Audrey Hempburnt Haunted by A/Z—or how to be "JEU-IR" even if you are not (&/or Verneinung einer leidenschaftlichen Kuss, 5F)

Orlan (see reference below); Archive; Images from Kurt Cobain: Montage of Heck (Brett Morgen, USA 2015); Baphomet in Raul Ruiz' L'Hipothèse du tableau volé (France, 1979);

"Mais lâchez-la, votre virilité!" (Sandrine Rousseau/Le Media, Septembre 2022)

Coût de la virilité: comment les hommes ruinant la société (Lucile Peytavin, Salomé Saqué/Blast, fev. 2022);

Judith Butler New Conversation with Dr. Dwight A. McBride (New School/Youtube);

The 2021 Holberg Debate on Identity Politics (Judith Butler, Cornel West, Glenn Greenwald, Simon Critchley); 

L'évangile d'après salò (by A/Z) [I took this video out of Youtube, because I wanted to change it];

Difference and Repetition: the Potentiality of the Unconscious, Language & Art (by A/Z) [I took this video out of Youtube, because I wanted to change it];

Rita Lee's Chega Mais & Pega Rapaz;

Lotic - Hunted;

Tommy Cash - Little Molly;

Tommy Cash - Winaloto;

India Salvor Menuez's Nothing is Beautiful;

Cosey Fanni Tutti's All My Work is from Life;

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Foundation (that is, nine parts in ten of a man sense of his nonsense, which indeed had never, ever and anon, been thought of at all in this scurvy and disasterous world of ours, and out of which no after-wit can extricate thee):

"La Maga prendió una lámpara y la puso en el suelo, fabricando una especie de Rembrandt..."

Cortázar

"... car comment le pauvre Van Gogh y aurait-il fait pour s'éclairer?"

Artaud (Van Gogh le suicidé de la société)

"Si te metés en lo oscuro yo creo que no se encuentra nada, no se ve ya más donde pisás, ni tus propios pies. Ni las manos."

Luci (Cae la noche tropical)

"... dans un tableau de Rembrandt l'ombre est un avatar fatal et grandiose de la lumière: son obscurcissement. Les 'ombres' sont de couches spatiales que le faisceau lumineux de la conscience n'atteint pas... les apparitions lumineuses (et leur commotion) sont toujours menacées ou frangées avec plus ou moins de transparence ou d'épaisseur par l'impénétrable — par l'irrévélé."

André Masson (La Lumière de Rembrandt/Écrits, anthologie établie par Françoise Levaillant)

"Como poderia a galinha se entender se ela é a contradição de um ovo?"

Clarice Lispector (O Ovo e a Galinha)

"... a única verdade é que vivo... Quem sou? Bem, isso já é demais. Lembro-me de um estudo cromático de Bach e perco a inteligência."
Clarice Lispector

"Anything I know about 'me' is in the past. The present 'me' is the unknown. We say there is only one implicate order, only one present. But it projects itself as a whole series of moments." 

David Bohm (interview)

"'And who are you?' said he. 'Don't puzzle me', said I."

Tristram Shandy

"... não sei o que está dentro do meu nome."

Macabéa

"'L'emploi du nom propre est chez eux [les Nambikwara] interdit', note Lévi-Strauss... cette prohibition est nécessairement dérivée au regard de la rature constituante du nom propre dans ce que nous avons appelé l'archiécriture... le nom propre n'a jamais été possible que par son fonctionnement dans une classification et donc dans un système de différences... Cela est d'ailleurs strictement accordé à une intention de Lévi-Strauss. Dans 'Universalisation et particularisation', il sera démontré qu'on ne nomme jamais, on classe l'autre... ou on se classe soi-même."

Jacques Derrida (De la grammatologie)

"There have been attempts to pigeonhole us and make us into a kind of brand, but these attempts have failed miserably."
Lol Tolhurst (Cured: the tale of two imaginary boys)

"... and if a mirror looks into a mirror, what is there to see?"
"I never fall apart because I never fall together."

Warhol

"Pour ma part, je suis toujours tiraillé entre le désir de peindre et celui d'écrire."

Anselm Kiefer
“Don Rodrigo nunca saiu de Santa Fé. Me refiro ao Rodrigo verdadeiro, o do Retrato...” 

Don Pepe

"Il faudrait le regard de Warhol pour découper les petites différences de ces images moulées par la chaîne Renault du snobisme fatigué... la mâchoire carnassière de Mme Bigorre, les cheveux crissant de migraine de Catherine Maille... Je m'accroche à de signes, je braque les yeux sur les pas de ma mémoire pour échapper à ce qui m'entoure et qui est sans mémoire."
Joëlle (Les Samouraïs)

"... é raríssimo que as fotografias saiam parecidas, e isso é compreensível: o próprio original, isto é, cada um de nós, é parecido consigo em casos extremamente raros. Só em raros instantes o rosto humano traduz seu traço essencial, seu pensamento mais característico. O pintor estuda o rosto e nele adivinha esse pensamento essencial, mesmo que este esteja de todo ausente do rosto no momento em que ele o retrata. Já a fotografia surpreende o homem como ele é, e é bem possível que em algum instante Napoleão saísse mais tolo e Bismarck mais meigo..." 

