PP38-40)... In deploying his doctrine of eternity of mind Spinoza perversely tends to imply that the mind achieves existence separate from the body (and even speaks of its achieving "duration without relation to the body"). To this extent Spinoza's language doubtless evokes a less esoteric conception of the "eternity of mind" than his principles permit. But this lapse does not seem inherently unmanageable: Texts of Part 5 itself show that his earlier conception of the mind-body relation, as asserted in Part 2 especially, persists under the inconsistent language (which can accordingly largely be disregarded). The more serious problem, I believe, is quite a different one: namely, explaining how Spinoza really understands the "third kind of knowledge"—or, for that matter, the second. The third kind of knowledge, as we have seen, involves grasping the "inmost essence" of singular things in relation to the essence of God. I pointed out that Spinoza gives us some reason to suppose that what he has in mind is (at least in part) our coming to grasp intuitively the "force to persevere in existence" that defines the essence of singular things as a manifestation and consequence of God's power." 
Margaret D. Wilson (Spinoza's Theory of Knowledge/Cambridge Companion to Spinoza)

Thomas Mann & Willy-Mina (or another small anecdote known only in our own family):

"... and nature is an equivocal element: im­pure, obscene, spiteful, daemonic..."
"... the mediumistic faculty, however genuine, is no guarantee of good character..."
"It is not hard to see why science, which sets store by exact values, is at home in the dry, objective air of the laboratory and used to purely abstract work with apparatus and prepared subjects, should feel put off with this all too human kind of experimentation. It is the same with the layman. He has come keyed up to a suggestive atmosphere and a mood of consecration and mystery. He is disappointed to find himself in a situation which probably disgusts him both intellectually and aesthetically, suggesting as it does the mawkish revival methods of the Salvation Army."
"The one mystical thing about the situationand that not in any spiritual sense, but with reference to organic mysteries, primitive and af­fecting at onceis the medium himself, as he tosses and threshes with his arms, whispering in quick groans and pants: he is the primary object of my curiosity."
"Let me with­draw within myself and try to divine where may be the point, when the magical moment, in which a dream-picture objectivates itself and becomes a spatial reality, before the eyes of other people. Nausea. Clearly this point does not lie within the plane of our consciousness, or of the laws of knowledge as we know them. If anywhere, it is located in that state in which I see this lad now before me, and which is certainly a gate-whither? Behind the house, behind the world? But I admit that this is not thinking at allonly a mild form of seasickness."
"What a playful monster! We all laugh. But it is not amuse­ment we feel, rather a sort of sinking sensation at the chill­ing arrogance of this something or other which is perhaps only a distressingly complicated kind of humbug. But, as I said, a civilized. It did not throw the music-box in my face, but tactfully chose one of the soft little rings. People have had their ears boxed, and other practical jokes have been played, such as unlacing boots... an indication of good sense and decent feeling. On the other hand, they do unmistakably tend to become demoralized, to play silly tricks and make unmotivated displays of strength."
"And, on my honour, the writing machine begins to click, there on the floor. This is insane. Even after all we have already seen, it is in the highest degree startling, bewildering, ridiculous; the fantasticality of the thing is even fascinating."
"It was quite light on the table, the phantom would have exposed itself all too defencelessly to our view, and to do that did not in the least correspond to the image I had made to myself of the shy, sly, stealthy, equivocal character of our elusive guest: a character too insignificant to have evil intent, on the con­trary probably quite well-meaning, but weak-minded and embarrassed."
"Well, now, what had I seen? Two-thirds of my readers will answer: swindle, sleight-of-hand, deception. Some day, when our knowledge of these matters has progressed, the field will be popularized, and they will deny that such was their judgment. Even now, and even if they take me for a credulous and suggestible fad-chaser, the testimony of trained experimenters like the French scholar Gustave Geley ought to make them less glib. Geley closes his re­port with the categorical statement: 'I do not merely say that there was no deception present in these sittings; I say that the possibility of deception was ruled out.' That is absolutely my own position."
"'Delusion' is such a word; its very vagueness helps by preventing us from seeing to the bottom of it. The two con­ceptions of reality and of deception are mingled in it, and perhaps the mingling has more justification than we know, and is less strange in nature than it is to our downright processes of thought. I will say, then, that what I saw had to do with an occult delusion in the domain of organic life; with bewilderingly deep and sub-human complexes, at once primitive and involved. These, undignified by nature and trivial in their activity as they are, are well calculated to be offensive to our proud aestheiic sense, but to deny their abnormal reality would be nothing less than unreasonable obstinacy."
"... as for the prob­lem of exteriorization and materialization, the longer one looks at it, the more it reveals a complexity apparently cal­culated for the express purpose of making a mock of the human intellect..."
"'That which governs life,' Claude Bernard wrote, 'is neither chemistry nor physics, nor anything of the kind; but the ideal principle of the life-process.' A strangely indefinite saying for a great scientist, he being a French­ man to boot; a saying that gropes vaguely after a mystery, and shows that it is precisely the great world of scholar­ship which never loses an inward feeling for the mystery; and that only the rank and file run the danger of scien­tific darkness, unmindful how very little complete, how much mingled with mysteryand riddles perhaps never­ to-be-solvedis all their exact knowledge of nature and life and its functions."
"... in other words, it passes beyond the limits of the organism and oper­ates outside it, 'ectoplastically.' That is, it calls into tem­porary existence, out of the exteriorized, organic basic sub­stance (the appearance and form of which have already been observed with some degree of exactitude), shapes, limbs, bodily organs, particularly hands, which possess all the properties and functions of normal, physiological, bio­logically living organs. These teleplastic end-organs move apparently free in space..."
"It was Hegel who said that the idea, the spirit, is the ultimate source of all phenomena; and perhaps supra-normal physiology is more apt than normal to demonstrate his statement."
"In other words, we call to aid an uninvestigated ideoplastic faculty possessed by the medial constitution. Ideoplastica word, and a conception, of Platonic power and charm, not without flattering unction to the artist's ear, who will be ready from now on to characterize, not only his own work, but universal reality as ideoplastic phenomena. Yet a word, and a conception, of quite as turbid depths as the word 'de­lusion' itself, and, by virtue of its maddening mixture of elements of the real and the dream, leading straight to the morbid and the preposterous."
- Thomas Mann, "An Experience in the Occult" [Okkulte Erlebnisse], translated by H. T. Lowe-Porter;

