Showing posts with label list. Show all posts
Showing posts with label list. Show all posts

Sunday, December 17, 2017

Mommy-Mômo, &/ou once more: Dolan, le TEMPS HORS DE SES GONDS***






Antoine Olivier Pilon in Xavier Dolan's Mommy (2014) (pictures taken from the Internet);
Modeselektor's & Tommy Cash's Who [this video is now age-restricted and only available at Youtube, so I took it from here];
Henry Plotnick's The Nearest Exit May be Behind You;
Indochine's College Boy [this video is now age-restricted and only available at Youtube, so I took it from here];
Le passe pur & le temps hors de ses gonds (by A/Z);

"... la béance abyssale du visage en l'ouverture de tous ses trous, de sa bouche de vérité, de ses yeux creusés..."
Jacques Derrida, Artaud le Moma
"Mais tout cela est triste? Oui, si vous ne savez pas en rire... Chez l'enfant aussi, l'instinct régit la raison."
Gauguin

"La nomination à laquelle se réfère Françoise Dolto, quand elle dit comment le langage humanise les sons dans lesquels vit l'enfant et qui peuvent l'inquiéter, est un autre problème. Elle consiste non seulement à identifier et à nommer la cause (ce que tu entends, c'est l'aspirateur, c'est la chasse d'eau), mais aussi à permettre de comprendre et de lever l'inquiétude que ces sons peuvent susciter. Nommer les sons en ce sens, les 'mamaïser', comme dit Françoise Dolto, n'est donc bien sûr pas les décrire en eux-mêmes. C'est à cette 'humanisation' des bruits par la parole que fait allusion le poète Rilke, lorsque dans sa Troisième élégie, il s'adresse à une mère, et fait l'éloge de la façon dont elle a rendu pour son enfant le monde 'amical', et la nuit moins inquiétant."
Michel Chion (Le Son) 

***perhaps what they all celebrate here is le passé pur (& simple), but the imbalance of this movie is much more truthful to...

See also:

Monday, December 11, 2017

Je-Fèces-Enfants







Kid Playing, mixed media drawing by A/Z available with other drawings and photographs at Fine Art America; 
images from Lars von Trier's Europa, 1991; Selim Gunes' Kar Beyaz, 2010; Semi Kaplanoglu's Bal, 2010; Guillermo del Toro's El espinazo del diablo, 2001; David Lynch's The Grandmother, 1970; Hideo Nakata's Honogurai mizu no soko kara, 2002; Ingmar Bergman's Vargtimen, 1968;
The Animation of Lists Part 1 (Warren Burt, Youtube); 
Threads (Paul Lansky, Youtube); 

"Pourtant la pulpe à l'intérieur est veloutée et souple, neutre et apaisante."
Julia Kristeva, Le vieil homme et les loups
"... ma mère adore l'odar de ma merde..."
Marcel Duchamp, Notes
"L'enfant voit tout en nouveauté; il est toujours ivre."
Baudelaire (Le Peintre de la vie moderne)
"There is little Harry calling me."
David
"coucou!"
Pierre Angelici
"...un étalage de figurines translucides qui paraissaient soufflées dans le sucre... des têtes en cire de garçonnets..."
Hervé Guibert

"Who said love will save the kids?"
Tommy Cash
"Blandly mother takes him strolling by railroad and by river..."
Allen Ginsberg
"Nos anos 1950, Santa Izildinha/Luluzinha foi minha superstar. Só que morta."
Rita Lee
"Mon petit frère était mort pendant la guerre du Japon. Il était mort, lui, sans sépulture aucune. Jeté dans une fosse commune par-dessus les derniers corps."
Marguerite Duras (Écrire)
"To have such horrible things happen with small children holding your hand!"
Webern to Hildegard Jone (translated and quoted by Malcolm Hayes)
"... cuatro o cinco hojas relatan la historia de esos adolescentes, casi niños, que el Séptimo Regimiento  recluta sin preguntarles la edad. Porqué lo hace? Porque, según Moreira César, los niños tienen mejor puntería, nervios más firmes que los adultos..."
"Y son niños de pocos años a quienes los caníbales mandan arrastrándose a depositar los hormigueros!"
Mario Vargas Llosa (La guerra del fin del mundo)

"... a noite escura como breu negrejou à minha frente como o infinito desconhecido, perigoso, e o vento arrancou-me o boné da cabeça."
Arkadi Makárovitch Dolgorúki (tradução Paulo Bezerra)
"Au lendemain de cette nuit, le petit Joseph est pris soudain de malaises et de crampes, et meurt en peu d'heures."
Nietzsche (traduction by Klossowski)
"He raised his missile to hurl it... and then ensued, from the stammering lips of the little fellow, a string of curses, which, whether he comprehended them or not, were delivered with practised emphasis, and distorted his baby features into a shocking expression of malignity."
Nelly (Wuthering Heights)
"Face aux états de détresse que nous évoque l'enfant qui se fait entendre mais est incapable de se faire comprendre, nous employons, nous adultes, le mot de 'peur'."
Julia Kristeva, Pouvoirs de l'horreur

"Esse era um dos seus segredos. Nunca se permitiria contar, mesmo a papai, que não conseguia pegar a coisa."
Clarice Lispector
"E a escuridão?"
Andrew Gleiser
"The children all around us are so calming, so elevating!"
Webern to Hildegard Jone (translated and quoted by Malcolm Hayes)
"When one is a child, one has such enormous categories that they would now almost make one dizzy."
Constantine Constantius (translation by M. G. Piety)
"In einer absurd frühen Zeit, mit sieben Jahren, wußte ich bereits, daß mich nie ein menschliches Wort erreichen würde: hat man mich je darüber betrübt gesehn?"
Nietzsche
"Crianças não se dizem adeus."
Iberê Camargo, Gaveta dos Guardados

"... l'art de faire semblant, de mimer, de singer, n'est-il pas indispensable au petit enfant pour qu'il devienne un être autonome, et individu à part que tous nous rêvons d'être?"
"En définitive, toute littérature est peut-être faite pour les enfants."
Joëlle (Les Samuraïs)
"Seulement voilà, les plus adultes restent un peu enfants."
Olga (Les Samuraïs)
"Ce fou savait bien, malgré tout, qu'il était la proie d'une folie et jouait tout de même, dans ces moments-là, puisqu'il savait bien que celui qui le battait n'était pas plus méchant que le petit garçon qui dans les jeux de bataille est désigné au sort pour faire le 'Prussien', et sur lequel tout le monde se rue dans une ardeur de patriotisme vrai et de haine feinte."
Marcel Proust (le narrateur)
"... le genie n'est que l'enfance nettement formulée, douée maintenant, pour s'exprimer, d'organes virils et puissants?"
Baudelaire (Les Paradis artificiels)
"When I was young, people told me: You'll see when you're fifty. I'm fifty. I've seen nothing."
Eric Satie/John Cage
"Originally we were nowhere; and now, again we are having the pleasure of being slowly nowhere. If anybody is sleepy, let him go to sleep."
John Cage (Lecture on Nothing) 
"I like a rut... When I was little and I was sick a lot, those sick times were like little intermissions. Innermissions. Playing with dolls."
Andy Warhol
"Last night I was afraid to lie down. I thought I would die in sleep. I wakened Georgie three times for fear of being alone..."
J. J. (letter to Nora BarnacleJuly 12, 1912) 
"Concentrating qi to its weakest, can you be a baby boy?"
Daodejing/10 (Edumnd Ryden's translation)