Viersílov (O Adolescente, tradução de Paulo Bezerra)

"Pour se servir de son affectivité comme le lutteur utilise sa musculature, il faut (au acteur) voir l'être humain comme un Double, comme le Kha des Embaumés de l'Égypte, comme un spectre perpétuel où rayonnent les forces de l'affectivité..."

A. Artaud (Un athlétisme affectif)

"A tous les tournant de chemins on voit des arbres brûlés volontairement en forme  de croix, ou en forme d'êtres, et souvent ces êtres sont doubles et ils se font face, comme pour manifester la dualité essentielle des choses..."

A. Artaud (D'un voyage au pays des Tarahumaras)

"Es giebt einen einzigen Fall, wo ich meines Gleichen anerkenne — ich bekenne es mit tiefer Dankbarkeit. Frau Cosima Wagner ist bei Weitem die vornehmste Natur; und, damit ich kein Wort zu wenig sage, sage ich, dass Richard Wagner der mir bei Weitem verwandteste Mann war… Der Rest ist Schweigen…"

Nietzsche (Ecce Homo)

"Tout ce qui existe a une origine magique et provient de l'imagination, c'est-à-dire de l'entrée de l'imagination dans des miroirs... ce que les Hébreux appellent Sophia, les Indous Maja, les Grecs Idea, correspond au même concept de reflet (Spiegelung; speculatio): Boehme disait que Dieu imagine dans la Sophia... puissance plastique..."

Antoine Faivre, "De la Naturphilosophie romantique aux mouvances occultistes" (Accès de l'ésotérisme occidental, tome II) 

"Le futur sujet se constitue dans une dynamique d'abjection dont la face idéale est la fascination."

J. Kristeva (Le génie féminin 2)

"... vagabonde, inquiète, rebelle et entêtée..."

Felipe Sega/Sylvia Leclercq

"Byars spent that summer in Sicily in search of a suitable stone for his tomb."

Viola Michely

"... the obvious stiffness of his left knee, his awkward physique, his dumbfounded expression..."

Panofsky

"She would show up at the welfare office to get her welfare check in ostrich feathers and false eyelashes."

Lee Childers (on Holly Woodlawn, Please Kill Me)

"Perhaps your belt is too wide or your shoes are too pointy."

James St. James

"I'm not Molly—she was much fatter!"

eine grosse Sünderin

"Es una lástima que te hagas una idea tan pacata de la vanidad."

Oliveira/Cortázar

"Que pele, que nada, ela o comeria, isso sim, às colheradas no pote mesmo."

Clarice Lispector (A Hora da Estrela)

"Charm: the lever that turned the world..."

John Ellis/Andrew Pickering

"Shingon is profound because it expounds the shallow as profound."

Myoe (Mark Unno, Shingon Refractions)

"In some circles where very heavy people think they have very heavy brains, words like 'charming' and 'clever' and 'pretty' are all put-downs; all the lighter things in life, which are the most important things, are put down."

Warhol

"... ce bruit de cuiller sur une assiette, cette raideur empesée de la serviette m'avaient été plus précieux pour mon renouvellement spirituel que tant de conversations humanitaires, patriotiques, internationalistes et métaphysiques."

Marcel Proust (le narrateur)

"A man cannot dress, but his ideas get cloath'd at the same time; and if he dresses like a gentleman, every one of them stands presented to his imagination, genteelized along with him—so that he has nothing to do, but take his pen, and write like himself."

Tristram Shandy

"Et l'oubli d'un étant (par exemple le parapluie) serait-il incommensurable à l'oubli de l'être?"

Derrida (Éperons)

"Diese kleinen Dinge — Ernährung, Ort, Klima, Erholung, die ganze Casuistik der Selbstsucht — sind über alle Begriffe hinaus wichtiger als Alles, was man bisher wichtig nahm."

"Dies ist die fremdartigste 'Objektivität', die es geben kann: die absolute Gewißheit darüber, was ich bin, projicirte sich auf irgend eine zufällige Realität, — die Wahrheit über mich redete aus einer schauervollen Tiefe."

Nietzsche (Ecce Homo)

"Nicht ruiniert tiefer, innerlicher als jede 'unpersönliche' Pflicht, jede Opferung vor dem Moloch der Abstraktion."

Nietzsche (Der Antichrist)

"Différence engendre haine."

Nietzsche/Deleuze

"And to lubricity and indiscretion had been added the graver sin of uppishness."

Huxley (Devils of Loudun)

"Don't poke your nose into my papers. The smell of ink will poison you."

The New Saying

"... l'envie... le pire des péchés, puisqu'elle s'oppose à la vie même..."

J. Kristeva (Le génie féminin 2)

"... le difficile pour toute chose est d'atteindre à son propre simulacre, à son état de signe..."

Gilles Deleuze (Différence et répétition)

"Sie haben aus den mächtigen, sehr frei geratenen Gestalten der Geschichte Israels, je nach Bedürfnis, armselige Ducker und Mucker oder Gottlose gemacht..."

Nietzsche (Der Antichrist)

"One day I looked at what I was doing, and I said it's just as interesting as what they are doing."

