Inspirational by The Smog
By loving the unlovable
It's time to start changing the unchangeable
By living the unliveable"
https://www.youtube.com/watch?v=YAbHdVKlKTY
Cuff song
By loving the unlovable
It's time to start changing the unchangeable
By living the unliveable"
https://www.youtube.com/watch?v=YAbHdVKlKTY
cuff in dance (Une courte histoire de la folie,Isabelle Hayeur)
Description
http://www.ledevoir.com/culture/cinema/435488/festival-international-du-film-sur-l-art-folie-montre-toi
Through the lens of modern dance, the scenes in A Brief History of Madness guide us through the history of how mental illness has been treated in Quebec from the end of the 19th Century to the present. In evocative spaces, solitude takes on various guises, from the whiteness of mental institutions to the gaze of a woman mesmerized by a traffic light, or the depths of a teenager’s bedroom. Gestural language expresses a variety of perspectives on a reality that transcends time.
http://www.sfdancefilmfest.org/history-of-madness/
http://www.ledevoir.com/culture/cinema/435488/festival-international-du-film-sur-l-art-folie-montre-toi
see the link: https://vimeo.com/70787149
cuff in dance (Marie Chouinard Les variations Goldberg Body Remix)
Marie Chouinard, OC (born 14 May 1955) is a Canadian dancer, choreographer, and dance company director.
Les variations Goldberg Body Remix
cuff on photo
Paul-Édouard Bourque is a visual artist from New-Brunswick. He uses several materials mostly with drawing and painting. For me, he's «cuffing» the photograph by applying many layers of paint to transform the basic image. So Les Mikeys is an exhibition of a repetition of the same picture, which takes various forms as each one of them has been painted differently.
http://www.umoncton.ca/umcm-ga/lesmikeys
http://www.umoncton.ca/umcm-ga/lesmikeys
The Mikeys, then and now
In the spring of 1978, a few months before his monumental work The Americans celebrated its 20th anniversary of publication, Switzerland-born American photographer Robert Frank travelled to Acadia, and to the halls of Université de Moncton’s Visual Arts Department. He was flanked by his friend Francis Coutellier, professor of painting and screen printing, who had invited him to present to the students select pieces of his filmography, including Pull My Daisy and Cocksucker Blues. Their afternoon visit through the department’s spaces led them to the studios, one of them being occupied by students and future Acadian artists Jacques Arseneault and Paul Édouard Bourque. When Robert Frank spotted a pile of screen prints daubed with paint, he turned to Bourque, their creator, and said: “I like your paintings, they’re like the weather, always changing.” No one knew it at the time but these works were the first of a long series that would later become known as the Mikeys.
Initially an extracurricular project, the series began in early spring 1977, while the artist was a third-year student. Searching for a way to counter the multiplicity of images through the ritual act of painting, Bourque had pored through magazines to find an image that could be easily enlarged and transferred onto a silk-screen. Struck by the paradox of a child playing the role of a violence-prone adult, he was drawn to a publicity shot for the musical Bugsy Malone (1976), featuring a young Scott Baio in mafioso attire. Over the next few days he printed an initial run of a hundred or so screen prints on a variety of supports, some of which became the first works of the series, and were among those viewed by Frank a year later. Despite their extracurricular status, these works were first shown in the 1978 graduating student exhibition among Bourque’s other student projects.
The series was without an official name for a few years, being first dubbed by the artist’s entourage as the “character with the hat”. Bourque only chose its definitive appellation in 1980, following the suggestion of Patrick Condon Laurette, then assistant curator at the Art Gallery of Nova Scotia. At the time, Laurette was on the lookout for artists to show in the first major retrospective exhibition of Acadian artists, Acadia Nova, and the “character with the hat” was to take part. The name Mikey was adopted from a comic strip by French cartoonist Mœbius in which an alien intellectual called Mikey (spelled Miké in the French version) is forced to work as a slave when he would rather read books. In this mutant character, Bourque perceived a pertinent analogy to himself as the boss and the Mikeys as his submissive workers, whose mutated surface concealed a complex but intelligible universe. Thus, the series as we know it today was immortalized.