"La nomination à laquelle se réfère Françoise Dolto, quand elle dit comment le langage humanise les sons dans lesquels vit l'enfant et qui peuvent l'inquiéter, est un autre problème. Elle consiste non seulement à identifier et à nommer la cause (ce que tu entends, c'est l'aspirateur, c'est la chasse d'eau), mais aussi à permettre de comprendre et de lever l'inquiétude que ces sons peuvent susciter. Nommer les sons en ce sens, les 'mamaïser', comme dit Françoise Dolto, n'est donc bien sûr pas les décrire en eux-mêmes. C'est à cette 'humanisation' des bruits par la parole que fait allusion le poète Rilke, lorsque dans sa Troisième élégie, il s'adresse à une mère, et fait l'éloge de la façon dont elle a rendu pour son enfant le monde 'amical', et la nuit moins inquiétant."
Michel Chion (Le Son) 

"... by the age of about ten or eleven most children have learned what Piaget calls the 'correct' view, namely that thoughts are located inside the head... younger children believe that they travel outside their bodies when they dream... that thoughts are in the mouth, breath and air."
Rupert Sheldrake
"... 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..."
Myoe (Mark Unno, Shingon Refractions)
"The worst event of the early months was the incident described in A Portrait and confirmed by Joyce to Herbert Gorman, when another boy broke Stephen's glasses and Father Dolan pandied the victim on the mistaken premise that he had broken the glasses himself to avoid study... Joyce was to speak of Father Dolan later to Gorman as 'low bread'... He did not submit, but went home crying to his mother, who comforted him and mended his clothes." 
Richard Ellmann

List of ingenious movies about children (under construction): 
- Aniki Bobó (Manoel de Oliveira, 1942);
- Germania 90 Graus (Rossellini, 1948);
- Ivanovo detstvo (Andrei Tarkovsky, 1962);
- Mouchette (Robert Bresson, 1967);
- Vargtimmen (Igmar Bergman, 1968); 
- The Grandmother (David Lynch, 1970);
- Le Souffle au Coeur (Louis Malle, 1971);
- Ivanovo detstvo (Tarkovsky, 1972);
- Sjecas li se Dolly Bell? (Emir Kusturica, 1981);
- Khane-ye doust kodjast (Abbas Kiarostami, 1987); 
- Je suis le Seigneur du Château (Régis Wargnier, 1989);
- Europa (Lars von Trier, 1991);
- L'année de l'éveil (Gerard Corbiau, 1991);
- Léolo (Jean-Claude Lauzon, 1992);
- Badkonaki sefid (Jafar Panahi, 1995); 
- Butcher Boy (Neil Jordan, 1997);
- La Ciénaga (Lucrecia Martel, 2001);
- Honogurai mizu no soko kara (Hideo Nakata, 2002);
- Tout Contre Leo (Honoré, 2002);
- Palindromes (Todd Solondz, 2004);
- The Boy in the Striped Pyjamas (Mark Herman, 2008);
- Das weisse Bande (Michael Haneke, 2009);
- Kar Beyaz (Selim Gunes, Turkey, 2010);   
- Bal (Semih Kaplanoglu, 2010);
- Submarino (Thomas Vinterberg, 2010); 
- Pelo Malo (Mariana Rondón, 2013);
- Mommy (Xavier Dollan, 2014); 
- Território do Brincar (Renata Meirelles, David Reeks, 2015);
- Fai bei Sogni (Marco Bellocchio, 2016); 

Sunday, November 12, 2017

pan doron &/ou la boîte vidée dehors

Sell Art Online









The Lady from Rotzo, mixed media drawing by A/Z available with other drawings and photographs at Fine Art America; 
Nathalie Granger (Marguerite Duras, 1972), Détruire dit-elle (Marguerite Duras, 1969), Isabelle Huppert & Annie Girardot in Michel Haneke's La Pianiste (2001), Judit Pogány & Róbert Koltai with their Minimat in Bela Tarr's Panelkapcsolat (1982); Coatlicue statue (detail) + Coyolxauhqui + Tlaltecuhtli + Tzitzimitl (Mexico's National Anthropology Museum, Aztec Templo Mayor in Tenochtitlan, Codex Magliabechiano, FAMSI, Wikimedia Commons); 
Joan Miró's Portrait de Madame K. (1924), L'Objet du couchant (1935-36); 
Daodejing: 4, 6, 11, 14, 25, 78 (Edmund Ryden's translation);
Différence et Répetition: Nouveau Roman (A/Z, Youtube) [I took this video out of Youtube, because I wanted to change it]; 
Das Fremde in Mir (Emily Atef, 2010) [this video isn't available anymore at Youtube];
Alban Berg's Lulu  (Glyndebourne Festival, 1996/Youtube) [this video isn't available anymore at Youtube]; 
Public Image Limited (Death Disco, 1979);
Claudio Santoro's Impressões de uma usina de aço (Ligia Amado/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);
Exorcismo Negro (José Mojica Marins, 1974);
**************************************************************

"démoniaque
d'ammoniaque
ovaire toute la nuit"
Marcel Duchamp, Notes

"Elle est dans ma voix, la criarde!
C'est tout mon sang, ce poison noir!
Je suis le sinistre miroir
Où la mégère se regarde!"
Charles Baudelaire, L'Héautontimorouménos

"They are Socrate's children, said my uncle Toby. He has been dead a hundred year ago, replied my mother."
Tristram Shandy

"Je suis dans la chambre de ma mère. C'est moi qui y vis maintenant."
Molloy
"According to her, I was a razor-toothed succubus."
James St. James
"... le dieu muet la bête, une eau dormante au fond désormais apaisé de l'abîme..."
Derrida, l'elit/Cixous
"... so that at last it is seen that there is no sound bottom."
Aleister Crowley, Liber 777
"Have you not forgot to wind up the clock?"
Elizabeth Mollineux
"Au reste peut-on séparer entièrement l'aspect de M. de Charlus du fait que, les fils n'ayant pas toujours la ressemblance paternelle, même sans être invertis et en recherchant des femmes, ils consomment dans leur visage la profanation de leur mère? Mais laissons ici ce qui mériterait un chapitre à part: les mères profanées."
Marcel Proust (le narrateur, Sodome et Gomorrhe)
"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)

"Surpreendente coincidência é a dessa Anaflor [Anna Blume] schwittersiana com o fragmento Ana Lívia Plurabel, do Finnegans Wake, de Joyce. Em ambos, o motivo é o eterno feminino, o inesgotável Ewig-Weibliche, "
Haroldo de Campos (Kurt Schwitters ou o Júbilo do Objeto)
"La femme est fatalement suggestive; elle vit d'une autre vie que la sienne propre; elle vit spirituellement dans les imaginations qu'elle hante et qu'elle féconde."
Baudelaire (Les Paradis artificiels)
"...  su imaginación poética opera una verdadera transmutación: transforma el fantasma del padre en la imagen del marido muerto y ella se convierte en su viuda. La analogia con el mito de Isis y Osiris es turbadora y significativa... La historia de la resurrección de Osiris completa la identificación de la 'viuda' Juana Inés con la diosa, la maternidad se se resuelve en la resurrección simbólica del pasado y sus muertos."
Octavio Paz (Las trampas de la fe) 

"Il n'y a pas de autre péché que celui de faire monter le fond et de dissoudre la forme."
Deleuze
"... la membrane  brillante qui dévore sans dents, comme disent les Upanishads..."
A. Artaud (Lettre à Henri Parisot)
"... il faudrait les chercher dans la cave secrète où il n'y a personne... le savoir d'un secret lui-même invisible, souterrain, utérin..."
Julia Kristeva, Soleil noire
"I see in you, Nelly, an aged woman... This bed is the fairy cave under Penistone Crag, and you are gathering elf-bolts to hurt our heifers, pretending, while I'm near, that they are only locks of wool."
Catherine Earnshaw (Wuthering Heights) 
"As inscrições cuneiformes quase ininteligíveis falam de como conceber e dão fórmulas sobre como se alimentar da força das trevas. Falam das fêmeas nuas e rastejantes."
Clarice Lispector, Água Viva 
"... a imaginação é a memória que enlouqueceu..."
Mário Quintana
"La muchacha apareció una madrugada, en las calles de Geremoabo, con la cara marcada a fierro con las iniciales J y S. Estaba encinta y llevaba un cartel explicando que todos los hombres de la banda eran, juntos, el padre de la criatura."
Mario Vargas Llosa (La guerra del fin del mundo)