De Kooning about Léger (quoted in Rosalind Krauss's The Optical Unconscious)

"... encore qu'il n'y ait point de vertu à laquelle il semble que la bonne naissance contribue tant qu'à celle qui fait qu'on ne s'estime que selon sa juste valeur..."

Descartes (Les passions de l'âme)
"... o que você sentiu... talvez tenha sido apenas à custa de não ter opinião precisa sobre os grandes homens..."
Clarice Lispector/o professor (Perto do Coração Selvagem)

"... only the aristoi... the others, content with whatever pleasures nature will yield them, live and die like animals. This was still the opinion of Heraclitus..."

"Power corrupts indeed when the weak band together in order to ruin the strong..."

Arendt (The Human Condition)

"... le point où se trouve un Charlus par rapport au désir fait naître atour de lui les scandales, le force à prendre la vie sérieusement, à mettre des émotions dans le plaisir, l'empêche de s'arrêter, de s'immobiliser dans une vue ironique et extérieur des choses..."
Marcel Proust (le narrateur)

"Quand Loki vit cela, cela lui déplut. Il alla trouver Frigg sous les traits d'une femme..."

Gylfafinning (traduction Dumézil)

"... the basically passive astonishment, the enthralling secret knowledge..."
Warhol
"And so he stayed by the tents with the women, and traced strange devices with a burnt stick upon a gourd."
Whistler

"Ve que uno de los yagunzos se inclina, coge el sexo ahora chato y minúsculo del soldado, se lo corta de un tajo y, con el mismo movimiento, se lo embute en la boca."

Mario Vargas Llosa (La guerra del fin del mondo)

"Le président Schreber, qui partage avec Léonard et l'Homme aux loups un fort investissement de l'analité, une passivation féminine et un intérêt plus ou moins exalté pour la religion, retire sa libido des objets pour la placer dans son propre moi..."

J. Kristeva (Le génie féminin 2)

"J'avai cru comme le calife des Mille et Une Nuits arriver à point au secours d'un homme qu'on frappait, et c'est un autre conte des Mille et Une Nuits que j'ai vu réalisé devant moi, celui où une femme, transformée en chienne, se fait frapper volontairement pour retrouver sa forme première."
Marcel Proust (le narrateur)

"... une délicatesse d'épiderme et une distinction d'accent, une espèce d'androgynéité, sans lesquelles le génie le plus âpre et le plus viril reste, relativement à la perfection dans l'art, un être incomplet... le goût précoce du monde féminin, mundi muliebris, de tout cet appareil ondoyant, scintillant et parfumé, fait les genies supérieurs..."

Baudelaire (Les Paradis artificiels)

"La 'femme' ne croit pas davantage à l'envers franc de la castration, à l'anti-castration. Elle est trop rusée pour cela... Or la 'femme' a besoin de l'effet de castration, sans lequel elle ne saurait séduire ni ouvrir le désir — mais évidemment elle n'y croit pas... des experts en simulation, les Juifs et les femmes..."

"Et nos artistes ne sont en effet que trop apparentés aux petites  femmes  hystériques! Mais ceci parle contre l'aujourd'hui et non pas contre l'artiste..."

"... ce philosophe est femme: femme stérile, bien sûr, et non 'männliche Mutter'..."

Derrida (Éperons)

"Dee Dee was stealing all my mother's jewelry, her clothes, her makeup, and her scarves, which created even more fights between them. She would flip out when she saw all her clothes were missing. That was another reason I didn't like glitter—it just created more fights at home."
Mickey Leigh (Please Kill Me)

"If a person does not have this feminine quality that allows the idea to come into the proper relation to him, which is always to impregnate, then he will not be fit to be an observer, because he who does not discover the whole, really discovers nothing... Despite the fact that you are an imaginary person, you are in no way a multiplicity, but only one, so there is only you and I." 

Constantine Constantius (translation M. G. Piety)

"Many a time he has felt himself in the presence of Sidne, the Esquimaux Demeter, he has divined it by the shiver which ran through his veins, by the tingling of his flesh and the bristling of his hair... He sees stars unknown to the profane... At last his own Genius, evoked from the bottomless depths of existence, appears to him... Uniting himself with the Double from beyond the grave, the soul of the angakok flies upon the wings of the wind..."