Jacques Derrida & Max Stirner: 

"Il faudrait bien sûr, tâche nécessaire et passionnante, lire Stirner au-delà des extraits que L'Idéologie allemande [de Marx] découpe (largement, il est vrai) et soumet le plus souvent à la torsion de la satire. Il faudrait aussi reconstituer, traversant le texte de Stirner, une tradition ou une généalogie de cette thématique du fantôme au  XIXe siècle, au moins, de Kant (non seulement celui qui s'intéressa à Swedenborg, mais le penseur de l'imagination transcendantale et donc de tous les tiers conceptuels que la fantastique introduit entre le sensible et l'intelligible, autant de lieux propices à la spectralité) jusqu'au Schopenhauer de l'Essai sur les fantômes (Versuch liber Geistersehen und was damit zusammenhängt, 1851), à Nietzsche 
— qui connaissait indirectement les textes de Stirner et en conseilla la lecture à Baumgartner en 1874, ou à Mallarmés — dont l'œuvre veille auprès d'un « fantôme blanc comme une page pas encore écrite » (Mimique). Une telle reconstitution excédant ici les limites de notre propos, citons au moins une fois quelques passages de L'Unique et sa Propriété [de Stirner]: « Les Romantiques ressentirent bien l'atteinte à la foi en Dieu elle-même que représentait l'abandon de la croyance aux esprits et aux fantômes et cherchèrent à remédier à ses fatales conséquences, non seulement en ressuscitant le monde fabuleux mais surtout en ouvrant les portes d'un monde supérieur avec leurs somnambules, voyantes de Prévorst, etc. Les bons croyants et les Pères de l'Église ne se doutaient pas que détruire la croyance aux fantômes, c'était aussi enlever sa base à la religion et la laisser planer, détachée de son sol nourricier. Qui ne croit plus aux fantômes n'a plus qu'à pousser avec conséquence son incroyance pour se rendre compte qu'il ne se cache aucun être particulier derrière les choses, aucun fantôme ouce qui revient au même, en prenant le mot dans son acception naïveaucun esprit. » Et sous le titre « Le spectre » : « Avec les fantômes, Nous entrons dans le royaume des esprits, des êtres. Ce qui hante l'univers, y poursuivant ses secrètes et insaisissables activités, c'est le spectre mystérieux que Nous appelons Être suprême. Pendant des siècles, les hommes se sont donné pour tâche d'en connaître le fond, de le concevoir, d'y découvrir la réalité (de prouver l'existence de Dieu) ; c'est à cet effroyable, impossible et interminable travail de Danaïdes qu'ils s'acharnèrent, voulant changer un spectre en non-spectre, l'irréel en réel, l'esprit en une personne totale, en chair et en os. C'est ainsi qu'ils cherchèrent la 'chose en soi', derrière le monde existant, derrière la chose la non-chose. » 
- Jacques Derrida, Spectres de Marx (Galilée, 1993, p. 117 n. 1); 

The importance of the body in Western Esotericism: 

"Les sephiroth de la Kabbale expriment le procès théogonique non pas comme un acte intellectuel, une simple prise de conscience de Dieu par lui-même, mais comme une réalisation corporelle, une incorporisation continuelle... Gorceix pense que la notion de corps spirituel, qui d'ailleurs n'est point héterodoxe — Paul distingue le corps et la chair —, fut transmise, durant le Moyen Âge et plus tard, par l'alchimie, dont la lapis (que de nombreux textes assimilent au Christ) n'est pas seulement corps mais tout autant sprit."
"L'intuition centrale de Boehme, c'est-à-dire la double nécessité d'une lutte et d'une opposition des contraires dont la synthèse constitute la vie, fonde les spéculations de Gichtel lui-même... Ce qui le séduit le plus lorsqu'il parle des 'trois principes' ou de Sophia, c'est la notion de corporéité céleste: la nouvelle naissance est un processus autant corporel que spirituel, une naissance totale, globale. Cette notion de corps-puissance, ou corps-énergie, Oetinger la reprendra au XVIIIe siècle avec sa conception de Geistleiblichkeit."
"'Rendez à Dieu ce qui est à Dieu!' signifie pour Baader: 'Rendez à Dieu son image!' Il incombe donc aux hommes d'être des miroirs qui rassemblent les débris d'un monde éclaté et transforment la dispersion en unité. Pratiquer le culte divin, c'est laisser Dieu se servir de nous pour effectuer la descente et la remontée auxquelles il aspire incessamment... Les anges, à aller et venir le long de l'échelle entrevue en songe par Jacob... Messiaen nous a donné, dans Quatour pour la fin des temps, un arc-en-ciel théologique."
- Antoine Faivre, Accès de l'ésotérisme occidental, vol. II (Gallimard, 1996);

The body in American Spiritualism: 

"... an examination of the shared characteristics of hysteria and Spiritualist mediumship, rather than serving to pathologize believers, in fact reveals that Spiritualism saw itself as a competing discourse to the emerging one of psychoanalysis, self-consciously and adamantly offering an alternative view of similar phenomena... The answers Spiritualists sought were external to the individual; believers tried to uncover the secrets of the past, rather than the secrets of their selves. By explicitly attacking psychoanalytic constructions of the unconscious as a locus of mental illness, Spiritualism offered not only a theological understanding of alternative psychic states, but also a radically alternative interpretation of the body—especially the woman’s body—as an instrument of intangible forces."
"Mediumship shared phenomenological characteristics with several similar movements of its day, foremost Mesmerism... Mesmerism clearly included a mystical as well as medical component, and in certain cases mesmerized patients reported a facility for the paranormal and the ability to talk to the dead." 