"... a ferocidade e o poder pertencem à fêmea..."
Júpiter Maçã, A Odisséia
"Eu tenho um lado sádico e protetor. Então é divino."
Helena Ignez
"Não temos dúvidas em ver no Diá de Diadorim uma referência ao diabo."
Augusto de Campos 
"O that I could nestle in your womb like a child born of your flesh and blood, be fed by your blood, sleep in the warm secret gloom of your body!"
Dear Cuckold to Nora Barnacle (Sept. 5, 1909)
"There, Bataille might have said, there you really have the con in [the] con-vulsive."
Rosalind Krauss, The Optical Unconscious (A/Z operation)
"Quin igitur, soror, hunc primum bechatim discerpimus vel membris eius destinatis virilia desecamus?"
Panthia
"Parmi les signataires il y avait, je dois le dire, plus de femmes que d’hommes; mais tous, croyez-le bien, n’appartenaient pas à la classe infime et vulgaire. J’ai gardé ces lettres."
Baudelaire (Le Spleen de Paris)
"Telles étaient les Euménides ou Gracieuses Déesses (comme disait l'antique flatterie inspirée par la crainte) qui hantaient mes rêves à Oxford."
Baudelaire/De Quincey (Les Paradis artificiels)
"Se ele cair em vir cá outra vez, hei de enforcá-lo com uma destas tranças, e pendurá-lo no vácuo deste salão."
Outra Mulher (Qorpo Santo, Relações Naturais)
"Qu'une jolie main de femme, fine et blanche, en société fasse éclater le stratagème, décapite brusquement l'ourson avec lequel elle jouait pour dévoiler sa ruse, et cela fait merveille. "
Hervé Guibert (Vice)
"Zum Glück bin ich nicht Willens, mich zerreißen zu lassen: das vollkommne Weib zerreißt, wenn es liebt... Ich kenne diese liebenswürdigen Mänaden..."
"Man kommt beim Deutschen, beinahe wie beim Weibe, niemals auf den Grund, er hat keinen: das ist Alles."
Nietzsche
"Moy, (disoit l'aultre) n'y auray je rien? Par ma foy, je la couperay doncques."
Gouvernante de Gargantua

"... and suddenly sees a handsome girl, skirts drawn up, wading in the water."
Richard Ellmann
"Diadorim é uma neblina."
Guimarães Rosa/Augusto de Campos (Um Lance de Dês)
"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)
"I very seldom have seen a girl whose life could be grasped in an intellectual category... A woman is self-deceived even before she deceives anyone else..."
Constantine Constantius (translation by M. G. Piety)
"... Molly was intended to represent 'perfectly sane full amoral fertilisable untrustworthy engaging shrewd limited prudent indifferent Weib.'"
Ellmann/Joyce (Letter to Frank Budgen, Aug. 16, 1921)
"... plus elle est monstrueuse ou folle plus elle est femme pleinement, selon la représentation traditionnelle toujours teintée de misogynie. Elle a cependant des ressources que l'homme ne possédera jamais, mais que le pervers partage avec elle..."
Pierre Klossowski (Le Philosophe Scélérat)
"Mais la femme ne pouvait jamais devenir signe et rien que cela, puisque, dans un monde d'hommes, elle est tout de même une personne, et que, dans la mesure où on la définit comme signe, on s'oblige à reconnaître en elle un producteur de signes..."
Claude Lévi-Strauss, Les Structures Élémentaires de la Parenté
"... yo fui siempre feliz a su lado, y, por ejemplo, sus aventuras con otras mujeres siempre me las contaba..."
Dorotea Muhr (Mario Vargas Llosa, El viaje a la ficción)
"Khôra... toute-puissance sans aucun pouvoir d'autant plus absolument puissant."
Hélène Cixous (Portrait de Jacques Derrida)
"Va à tel endroit, il y a là une sorcière à forme de chien, elle te tuera. Srit va au lieu indiqué, frappe la sorcière qui aussitôt se dédouble. Et ainsi de suite. Quand elles sont un millier, elles le tuent et le lacèrent..."
G. Dumézil

"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... Nietzsche les traite souvent en parallèle, ce qui nous renverrait peut-être encore au motif de la castration et du simulacre, voire du simulacre de castration dont la circoncision serait la marque..."
"... elle châtre parce qu'elle est châtrée, elle joue sa castration dans l'époque d'une parenthèse, elle feint la castration — subie et infligée — pour maîtriser le maître de loin..."
"La passion de la femme dans son renoncement inconditionné à des droits propres présuppose justement qu'il n'existe point de l'autre côté un pathos identique..."
Derrida (Éperons)

"On one level, the Five Movements for String Quartet were composed as an elegy for Webern's mother..."
Malcolm Hayes
"... what can he do to escape that fatal Mama..."
Allen Ginsberg
"L'expérience onirique concerne son père déjà mort qu'il voit en songe enlever son frère cadet. L'enfant Nietzsche grandit à l'ombre du deuil maternel et sororal pour devenir un jeune homme éduqué exclusivement par des femmes."
Pierre Klossowski (Nietzsche et le cercle vicieux)
"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

"... nature is an equivocal element: impure, obscene, spiteful, daemonic..."
Thomas Mann (An Experience in the Occult/H. T. Lowe-Porter translation)
"Marais describes how he was observing the queen of a very large colony, having opened up the royal cell, when a piece of hard clay fell o to the queen, dealing her a hard blow. The workers within the royal cell immediately ceased to work and wandered round in aimless groups."
Rupert Sheldrake
"And live we never so spotlessly, still may she turn her back upon us... the cruel jade, cares not, and hardens her heart, and hies her off to the East, to find, among the opium-eaters of Nankin, a favourite with whom she lingers fondly..."
Whistler

"Le ruissellement de source, à la fois, a laissé voir quelque chose de clair, l'image attirante de quelqu'un et, la brouillant limpidement, empêche la fixité stable d'un visible pur (qu'on pourrait s'approprier) et entraîne tout — celui qui est appelé à voir et ce qu'il croirait voir — dans une confusion de désir et de peur..."
Blanchot, L'Écriture du désastre
"... à present, la figure maîtraisse n'est plus le cercle, de centre unique, rayonnant, lumineux, paternel, mais l'ellipse, qui oppose à ce foyer visible un autre foyer également actif, également réel, mais obturé, mort, nocturne, centre aveugle, revers du yang solaire germinateur: absent..."
Severo Sarduy, Barroco
"... gris parce qu'il est en haut tout autant qu'en bas... point non-dimensionnel, point entre les dimensions et à leur intersection, au croisement des chemins."
"Pas de fins sur ce circuit, ni d'accouplements, mais une succession continue de passages..."
Paul Klee (traduction par Pierre-Henri Gonthier)
"... the basho vis-à-vis nothing is a region with infinite depth."
"... beneath the surface layer is concelaed the dark cogito... A meditative sitting opens our eyes to this... the primordial passivity of life found in the substratum's basal restriction... the destiny of human nature thrown into the world..."
Yasuo Yuasa