Elie Reclus, quoted in Edward Carpenter's Intermediate types 

"Para quem continua não achando o corpo bonito, ele conseguiu resultados surpreendentes: o antigo monstro transformou-se, no decorrer de quase vinte anos de carreira, num símbolo de sensualidade extrema, pelo qual suspiram pessoas das mais diferentes idades. Para ele, no entanto, tudo se credita à magia do palco, um lugar que concentra e possibilita a movimentação de intensas energias: ‘através do palco, consegui livrar até o carma dos pés,' comenta ele, rindo. ‘A minha vida inteira achei-os tão horrorosos que passaram a representar uma última barreira: eu podia mostrar tudo menos os pés. Nunca deixaria alguém reparar neles. Certa vez, no meio de uma conversa com o Paulinho Mendonça, um grande amigo meu, ele observou como meus pés eram feios. Brincando, respondi que ele ainda ia ver as pessoas beijarem meus pés e os acharem lindos. Pois não é que no Canecão isso cansou de acontecer?... uma mulher, uma noite, beijou meu pé no palco e depois do show, foi ao camarim e falou que eu tinha o pé mais lindo que ela já havia visto. Nossa! Quase morri de vergonha! Senti uma vergonha tão grande que só consegui murmurar que ele era muito feio. Aí a mulher o olhou de novo, e eu percebi que, naquela hora, ela também o achou feio. O encanto do palco já havia terminado.'"
"'Para mim, fantasia sempre foi na cara, e, como não incluo o corpo nesse conceito, só me sinto fantasiado quando estou com a cabeça enfeitada. A coragem para exibir tanto o físico decorria exatamente do fato de ter sempre a cara pintada. Não era eu, e, sim, um personagem, um ser criado por mim. Como não aparecia o meu rosto, eu conseguia brincar com o corpo. Talvez por essa razão tenha demorado tanto tempo para me apresentar sem máscaras. A primeira vez que pisei num palco com a cara totalmente limpa (durante o projeto À Luz do Solo, em 86, no Copacabana Palace) me deu uma tremedeira tão grande que vi que iria bambear se tentasse escondê-la, porque ela ficaria incontrolável. Cantei a primeira música, parei e falei para as pessoas que estava muito nervoso e me sentindo um ET de terno. Aí todo mundo achou graça, e isso descontraiu o ambiente e relaxou um pouco a minha tensão. Mas ainda fiz o espetáculo inteiro sem saber onde colocar as mãos. Quase um ano depois, quando realizei o Pescador de Pérolas... já possuía o domínio da situação e do que deveria fazer, porque havia percebido que também existia um personagem...'"
"Quando [Ney] começa a falar nas possibilidades de luzes, cores, sombras, os olhos brilham e a animação toma conta da voz... A primeira vez que morou no Rio, dividiu um apartamento com um amigo que trabalhava na Sala Cecília Meireles e que acabou arrumando um emprego pra ele: fazer a luz para os acontecimentos que pintassem na Sala. Com pouquíssimos refletores, a curtição era inventar formas variadas de iluminação com recursos tão limitados... 'É a luz que dá o salto e cria toda mágica de um espetáculo.'"
"'Sempre senti que muita gente me permitia uma passagem muito íntima e que eu mexia com setores até inconscientes, o que fazia com que as pessoas recebessem santo no meio dos meus shows.'"

Denise Pires Vaz & Ney Matogrosso (Um cara meio estranho)

"Como o artista deve responder a um mundo elétrico em que tudo ocorre simultaneamente? Em primeiro lugar, o artista deve tornar patente a existência desse mundo e não se deixar perder pelo interesse na velha maquinaria industrial precedente. Além disso, o artista deve responder evidenciando que esse contexto simultâneo se tornou, ele próprio, uma obra de arte. Pela primeira vez na história da humanidade temos o poder, a energia e a capacidade para programar todo o contexto humano como uma obra de arte. O artista começou a entrar nesse empreendimento com toda uma variedade de 'loucuras' e espetáculos humorísticos — alguns dos quais meros espetáculos de pop art. Se tomarmos um fragmento do contexto e o pusermos dentro de uma galeria de arte, esse é um modo de enunciar que, daqui para diante, o próprio contexto é uma obra de arte — o movimento da pop art tem talvez o mérito de haver demonstrado isso."

Augusto de Campos (Arte e Tecnologia)

"Passou despercebida aos grandes veículos de comunicação a morte de Scelsi, ocorrida em 9 de agosto de 1988. Que eu saiba, nenhum jornal brasileiro sequer a noticiou. É verdade que Scelsi nunca fez muito pela divulgação de suas obras. Não dava entrevistas. Não se deixava fotografar. Nem mesmo se considerava um compositor, afirmando-se, antes, um mero intermediário, 'um instrumento transmissor de alguma coisa maior do que ele', 'um simples carteiro, com as solas gastas, entregando daguerreótipos cheios de sonhos...' Por vezes, nem assinava os seus trabalhos, limitando-se a apor-lhes uma rubrica zen, um simples círculo sublinhado por um traço, a sugerir tanto o nascer como o pôr do sol. É grandeza demais para um mundo demasiado pequeno, dominado pelo narcisismo e pela ânsia do sucesso. Sob certo aspecto, o caso-Scelsi me faz lembrar outro, mais conhecido, o do grande pianista Glenn Gould, que, aos 32 anos, em 1964, abandonou uma extraordinária carreira de concertista, para passar a tocar exclusivamente em estúdios de gravação..."

Augusto de Campos (Música de Invenção)

"Quel précision! Quel précision! Bravo! Bravo!"

Satie (as quoted by A.C. in Música de Invenção)

"... Not questions like those pertaining to the autonomous work of art, but rather like those brought to mind by the detective novel, with which jazz has in common the fact that it maintains an inexorably rigid stereotypology and at the same time does everything it can to let that stereotypology be forgotten by means of individualizing elements, which are again themselves ultimately determined by the stereotypology. Just as in the detective novel the question of the identity of the criminal is intersected with that which is implied by the whole, so in jazz the question of the alien subject, who both quivers and marches through it, is intersected by the question of what its purpose is, why it is there at all, while it asserts its existence (Dasein) as something self-evident which only conceals how difficult its own vindication for it must be."