Possession, Chamanisme & Music (Gilbert Rouget):

"Comme l'écrit Éliade à propos des chamanes tchouktchi, eskimo, lapon ou sémang, se transformant en loup, ours, renne, poisson ou tigre et imitant leurs gestes et leur voix, ce n'est pas d'une 'possession par les animaux qu'il s'agit, mais bien plutôt d'une prise de possession, par le chaman, de ses esprits auxiliares: c'est lui qui se transforme en animal, de même qu'il obtient un résultat semblable en mettant un masque d'animal... En Afrique, le possédé n'imite pas le dieu qu'il incarne, il est ce dieu. En Asie, le chamane coexiste avec les esprits protecteurs ou auxiliares qu'il s'est incorporés grâce à son chant magique, et c'est ce qui lui permet de dialoguer avec eux. En Afrique, semblable coexistence, en une même personne, du sujet en transe et de l'esprit qui le possède, ne s'observe jamais, sauf erreur, en tout cas pas dans les cultes que nous avons nommés..."
"... la distinction à faire entre possession et chamanisme apparaît très tranchée. Mais là comme en tant d'autres domaines des glissements s'opèrent d'un modèle à l'autre — les Bochiman en fourniront plus loin un très beau cas —, des formes hybrides se constituent, des contacts se nouent et se dénouent, donnant naissance à des mélanges qui ne cessent de se faire et de se défaire."
"Si telle rythmique passe pour déclencher la transe dans telle région, dans l'autre c'est une rythmique tout à fait différente qui jouera le même rôle. C'est donc que toute rythmique, ou tout système rythmique — car toute rythmique est un système — peut faire l'affaire. Ou encore, ce qui revient au même, c'est qu'aucun système rythmique n'est spécifique de la transe."
"On "sait que tout le système des modes grecs peut être considéré comme reposant, au départ tout au moins, sur une opposition fondamentale, celle du dorien et du phrygien... le dorien était un mode pentatonique sans demi-ton et le phrygien était, au contraire, un mode diatonique à demi-ton... Nous retrouvons ici, par un autre biais, la Phrygie. On constate ainsi que l'instrument de musique de la possession [l'aulos] tout autant que son mode musical étaient considérés, en Grèce hellénique, comme venant d'ailleurs... la division de la musique grecque en deux mondes opposés, celui du dorien 'harmonie de l'Hellade européenne' et celui du phrygien 'musique des Asiates, importée par les aulètes de Phrygie'. On sait combien les grandes oppositions de ce type — et l'on pense bien entendu à celle qu'on a tant faite, après Nietzsche, entre Apollon et Dionysos — sont facilement réductrices."
"... la devise musicale, qui joue un rôle central dans la possession... peut se définir comme un signe dont le signifié est le dieu auquel il se réfère et dont le signifiant est à trois facettes: linguistique, musicale et chorégraphique. Le pouvoir signifiant de ce signe est particulièrement étendu puisqu'il intéresse en même temps l'esprit et le corps, l'intelligence et la sensibilité, les facultés d'idéation et de mouvement. C'est évidemment à cela qu'il doit d'être, pour l'adepte, le plus puissant moyen de s'identifier à la divinité qui le possède."   
"Physiologiquement, au niveau sensoriel, si la musique est principalement perçue par l'ouïe, elle ne passe pas que par cette voie. Les vibrations musicales sont des mouvements dont l'amplitude est, à l'échelle du corps humain, relativement grande. Le mouvement des objets qui leur donne naissance — ou le mouvement qu'elles impriment aux objets, puisque l'action peut s'exercer dans les deux sens — est toujours palpable et souvent même visible... Qu'on touche la table d'un violon pendant qu'on en joue, le bout du doigt ressent la palpitation des sons. Qu'on s'approche de ces très gros tambours que les Yorouba font sonner pour leurs cérémonies secrètes de oro, c'est par le ventre, qui se met à vibrer, autant que par les oreilles qu'on les entend. Qu'on se mette au contraire tout près de ce très petit tambour qui sonne également pour oro, mais dont la membrane très petite et très tendue est plutôt fouettée que battue, prestissimo, à l'aide de fines baguettes, c'est toute la tête qui retentit. À la tribune d'un orgue, à pleins jeux, c'est par tout le corps qu'on perçoit la musique. C'est le monde qui tremble, c'est toute l'atmosphère qui résonne. 'Baigner dans la musique' n'est pas qu'une métaphore."
"Dans la dimension du temps, la musique modifie plus encore la conscience d'être. Elle est architecture du temps. Elle donne au temps une densité différente de sa densité quotidienne. Elle lui donne une matérialité qu'il n'a pas d'ordinaire ou qui est d'un autre ordre."
"Transformant ainsi de différentes manières le sentiment du temps et de l'espace, la musique modifie notre être-dans-le-monde."
"... le chaman est le musiquant de sa propre entrée en transe. Ce n'est pas en écoutant les autres chanter ou tambouriner pour lui, mais au contraire en chantant et en tambourinant lui-même qu'il entre en transe. Toutes les descriptions concordent sur ce point. Là réside, pour ce qui nous intéresse ici, la grande différence entre chamanisme et possession."
"Le chamanisme était apparu essentiellement comme agi (si toutefois l'on peut risquer ce barbarisme), la possession comme subie... Par ailleurs, dans la possession le sujet entre en transe parce qu'il change d'identité, dans le chamanisme il entre en transe parce qu'il change de monde."