"O meu dissídio com Deus produziu-se no dia 13 de setembro de 1912. Foi aí que, tendo regressado da Europa e descido no Rio, vim pelo trem noturno e desembarquei na Estação da Luz por uma manhã molhada de primavera precoce. A maneira por que um grupo de amigos e familiares me rodeou e abraçou me fez preceber que alguma coisa muito grave se tinha passado. De fato, minha mãe não existia mais. Tinha falecido apenas alguns dias antes. Seis dias. Sem poder ao menos esperar o meu regresso... Estava eu, de novo, diante do velho oratório doméstico, com suas fulgurações de prata e os cabelos soltos dum Cristo de paixão, entre imagens de santos de todos os tamanhos. E sentia, desta vez, muito bem, que aquilo era uma célula vazia de significação e muito pouco digna de respeito. Por trás do oratório não existia nada. A parede, em vez do céu prometido. Nenhuma ligação metafísica unia aquelas figurações baratas a um império supraterreno. Nada, nada, nada. Não tinha chegado eu ainda às convicções que hoje mantenho, como conquista espiritual da Antropofagia, de que Deus existe como o adversário do homem, idéia que encontrei formulada em dois escritores que considero ambos teólogos — Kierkegaard e Proudhon. São dois estudiosos da adversidade metafísica que se avizinham da formulação do conceito do primitivo sobre Deus, que é afinal o tabu, o limite, o contra, que as religiões todas tentam aplacar com seus ritos e sacrifícios."
Oswald de Andrade (Homem sem Profissão)

"Mando para você uma foto de um trabalho que chamo de Baba antropofágica. Uma pessoa se deita no chão. Em volta os jovens que estão ajoelhados põem na boca um carretel de linha de várias cores. Começam a tirar com a mão a linha que cai sobre a deitada até esvaziar o carretel. A linha sai plena de saliva e as pessoas que tiram a linha começam por sentir simplesmente que estão tirando um fio, mas em seguida vem a percepção de que estão tirando o próprio ventre para fora. É a fantasmática do corpo, aliás, o que me interessa, e não o corpo em si."
Lygia Clark (carta a Hélio Oiticica)
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"Fit lupus et ueteris seruat vestigia formae..."
"Car une femme, immanquablement fidèle à l'empreinte de sa mère..." 
"La fin est aussi nébuleuse que celle d'un accouchement: le bébé sort du feu prêt à assouvir tous les appétits, alors que la maman disparaît derrière un sourire las, prête à affronter toutes les déceptions."
Julia Kristeva, Le vieil homme et les loups

"Ce que nous désignons par le 'feminin', loin d'être une essence originaire, s'éclairera comme un 'autre' sans nom, auquel s'affronte l'expérience subjective lorsqu'elle ne s'arrête pas à l'apparence de son identité."
"... la puissance abjecte ou démoniaque du féminin. Celle-ci, du fait de son pouvoir précisément, n'arrive pas à se différencier comme autre, mais menace le propre qui sous-tend toute organisation faite d'exclusions et de mises en ordre."
Julia Kristeva, Pouvoirs de l'horreur

"Melanie voit alors beaucoup Klara Vágó, avec laquelle elle aurait eu une 'aventure'..."
"... un quasi-objet, le sein, en ce sens que ce moi fragile n'est pas vraiment séparé comme le sera un 'sujet' d'un 'objet', mais ne cesse de le prendre au-dedans et de l'expulser au-dehors, en se construisant-vidant soi-même tout en construisant-vidant l'autre... aussi d'autres parties du corps maternel (voix, visage, mains, giron), tout une presence corporelle... l'ensemble flou d'un contenant... des fragments du bébé lui-même (bouche, anus, les produits de son corps), morceaux bons ou mauvais du sein son placés dans le moi ou expulsés de lui dans le sein... les urines et les fèces..."
J. Kristeva, Le génie féminin 2

"The child's identity is to be found in that look, just as its terror of identity's loss is prefigured in its withdrawal... For the imaginary relation, transcending the square by crossing it diagonally with a channel of visibility, reflecting the subject back to himself in the smooth surface of its mirror, plunges the other half of the graph into darkness..."
"So it was not [Picasso] who had violated her silence, provoking the extremes of this reaction. It had been the click that had troubled her, as it created its own rhythm within the immobility of the pictorial image..."
Rosalind Krauss, The Optical Unconscious

See also:

Tuesday, October 17, 2017

liste des déclencheurs musicaux (under construction) avec des annotations

Wall Art


















Fragment of Chopin Score Manuscript, photograph by A/Z available with other photographs and drawings at Fine Art America;  
A/Z Montage/Digital Blackboard with Joseph Beuys' Plight (original picture taken at the Pompidou), James Lee Byars (in spirit), Viola Michel, Lilith & Anselm Kiefer (Liliths Töchter, 1998).
"Suprematist compositions of elements and feeling of metallic rustling with strongly dynamic tendency. Tone of a pale metallic copper scale." 
Kazimir Malevich (image from The World as Objectlessness, Hatje Cantz 2014); 
Manfred Meditation (composition by Nietzsched, abhorred by von Bülow; Tena Marique Duo/Youtube); 
Anton Webern's Fünf Lieder Op 4; 
Pina Napolitano/ Schoenberg's Fünf Klavierstücke Op 23 ("Sehr rasch"); 
Pina Napolitano/ Schoenberg's Fünf Klavierstücke Op 23 ("Waltzer"); 
Glenn Gould/ Alban Berg's Piano Sonata; 
Glenn Gould/ Anton Webern's Variations Op 27; 
T. W. Adorno's Studies for String Quartet; 
Quartet Lîla/ Olivier Messiaen's Fouillis d'arcs-en-ciel; 
Henri Pousseur's Jeu de Miroirs de Votre Faust; 
Andaloro/ Ligeti's Arc-en-ciel; 
Glenn Gloud/ Scriabin's Deux Morceaux Op 57; 
Hans-Joaquim Köellreutter's Musica 1941 (Beatriz Román interpretation, Instituto Piano Brasileiro/Youtube); 
Cláudio Santoro: 12 prelúdios (1957-58/Youtube) [video not available anymore at Youtube]; 
Lassus's Prophetiae Sibyllarum (Youtube); 
Toshi Ichiyanagi's In Memory of John Cage (1992, Youtube); 
Milda Vitartaite plays Mario Davidovsky Synchronisms N 6 (for piano and electronic sound, Youtube);
Pleif Mapa III (by A/Z) [they arbitrarily deleted this video from Youtube, but you can still watch it here in Vimeo: https://vimeo.com/304374596] (for my videos, see here); 
Pleif Mapa I (by A/Z) [I took this video out of Youtube, because I wanted to change it];

"Sounds are just vibrations, isn't that true? 
Part of a vast range of vibrations including radio waves, light, cosmic rays, isn't that true?
Why didn't I mention that before?
Doesn't that stir the imagination?
Shall we praise God from Whom all blessings flow? 
Is a sound a blessing?
I repeat, is a sound a blessing?
I repeat, would you like to hear Quantitäten by Bo Nilsson whether it's performed for the first time or not?"
John Cage (Composition as a Process)
"Years ago I asked myself
'Why do I write music?'
An Indian musician told me
traditional answer in India was
'To sober the mind and thus make
it susceptible to divine influences.'"
"A cough or a baby crying will not
ruin a good piece of modern music."
John Cage (45' for a Speaker)

"... le son est vécu comme ce qui nous relie au monde extérieur et au monde intérieur, nous révélant souvent l'intérieur des objets, des récipients opaques — parmi lesquels le corps humain, pour le médicin formé à l'auscultation. Il y aurait alors un besoin idéologique de ne pas diviser — de garder intouché, à travers la préservation d'un mot unique, ce mythe du son comme une sorte de jardin d'Éden de la sensation ou comme un lieu de passage, un lien entre toutes les dimensions."
Michel Chion (Le Son)

