The House that Jack Built's simple equation, metainfinity abyss & parallel topics (or how me once became a total scoundrel three times)

 

from Kurt Cobain Journals (New York: Riverhead books, 2002);

from Augusto de Campos' Poesia 1949-1979 (Ateliê Editorial, 2014);

1280 Almas de Jim Thompson (Policiales de Colleccion, Silvia Hopenhayn, 2011); 

The Jim Thompson History  (The Grifters 1990, DVD extra); 

Melancholia: La Fin du Monde e L'Ultime Fin du Film (Pacôme Thiellement/Bast);

George Sluizer on The Vanishing (Criterion/Youtube); 

I Work on Wall Street (by the treshorrificque American Psycho of Mary Harron, 2000); 

Brian Ferneyhough's Terrain (1992) (Youtube); 

Brian Ferneyhough's La Terre est un Homme (Youtube); 

Galina Ustvolskaya's Grand Duet for cello and piano (Tobias Moster & Ingrid Karlen, Youtube);

Galina Ustvolskaya's 12 preludes (David Arden, Youtube);

Galina Ustvolskaya's Sonata No. 6 (Alexei Lubimov, 1988, Youtube);

Excerpts de beaulx livres de haulte gresse: 

"[Philip Adrian] Wright also had a fascination with celebrity culture, says [Philip] Oakey, 'people who manipulated the media to their own advantage. He was absolutely fascinated by the Kennedys and Hitler, to the point where some people thought he was fascist. But in fact he was just interested in their use of image and propaganda."

Simon Reynolds (Rip It Up)
"... there's a certain kind of poetry that's performance poetry. It's like the American Indians weren't writing conscious poetry. They were making chants, they were making ritual language—and the language of ritual is the language of the moment... I mean, Billy Graham is a great performer, even though he is a hunk of shit. Adolf Hitler was a fantastic performer. He was a black magician. And I learned from that. You can seduce people into mass consciousness. So I write to have somebody... The other thing is that through performance, I reach such states, in which my brain feels so open—so full of light, it feels huge, it feels as big as the Empire State Building..."

Patti Smith (Please Kill Me, livre seigneurial)
"Richard Hell had designed a T-shirt for himself that said Please Kill Me, but he wouldn't wear it. I was like, 'I'll wear it.' So I wore it when we played upstair at Max's Kansas City, and afterwards these kids came up to me. These fans gave me this really psychotic look..."
Richard Lloyd (Please Kill Me)
"The fluorescent Day-Go colors don't seem very natural, even though the colors do exist in nature—there are some fishes and some birds that are kind of fluorescent, but to me the colors represented this man-made madness. Then when you mix Nazism with fluorescent colors, it's even more man-made madness... The people that act so defensively are always the people who are closet fascists."
Arturo Vega (Please Kill Me)
"In the hippie days, styles of dress or symbols were used unironically... and suddenly a movement comes along, and they were using swastikas and it's not about that; it's a costume and an assault. It's about something completely different—it's about gesture, and shock tactic."
Mary Harron (Please Kill Me)

"I have a real problem with  ignorant people—particularly ignorant people that embrace fascism. And David Bowie has a streak of ignorance which is as wide as it is long..."
Angela Bowie (Please Kill Me)
"I did have this whole feeling of that once all the discussion was done, basically I don't care... I would always take the opposite view of the person who was trying to analyze it, so I was deliberately giving as much latitude as possible: 'I belong to the ____ generation.' How can you misinterpret that? Anything you think is correct, ha ha ha."
Richard Hell, abstracteur de quinte essence (Please Kill Me)

"Everyone's telling Debbie she's gonna be the next Farrah Fawcett, and she was saying that she didn't want to be Farrah Fawcett. All she wanted to do was sing."
James Sliman (Please Kill Me)
"They give this stuff to us just to keep us stoned, I don't even want it. You fucking take it. They just keep giving it to us! That's all the fucking guys give us! They want, they want, they want, and for that they give us this shit! James, this is for you, I don't even want it, my hotel room is full of it."
Blondie/James Sliman (Please Kill Me)