Following Acadia Nova, the series remained in production until early 1984, when a new series, the Cowgirls, interrupted it abruptly. One can spot the exact moment the transition occurred, in the Mikeys sporting the same blue screen print that served as basis for the Cowgirls. Over the next thirty years, Bourque sporadically addressed the series, producing new Mikeys on demand or as part of other projects. Despite its presence in exhibitions throughout the 1980s and being featured in magazines such as Arts Atlantic in 1981 and Vie des Arts in 1984, the series has gained recognition mainly through word of mouth, since most of the works either have never been shown publicly or are part of private collections. Venerated by the young artists who rediscovered it in the 1990s, the series has now become one of the most recognizable in the history of Acadian art. Indeed, when Yvon Gallant painted the artist’s portrait in 1981, he chose to represent him painting a Mikey. A reproduction of a Mikey was muse to writer Gérald Leblanc, inspiring his poem rouge. The Mikeys were even subject to counterfeiting, in 1978, when a series of prints now known as the Fake Mikeys were produced by Denis Richard with the offhand consent of the artist. Outside the bounds of convention, the Mikeys were born and live on.
This retrospective entitled The Mikeys of Paul Édouard Bourque brings together for the first time over sixty Mikeys created by the artist during his 35-year plus career, some of which have never been placed on exhibit. Included are selected variations from the series’ different eras: original screen prints from the 1970s, Cowgirlinterventions from the 1980s, xerographs from the 1990s (see works 50 - 52), as well as more recent compositions. Selected archival documents are also featured in the show: several photographs, one “virgin” screen print from 1977, examples of Denis Richard’s Fake Mikeys, and a slide show illustrating Mikeys that have been lost or destroyed. The exhibition is complemented by critical texts from Mario Doucette and Herménégilde Chiasson included in the publication which was produced with the support of artsnb and Université de Moncton’s Galerie d’art Louise-et-Reuben-Cohen.
I wish to express my gratitude to the many art lovers who have generously lent works from their collections, as well as everyone who has contributed to the development and realization of this project. Thank you!
Rémi Belliveau, artist and curator
mending as a cuff?
I mend as a practice.
Would mending be considered a cuff?
Many people do not know how to make garments and often won't take time to mend a rip. It has become easier to buy new garments than to fix the old ones. Mending creates a connection with the fibres. If you have the opportunity to make your own clothes, you realize how much time, energy and commitment it takes to produce a single piece. You are working against the grain of this "fast-fashion", built-for-the-dump trend promoted by stores like H&M and Forever 21.
I wanted to share an artist creating beautiful works with the use of mending and darning. Her name is Celia Pym.
http://celiapym.com/work/hopes-sweater-1951/
Would mending be considered a cuff?
Many people do not know how to make garments and often won't take time to mend a rip. It has become easier to buy new garments than to fix the old ones. Mending creates a connection with the fibres. If you have the opportunity to make your own clothes, you realize how much time, energy and commitment it takes to produce a single piece. You are working against the grain of this "fast-fashion", built-for-the-dump trend promoted by stores like H&M and Forever 21.
I wanted to share an artist creating beautiful works with the use of mending and darning. Her name is Celia Pym.
http://celiapym.com/work/hopes-sweater-1951/
Is Trump the ornamentation on this cuff?
In response to the question posed by Erin - Is this a cuff?
My proposition about the election is that yes it is a cuff. It is an extreme change in direction that feels like a car door opening in the path of a cyclist. This election result is a cuff but Donald Trump is the ornamentation. His tendency to ornament things with his name/brand. We talked last week about how powerful ornamentation is in architecture. The ornamentation of a cuff can be what attracts you to something - what makes you want to put it on your own body. But the cuff is still doing the same work. If Trump is the ornamentation his team and their agenda are the functional part of the cuff. The act of cuffing they performed over the past few years in congress will not be performed on them as the proceed to enact their own change in direction. It seems to me that now there is a cuff that cannot be cuffed. At least in the context of congress and at least for another two years. How can we cuff this cuff?
My proposition about the election is that yes it is a cuff. It is an extreme change in direction that feels like a car door opening in the path of a cyclist. This election result is a cuff but Donald Trump is the ornamentation. His tendency to ornament things with his name/brand. We talked last week about how powerful ornamentation is in architecture. The ornamentation of a cuff can be what attracts you to something - what makes you want to put it on your own body. But the cuff is still doing the same work. If Trump is the ornamentation his team and their agenda are the functional part of the cuff. The act of cuffing they performed over the past few years in congress will not be performed on them as the proceed to enact their own change in direction. It seems to me that now there is a cuff that cannot be cuffed. At least in the context of congress and at least for another two years. How can we cuff this cuff?
How to create a supple body?
Take a look at those images, try to keep and save the impressions evoked by them and bring it tomorrow. We will try a quick modulation between bodies tomorrow - represented, felt, perceived, touched. The capacity to listen is also the capacity to touch. Touch perhaps is a suppleness that cuffs our bodies, it's a pedagogy of a collective lure.
I'll bring you the sensation of a pelvic bone, a center of weight. Measuring cuffs are a mode of valuating experienced living. This is about finding your body cuff, taking care and creating ways of endure through the variations of form - between representation and sensation. Specul-actions.
Is this a cuff?
I can't think of much to say except that a certain kind of suppleness (in the fight of our lives) is urgent in the face of the kind of fascism we are heading toward (or have been immersed in).
What is a Cuff?
What is a Cuff?
A Change in Direction – where something extra slowly
accumulates
-detritus
(lint, people, gunk in a pipe)
(Where
attention is grabbed)
-collar,
ledge
(Where
movement is redirected)
-a glancing
blow, a bicycle path underneath a bridge, a french curve
How do you reverse engineer a cuff?
-I think we know
how to build a cuff – an architecture that catches – but this is not
necessarily a cuff in and of itself. A cuff is what is left behind, is an
environmental co-composure, the human observing and engaging with the more-than
human. Perhaps building a cuff is an
exercise of subtraction, where
peeling back the layers built up and around a cuff might reveal the product of
the cuff.
The cuff is not an
architecture; it is that which is surrounded by an architecture.
A Cuff is the space between where a vacuum cleaner wants to
go and where it can’t go. It is similar in this way to the infrathin, but it is
not as concerned with perceptibility/imperceptibility.
A Cuff is the moments around
the punctum – but not the punctum itself. It is attention sliding around a
subject, trained but not entrained by it.
A Cuff is a slip, series of microadjustments and slight
change in direction that you fall in to rather than fight. A cuff is an oxbow
in a river – the curve needs to be traced back, may no longer be visible.
A Cuff is a movement-architecture relation.
The French curve:
Ludwig Burmester, a German geometer, invented
the Burmester curve also known as the French curve.
What is a
linguistic French curve? Can a French curve cuff? One of the things that I love about a French curve is that you can see through it - there is no negation involved in capturing a cuff with it (think of the french curve to cuffs as the binoculars are to birding).
Oxbow
The process is which a river flows, snakes so agressively that it eventually breaks through a loop in the river, abandoning it in favour of more direct, less decorative routes. A cuff, here, is a detour that has calved from the main event and begun to event for itself (with some memory).
Finding oxbows can be fun! The process of creating an oxbow over historical maps, by layering one on top of the other.
architectural and other cuffings...
Since we are not having an architectural cuff class next week, I wanted to contribute these experiences of architectural cuffs that I've had over the semester. There is something about architectural cuffs that have helped me with the cuff as a concept and how it might be different from other notions, like pockets.
________________________________________
An architectural cuff occurrs in spaces such as elevators. A turn in perception that brings about an awareness of being temporarily entangled with co-occupants. This shifting takes place for me in the pauses that are passed between people and things. The silence speaks of actions and events that have led each actor and actant to be within this particular catchment. Sharing each others respiration, the scent of coffee and a cheese sandwich, the lingering warmth of someone who has already been repelled from this cuff only to converge in another, or perhaps in a pocket.
A cuff, like a pocket, has an opening and a fold where things converge, but these convergences are without the intention of preservation or safekeeping. Convergences in pockets, through often haphazard, are mostly intentional. Things are placed in pockets. Sometimes things dwell in pockets indefinitely.
Most of the rooms in ones home become architectural pockets where things are set in arrangements, to be held in ever-changing associations. The convergences that take place in pockets remain, more or less, for a purposeful and extended stay. In contrast, the things that fall into a cuff, its lint(ing)s, are temporary and indifferent associations. Clothing cuffs are places where lint forms. In these folds, the loose fibers, dust, hair and crumbs of a textile converge and commingle for a time. Its not as though pockets don’t have lint but that cuffs don't have things placed in them.
Anatomical cuffs are the bellybuttons, armpits and ear canals of the body but a vagina is a pocket. Architectural cuffs, such as elevators, are places where bodies on different trajectories temporarily and incidentally converge, so are public bathrooms. Similarly, sexual cuffs are a temporary arrangement based on conveniences of geography and schedule. They are not for keeps though they take advantage of pockets.
Similar indifferences can be seen in a disciplinary cuff. A slap that is meant to knock sense into one that is possibly too young or naive or dog to get the point, but a purpose is rarely given with a cuff of this kind. The cuff is the point. Its convergence is the lingering affect of bewilderment and confusion rather than guidance, comfort or direction. In its indifference, a cuffing generates convergences of indiscriminate kinds. The convergence of the world being the cuffing of an indifferent universe. Otherwise, the worlds continuous coming into being would be a pocketing.
Groove - proposition for a Sound Cuff
In agreement with Ingold (2015),
lines of sound and music would have no different dimension. Therefore, music would
be nothing but sound. Following this line of thought, it aims to a new
conceptualization of music or of what could be called music. A punctum,
according to Barthes (1980), shows the affect of experience. It’s a detail that
overhelms the reading, an intense mutation of interest. Something has emerged from
experience and now this is not anything whatever anymore. “This something has triggered me, has provoked
a tiny shock, a satori, the passage
of a void” (BARTHES, 1980, p. 49). Therefore, music would be no longer just
sound as anything whatever. It is still sound in its constitution, but there’s
an affective quality that emerges from and through sound compounds – this is
what I would call music. Music is a question of intensity, of feeling, once feeling
is what activates the differential, the more than of experience. Although it is
assumed that Ingold makes a lot of sense, that music in its constitution is sound
and this is what urges, what is being played and this is what is heard and felt, this
is also music. Ingold feels music through him when he plays.
Yet
at the moment when I start to play, the instrument seems to explode. What had
been a recognisable, coherent entity becomes something more like a bundle of
affects, a meeting of bowhair, rosin, metallic strings, wood and fingers,
coupled with resonant air. Bundle them together and sound erupts as through a
fissure. If I continue to play, then the eruption carries on and the sound
keeps flowing. In this exploded view the instrument takes on cosmic dimensions.
It blasts into the infinitude of the auditory atmosphere (INGOLD, 2015, p. 192-193).
Music is the continuity of explosion. Its affective
affirmation. To actually perform the cosmos in its making – activating a kind
of geological event-time. A quality of openness operating on the threshold -
becoming increasingly intensive - showing glimpses of difference itself. According
to Manning (2016a, p. 9), artfulness is “actively engaged in the differential
of experience in the making”. Music, therefore, would be the artful of sound.
It Activates the infrathin of a potencializing force making felt the untimely,
as an art of time. Therefore, for a becoming-music, something must shift the
experience of sound in its ordinary quality. What operates this shift is what
Manning (2016b) calls a cuff. A cuff is a change in direction that opens the relational
field of experience, activating its differential, revealing its more than. It is something that appears in the relation as a disjunctive conjunction, turning to the
outside. A cuff, thus, gives an opportunity for difference - it makes the
difference. So, what kind of cuff would take sound to its more than, to its
artfulness?
This is my starting point to work on how a groove can perform this
cuff-like act. I think music has an infinity of possible cuffs and a groove is
just one of them. A groove is a compound of repeating deviations moved by expressive
timing – which is also called feel. It
operates drags and rushes in-between rhythm structure. According to Ingold
(2015, p. 197), “where sounds vary, it is in how and how far they are pitched
by the force of the explosion in which they are generated”. A groove would
perform a transversality that reaches the edges of sound explosion.
A few examples of music associated with groove:
A few examples of music associated with groove:
References
BARTHES,
Roland. Camera Lucida: Reflections on Photography. New York: Hill & Wang,
1980.
INGOLD,
Tim. The Life of Lines. United Kingdom: Routledge, 2015.
MANNING,
Erin. For a Pragmatics of the Useless, or the Value of the Infrathin. SAGE
Publications, New York, p. 1-19, 2016a. DOI: 10.1177/0090591715625877
_____. Class
- What is a Cuff? Montreal: Concordia University, 2016b.
Exhibition time?
Hello everyone,
Concerning our exhibition, it has been decided that Tuesday the 29th of November is the most convenient day for the majority. Please select the times that you are available on that day by participating in the poll below
http://doodle.com/poll/
Thanks
Concerning our exhibition, it has been decided that Tuesday the 29th of November is the most convenient day for the majority. Please select the times that you are available on that day by participating in the poll below
http://doodle.com/poll/
Thanks
the recording
this is a collage made quite rapidly with the recordings I have, just to show the range of them.
Whatever projects wish to utilize this"library" I suggest we start from scratch though....
https://soundcloud.com/user-269815698/collage_sonoro
propositions for blurring. And can someone post today's skype link
The sound takes a breath before sounding.
Its sounding, then moving the trees and its green blackness, moves me out into night.
Melt brings its green black wetness to mix with the air and its light
Soon to become many colours.
My breath sounds a thick lavender grey upon the cool blue black air.
Will autumn still feel its spring,
And yellow remember its green blackness?
And how is it that we say the trees g o d o r m a n t ?
I s t h a t a l s o f o r t h e g u I t a r ’ s w o o d
w h e n t h e p l a y e r g o e s t o b e d - - -
a n d w h e n t h e p l a y e r d r e a m s h I s s o n g s ?
Some propositions for blurring:
- Tree frog songs for a November forest
- Soundings that vibrate green blackness to the now fading yellow gold.
Act 1: Dusk.
The shore of a small northern pond
The waking of a northern spring.
Acoustic setting:
The pond melt, the bark resonating with tree frogs.
Act 2: Dusk.
The same shore of a small northern pond
The pond sliders upon the water’s surface at summer’s end.
Acoustic setting:
The pond melt, the bark resonating with tree frogs.
Counterpoint and two-ness
The term counterpoint which was mentioned in Erin's note tempted me to google it for more understandings. Counterpoint is in fact a more technical term in music which is the relationship between voices that are harmonically interdependent (polyphony) yet independent in rhythm and contour. It is best described in this short simple video:
So, there are actually two lines of independent harmonies at the same level of quality working with each other to create the third one with more values. This type of combination can seemingly be addressed to other forms of art. For example a ballet of two dancers, or a harmonious montage of a film shots according to its music score, or a composition of line and shape in a painting, or text and image in a poster.
Counterpoints, again, prove that how the matter of two-ness is not only a fundamental method of thinking in art practice, but is also a constitutional philosophical way of our cognitive ideology.
Just think of yin and yang or anima and animus or even day and night!
So, there are actually two lines of independent harmonies at the same level of quality working with each other to create the third one with more values. This type of combination can seemingly be addressed to other forms of art. For example a ballet of two dancers, or a harmonious montage of a film shots according to its music score, or a composition of line and shape in a painting, or text and image in a poster.
Counterpoints, again, prove that how the matter of two-ness is not only a fundamental method of thinking in art practice, but is also a constitutional philosophical way of our cognitive ideology.
Just think of yin and yang or anima and animus or even day and night!
Now the question is whether the simultaneity of the two poles is crucial? Or better say, does the counterpoint and its components need to be recognized simultaneously in time based works of art?