"Why is this so necessary that sounds should be just sounds? There are many ways of saying why. One is this: In order that each sound may become the Buddha. If that is too Oriental an expression, take the Christian Gnostic statement: 'Split the stick and there is Jesus.'"
John Cage (History of Experimental Music in the United States)
"The most amazing noise I ever found was produced by means of a coil of wire attached to the pickup arm of a phonograph and then amplified. It was shocking, really shocking, and thunderous. Half intellectually and half sentimentally, when the war came a-long, I decided to use only quiet sounds."
John Cage (Lecture on Nothing)

"... se réjouir sans cesse à la pensée des prochaines vacances où l'âme pourra s'attabler, nourrir ses nerfs affamés et emplir de sève fraîche ses vaisseaux défaillants... Sur la voie d'en bas soumise à la gravitation terrestre résident les problèmes de l'équilibre statique... rester debout envers et contre toutes les occasions de tomber. Aux voies d'en haut conduit l'aspiration à s'affranchir des liens terrestres pour atteindre, par delà la nage et le vol, à l'essor libre, à la libre mobilité."
Paul Klee (traduction par Pierre-Henri Gonthier)
"Une page symphonique de Vinteuil, connue déjà au piano et qu'on entendait à l'orchestre, comme un rayon de jour d'été que le prisme de la fenêtre décompose avant son entrée dans une salle à manger obscure, dévoilait comme un trésor insoupçonné et multicolore toutes les pierreries des Mille et Une Nuits."
Marcel Proust (le narrateur, La Prisonnière)
"Culte de la sensation multipliée et s'exprimant par la musique. En référer à Liszt."
Baudelaire (Mon coeur mis à nu)

"R. Wagner a fait quelque chose de semblable en musique. Son célèbre leitmotiv tend également à caractériser le héros, non pas seulement au moyen d'accessoires de théâtre, de fards ou d'effets de lumière, mais par un certain motif précis, c'est-à-dire par un procédé purement musical... Les musiciens les plus modernes, comme Debussy, reproduisent des impressions spirituelles qu'ils empruntent souvent à la nature et transforment en images spirituelles sous une forme purement musicale."
"La musique de Schönberg nous introduit à un Royaume où les émotions musicales  ne sont pas acoustiques mais purement spirituelles. Ici commence 'la musique de l'avenir'"  [plus loin: "La musique russe (Mussorgsky) a exercé une  grande influence sur Debussy. Il n'y a donc rien de surprenant  à ce qu'il ait une certaine parenté avec les jeunes  compositeurs russes, en particulier avec Scriabine"].
"Depuis  des siècles, et à quelques exceptions et déviations près, la musique est l'art qui utilise ses moyens, non pour représenter les phénomènes de la nature, mais pour exprimer la vie spirituelle de l'artiste et créer une vie propre des sons musicaux. Un artiste qui ne voit pas, pour lui-même, un but dans l'imitation, même artistique, des phénomènes naturels et qui est créateur, et veut et doit exprimer son monde intérieur, voit avec envie avec quel naturel et quelle facilité ces buts sont atteints dans l'art le plus immatériel à l'heure actuelle: la musique. Il est compréhensible qu'il se tourne vers elle et cherche à trouver dans son art les mêmes moyens. De là découle la recherche actuelle de la peinture dans le domaine du rythme, des mathématiques  et des constructions abstraites, la valeur que l'on accorde maintenant à la répétition du ton coloré, la manière dont la peiture est mise en mouvement, etc."
Kandinsky (Du Spirituel dans l'art, traduction Nicole Debrand et Bernadette du Crest)

"The five great elements of sentient beings and nonsentient beings [earth, water, fire, wind and space] are endowed with the powers of producing vibrations and sounds, for no sounds are independent of the five great elements; these are the original substance, and the sounds or vibrations are their functions."
Kukai (The Meanings of Sounds, Words, and Reality/Yoshito Hakeda's translation)
"... a mouvement from that which the everyday self understands to be the ground of the Being of beings to the invisible basho grounding that basho vis-à-vis being."
Yasuo Yuasa
"... the sound that issues from the striking of emptiness is an endless and wondrous voice that resounds before and after the fall of the hammer."
Dogen (translation by Norman Waddell and Masao Abe)

"Havia até corredores que avaliavam a carreira de um animal pelo ruído das patas quando corriam, conforme amiudavam ou não, produzindo um rumor contínuo... Assim, muitas vezes deitado a um lado da cancha com o ouvido encostado no chão, havia quem apreciasse, principalmente em tiro curto, se aquele ruído era sustentado uniforme de a saída até a chegada, ou se o animal mermava ou aumentava a carreira."
Luis Araújo Filho (LAF)
"Los había venido oyendo,  espaciados, pensando que eran redobles de tambor, pero ahora estaba seguro que eran explosivos..."
Mario Vargas Llosa (La guerra del fin del mundo)
"Si la musique agit sur les serpents ce n'est pas par les notions spirituelles qu'elle leur apporte, mais parce que les serpents sont longs, qu'ils s'enroulent longuement sur la terre, que leur corps touche à la terre par sa presque totalité; et les vibrations musicales qui se communiquent à la terre l'atteignent comme un massage très subtil et très long..."
A. Artaud (En finir avec les chefs-d'oeuvre)
"... et j'eus l'impression d'avoir devant moi et de contempler l'agitation de fourmis planétaires au compas d'une musique céleste."
A. Artaud (Le rite des rois de l'Atlantide)
"Il faut que les bruits deviennent musique."
Robert Bresson

"Le mourant quittait la chair par l'audition..."
Julia Kristeva, Le vieil homme et les loups
"Mon père mort me fait entendre la musique."
Pierre Klossowski
"... mas no final, não importa se é mausoléu de prata, ouro, bronze ou mármore, ou sé é cova pública, como Wolfgang Amadeus Mozart... num saco, dentro dum bueiro. E o que ele tem? Um legado... dois séculos e meio de riqueza cósmica... Já do proprietário dos iates..." 
Júpiter Maçã, A Odisséia
"Vos viste alguna vez el cuerpo irradiador de sonidos? ... decime, infeliz, si vivís en una casa tantos años como los que fuiste a la escuela e al liceo, y sentís, como acá, chirriar de puertas, ruido de cadenas, maldiciones, gritos, y nunca viste ni minga, qué pensás?"
Mauricio Rosencof
"... des Tristan. Dies Werkist durchaus das non plus ultra Wagner's... Ich nehme es als Glück ersten Rangs, zur rechten Zeit gelebt und gerade unter Deutschen gelebt zu haben, um reif für dies Werk zu sein: so weit geht bei mir die Neugierde des Psychologen. Die Welt ist arm für Den, der niemals krank genug für diese 'Wollust der Hölle' gewesen ist."
Nietzsche