"Cela ne doit pas nous faire oublier que s'il s'agit de chasser parfois le venin et toujours ce qu'il symbolise, il ne s'agit pas de chasser l'araignée, mais bien au contraire de s'identifier à elle, ce qu'on fait abondamment en l'imitant de plusieurs façons différentes."
"Dans l'antiquité grecque, la transe, on l'oublie trop souvent encore aujourd'hui, constituait en très important aspect de la vie religieuse. Les pratiques dionysiaques, avec leurs égarements et leurs violences, font certes partie intégrante du tableau que l'on se fait couramment de la religion grecque. Rohde et bien d'autres après lui en ont rendu compte. Nietzsche les a abondamment célébrées. Mais bien que Jeanmaire et Dodds l'aient fort bien montré il y a plus de trente ans, on ne se rend pas suffisamment compte, en général, du fait que le ressort central du culte de Dionysos Bacchos était purement et simplement la transe de possession."
"Ni le poète, ni l'amant, ni la Pythie ne sont jamais figurés dans cette attitude de crise, caractérisée par la projection de la tête en arrière et par la cambrure de tout le corps, tant de fois peinte dans les scènes de possession qu'on voit figurées sur des vases. Ni les uns ni les autres ne sont donnés comme subissant les effets de la musique, non plus que comme ayant pour activité principale la danse."
"... comment les Grecs [de l'époque de Platon] se représentaient-ils, concrètement, les relations existant entre Dionysos, cet état divin qu'était la mania et la maladie? C'est une des plus célèbres tragédies d'Euripide, les Bacchantes, don't le sujet est précisément, comme on sait, la transe dionysiaque qui va nous le dire. Dionysos y est peint exerçant une terrible vengeance contre ceux qui, dans son propre lignage, insultent la mémoire de sa mère, refusent de célébrer son culte et pourchassent ses zélateurs."
"A partir des donnés fournies par les trois dialogues précédemment cités (Phèdre, Lois, Ion), la théorie générale de Platon peut se formuler maintenant de la manière suivante: Les gens, un peu fragiles psychologiquement, qui par suite du courroux d'un dieu souffrent de folie divine, s'en guérissent en pratiquant la transe rituelle, laquelle est déclenchée par une devise musicale et prend la forme d'une danse; musique et danse, par l'effet de leur mouvement, réintègrent la malade dans le mouvement général du cosmos, la guérison étant assurée grâce à la bienveillance des dieux rendus propices par des sacrifices."
"Si nous devions mettre en parallèle la théorie de Platon et la nôtre, nous dirions que pour lui la guérison est obtenue par réinsertion de l'individu dans le cosmos, celle-ci étant le résultat du mouvement de la musique et de al danse qui rétablissent l'harmonie avec le grand Tout, tandis que pour nous la guérison est obtenue par la réinsertion de l'individu dans la société, celle-ci étant le résultat du mouvement de la musique et de la danse qui permettent l'identification avec le dieu."
"... brusque rejet de la tête en arrière — ce rejet 'qui désarticule la nuque', dont parle Pindare dans un dithyrambe — violente cambrure du corps, attitudes égarées et convulsives, tels sont les principaux caractères, bien connus, au demeurant, de l'aspect abstrait de la danse de possession chez les Grecs. Comme on voit, cela a été plusieurs fois souligné, par Jeanmarie en particulier, on retrouve là un comportement très semblable à celui qui s'observe de nos jours dans tant de danses de possession, de Bali au Brésil en passant par le Moyen et le Proche-Orient, le bassin méditerranéen et l'Afrique blanche et noire."
"La théorie de l'harmonie des astres repose, avons-nous vu, sur la croyance, purement intuitive, que le mouvement des planètes et les rapports de consonance sont régis par la même loi des nombres et par le même mystère de la tetraktys (mot qu'on pourrait traduire par 'quartité'), laquelle désigne l'ordonnance des quatre premiers nombres suivant les rapports 1/2, 2/3, 3/4 (lesquels seraient dits maintenante de superpartiels), qui sont ceux de la consonance. C'est, en un mot, une arithmologie mystique."
"En se réclamant de Platon et en invoquant sous le nom de 'fureur poétique' la mania, poètes et musiciens de la Pléiade renouaient certes avec la tradition grecque de la transe, mais ils n'en représentaient — est-ce la peine de le dire? — que l'aspect le plus littéraire et le plus édulcoré."
"De tous les peuples du monde, ce sont sans doute les Arabes qui auront le plus étroitement associé la musique et la transe. Dans la vie religieuse d'abord, avec le soufisme, où la transe (wajd), qui pour beaucoup d'adeptes tient une très grande place dans la quête de Dieu, s'obtient très souvent par la musique."
"De nos jours en Occident, dans le domaine de la musique pop, la conduite des fans électrisés par leurs idoles — Janis Joplin, par exemple, ou Elvis Presley —, hors d'eux-mêmes, hurlant et saccageant pour finir la salle de concert, peut-être vue comme l'équivalent culturel (ou contre-culturel) de ce que sont pleurs, évanouissement et lacération des vêtements chez les Arabes. Mais c' est plus encore ce qu'a dit Rousseau de l'effet du 'ranz des vaches' sur les soldats helvétiques qui serait à en rapprocher."
"... référer à la culture,  c' est mettre. brusquement l'individu en présence de ce qui l'a formé, de ce qui a façonné. sa sensibilité, de ce qui lui est par conséquent antérieur, de ce qu'il a toujours connu et de ce qui le dépasse. C'est confronter son individualité éphémere, imparfaite, inaccomplie, avec la permanence, l'achèvement, la plénitude ontologique."
- Gilbert Rouget, La musique et la transe (Gallimard, 1990); 

A list of mystical figures (under construction, d'après Sylvia Leclercq, a person of no small note and consequence, célèbre auteur de Duras ou l'Apocalypse blanche et Thérèse mon amour): 

- Enoch (Bible); 
- Origen; 
- Pseudo-Dionysius; 
- Salomon Ibn Gabirol; 
- Juda Halevi; 
- Al-Hallaj (Sufism); 
- Ibn Al-Arabi (Sufism); 
- Abraham Abulafia (Kabbalah); 
- Moses de Léon (Zohar); 
- Hildegard von Bingen; 
- Ruysbroeck (Flandres); 
- Hadewijch (Flandres); 
- Meister Eckhart;
- Catarina de Siena; 
- Nicolaus Cusanus; 
- Jacob Boehme; 
- Angelus Silesius; 
- San Juan de la Cruz; 
- Santa Teresa d'Ávila; 

Figures of ecstasy & metapsychology (Leclercq/Ávila, Thérèse mon amour):

Folie (Marie-Madeleine, saint Paul, saint Augustin) et/ou passion sadomasochique (Eros-Thanatos) (p. 33, 84, 101, cf. 194-98, 201, 243-47, 421-22, 430, 455, 465-67, 470-72, 496-509, 562-63, 594, 616);
L'enfer, shéol (p. 312-314, 408, 610-612); 
Kénose, mort de Dieu (Christianisme ortodoxe, Hegel, Nietzsche) (p. 471-73, 475); 
Nobodaddy, Godot (p. 484-85, 553);
Transfer (Freud), lien à autrui, troisième genre de connaissance (Spinoza) (p. 36, 84, 509, 660-61, 676); 
Vision intellectuelle (Proust) (p. 251-57, 290-91, 629-630);
Jouissance (Molly Bloom) (p. 41, 628); 
Semence désoeuvrée, jaillissement fantasmatique (Klossowski) (p. 93); 
Hiérogamie avec l'Autre (Lacan) (p. 50, 64-65, 83, 88-89, 101, 104, 118, 129, 249-250, 259, 264, 266-68, 359-365, 465, 508-509); 
Nom du père, mère-version (p. 207-217, 359-365);
Le pouvoir de la fiction (des fictions) (Cervantes, Schreber) (p. 209, 213, 441, 447-450, 454, 460-62, 475, 509, 677, 696-97); 
Refoulement originel (p. 91); 
Mystère, mukham (latim, greek, sanskrit) (p. 51); 
Immanence et transcendance, l'Être et l'impossibilité d'Être (sufism) (p. 55, 57, 81);
Analogia entis (christianisme) (p. 57); 
Pensée apophatique (p. 106, 116, 124, 273);  
Eucharistie (catholicisme) (p. 58, 218-223, 272, 618-19); 
Épiphanie (p. 63, 92); 
Déconstruction de soi (p. 105, 110);
Souffle cosmique de le yin et le yang, le Tao (p. 68, 82);
Yoga (p. 52, 72);
Océanité (l'expérience archaïque du lien mére-enfant) (Klein, Winnicott) (p. 75, 99-100);
La fiction de l'eau, "le toucher", coenesthésie (p. 121, 130, 132, 135, 509);
Miracle, métamorphose (p. 80, 87, 90, 121, 125, 607, 614);
Hekhalot, moradas (p. 130, 132, 232, 412, 563, 638-640, 645); 
Polytope généreux, kaléidoscope baroque (p. 408, 411); 
L'infini (Leibniz) (p. 638-643, 695-98);
Raison mentale, flux de l'affect (Francisco de Osuna, Abecedário) (p. 183-85); 

See also (if not worn down to a thread):
- Cartografia de Água Viva

And see also the following very interesting papers on Spinoza [who I own to be a champion of 17th century's rationalism, also a person of no small note and consequence, to whom untrustworthy ghost stories do show something to exist of nature unknown (letter to Hugo Boxel, September 1674), and to whom J. F.  Helvetius's allegation of having successfully produced gold through alchemical procedures was trustworthy (letter to Jarig Jelles, March 25, 1667)]: 

Monday, July 20, 2020

Rogério Sganzerla &/or the most audacious Brazilian film maker after Glauber Rocha (+ Neville de Almeida: yes, there is such a body still in the world!)

Sem Essa, Aranha (Sganzerla/1970) + Navalha na Carne (Neville de Almeida/1997);
Death of Night (Alberto Cavalcanti, 1945);
Sem Essa, Aranha (trechos do filme, Sganzerla/1980);
Bonna Petit &/ou Helena Ignez Transcendental (montage A/Z);
Realce (Gilberto Gil + Andrea Tonacci, montage A/Z);
Jardim de Guerra (Neville de Almeida, 1970);
A Dama do Lotação (Neville de Almeida, 1978); 
Rio Babilônia (Neville de Almeida, 1982); 
Navalha na Carne (O Brinde) (Neville de Almeida, 1997); 
Faca de Dois Gumes (Murilo Salles, 1989);
Exorcismo Negro (José Mojica Marins, 1974);  
Assalto ao Trem Pagador (Roberto Farias, 1962);

Commentary, scholium, illustration and key: 

"... the people who are very talented, but whose talents are hard to define and almost impossible to market. That was the 'staff' of Andy Warhol Enterprises... I didn't expect the movies we were doing to be commercial. It was enough that the art had gone into the stream of commerce, out into the real world."
Andy Warhol
"More and more I have the feeling that we are getting nowhere. Slowly, as the talk goes on, we are getting nowhere and that is a pleasure. It is not irritating to be where one is. It is only irritating to think one would like to be somewhere else."
John Cage (Lecture on Nothing)
"... art is a sort of experimental station in which one tries out living; one doesn't stop living when one is occupied making the art, and when one is living, that is, for example, now reading a lecture on something and nothing, one doesn't stop being occupied making the art..."
"... the movement with the wind of the Orient and the movement against the wind of the Occident meet in America and produce a movement upwards into the air..."
John Cage (Lecture on Something)

"The figures in the ISCM and the League were not powerful aesthetically, but powerful only politically."
John Cage (History of Experimental Music in the United States)
"J'emmerde l'Art."
"Un foco ilumina con ramalazo de aluminio las tres cuartas partes de su rostro, y el vértice de su córnea brilla más que el de un actor de cine."
Roberto Arlt

"Rogério tinha um cabelo Maracanã, se vestia muito mal. Então nós fomos a Nova York, compramos roupas fantásticas no Greenwich Village. Penteei Rogério. Eu acho fantástico. Um homem inteiramente sem personalidade na vida familiar e aquela pessoa ótima jogada pra fora. Acho genial."
"Minha família é da alta classe média baiana. A gente vê, não tenho mau gosto, me visto bem. Não sou nenhuma miserável da Bahia."
"Acho maravilhoso o Rogério perguntar o restaurante: 'o que é que eu vou comer?'... Essa dependência total que Rogério tem de mim é absolutamente maravilhosa. Porque é radical e total." 
Helena Ignez (Pasquim, 1970 — entrevista reproduzida na coletânea indicada abaixo)
"Acredito que o Kubrick, pelos resultados que a gente vê nos filmes dele, também [como o Rogério] deve ter essa magia, esse conhecimento profundo do que é e um respeito profundíssimo pelo trabalho do ator."
Helena Ignez (Entrevista para Alessandra Bastos, 2003)
"Es decir, los fanáticos sebastianistas quieren restaurar el Imperio, con ayuda del conde de  Eu, de los monárquicos, de Inglaterra y, por  supuesto, del  Partido  Autonomista de Bahía."
Barón Cañabrava (Mario Vargas Llosa, La guerra del fin del mundo)

"Considero A mulher de todos o maior filme que já vi no cinema brasileiro em todos os tempos."
"Helena Ignez colocou muito de sua linguagem em Cara a Cara, O Bandido da Luz Vermelha e A mulher de todos. Mas foi com a Belair que deu uma contribuição autoral, criativa e extraordinária, porque criou para aqueles filmes uma forma de representação ainda inexistente, algo que nenhuma atriz havia feito até então. Depois disso a imitaram, e isso chegou à televisão."
Júlio Bressane (Folha de São Paulo, 1995)

Sobre fazer cinema e a experiência pessoal: 

"... enquanto pude, fiz cinema com a máquina de escrever."
"O cinema é uma arte que nasce da identificação dos pólos contrários — e por isso é que todo cinema forte é ambíguo... [no Brasil] o único que conseguiu fundir pólos extremos foi o isolado José Mojica Marins, que filmou uma exigente história de terror, com as piores condições de produção."
"Para que pudesse reencarnar Godard, esse tipo de cinema que influencia a maioria dos cineastas da nova geração, era preciso utilizar citações diretas, fazer quase um pastiche e, partindo da citação óbvia, chegar quase a um trabalho de limpeza."
"Eu acho que, quando se faz um filme sobre o Brasil, sobre a realidade brasileira, não se pode ignorar o elemento mau gosto. É mesmo uma questão estética a utilização do mau gosto: se você não o utiliza, está falseando, está deixando de captar a realidade como ela é... terei de utilizar elementos vulgares, cafajestes."
"Eu tentei fazer um filme em que me critico. Cada filme que eu fizer será uma forma de autocrítica."
"Antonio Pitanga também teve liberdade para trabalhar à vontade, no papel de playboy conservador e antipático [em A Mulher de Todos, 1969], porque eu precisava criticar seus anteriores papéis de herói racial. Nós sabemos que a situação colonial do negro no Brasil é muito menos confortadora do que qualquer heroísmo oferece."
"Quando eu faço um filme, eu tenho mil problemas de subdesenvolvimento da produção e tal, então, eu escolho o subdesenvolvimento não só como condição, mas, também, como escolha do filme. E aqui os filmes são subdesenvolvidos por natureza e vocação."
"... teria sido muito mais criativo se você tivesse feito, dentro do regime soviético, um trabalho de modificação e de complicação geral que é o que eu estou fazendo. Eu já escolhi o caminho que é o caminho conseqüente de transformação da sociedade. Dentro desse caminho eu sou incômodo."
"A única coisa que não me chamaram até hoje foi de bicha, porque o resto tudo já me chamaram. Mau-caráter, pichador."
"Eu tenho origem italiana por parte de pai e de mãe. Eu tenho uma grande aversão pelas minhas origens e sou uma pessoa obviamente recalcada. Eu não escondo os meus conflitos."
"Em São Paulo, morei numa pensão durante cinco ou seis anos. A pensão foi um negócio que me abriu, porque é um negócio sórdido brasileiro. Tem aquilo que os filmes de Glauber Rocha não tem. Um negócio totalmente visceral, sórdido. Morando em pensão eu deixei de ser um cara preconceituoso pra ser um cara liberal."
"Jimi Hendrix é um pensador e a ele dedico e a ele dedico todos os meus travellings [em Abismu], panorâmicas e planos fixos. Com ele descobri a necessidade de tudo dizer de uma só vez não importa com quê."
"O Bandido da Luz Vermelha é profético, pois começa com a declaração de que o estado de sítio tinha sido instituído no país. Ora, ele foi lançado em outubro de 1968, alguns dias antes do AI-5... acredito que a obra de arte de envergadura prenuncia a realidade."
"O Abismu já é voltado para arqueologia, porque o Brasil não é neto do Egito, como dize. O Brasil acaba sendo antecessor dessas culturas da Antigüidade."
"... o mercado é tão inferior, tão pouco revelador da realidade, que na medida que os filmes são marginalizados, mais eles farão presença na história."
"Nem tudo é verdade mostra o abuso da autoridade, a prepotência, a truculência e a ignorância subdesenvolvida. Também focalizando o obscurantismo do Estado Novo."
"Hoje o crime é diferente. Existem quadrilhas frias e implacáveis. Isto foi se implantando a partir de 64. O Bandido era uma espécie de Zorro dos pobres."
"O cinema traz um sentido todo novo, embora concretize coisas antigas, que vêm, por exemplo, da idéia platônica das projeções, das sombras chinesas."
"Não existe mais mise-en-scène porque não existe escolhe Pôr em cena ("mettre en scène") significa exatamente escolher as distâncias e as durações."
"O que falta hoje em dia é a ausência de ornamentação, a essencialização da forma que se vê, por exemplo, em Robert Bresson."
"Acho o Spielberg, às vezes, mais experimental do que qualquer um, porque você nem consegue entender as histórias dele, como em Parque dos Dinossauros, e, no entanto, o filme é um sucesso."
"Quando eu fiz Bandido, eu lia muito na época, gostava demais de James Joyce, de John Dos Passos."
"Nos meus filmes, os atores contribuem com novo estilo de interpretação, de desincorporação, uma nova técnica de reinvenção."
"O Kubrick é um dos mais perfeitos diretores — recomendo sempre aos novos cineastas. Não incorreu nunca em um grande erro. O Kubrick é a pedra-de-toque do cinema."
"Kubrick e os maiores cineastas americanos da década de 1950 ainda não estavam a serviço dessa diluição controlada pela burocracia sentimental."