Theodor Adorno (On Jazz, Jamie Owen Daniel's translation)

"For Adorno, the false consciousness of Stravinsky's music is its truth, in that it tells us how the world is, while at the same time urbanely convincing us that this is the only way it can be. It is, of course, only when he lies that the devil tells the truth — something that could be seen to apply as well to Adorno as to Stravinsky. For as Adorno said of psychoanalysis, 'nothing is true except the exaggerations.'"

Max Paddison (Stravinsky as devil: Adorno's three critiques)

"What would it mean to hear The Magic Flute as focused around Papageno and Papagena? Or to read Mahler's Ninth through its 'backward' (vulgar) elements, rather than hear those elements, as Anthony Newcomb does, as a means to create a 'forward-moving' teleology? To hear Beethoven's Seventh not in terms of a heroic composer drawing on dance elements in order to invent new 'characteristic' styles, but in terms of a dancing Low, who is composing Beethoven?"

Richard Middleton

"... le pouvoir d'être affecté ne signifie pas nécessairement passivité, mas affectivité, sensibilité, sensation... Nietzsche ne cesse pas de dire que la volonté de puissance est la forme affective primitive..."

"... on n'a pas encore compris ce que signifie la vie d'un artiste... Apparence, pour l'artiste, ne signifie plus la négation du réel dans ce monde, mais cette sélection, cette correction, ce redoublement, cette affirmation."

"Le surhomme se définit par une nouvelle manière de sentir, de penser, d'évaluer... il y a des choses que l'homme supérieur [non pas le surhomme, mais le dernier homme, le plus hideux] ne sait pas faire: rire, jouer et danser."

Gilles Deleuze 

"... il y va de l'histoire de la différence sexuelle... l'Androgyne... elle se donne son propre corps en une seule et unique fois dans un évenement à la fois irremplaçable et sériel, divisé ou multiplié dans l'insistance qu'il met à re-constituer le support en le détruisant."

Jaques Derrida (Artaud le Moma)

"... l'apologie de la mère introduit à la reconnaissance des deux parents et fait du couple le foyer hétérogène de l'autonomie bisexuelle du self..."

J. Kristeva (Le génie féminin 2)

"... il est un problème particulier qui n'a pas cessé de préoccuper Nietzsche et c'est celui de l'acteur. Ainsi lisons-nous dans Le gai Savoir, aphorisme 361: La fausseté en bonne conscience: le plaisir à la simulation, explosant comme puissance, refoulant le soi-disant caractère, le submergeant parfois jusqu'à l'éteindre; l'intérieur désir de prendre un masque et d'entrer dans un rôle, dans une apparence; un excédent de facultés d'adaptation de toutes sortes, qui ne savent plus se satisfaire à servir l'immédiate, stricte nécessité... nous apercevons du coup ce qui menace chez Nietazsche lui-même: d'abord la simulation explosant comme puissance jusqu'à submerger, jusqu'à éteindre le soi-disant caractère: ce qui point ici c'est la pensée que la simulation n'est pas seulement un moyen, mais bien une puissance, donc qu'il y a irruption de quelque chose d'incompatible avec le soid-disant caractère... On croit choisir librement d'être ce que l'on est, mais on est, en fait, contraint de jouer un rôle, n'étant pas ce que l'on est; donc de jouer le rôle de ce que l'on est hors de soi. On n'est jamais là où l'on est, mais toujours là où l'on n'est que l'acteur de cet autre que l'on est. Le rôle représente ici le fortuit dans la nécessité du destin..."

Pierre Klossowski (Un si funeste désir)

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Now (and in case you have not got to this journey's end miserably spent) here it is what was closely pent up (after scrapes and difficulties) in the social chimney corner (stories to wave in, traditions to sift, if I'm suffered to go on quietly):

"Tout en m'inscrivant en porte-à-faux, en créant des décalages, je produis ainsi un sfumato entre présentation et représentation," Orlan.

"Ce qu'il y a d'intéressant dans ce que vient de dire Orlan c'est que ce n'est pas la bio-ingénierie, c'est de l'art et il y a là une grande différence. Industrialiser la vie comme on a industrialisé la mort. Le projet eugénique des camps, ce n'était pas seulement l'élimination des corps, c'était l'industrialisation de la vie. C'était industrialiser la vie, d'où l'intérêt pour les jumeaux," Paul Virilio. 

"Y a-t-il encore une VISAGEITÉ au-delà de la ressemblance habituelle, celle que l'on retrouve? Si je dis transfiguration, c'est parce que, quand le Christ se transfigure, ce n'est pas de l'exhibitionnisme," Paul Virilio.

"... ils sont pires que des Pompiers. Ils sont tellement célébres qu'ils sont morts; ils sont devenus des OBJETS INCASSABLES," Paul Virilio.

"C'est comme si d'autres les avaient cités comme par anticipation," Orlan. 