"... o físico dinamarquês Niels Bhor introduziu a noção da complementaridade, ou seja, duas descrições complementares da mesma Realidade. Essa noção de complementaridade tornou-se parte essencial da maneira pela qual cientistas e artistas pensam hoje acerca da natureza. Niels Bohr, condecorado em reconhecimento pelas suas grandes contribuições à ciência e à vida cultural dinamarquesa, escolheu, para seu escudo de armas, a inscrição 'Contraria sunt complementa'... Desse modo, a obra musical, assim como toda a obra-de-arte, deveria ser considerada como manifestação do mundo simbólico de um mito. Porque, como este, não é subjetiva, nem objetiva, mas sim, onijetiva. Manifestar-se misticamente significa revelar, simbolizar o real e o irreal, o dito e o não-dito, som e silêncio. É tornar audível o que a alma sentee vive. É afirmação e depoimento. É negação e afirmação, aceitação e recusa. Eu diria: o mito, neste sentido deve ser considerado a obra-de- arte mais perfeita, mais íntegra e mais completa que o homem jamais criou. Porque transcende o dualismo e integra os opostos em um todo. Porque funde iminência e transcendência... silêncio, não se deve confundir com a pausa tradicional. Esta, também ausência de som, no entanto, é parte objetiva da estrutura formal, articulando e separando frases e motivos. Não é meio de expressão feito o silêncio, o qual tem de ser vivido subjetivamente e interpretado como tal, causando expectativa e tensão... o som não pode ser separado do espaço, aparentemente vazio, em que ele ocorre. Da mesma forma como as partículas não podem ser separadas do espaço que as circunda. É o som – não podendo ser considerado como entidade isolada – que determina e define a estrutura do espaço do silêncio. Porque tem que ser compreendido como condensação parcial de um campo sonoro contínuo e onipresente, presente por toda a parte. O silêncio deve ser considerado como fundo gerador de todos os sons e suas interações mútuas. O aparecimento e desaparecimento de sons, por seu lado, deve ser compreendido como formas de movimento desse mesmo campo e, se quiserem, de um holomovimento... A unificação dos conceitos, aparentemente opostos, som e silêncio, na estética relativista do impreciso e paradoxal, destrói, forçosamente, a noção tradicional de signos musicais isolados. Os signos sonoros da partitura tradicional, através da produção musical dos últimos trinta anos, dissolveram-se, cada vez mais, em padrões de probabilidade... A ênfase, no entanto, na mudança de função dos signos sonoros na partitura moderna e na transformação dos mesmos em relações e relacionamentos sem dúvida, terá implicações de longo alcance na estética e arte musical como um todo; pois, representa uma reviravolta muito maior na sintaxe da linguagem musical do que a causada por dodecafonismo ou serialismo, por exemplo, princípios estes estruturais, que deixaram intactos os fundamentos estéticos da composição musical."
Koellreutter (A Imagem do Mundo na Estética do Nosso Século)

"For both Riemann and Helmholtz, the problem of hearing was a significant part of their larger enterprises, an intermediate zone in which waves, geometry, and sensation met... questions of hearing must have seemed very important to Riemann if he set them next to or even ahead of his other ambitious projects in electrodynamics, gravitation, and number theory... we can read Riemann’s 'Mechanism of the Ear' as a nascent essay 'On the Hypotheses that Lie at the Foundations of Hearing,' comparable to his earlier work on the hypotheses he considered fundamental to geometry... Though in his 1854 lecture Riemann held that 'color and the position of sensible objects are perhaps the only simple concepts whose instances form a multiply extended manifold,' by 1866 he seems poised to treat hearing as a further example of such a manifold... Where Helmholtz took evidence from hearing and seeing into his geometric investigations, Riemann traversed an opposite course, applying geometric insights to model the functioning of the ear."
"Riemann is clearly concerned that science at the time—based on Newtonian notions of causality—was heading in the wrong direction. He draws a distinction between Newton’s approach, which he characterizes as 'synthetic', and that of the philosopher Herbart, which he calls 'analytic'. Riemann had in fact studied Herbart’s work closely, and one can say they both subscribed to a similar idealistic outlook, with roots reaching back to Plato... Another idealist who was part of Riemann’s philosophical circle, Gustav Fechner was deeply concerned with trying to understand how all physical stimuli—whether vibration amplitude, sound, light, smell, pressure, or anything else—were transformed into percepts in the mind... Riemann infers that sensations need to be considered in terms of quantitative relations or measurements (that is, making use of Fechner’s law) and that we can learn about per- ception by studying the manifold structure of the higher-dimensional spaces described by these quantities... He lists four physical processes, at the top of the list being 'The absorption of elastic fluids by liquids' and the last of which is 'Galvanic currents,' which no doubt means nerve firings... Put simply, hearing involves the mind reaching out through the ear to per- ceive vibrations in the external world."
Andrew Bell, Bryn Davies, & Habib Ammari (Riemann, the Ear and an Atom of Consciousness)

"These views were confirmed by the behaviour of physical phenomena known to classical science; hence the uniqueness of time and the absolute character of simultaneity had been accepted. In other words, the simultaneity and the order of succession of two spatially separated events were assumed to constitute facts transcending our choice of a system of reference... But the point we wish to stress is that if perchance experiment were ever to suggest that simultaneity was not absolute, no rational argument could be advanced to prove the absurdity of this opinion. As we shall see, Einstein's interpretation of certain refined electromagnetic experiments consists precisely in recognising the relativity of simultaneity and the ambiguity of duration... As is the case with space, mathematical time is an amorphous continuum presenting no definite metrics. The concept of congruence or of the equality of successive durations has no precise meaning; and a definition of time-congruence can be obtained only after we have imposed some conventional measuring standard on an indifferent duration... What is commonly called the sense of rhythm, which manifests itself in the primitive music of drum beats and in the dances of savages, is nothing but a consequence of this intuitive understanding of time-congruence."
A. D'abro (The Evolution of Scientific Thought)
"A friend of mine, in consequence of a fever, totally lost his sense of hear- ing. He had been very fond of music before his calamity; and, strange to say, even afterwards would love to stand by the piano when a good performer played. 'So then,' I said to him, 'after all you can hear a little.' 'Absolutely not at all,' he replied; 'but I can feel the music all over my body.' 'Why,' I exclaimed, 'how is it possible for a new sense to be developed in a few months!' 'It is not a new sense,' he answered. 'Now that my hearing is gone I can recognize that I always possessed this mode of consciousness, which I formerly, with other people, mistook for hearing.' In the same manner, when the carnal consciousness passes away in death, we shall at once perceive that we have had all along a lively spiritual consciousness which we have been con- fusing with something different."
Peirce (Immortality in the Light of Synechism)

"Writing a novel, Joyce said, was like composing music, with the same elements involved. But how can chords or motifs be incorporated in writing? Joyce answered his own question, 'A man might eat kidneys in one chapter, suffer from a kidney disease in another, and one of his friends could be kicked in the kidney in another chapter.' As a matter of fact, he announced, his book was to be among other things the epic of the human body. One organ or another would dominate each episode. To override the dichotomy of body and soul, to reveal their fundamental unity, he was displaying the mind's imagery under the influence of particular physical functions..."
Richard Ellmann
"Unità pseudocombinatorie. Sono elementi de un sistema expressivo non correlati a un contenuto... di tale genere sarebbero i giochi, le struture musicali, i sistemi formalizzati, le combinazioni di elementi non figurativi in pittura. Ma è proprio dei sistemi 'monoplanari' fare apparire ogni antecedente come segno prognostico del conseguente, e Jakobson [Coup d'oeil sur le développement de la sémiotique] ha sottolineato a piú riprese questo aspetto delle composizioni musicali e della pittura astratta, continuo rinvio della parte al tutto e di una parte a un'altra parte, stimolazione di attese, fenomeno di 'significanza' diffuso lungo tutta l'estensione di una testura cronologica o spaziale."
Umberto Eco, Semiotica e filosofia del linguaggio

"The glass houses of Mies van der Rohe... There is no such thing as an empty space or an empty time... try as we may to make a silence, we cannot. For certain engineering purposes, it is desirable to have as silent a situation as possible. Such a room is called an anechoic chamber, its six walls made of special material, a room without echoes. I entered one at Harvard University several years ago and heard two sounds, one high and one low. When I described them to the engineer in charge, he informed me that the high one was my nervous system in operation, the low one my blood in circulation. Until I die there will be sounds. And they will continue following my death. One need not fear about the future of music... But this fearlessness only follows if, at the parting of the ways, where it is realized that sounds occur whether intended or not, one turns in the direction of those he does not intend. This turning is psychological and seems at first to be a giving up of everything that belongs to humanity, for a musician, the giving up of music. This psychological turning leads to the world of nature, where, gradually or suddenly, one sees that humanity and nature, not separate, are in this world together; that nothing was lost when everything was given away. In fact, everything is gained."
John Cage (Experimental Music)