...the boy handed back the slate and made his way out of the circle.
went on while the boy handed back the slate and made his way out of the circle.
He went off into the corridor and stood there. The group group group he left had begun, under the director’s guidance, a group story, taking واحد حابب حالو انو يكون عمل سشي turns. Shevek listened to their subdued voices and to his heart still beating fast. There was a singing in his ears which was not the orchestra ☘☘☘but the noise that came when you kept yourself from crying; he had observed this singing noise several times before. He did not like \Welcome to the literary cuff!!!
More soon. Please join the document and bring a tablet, laptop or phone to work on for Thursday’s What is a Cuff class (Sept 29)
Who else is interested in a different way in the same text you’re reading, speaking, thinking, feeling.
Weeee woooooo I just want to feel the wind
Nobody else said anything else. Else else. The silence and the loud thin music س ما اظن lisssssssssssssssssssssssssste
……... What about
Squre in his mind mmmmmmmmmmmmind a while ago, a design in space like the designs music made in time: a square of the first nine integers with 55698765 in the centre all Howeverweverwever, you added up the rows they came out the saaaaaame!!!!!!, all inequality balanced out; it was pleasant to look at, a universe of absolutes and no other sides. . If only he could make a group that liked to talk about things like that; but there were only a couple of the older boys and ggggggirls who did, and they were busy all …………hello hi hello bye hello !!hello !!
……... What about
……... What about hello !!
……... What hello !! holllllllla
……hello !!
……... What about... What about hello !!
……... What aboutbook the director had spoken of?!!!!!!!! Would it be a book of numbers? Would it show how the rock gothhhhhhhhhhhhhhffffffff to the tree? Had
Would it show how the rock got to the cuff treeto?
Would it show how the rock got to the cuffing tree?
- Would it show how the rock got to the cuffed tree to the ?
Would it show how the rock got to the cuffer tree?
Would it show how the rock got to the tree?
בקלות ובשמחה
he been stupid to tell the joke about the rock and the tree, nobody else even saw it was three jokes, the director was right. Ursula K. Le Guin His head attached. Ursula K. Le Guin He looked inward, inward to the calm pat pat pat pat pat terns. Wooowwwwwww
Square. It was made of numbers 4567808613, and numbers were always cool and solid; when he was
- Ursula K. Le Guin, The Dispossed 30-31
coffee
We walk through the greenredgree rerrrred light, feet muffled on wet decaying leaves. The trail is altered going back: I’m at the end now now now now. Every every time I see you falling, few steps steps and steps, I glance to each side, eyes straining, scanning what who the ground for evidence, for anything human: a but bאולי לא בכל זאת
he times he used to play hide and seek with us in the semi-dark bright after supper, it was different from playing in a house, tree, block the space الفراغ
to hide in was my hole
מה אתה אומר
مين
endlessssssssswwwwwwwwindows of nostalgia killing my head; nostalgia!!!!!!!!!!!!!!!!! Nostalgiiiiia noooooosttalllllgia nooooostaaaaallllgiiiiiiiiaaaa
:D :D :d :D
even when we knew which tree
he had gone be be be be be be hind there was the fear that what would come out when you
called would be something
عاشقتونم دوستان
The pink dripping dropping on my face dropping dripping
The pink dripping
The pink drippingescurrido escurriéndose el rosacurro curriendo corriendo co co co co co cooockooooo co t ttttttttttttttt
Entirely else.
Tutoring
- Margaret Atwood, Surfacing, 50
:D:D:D
“Good god godness oh gosh
B b b.
Morning tea,” said the little prince.
“Good morning,مين انت ؟ ” said the railway way switchman.
“What is it that you do 오호호 here?” asked the little prince. 넌 이걸 리읽을 수 없다
“I sort the t r a v e l l e r s ininin into bundles of a thousand,” the switch is a witch which switch es man said. “I dispatch the trains that carry them, sometimes to the right, sometimes to the left, straight.”
Hola que hace?
Hola todo bien y tu?
مرحبا كيفك ؟
خلي الكل يحكي معي؟
Hey, looking?
平和
平和
And a brightly lit express slow train, roaring like thunder, shook the swichman’s cabin.nooooooo
“What a hurry they’re in,” said the little prince. “What are they looking for?”
And another brightly lit express train thundered by in the opposite direction.
“Are they coming back already?” asked the little prince. אולי
CUMPLEANOS FELIZ, TE DESEAMOS A TI!!!!
Ok.
“it’s not the same ones 11111111111111111s,” the switchman said. “It’s an exchange.”
Give give give eye me something something
“They weren’t satisfied, were they were they were they were they were they were they were they we’re they where where where where they were?” asked the little prince.
“No one is ever satisfied satisfied where sxhe is sat ” the switchman said.
And a third brightly lit third express train thuuuuuuuuuuundered past.
“Are they chasing the first travellersthe?” asked the little prince.
“They’re not chasing ……...anything,” the switchman said. “They’re sleeping in there, or else they’re yawning elsewhere . Only the children are pressing their noses against the windowpanes.” Dontwannaseeitnoidontwannaseei
“Only the children know what they’re looking for education
My
Mother”s breasts. What I'm told yet never feel ringing
only,” said the little prince. “they spend their time on a rag doll and it becomes very important, and if it’s taken away from them, they cry…”
“They’re lucky,” the switchman said WAS HAST DU٣ GETAN?
Ich fühle
Fffffffffffff fühle
was?
Träumen ٦
平和
Welchen Traum fühlst du?
平和
Bäumen auf mein he r tz h
Y
Y.
הנסיך הקטן
平和
주두두두두두ㅜ두두
- Antoine de Saint Exupéry, The Little Prince, 64-65
كله ما اله معنا ؟ هل من هدف معين للموضرع ؟
الواحد مش فاهم حاله عشان يحاول يفهم الناس التانين
م ا ف ق
- We sit mit pit spit slit most of the time, watching the dull sky slipping. Frankly, that is too stupid to write about, that is too
- ليش ما اقطع نص الكلام
- stupid to write about, that is too stupid to write about, that is too stupid to write about. When something really involving, violent nevermine never minded or important happens, it occupies too muche مافي داعي للمعنا
of my friends and strangers demanding my time, my physical energy, and my thought for me to be able to write about it. I can think of four things that have happened in the nest I would like to have described whenthey occurred, but so completed themselves in the happening that even to refer to them seems superduperfluous. What is down, then hen hen en ennn, is a chronicle of incidents with a potential for wholes they did not have when they lonely occurred; a false true rue rue ue e picture, again, again again because they show neither the general nor ssped nor spread nor spred nor spread nor sped nor spread nor spread nor jelly nor jam nor syyyyyyyyyyyyyyyyyyyyyyyyyyypr
ead nor toast nor spread of our life’s fabric, nor the most significant pattern signified slope snorrrrrrebored points.
- Samuel R. Delany, Dhalgren, 734666667898765
Metaphor captures the gesture and makes it mean something that it is not
Dis missing or flattening what’s actually there, where, where how do you know.
ㅎㅎ호ㅗㅓㅓ5346743
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Red red red
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Is it german_
Is it spanish
A EN’GL’ISHHHHH
CH CH CHI N NOT KNOW JAW.-..M
Is it a language…
Is ti
Ti sit sit sis sit tit titititititi
Opsss
Opsa soos soo so SO SO SO
A V238 RHRG 4J4B4 4 4H4
بي
H
S
يسس
A live event where the subjectivity is becoming in the present
بب
An Immediation
A firstness in secondness
Versus the secondness of firstness as the metaphor
so the supplement of the supplement enters- - - - -
the presence of the
present and of the proximity or property of the proper?
The pellet with the poison is in the vessel with the pestle.
The s l i p p a g e between the binary that he creates (the slippage between the absence and presence)
平和
diff
It’s not operative in the same way
erance
If you’re not doing what you’re doing, I’ll say that you’re not doing it
Where is writing happening here / is writing happening here?
Sometimes we need bulldozers,
“Differance” displaces ‘being’ it’s going to make being differ and different
Differance produces what it forbids, makes possible the very thing that it makes impossible (143)
سيبيس
Since the sense of
being is never produced as history outside of its determination as presence, has it not always
already been caught within the history of metaphysics as the epoch of presence?(144)
T H E P L A N E
What kinds of hauntings“
— אז בואו ונסכם, אומר הנוירולוג. — כן, בואו ונסכם, לוחשים שניהם. — התלונות אינן לגמרי הזויות. באמת התגלתה באונה המצחית אטרופיה שמעידה על ניוון קל. — איפה בדיוק? — הנה כאן, בקליפת המוח. — אני מצטער אבל אני לא רואה כלום. אשתו רוכנת אל הצילום. — כן משהו כהה פה, היא מודה, אבל קטנטן. — נכון, קטן, מאשר הנוירולוג, אבל יכול להתרחב. — רק יכול, רועד קולו, או גם נוטה? — יכול וגם נוטה...بالاخير لازم احاول انو اترك طبع اللغة تيعتي بالاخص انو في تاريخ بين هادي اللغتين — ומה הקצב? — אין כללים מחייבים לשום התפתחות פתולוגית, וודאי לא בקליפת המוח. הקצב יהיה תלוי גם בך. — בי? איך בי? — איך תתנהג. כלומר, איך תילחם, איך תיאבק. — להיאבק נגד המוח..
"אל תגיד שוב שיטיון" פתיחה של רומאן בכתובים מאת א.ב יהושע 平和
¿Cómo la corteza gris, donde se dice reside el pensamiento, pensaría en ella misma, mientras el ojo no puede verse directamente; vemos todo a través de él y al él mismo no lo vemos?
Macedonio Fernandez
Ccccccc COM comodo aA AAA AA QUI 平和平和… cosa si--- cosa koza kosa osa mi se zapetljala u kosu esa en sí… aqui iiiii co co co co modo aqui… NO NO NNN AGOTA.. E.. Agota… en suma… al lado de NO… en sí y no sí… no se
Without infância, there would be no suplemento. Glosssolália. Glosssolália. Glosssolália.
O punho is a cuff. Efêmero cuff--o punho, o pulso, Glosssssssss-o-Lália.
É…. Assim….. É…. Entao, o que I really mean is, é….., então… eu penso que… Eu think that…
Agottago. Em resumo… sem childhood nao haveria SUPLEMENT. Pois muito que bem , talvez sim. Acho que dá Derrid
Agottago. Em resumo… sem childhood nao haveria SUPLEMENT. Pois muito que bem , talvez sim. Acho que dá Derrid
a?Derridá dá, não dá… derri---dá Derrideu-se? Derreteu-se Derridava náo derrideu e derreteu --. E eu? Fudeu… sem derridá, dá ou não dá?. Derridois. Derridum. Dum dum dum Derrizero. Fudeu. de
Derridon't.. Derridid.. Derrido. But eu dont. Fuck
Delirrando, delirrou, delirando, deu errado, deulizando,
Derriwalker. Devirando, desvirado, desviado, Derrideer.Derriqueer… derridildo derramou.
Derridean Detritus derritus derritur, derritour, detour, Será que chove? Derrichove Fático, dirás. Derritorio...
Quack
Quack Cake
A duck cake cCK CAK quack Lá vem o Pato para ver o que é que há.
Derriduivo. Derridhowl… Derridend. Derridente. Derridentista. Derridor.
Derridoido. Vamos jogar os derridados da desconstrução. E lançar os derridardos da differance. E dançar uma Derridance.
Lift off.
Derridoido. Vamos jogar os derridados da desconstrução. E lançar os derridardos da differance. E dançar uma Derridance.
Lift off.
- Ó só o quiproquó. Córicó. Der. rhannairi
- so.´Riso. Humor/Amor.
Glossolália. 5 7 3 donwannaseeit CRACK
TOOSTUPITOWRITABOUT
Analfamegabitzmocrossomomeupsi
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