***Orlan et Paul Virilio, transgression/transfiguration [conversation], La Rochelle: l'une & l'autre, 2009.

***See also:

- Georges Bataille et la part maudite; 

- Kitsch, Neo-Kitsch, Anti-Kitsch;

- Cartografia de Água-Viva; 

- Allen Ginsberg, Burroughs & Ney Matogrosso;

- défi du non-circoncis;

- faire ce qu'il faut, parler au spectre;

- view from Berthe Trépat's apartment;

- pick a soul (ass you wish);

- en profane: Orsay & Centre Pompidou;

- l'oeuvre &/ou le vrai oeil;

- Genug! Manifesto;

- the meaning of sacer in Homo Sacer;

- Cristovão Tezza Haunted by Barthes;

- Kur-d-t My Ghost;

- Orlando 12/06: this is not a miracle;

- Série, presque à genoux with thread;

- Communauté Elective (syncope);

- souvenirs de soleils (1);

- souvenirs de soleils (2);

- Pier Paolo Pasolini;

- Dogen with Hagakure;

- Boswell, Dover & others;

- Most interesting LGBTQUIA+ movies;

- Structuralisme, Poststructuralisme: ligne de fuite;

- Liste de figures du chaos primordial;

- Conversa de etiqueta;

- Pleif Mapa, Capítulo 2;

- "Stravinsky as devil: Adorno's three critiques" (Max Paddison);

And also:

- Thamy Ayouch, Da transexualidade às transidentidades (Percurso);

- Thamy Ayouch & Lucas B. Charaffedine, A homossexualidade dos analista (Percurso);

- Thamy Ayouch, A diferença entre os sexos na teorização psicanalítica (RBP);

- Thamy Ayouch, Le corps, un temoin? (Recherches en psychanalise);

- Thamy Ayouch, Genealogia da intersubjetividade e figurabilidade do afeto (Psicologia USP);

- Thamy Ayouch, Desmentindo as falsas comparações (Revista de Filosofia Aurora);

Kur-d-t My Ghost

Your Dog Wanna be My King, digital collage by A/Z available with other drawings, photographs and collages at Fine Art America; 
Kurt Cobain Journals (New York: Riverhead Books, 2002);

With Krist Novoselic, Dave Grohl & Antony Hodgkinson, Reading Festival (August 30, 1992);

From Nirvana Live! Tonight! Sold Out!! (Kevin Kerslake/Kurt Cobain, 1994);

Jean-Michel Basquiat's detail from Eroica II (1988), Image taken from Leonhard Emmerling's Basquiat;

Nirvana - Annorexorcist;

Sonic Youth - Superstar;

Sonic Youth - Mildred Pierce;
Richard Hell - Blank Generation;

Teenage Jesus - The Closet;

The Stooges - I wanna be your dog;

George Antheil's Violin Sonata n. 2 (Vahid Khadem-Missagh and Gottlieb Wallisch, 2015,Youtube); 

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

Vestibule

"incesticide orphelin"

"Swiss side"

Marcel Duchamp

"Think rich. Look poor."

"Of course you can have bad manners if you know how to use them."
Andy Warhol
"All I liked to do was walk around the streets with a heart full of napalm."
Iggy Pop (Please Kill Me)

"The reason I wrote that song was out of spite for Richard Hell, because he told me he was gonna write a song better than Lou Reed's 'Heroin,' so I went home and wrote 'Chinese Rocks.'"

Dee Dee Ramones (Please Kill Me)
"Ça vous fait vomir? Alors, allez-y, vomissez-moi! Il doit bien y avoir d'autres féministes que vous."
Olga (Les Samouraïs)

"You sure to be derided by the Rambo-Liddy-Ollie North steroid gang... and the conventional-wisdom experts."

Timothy Leary

"... mais encore d'avoir eu ses premiers sentiments modelés par les plus douces des soeurs, et non par d'horribles frères toujours prêts aux coups de poing, horrid pugilistic brothers..."

Baudelaire/De Quincey

"We were just being cool, watching the band, and a bunch of fraternity guys came up and started fucking with Fred, slapping him on the back of the head and saying, 'Are you a boy or a girl?'"

Wayne Kramer (Please Kill Me)
"And there's Iggy dancing around like Waiting for Godot meets the ballet. He wasn't like Roger Daltrey..."
John Sinclair (Please Kill Me)
"I thought these people were innocent little virgin girls!"
Malcolm McLaren (Please Kill Me)

"I didn't think Teenage Jesus should mingle with the audience, even if to attack them. Don't touch those bastards, let'em just sit there in horror!"

Lydia Lunch (Rip It Up)

"... il n'y a d'homme que castré, il n'y a de père que mort."

Sylvia Leclercq (Thérèse mon amour)

"Will you be my The Soliloquist on Perfect?"
James Lee Byars (letter to Joseph Beuys)
"Junkies tend to run together into one body... You have to be careful especially in hot places."
William S. Burroughs
"When Sid was alive, he was always saying, 'When I die, bury me next to Nancy.'"
Eileen Polk (Please Kill Me)

"Other people have imaginary playmates, but Patti had imaginary playmates who were Keith Richards..."

Penny Arcade (Please  Kill Me)

"And I could identify with her because I was doing the same thing, keeping journals, writing mash notes to dead people, and here she was doing it in a much more confident way..."

Duncan Hannah (Please Kill Me)

"... une espèce de philanthropie plutôt faite de pitié que d'amour (c'est ainsi que se montre le premier germe de l'esprit satanique qui se développera d'une manière extraordinaire), mais qui va jusqu'à la crainte d'affliger qui que ce soit, on devine ce que peut devenir la sentimentalité localisée, appliquée à une personne chérie, jouant ou ayant joué un rôle important dans la vie morale du malade."

"La hideuse nature, dépouillée de son illumination de la veille, ressemble aux mélancoliques débris d'une fête. La volonté surtout est attaquée, de toutes les facultés la plus précieuse."

Baudelaire (Les Paradis artificiels)

"I alone am still born, showing no sign of life,

Like a baby that has not yet smiled.

Wearied: I have nowhere to go to...

Common folk shine; I alone am gloomy;

Common folk excel; I alone am downcast...

Everyone has good reasons; I alone have a bumpkin's stubbornness.

I long to be alone and am unlike others, for I appreciate sucking my mother's milk."

Daodejing/20 (Edmund Ryden's translation)

"... la musique et la drogue ont des traits différentiels qui les mettent du côté d'une machine de guerre nomade (la machine de guerre a pour objet, non pas la guerre, mais le tracé d'une ligne de fuit créatrice)"

"... un chormatisme élargi porte à la fois la musique et la métallurgie"

Deleuze & Guattari, Mille Plateaux

"Pure experience is an animated state with maximum freedom in which there is not the least gap between the will's demand and its fulfillment."

Kitaro Nishida
"People want their rock stars to go further out on the edge and hang out there for a bit, take a good long look at that abyss, and then transmit what they find there through their art. Ian Curtis did it. Kurt Cobain did it. So did Robert Smith, except he didn't just look at the abyss, he was on intimate terms with it..."
"... we had our introduction to some new American music in the shape of Mission of Burma, whom we immediately liked. We felt a kinship to them. To my mind they were the precursors of bands like Sonic Youth."
Lol Tolhurst (Cured: the tale of two imaginary boys)
"Others who were minor or background figures at the time went on to achieve later success in a different guise, such as Bjork, the KLF, Beastie Boys, Jane's Addiction, and Sonic Youth... There are dozens of bands who made landmark albums but never achieved more than an abiding cult status, earning the dubious consolation prize of being an influence and reference point for the '90s alt-rock megabands (Gang of Four begot Red Hot Chili Peppers, Throbbing Gristle sired Nine Inch Nails, Talking Heads even supplied Radiohead with their name...)"
Simon Reynolds 

"Warburg insiste pour dire que le séisme du temps atteint l'appareil inscripteur lui-même: lorsque surviennent — ou souviennent — les ondes du temps, le très sensible sismographe tremble sur ses bases... il transmet donc le séisme à l'extérieur comme connaissance, mais également à l'intérieur de lui-même comme expérience, où il risque de se perdre..."

Didi-Huberman
"Eine lange lateinische Abhandlung in Einer Nachtwache niederzuschreiben und auch noch ab-zuschreiben, mit dem Ehrgeiz in der Feder, es meinem Vorbilde Sallust in Strenge und Gedrängtheit nachzuthun, und einigen Grog von schwerstem Kaliber über mein Latein zu gießen, dies stand schon, als ich Schüler der ehrwürdigen Schulpforta war, durchaus nicht im Widerspruch zu meiner Physiologie, noch vielleicht auch zu der des Sallust — wiesehr auch immer zur ehrwürdigen Schulpforta..."

"So wie ich mich immer gewöhnt habe — eine extreme Lauterkeit gegen mich ist meine Daseins-Voraussetzung, ich komme um unter unreinen Bedingungen —, schwimme und bade und plätschere ich gleichsam beständig im Wasser, in irgend einem vollkommen durchsichtigen und glänzenden Elemente."

"Dies ist die fremdartigste 'Objektivität', die es geben kann: die absolute Gewißheit darüber, was ich bin, projicirte sich auf irgend eine zufällige Realität, — die Wahrheit über mich redete aus einer schauervollen Tiefe."

Nietzsche

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

Main Hall

Dale,

"fuck we were this close..."

"the overbearing dominator..."

"Seattle SCENE Luminaries..."

"ooh eeerie mystical doom..."

"thru your past experieces do you think it would be wise to demant receipts for recording, pressing costs?"

"we still make movies, the last one we did was in Tacoma at NEVER NEVERLAND... other stars included Rick Derringer and John Lennons Penis."

"determination of botanical possibilities... An infared light will simulate the sun in times of winter. A hypnotherapist will hold your hand and aid you into going back to bed."

"I can see small transparent blotches of debris on the outer shell of my eyes. (or the conjunctiva). And can only follow it as my eye moves downward. its like, watching film footage of amoeba or jelly like plankton under a microscope."

"A lot of NAive asshole kids just called her retarded because she never talked."

"... walking in the woods."

"steel SHEEP at a store near you..."

"I left a butter scotch swiss miss pudding out over night & it turned Bright flourescent green."

"munching, chewing hot stacked earth momma sitting in the open woods of nottingham early in the mornings fog."

"Dilute!"

"May I throw out my hip? I had a bad fall."

"Lolli pop up you know where."

"the art of shopping & matching outfits from the luxury of selection..."

"the mountains which will always be addicted to boredom."

"Elvis Costello — Pump it up."

"Im crosslegged, Rosary to the left..."

"stuck in the middle with you."

"All this wonderfully important deep thought hindered me from REAlizing that the entire House WAS filled with SMOKE from the Charles Bukowski Books..."

"punk rock means freedom..."

"I use bits and pieces of others personalities to form my own."

"If Jimmi Hendrix were alive..."

"I like girls with weird eyes."

"I like to swim."

"I lack sincerity."

"maybe vegetables will diffuse the chemicals i produce inside me."

"I feel this society has lost its sense of what art is... Art is SEriously being fuCKed with."

"Art is Sacred... expression And right to express is vital."

"I had exausted most conversation at age nine."

"Nihilism is a fine building block to construct foundation of Ideals but dont let the termites come in [tag this here]." 

"give me a leonard cohen afterworld."

"Throw eggs at your enemy. A symbolic chicken foetus AT Pro lifers."

"I am a male. age 23 and Im Lactating."

"The finest day Ive ever had WAS whem TOmorrow NEVER Came."

"My credit ran away from me."

"You said that I remind you of yourself tomorrow."

"... down by the lazy rivers of the rhone or rhine."

"we gleefully decline the opportunity to be raped by the limey Journalist... no thank you."

"geezus Christ. (repeat)"

"mistrust All Systematizers..."

"my feathers are my pussy... [page 189 probably the most precious of all]"

"being A borderline Annorexic Auzhwitz-Grunge-Boy."

"Im not nearly as concerned with or about myself or anyone as the media would have us believe..."

"... and all of his orgones and bad thoughts and desires for truth will soak into the walls of my lower intestines. [page 196 probably the most precious of all]"

"vagina medical books, the meat puppets and"

"what the fuck do they teach journalists at school anyway?"

"film adds ten pounds to A person."

"a topless dancer?"

"has gratuity been added?"

"... what we all have known for too long as shit Rock, prefabricated, incestually politically business oriented garbage..."

"Heroes my ass!"

"sadly we don't speak bird."

"sucksess"

"like a hypocrite in a hippie crypt."

"a ghost vapor comes out of his chest and groin area and enters me Body."

"he had big lips and liked peanuts."

"Ive collaborated with one of my only Idols Williams Burroughs and I couldn't feel cooler."

"Stay Gay all the way and wipe your Ass with USA today."
All quotations from Kurt Cobain Journals (New York: Riverhead Books, 2002);

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

***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;

- Allen Ginsberg, Burroughs & Ney Matogrosso;

- défi du non-circoncis;

- Audrey Hempburnt Haunted by A/Z;

- faire ce qu'il faut, parler au spectre;
- Genug! Manifesto;
- Land of the Southern Lapwing;
- Joyce in a Toadstool;
- God Save the Queen (Blake's Palace of Wisdom);
- who is afraid of Sylvia Plath?

- Série, presque à genoux with thread;
- souvenirs de soleils (2);
- souvenirs de soleils (1);

- Godard's Sympathy for the Devil;

- Darkwaves beyond the 80's;
- High or Middle Culture (electronic and others)?

- Call me Helium;

- movies about musicians;

- Icons of Romanticism (Brazil);

***#MeToo Clipping on the White Elite Supreme Degenerate Scumbag STR8 Hypocrite Trashes of all sorts &  More: 

- 'For me, poetry is photography and poetry can be virtually anything—painting, sculpture, video/audio piece, installation, performance, etc… As Allen Ginsberg told me when we first met, “Poetry is like a radio station that broadcasts long after you’re dead.” I started out as a poet and journalist and I think now more than ever is a good time for both poetry and journalism, through all means and mediums necessary.' (Why Slava Mogutin is Russia’s greatest art rebel, Dazed); 

- 'Even as dogs have become beloved pets in the U.S., treated as members of the family, with harsh punishments for those who abuse them, the behavior of corporate and academic entities that subject dogs to gruesome experimentations has barely changed. It’s a strange hypocrisy: Individuals may not abuse these animals, but corporations can...' (Bred do Suffer: Inside the Barbaric U.S. Industry of Dog Experimentation, The Intercept);

- 'On a hot Friday evening in France last month, Jean-Luc Brunel was revelling in his natural habitat: a lavish party packed with the rich and beautiful... Thysia Huisman, then an 18-year-old Dutch model staying at the apartment, alleged that one such evening in September 1991, she began feeling woozy after being given a drink by Brunel, and was taken to his bedroom. "I recall him lying on top of me, me trying to push him off,' she said in an interview. 'I remember trying to move, but not really being able to. Like almost being paralysed..."' (Jean-Luc Brunel: three former models say they were sexually assaulted by Jeffrey Epstein friend,  The Guardian);

- Private jets, parties and eugenics: Jeffrey Epstein's bizarre world of scientists (The Guardian); 

- ‘We live with scars’: accusers demand Epstein’s death not derail investigatio (The Guardian); 

- Who were the rich and powerful people in Jeffrey Epstein's circle? (The Guardian); 

- You Were Never Really Here review (Peter Bradshaw/The Guardian); 

- Director Lynne Ramsay: ‘I've got a reputation for being difficult – it's bullshit’ (The Guardian);