"Nous pouvons affirmer que l’évolution de l’histoire de la recherche contrapuntique européenne a convergé vers une solution qui est mathématiquement caractérisée par concentration et séparation maximales. C’est là un résultat remarquable puisqu’il donne au fil historique un arrière-plan systématique: la géométrie du tore des tierces et son application à la géométrie des dichotomies fortes. En revenant aux réflexions autour d’une logique hors-temps en musique, il apparaît que la structure géométrique du tore des tierces force un développement historique vers une structure contrapuntique optimale d’une façon tout à fait parallèle aux lois de la physique qui forcent le développement historique de la chimie du carbone et par cela, implicitement, la biologie et finalement, dans un laps de temps très court, l’apparition soudaine de l’humanité."
Guerino Mazzola (La vérité du beau dans la musique) 

"It is music which he sees as the most direct representation or expression of the Will, and simultaneously as the art form most immediately capable of freeing us from the force of the Will. But more than this, music constitutes for him a kind of philosophising without concepts, and furthermore he claims, if one were to succeed in conceptualizing music accurately, then one would have succeeded in conceptualising and explaining the world, as music is its essence, its in-itself..." 
"... what is being represented is not the outside world of nature, which Schopenhauer sees as Schein, mere illusion or appearance. Instead it is inner nature, the force of the Will itself, as a kind of life force, which, through the transfiguring power of music and the detached self-reflectivity which results, gives immediate access to the world of ideas behind the world of appeannce. This is a kind of pure knowledge, chancterised by aesthetic disinterestedness and detached from the blind force of the Will, a form of 'cognition without concepts'. But, Dahlhaus suggests,'this esthetic rescue of ideas is precarious and threatened: the realm of esthetics is a realm of appearance and even ideas sink to this realm if they are entrusted entirely to esthetic contemplation.' This extreme version of the theory of expression as immediate manifestation of the inner world of feelings lead, in fact, to the contemplation of pure form. That is to say, it leads paradoxically back to formalism and the theory of form. Thus we arrive at a point where the idea of pure expression, as put forward by Schopenhauer, becomes what is sometimes mistakenly regarded as its opposite: formalism."
Max Paddison (Music as ideal)
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"[L'atonalisme] fonctionne comme déclencheur pour la libération d'un refoulé psychique dont on ne remarquera pas sans raison qu'elle se produit à Vienne au début de ce siècle, mais il fournit aussi les outils pour la découverte de toutes nouvelles régions sonores et sensibles, expressives et descriptives, et ouvre la voie à une exploration et une expérimentation inouïe de notre connaissance du monde et de nous-mêmes, individus et collectivités. C'est surtout Webern et la musique post-wébernienne qui vont poursuivre cette avancée, mais, à partir de leurs mises à jour, toute la musique moderne même stylistiquement 'pré-schoenbergienne' apparaît sous une lumière nouvelle..."
"Le Siècle des Lumières, s'il est celui de l'espoir en une meilleure Harmonie du monde, est aussi bien celui où se développe une série de scepticismes radicaux: pratiquement toutes les grandes oeuvres de la musique tonale se définissant par les tensions et contradictions qu'elles entretiennent avec le système 'linguistique' dans lequel elles s'expriment."  
"Techniquement parlant, il s'agit de substituer aux constellations quasi squelettiques — mais combien 'intensifiantes'! — de la texture wéberienne... une circulation tout aussi permanente, mais dont les éléments, plus fluides, sont des groupements de nature plus ou mons traditionnelle, opposés les uns aux autres, et donc mis en rapport les uns avec les autres, soit par leur 'région' quasi tonale, soit précisément par leur degré de familiarité ou d'étrangeté 'modale', au sens élargi et généralisé du mot, le tout au sein d'une pratique de la continuité linéaire relativement homogène..."
"... et l'esthétique musicale de Mozart, où se marient une sorte de lumineux libertinage et la plus nocturne des nostalgies métaphysiques..." 
- Henri Pousseur, Musiques Croisées

"No mundo micro-físico as partículas parecem ter a escolha de vários modos de reagir. O efeito da atuação do elétron sobre o átomo é imprevisível, livre pela natureza. Só depois de muitas experiências, por meio de estatísticas, observam-se certos fenômenos que permitem uma previsão média... Arracionalidade é diferente de irracionalidade. Por irracionalidade entende-se a ação sem uso consciente da razão. Arracionalidade consiste na transcendência do pensamento racional, ou seja, a integração do pensamento tradicional num novo pensar mais globalizante." 
"Na música o ponto de fuga [perspectiva] é o centro tonal."
"... iteração... dualismo... A unidade formal (síntese) é obtida por um processo (desenvolvimento)... A sonata é um exemplo de forma discursiva constituída por dois temas contrastantes (elementos opostos)..."
- H. J. Koellreutter, Introdução à Estética e à Composição Musical Contemporânea

"... en faisant systématiquement appel à tout ce qui peut provoquer une désorientation auditive... l'abolition de l'opposition [traditionelle] entre le vertical et l'horizontal, l'usage prioritaire de la dissonance et des intervalles disjoints [septième et neuvième]... la dispersion d'un petit nombre de sons au sein d'un ambitus très étendu, les brusques oppositions de tessiture et de registre... modes d'attaque..."
- (sur Webern) Francis Bayer, De Schönberg à Cage

A very interesting proposition:
- "What can music tell us about the nature of the mind? A Platonic model," Brian D. Josephson & Tethys Carpenter (text from a conference proceedings);

***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: 
And also:

Friday, December 30, 2016

Bellocchio &/or Eye of (Dreadful) Beauty

Wall Art












Ipupiara with Cactus, mixed media drawing by A/Z available with other drawings and photographs at Fine Art America; 
Scenes from Fai bei Sogni (Marco Bellocchio, 2016), and Belphégor ou le Fantôme du Louvre (Claude Barma, 1965);
Caravaggio, Madonna Palafrenieri (1606) [image taken from the Internet];
Egon Schiele, Madonna (1908), Dead Mother (1910) [images taken from Simon Wilson's Egon Schiele (London, Phaidon, 1980)];
A Monster Calls (Juan Antonio Bayona, 2016);
El Orfanato (Juan Antonio Bayona, 2007);
Edgard Varèse's Nocturnal (Youtube); 
Giacinto Scelsi's Okanagon (1968, Youtube);  
Giacinto Scelsi's Four illustrations: IV, Krishna-Avatara; 
Giacinto Scelsi's Come un cri traverse un cerveau (Youtube); 
Galina Ustvolskaya - Sonata No. 6 (Alexei Lubimov, 1988, Youtube);

"La force créatrice échappe à toute dénomination... capable de nous ébranler jusqu'au tréfonds... Elle est probablement matière elle-même, une forme de matière qui n'est pas perceptible aux mêmes sens que les autres espèces connues de matière..." 
Paul Klee (traduction par Pierre-Henri Gonthier)
"On comprend donc que le théâtre, dans la mesure même où il demeure enfermé dans son langage, où il reste en corrélation avec lui, doit rompre avec l'actualité, que son objet n'est pas de résoudre des conflits sociaux ou psychologiques, de servir de champ de bataille à des passions morales, mais d'exprimer objectivement des vérités secrètes, de faire venir au jour par des gestes actifs cette part de vérité enfouie sous les formes dans leurs rencontres avec le Devenir."
A. Artaud ((Théâtre oriental et théâtre occidental)