"I always say when the music moves from the music section to the front page of the newspaper, you're in trouble."
Danny Fields (Please Kill Me)
"It wasn't only the band who were crazy—the people who were supporting them were worse."
Bob Gruen (Please Kill Me)
"I just shit in her mouth... Well, her boyfriend said he wanted her to have an experience she wouldn't forget."
Sid Vicius/Bob Gruen (Please Kill Me)
"'Don't we get a kiss first?' one of the girls asked."
Legs McNeil (Please Kill Me)

"Artists will confuse sending with creation. They will camp around screeching 'A new medium!' until their rating drops off..."
William S. Burroughs

"Así que ese es el Fantasma con el que te comunicás?"

Mauricio Rosencof

"... and I just couldn't stop looking at her, because I was so fascinated-but-horrified. Her hands kept crawling, they couldn't sleep, they couldn't stay still..."

The Philosophy of Andy Warhol

"Descendez, descendez, lamentables victimes,
Descendez le chemin de l'enfer éternel!"
Baudelaire

"Die Behandlung, die ich von Seiten meiner Mutter und Schwester erfahre, bis auf diesen Augenblick, flösst mir ein unsägliches Grauen ein: hier arbeitet eine vollkommene Höllenmaschine, mit unfehlbarer Sicherheit über den Augenblick, wo man mich blutig verwunden kann — in meinen höchsten Augenblicken… denn da fehlt jede Kraft, sich gegen giftiges Gewürm zu wehren… Die physiologische Contiguität ermöglicht eine solche disharmonia praestabilita. Aber ich bekenne, dass der tiefste Einwand gegen die 'ewige Wiederkunft', mein eigentlich abgründlicher Gedanke, immer Mutter und Schwester sind."

Nietzsche

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Treshaulltz sacrements et mystères horrificques:

1) The Simple Equation:

What's the material? 

Corpses, but corpses resulting from atrocity, and from atrocity not punished.

Where does the material take us?

Hell.

Conclusion:

Only hell can punish unpunished atrocity.

2) Metainfinity Abyss (le fondament nous echappe!):

But does hell exist?

If it does exist, we deserve it.

If it doesn't, we get it the same way, or actually, we might get it even worse.

[Moon of Alabama's secret: Don't trust the dwarf, Gauguin's
glorious love for the Danish fabulous society]

**************************************************************

Parallel topics (des haultes matières et sciences profondes):

Art:

- icons: in principle they demand some kind of transcendence (even if it is not attainable: finis les pieds plats, est-ce qu'il n'aime pas Isou?) (Glenn Gould is an icon, as much as Picasso, Bowie, Jim Morrison and Debord, and Hitler);

- tigers fearful symmetries (or how I once became a total scoundrel by joining Blake to humble Augustus);

- Virgil and the circles of Hell (we all start from inferno, the Dantes alone ascend to heaven; but isn't Virgil here Kafka's Türhüter?);

- Goethe: usually taken as a humanist, he is actually the Nietzschean voice of the demonic (the fact that he stays as an oak in the middle of German atrocities, redime German culture or reviles him?) (the very essence of the demonic principle is that not all questions have an answer) (Faust, zweiter Teil; Die Wahlverwandtschaften) (two times total scoundrel);

Popular Culture:

- fame (vs. icon);

- whisky bars all closed...

Religion:

- Hell is a vagina [die Scheide(n)], a cosmic crack (against which white straight men are all victims of their own defensive mechanisms) (three times total scoundrel: but me who?);

Philosophy:
- Zarathustra's dwarf (the devil of noon, spirit without shadow);

***To raise the dead— &/or evidence for the villainous affair, the tale of family disonour, Romish church's pact with the devil (considered the greatest outrage against sense and decency, to be plagued and pestered, though solemnly ratified, à Dieu rien n'est impossible, menteur avéré, nom d'un chien):

"Although Greek names were sometimes applied to the church modes and the principle of diatonic octave scales is found in both systems, certain significant discrepancies seem to belie any direct historical connection. Most conspicuous is the different meaning attributed to the names of the Greek octave species and of the church modes. Comparing the two systems provides a plausible explanation: medieval theorists apparently assumed wrongly that the Greek octave species were named in ascending rather than descending order. The Greek octave species Dorian (E–E), Phrygian (D–D), Lydian (C–C), and Mixolydian (B–B) thus appeared in the church modes as Dorian (D–D), Phrygian (E–E), Lydian (F–F), and Mixolydian (G–G)," (from "Mode," entry in Brittanica, by Mieczyslaw Kolinski);

See also:

- Kitsch, Neo-Kitsch, Anti-Kitsch;
- the only three types of ingenuity when the parameter is infinity;
- pan doron &/ou la boîte vidée dehors;

- Mommy-Momo (Dolan); 
- Amat Escalante (& Werner Herzog): Basilisk's Cinema;
- Faceboockers, Pokemongoers & Francophonie;

- Godard's Sympathy for the Devil;

- Sonatine (Takeshi Kitano, 1993), Masahiro Shinoda & the tyranny of evil men;

- Bellocchio &/or Eye of (Dreadful) Beauty;

- who is afraid of Sylvia Plath?

- El Estudiante, political movie (learning from Argentina);
- List of film directors;
- Écriture/Violence;

- Pier Paolo Pasolini;

- A Vitória de Bellocchio; 

- Nature's Horror and Grand Style in Lars von Trier's Antichrist;

- "ERRATA list" for Narrative Outbreak in Contemporary Conflict Cinema;

- Narrative Self-Deconstruction in Contemporary Cinema;

- Bases histórico-conceituais para a crítica cinematográfica não representacional;

- Woody Allen as Impossible Cassandra; 

- Non-Realism and Ontology in Gus van Sant's Paranoid Park; 

Pier Paolo Pasolini & Deconstruction (or archi-writing and irreducible speech)

Kid Playing, A/Z's mixed media drawing available with other drawings and photographs at Fine Art America;  

Mamma Roma (Italy, 1962);

Pasolini and Ezra Pound;
L'évangile d'après Salò [I took this video out of Youtube, because I wanted to change it];

Le passé pur & le temps hors de ses gondes (A/Z);

Pleif Mapa I (A/Z, for more) [I took this video out of Youtube, because I wanted to change it];

Wikipedia: A Tool For the Ruling Elite (Helen Buyniski) [video is not available anymore by Youtube];

A Suavidade do Vento/Cristovão Tezza (AZ Youtube); 

O Caso Morel/Rubem Fonseca (AZ Youtube); 

"It's often said that in Italy 1968 never ended. Unlike in other countries, that year's political unrest didn't subside but continued spasmodically through the end of the seventies, with wildcat strikes and industrial sabotage... All this insurgency was aimed as much against Italy's established political Left (at its peak, Italy's Communist Party controlled many major cities in the industrial North) as it was against conservatives. In early 1977, Bologna's Communist mayor lost control of the city to a riotous coalition of autonomists and counterculture radicals. This 'Bloc' of squatters, feminists, gays, students, nonunionized workers, and the semiemployed developed an ad hoc form of postpolitical politics. Self-organized and carnivalesque, il Movimento—as it was dubbed—aimed not to seize power but to smash it altogether, leaving everybody and nobody in charge..."

Simon Reynolds (Rip It Up)
"Wer stellt einen Deutschen neben Leopardi z.B.?"
Nietzsche (Nachgelassene Fragmente Frühling-Sommer 1875)

The bookish [livresque] character of "Italian" as a supposedly national language—actually a literary language which was not national—till the 1960s, enabled Pasolini to understand that the classical (occidental) conception of the relation between speech and writing (that is, ultimately phoneticism) is entirely fallacious—a thesis which is the core of Derrida's grammatological "program" (since La voix et le phénomène): 

"Noi italiani viviamo concretamente la tendenza di una struttura a essere un'altra struttura... la 'struttura reale' della nostra fonazione è sempre quella di una koinè dialettizzata: il mio 'tutto solidale fonetico' prevede 'roza' 'tempo' 'tè', tra le mie 'opposizioni funzionali' non c'è 's' sonora tra due vocali... tuttavia io vivo la tendenza di questa mia 'struttura reale' a conformarsi ad altre 'strutture reali' (per esempio, dato che sono residente a Roma, a certe abitudini della fonazione romana), oppure e soprattutto a uniformarsi a una possibile instituzione linguistica nazionale — il famigerato fiorentino colto. La mia lingua non consiste dunque in una struttura stabile, ma vive la inquietudine motoria, il bisogno di metamorfosi di una struttura che vuol essere altra struttura... contraddizione in atto, violenta, sostanziale... tra lingua orale e lingua grafica... tra lingua orale e lingua grafica ci sia l'urto che c´è tra due strutture diverse e in opposizione..." (Empirismo eretico 60-61).

From the perspectives of either irreducible speech or (archi-)writing, one is left with nothing but traces (Ninetto's rhythmical dance with the snow, Empirismo 73). In Pasolini there are also gridi suffocati però convulsi (which I suppose can be understood as traces). There are several moments, however, in which Pasolini gives way to a Sartrean phenomenology and adopts a naive, poor, and merely traditional conception of writing (Empirismo 210, 215-16).

***One should note that the idea of a "structure becoming another structure" is post-structural not anti-structural (it is not incompatible with a structuralist approach). When Pasolini, for instance, speaks about a diachronic revolution, this is not "against" the system but "inside the system" (Empirismo 69, cf. 75-81, 206-207). Derrida also was of course not anti-structural but post-structural. 

****About Dante, Pasolini says the following (also interesting from a deconstructive point of view): “Un po’ come la coesistenza della natura umana e della natura divina in Cristo... Il contrasto delle due serie di principii che presiedono l’operazione linguistica dantesca, non consentirebbe nessuna unità linguistica possible... L’unità poética della Comedia... há qualcosa di terribile e forse, nel suo fascino sublime, di inconsumabile e di nemico, si presenta come un tutto irrelato” (Empirismo 115).

**************************************************************

*****What is this ludicrous interview some young (I suppose Italian) woman (who indeed doesn't seem to know a whole lot about cinema) did with Terence Stamp about his acting in Pasolini's Teorema? It is unbelievably stupid, prejudiced, and even offensive. One can find it in the DVD released in Brazil (by Alpha Midia). One should consider that theorem doesn't necessary mean a logical demonstration. In the case of Pasolini's film it means rather a hypothesis, a way of considering something. It is not to be taken literally. If Terence Stamp's acting in Teorema was exquisite, his opinions about the movie (as displayed in this interview) are simply gross.

Pasolini is frequently discredited for being a “communist” and a “Marxist.” But he explicitly criticized Marxism and he wrote fondly about American democracy (see for instance “Guerra Civile” in Empirismo 150-57). He was to a considerable extent an admirer of the industrial bourgeoisie of the North of Italy, and also of the bourgeoisie of countries such as France and England (see for instance “Nuove Questioni Linguistiche” in Empirismo 5-24). What seduced him mostly in Marxism was perhaps that Marxism brought with it a powerful antidote to the prejudices (and racism) of the petty bourgeoisie. But Pasolini explicitly ascertained that Marxism is itself a petty bourgeois ideology that can be quite prejudiced: “Ill facchino muto, pura immagine, che cos’è? È l’idea estetica che di un facchino ha un borghese che con quel facchino non ha niente da spartire. Il facchino che invece parla di dialettica [facchino marxista] è apocrifo e pretestuale: anch’esso è al servigio di un borghese [marxista] che con lui ha ben poco da spartire” (Empirismo 262).

Because of all that, one feels entitled to align Pasolini also with the "later" Derrida of Politiques de l'Amitié, who propposes a perhaps "new" kind of deconstructive procedure which "concernerait la confiance, le crédit, la croyance, la dôxa ou l'eudoxîa, l'opinion ou la bonne opinion, l'approbation accordée à la filiation, à la naissance et à l'origine, à la génération, à la familiarité de la famille, à la proximité du prochain, à ce que des axiomes inscrivent trop vite sous ces mots. Non pas pour leur faire la guerre et y voir le mal, mais pour penser et vivre une politique, une amitié, une justice qui commencent par rompre avec leur naturalité ou leur homogénéité, avec leur lieu d'origine allégué. Qui commencent donc là où le commencement (se) divise et diffère. Qui commencent par marquer une hétérogénéité « originaire » qui est déjà venue et qui peut seule venir, à l'avenir, les ouvrir."

***To raise the dead— &/or evidence for the villainous affair, the tale of family disonour, Romish church's pact with the devil (considered the greatest outrage against sense and decency, to be plagued and pestered, though solemnly ratified, à Dieu rien n'est impossible, menteur avéré, nom d'un chien):

"Although Greek names were sometimes applied to the church modes and the principle of diatonic octave scales is found in both systems, certain significant discrepancies seem to belie any direct historical connection. Most conspicuous is the different meaning attributed to the names of the Greek octave species and of the church modes. Comparing the two systems provides a plausible explanation: medieval theorists apparently assumed wrongly that the Greek octave species were named in ascending rather than descending order. The Greek octave species Dorian (E–E), Phrygian (D–D), Lydian (C–C), and Mixolydian (B–B) thus appeared in the church modes as Dorian (D–D), Phrygian (E–E), Lydian (F–F), and Mixolydian (G–G)," (from "Mode," entry in Brittanica, by Mieczyslaw Kolinski);

See also: 

- Kitsch, Neokitsch, Antikitsch; 

- The House that Jack Built's simple equation;

- Amat Escalante (& Werner Herzog): Basilisk's Cinema;

- Favorite quotes from Detlev Claussen's Theodor W. Adorno;

- Sur les premiers chapitres d’Esthétique et théorie du roman;

- Augusto Meyer and Machado de Assis;

- Umberto Eco about Nietzsche (& deconstruction);

- El Estudiante, political movie (learning from Argentina);

- Bellocchio & the Eye of (Dreadful) Beauty; 

- Federico Fellini's Satyricon; 

- A Vitória de Bellocchio; 

- "ERRATA list" for Narrative Outbreak in Contemporary Conflict Cinema;

- Narrative Self-Deconstruction in Contemporary Cinema;

- Bases histórico-conceituais para a crítica cinematográfica não representacional;

- Woody Allen as Impossible Cassandra; 

- Non-Realism and Ontology in Gus van Sant's Paranoid Park; 

- Nature's Horror and Grand Style and Lars von Trier's Antichrist;

- Lost Splendor: Felix Yussupov's autobiography (Bob Atchison's site); 

- Iconography of a Scandal: Political Cartoons and the Eulenburg Affair (a paper by James D. Steakley, Studies in Visual Communication, Spring 1983);

And also: 

- Caxias do Sul and Galópolis; 

- Orlando 06/12; 

- Série, presque à genoux with thread; 

- Most interesting LGBTQIA+ movies; 

- Instead of revolution: démontage; 

- El Estudiante; 

- Boswell, Dover and others; 

- "The Essay as Form" (Theodor Adorno, translated by Bob Hullot-Kentor and Frederic Will); 

Who is afraid of Giorgia Meloni? she is very civilized in comparison to what one finds in America: Mussolini (or something worst) moved to the colony (Salò with revenge): 

- Vinícolas do RS ligadas a trabalho escravo são suspensas da ApexBrasil, serviço do governo que promove exportações (Globonews, 28/02/2023);

- Vereador de Caxias do Sul é acusado de xenofobia contra baianos em caso de trabalho escravo em vinícolas (28/02/2023);

- Choques, spray de pimenta e espancamentos: veja relatos de trabalhadores resgatados que faziam a colheita em vinícolas no RS (Globonews, 24/02/2023);

- Vinícolas do RS que usavam mão de obra análoga à escravidão podem ser responsabilizadas, diz MTE (Globonews, 24/02/2023);