Sobre Oswald de Andrade: 

"Minha ligação com esse pessoal todo, Caetano Veloso, Gal Costa, Gilberto Gil, é nossa disposição de voltar a Oswald de Andrade. Oswald é o ponto de ligação entre o meu trabalho e Caetano, Gil, os poetas concretistas de São Paulo, que têm essa nova compreensão estética, e Fernando Coni Campos, Zé do Caixão."
"O Nelson Pereira tem filmes maravilhosos, Boca de ouro, Mandacaru vermelho, que é dez vezes melhor que Fome de Amor, embora ele não saiba, Barravento [de Glauber Rocha] é sensacional, gosto muito de Deus e o diabo, gosto do primeiro filme do Miguel Borges que chama-se Canalha em crise. O cinema brasileiro quando era feito no mato ou na favela. São caminhos que Oswald de Andrade apontava..."

Sobre cinema e mulheres:

"Eu quis passar o heroísmo do plano masculino para o plano feminino, inclusive por achar que, neste momento, os homens estão se atrasando em relação às mulheres: a meu ver, elas estão adquirindo consciência mais rapidamente que nós."
"Pela primeira vez em nosso cinema [com A Mulher de Todos], uma mulher canta, berra, bate, dança, deda, faz o diabo. Neste filme ela é Marlene Dietrich co-dirigida por Mack Sennet e José Mojica Marins, isto é, por mim."
"Eu quero dizer que A Mulher de Todos é um filme que revela, sem dúvida nenhuma, sem falsa modéstia, o maior trabalho de atriz do cinema brasileiro."

Sobre cinema no Brasil (train of vexatious disappointments): 

"É difícil definir o cinema novo, sem dúvida. É uma igrejinha, mas também um movimento coletivo, talvez o mais importante da cultura brasileira nestes últimos vinte anos."
"Eu acho que o Zé do Caixão é talvez o melhor cineasta do Brasil, não como autor — embora ache ele um bom autor que engloba tudo aquilo que Nelson Rodrigues jamais teve. Cineasta exacerbado, verdadeiro, ele é o dono de um estilo, um diretor com grande sentido de cinema, um grande sentido de poesia..."
"Quando eu vejo um filme da Atlântida, eu acho bacana porque eu vejo lá um clima de perversão estética. Você pode notar que eles pegam filmes americanos de grande sucesso, filmes assim fascistas como Matar ou morrer, o próprio Sansão e Dalila, e transformam em aventuras com Oscarito e José Lewgoy. É exatamente nisto que estou interessado."
"Resolvi estudar novamente o processo cinema via os produtores e autores vitais do nosso cinema, sobretudo Humberto Mauro, Mário Peixoto e nomes conhecidos mas necessários à deflagração de uma linguagem bárbara e nossa como Alberto Cavalcanti, Anselmo Duarte, Lima Barreto, o cinema novo e naturalmente Godard e Orson Welles..."
"Existe um boicote contra o meu trabalho. E isso desde 1970. Desde o momento em que eu abri as baterias contra uma série de pessoas que me aceitavam como jornalista, escritor, não como diretor de cinema... eu fui sistematicamente discriminado."
"... o próprio diretor-geral, com aquela barba, com aquela pose sisuda e veja só! financiando projetos, roteiros para ele e a mulher. Veja se isso é possível... Enquanto o produtor independente, que sempre trabalhou, fez o cinema brasileiro de expressão e de valor local e internacional, é sempre o que sofre as conseqüências da censura econômica. Acabam sempre economizando com o pequeno."
"O Brasil é extremamente filmável, mas há uma preguiça mental terrível. Nossos filmes são piores que as novelas mais fracas. Falta técnica, estudo, tudo. O meio cinematográfico é desatualizado, amadorístico; não se estuda, por exemplo, o cinema moderno... Cinema não é sentimentalismo."
"Prefiro até o Jornal Nacional, em que o Cid Moreira é um cara que sabe falar, tem domínio da voz, tem dicção, um problema crônico do nosso cinema."
"Meu trabalho tem sido elogiado, premiado, e eu não consigo entender o descaso que existe dentro da própria classe cinematográfica. Não deixam um cineasta independente, um agitador cultural, trabalhar livremente."
"Andrea Tonacci, por exemplo, um grande diretor, não consegue trabalhar. Veja o caso do Anselmo Duarte. Todo ano ele deveria ser contemplado com verbas para o que quisesse fazer ou opinar. Ora, ele ganhou a Palma de Ouro!"
"Da criação à distribuição. Não pode ser um vale-tudo. Tem que haver um fundamento ético, e isso ficar transparente através de uma estética."
"Quando eu estava preparando a produção de Nem tudo é verdade, o filme que fala da passagem de Orson Welles pelo Brasil, troquei correspondência com Welles, e havia a possibilidade real de ele vir ao Brasil. Sabe o que me disseram na Embrafilme? Que isso não era arte, não interessava."
"O cinema brasileiro mudo, o cinema da década dos 1930 e dos 1940 é muito bom. A chanchada foi um grande momento do cinema brasileiro. Tinha público, era popular e de boa qualidade."
"Fica um acusando o outro de marginal, e veio um brasileiro naturalizado, o Babenco, e fez O beijo da mulher aranha, que tomou conta. Os outros ficaram discutindo, e o Babenco foi e fez."
"É tudo uma aberração tropical de um bando de parasitas e invejosos. É como o samba na década de 1930: a burocracia sufocou o cinema."
"O cineasta brasileiro não lê romances, não conhece dramaturgia, acredita mais nos seus próprios limites do que em qualquer janela para o mundo. É uma figura sisuda e melancólica."
"Fomos muito censurados nesses 20 anos. Primeiro, pela censura policial truculenta, que se transformou na vaidade da censura econômica e depois na crueldade da sabotagem burocrática."
"Acho que antes do governo Collor era pior, era a época do nem sim, nem não e da perda de tempo."
"O que é lamentável é dizer, com derisão, que hoje ninguém está mais influenciado, que ninguém mais vive sob a sombra de Glauber Rocha. É uma pena, porque ele é um grande autor, um grande cineasta. Mas não deixou seguidores — e não os deixou, sobretudo, entre aqueles que o cercavam."
"... é novela das seis, sete, nove, dez. Isso não pode dar certo, sobretudo porque o país já é lento, tem uma formação mental extremamente afásica e colonial."
"A música brasileira é mais que o cinema. É um tesouro mundial."
"A presença de Welles [Brasil] repete o que aconteceu com Eisenstein no México."
"Que a iniciativa privada acredite no cineasta brasileiro. Todo comerciante tem que partir desta confiança, já que o burocrata parte da desconfiança."
"Queriam um filme de propaganda e Welles não era cineasta que se prestasse a isso. Por isso o renegaram. Orson gostava do país. Tinha laços com ele. Falava português e lia Machado de Assis. Dizia que era seu escritor predileto.... Na verdade, seus únicos amigos aqui foram Grande Otelo e Herivelto Martins."
"Geralmente o que podia era o coleguinha da classe... Então se tornou o cinema familiar, uma coisa mafiosa..."
"Não se valorizou a figura do produtor. O Galante, por exemplo, era um excelente produtor. Embora ele não fosse culto, nem erudito, não tivesse uma biblioteca em casa, era um cara muito inteligente, e hábil nas relações... Ele é quem deveria ter ocupado lá um cargo, como foi, numa época, o Roberto Farias: um cara profissional, emergente do meio."
"É sempre a mesma coisa, uma panelinha, você vê até pelas designações das comissões..."
"Os jovens não têm acesso a esse tipo de cinema [Sem essa, Aranha] porque os professores são umas toupeiras. Quem aprende errado faz errado. Toda vez que passa, enche."
"Limite, O cangaceiro, Ganga bruta, O canto da saudade, O descobrimento do Brasil, O anjo nasceu, Deus e o diabo na terra do sol, O pagador de promessas e os filmes de Watson Macedo [respondendo à questão, quais os melhores filmes da história do cinema brasileiro?]. Ultimamente, fora os filmes do Bressane, gostei de A faca de dois gumes, de Murilo Salles."

***All quotations from: Roberta Canuto (Org.), Rogério Sganzerla. Encontros (Rio de Janeiro, Azougue, 2007); 

See also:

And also:

Fresh Matter: 
"Nas telas de cinema, a morte de Jacaré reverberou em silêncio. Welles afastou-se do seu projeto It’s all true após vários conflitoscom a produtora estadunidense RKO Pictures, que já não se interessava pelas horas e horas de drama social que havia recebido dele diante da encomenda de um filme que incentivasse o turismo. O cineasta ainda tentou seguir o trabalho em homenagem a Jacaré, apesar do orçamento cortado. Não deu. Os rolos de filmes ficaram esquecidos por décadas até serem redescobertos em 1985 por um diretor da Paramount. Foram usados oito anos depois no documentário É tudo verdade – Um filme inacabado de Orson Welles. Recentemente, a passagem de Welles pelo Ceará foi parar de outra forma nas telas: os cineastas Petrus Cariry e Firmino Holanda estrearam no ano passado o longa A Jangada de Welles, com detalhes sobre a turbulenta passagem do diretor no Brasil" (A Saga dos Jangadeiros que Conquistaram Orson Welles, Beatriz Jucá/El País, 10/10/2021);