"... l'amour qui nous lia, ma mère et moi, etait de l'autre monde..."
Pierre Angelici
"Pour autant, tout ce qui concerne Hans reste dans une osbcurité troublante..."
Julia Kristeva, Le génie féminin 2
“Do you know why the Devil is afraid of me? Because I’m uglier than he is.”
"Wer stellt einen Deutschen neben Leopardi z.B.?"
Nietzsche (Nachgelassene Fragmente Frühling-Sommer 1875)
"Who said love will save kids?"
Tommy Cash

"La nomination à laquelle se réfère Françoise Dolto, quand elle dit comment le langage humanise les sons dans lesquels vit l'enfant et qui peuvent l'inquiéter, est un autre problème. Elle consiste non seulement à identifier et à nommer la cause (ce que tu entends, c'est l'aspirateur, c'est la chasse d'eau), mais aussi à permettre de comprendre et de lever l'inquiétude que ces sons peuvent susciter. Nommer les sons en ce sens, les 'mamaïser', comme dit Françoise Dolto, n'est donc bien sûr pas les décrire en eux-mêmes. C'est à cette 'humanisation' des bruits par la parole que fait allusion le poète Rilke, lorsque dans sa Troisième élégie, il s'adresse à une mère, et fait l'éloge de la façon dont elle a rendu pour son enfant le monde 'amical', et la nuit moins inquiétant."
Michel Chion (Le Son)
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Passages from Schelling's Die Weltalter, translated by Frederick de Wolfe Bolman Jr:
"… philosophy, which would explain everything… had to accept as explanation precisely this incomprehensibility, this active opposition toward all thought, this dynamic darkness, this positive inclination to obscurity. But it would have preferred to do away altogether with the inconvenient, to dissolve the unintelligible entirely into reason or (like Leibniz) into representation."
"Since there thus is an incessant urge ["Drang"] to be, and that primal essence nevertheless cannot be, it remains in a state of perpetual desire ["Begierde"], as an incessant seeking, an eternal, never quieted passion ["Sucht"] to be. Hence the old expression is valid: Nature seeks itself and does not find itself (quaerit se natura, non invenit)."
"Since that first potency therefore unites in itself opposing powers, of which the one always longs for the outside, the other presses back toward the inside, hence its life is also a life of vexation ["Widerwartigkeit"] and dread ["Angst"], since it does not know which way to turn and so falls into an involuntary, revolving motion."
"The past a weighty concept, known to all and yet understood by few… Only the man who has the power to tear himself loose from himself (from what is subordinate in his nature), is capable of creating a past for himself. This same man alone enjoys a true present..."
"True eternity is not that which excludes all time, but that which contains time (eternal time) subjected to itself. Real eternity is the overcoming of time, as the significant Hebrew language expresses victory (which it places among the first attributes of God) and eternity by one word (naezach)."
"The power of understanding is exhibited not when madness is absent but when it is mastered."
"... then it becomes clear what a terrible thing, about which we had no perception during life, was suppressed by this magic spell of life. And what was but now the object of reverence or love, becomes an object of fear and the most terrible horror. When the abysses of the human heart open up in evil, and those terrible thoughts come forth which should be eternally buried in night and darkness, only then do we know what lies in man with reference to possibility, and how his nature in itself or left to itself is really constituted."
"Everything depends upon comprehending that unity in God which is at the same time duality, or, conversely, the duality which is at the same time unity…. But the concept of that unity, which, because it is a voluntary one, just on that account encloses a duality, is completely foreign to our era."
"... this point of transfiguration often lies almost sensuously perceptible in the most corporeal things."
"Here, too, the creative power can ascend only from the lower to the higher, until it gradually has raised up the very innermost and most hidden power of darkness from the depths. Such [powers] are then the purest, keenest, and most godlike spirits."
"All that comes to be can only do so in discontent; and as dread is the basic feeling of each living creature, so is everything that lives conceived and born only in violent conflict. Who could believe that nature could have created, in rest and peace, or otherwise than in the most violent antagonism of powers, so many kinds of strange products in this terrible external confusion and chaotic inner mixture, where it is hard to find anything just by itself, but all are interpenetrated and ingrown with other things? Are not most products of inorganic nature visibly children of dread, of terror, even of despair?"
"... the nature existing in this conflict struggles as in heavy dreams which, because they are from [mere] being, arise from the past. With growing conflict, those nocturnal births soon pass like wild phantasies through that nature's interior, and in them for the first time it experiences all the horrors of its own nature. The predominant feeling that expresses the conflict of tendencies in being, when there is no knowing which way to turn, is that of dread [Angst]."
"[There is no greatness] without a continual solicitation to madness which, while it must be overcome, must never be completely lacking."
"... a world which is nothing but an image, indeed, an image of an image, a nought of nought, a shadow of a shadow; men who are also only images, only dreams of shadows..."
************************************************************

Passages from Heidegger's Schellings Abhandlung über das Wesen der menschlichen Freiheit, translated by Joan Stambaugh:
"Being in general, must be more primordially conceived in order for evil to be comprehensible in its own being and thus introduced into the system, thus making a system of freedom possible…"
"As a lack, it is true that a lack is a not-being-present. Nevertheless, this absence is not nothing. The blind man who has lost his sight will argue vigorously against the statement that blindness is nothing existent and nothing depressing and nothing burdensome. Thus, nothingness is not nugatory; but, rather, something tremendous, the most tremendous element in the nature of Being."
"Nature now does not yet mean what we alone experience immediately as nature, but signifies a metaphysical determination of beings in general and means what belongs to beings as their foundation, but is that which does not really enter the being of the self. Rather, it always remains what is distinguished from the self."
"God's becoming cannot be serialized in individual segments in the succession of ordinary time. Rather, in this becoming every thing is simultaneous."
"In the concept of manence (manere), of remaining, the idea o f mere objective presence, of rigid presence, is contained if no other determination is added to transform it. Immanence thus leads to the idea of things being lifelessly contained in God, just as the skirt hangs in the closet. Rather, the only concept appropriate to the being of things is that of becoming."
"... the not-yet remains. There remains in God the eternal past of himself in his ground. The afterwards and soon are to be unders tood here in an eternal sense. The whole boldness of Schelling's thinking comes into play here. But it is not the vacuous play of thoughts of a manic hermit, it is only the continuation of an attitude of thinking which begins with Meister Eckhart and is uniquely developed in Jacob Boehme."
"This primal longing moves in anticipation like a surging, billowing sea, similar to the matter of Plato, following some dark, uncertain law, incapable in i tself of forming anything that can endure."
"This interpretation of thinghood, however, is also a presupposition for correctly understanding what Schelling is trying to say in the statement that the being of things is a becoming. He does not mean that platitude that all things are continuously changing. Nor does he mean that external ascertainment that there is nowhere at all in the world a state of rest and things really do not have being."
"But the (real) Word, pronounced, exists only in the unity of light and darkness..."
"We find such prefigurations in nature: the strange and chance element of organic formations and deformations, what incites horror, the fact that everything alive is approaching dissolution. Here something appears which has been driven out into selfish exaggeration and is at the same time impotent and repulsive."
"A golden mountain is possible, but this kind of possibility has no real being-possible in the sense that it inclines forward to the making possible of the possible and thus is already on the way to realization. Where evil is possible, it is also already operative in the sense of a throroughgoing attraction of the ground in all beings."
"And even in the terror of evil an essential revelation occurs. For in its craving for self-consumption, the self-craving of malice mirrors that original ground in God, before all existence as it is for i tself completely s triving back into itself, and this is the terrible in God."See also:

***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);

And also: