27
jan

Who's fascist?

Hitler practices his acting skills. ‘Apocalyptic, visionary, convincing’: three photos by Heinrich Hoffman from 1925.


More on now and then for fascism, there.

03:57 27/01/2012 | Lien permanent | Tags : act-u |  Facebook

ayez des enfants, qu'ils disaient

non mais!

 

61 Children Under Stress by Sula Wolff, Penguin, 1969.jpg

03:53 27/01/2012 | Lien permanent | Tags : humoeurs, healfff |  Facebook

24
jan

Love, death and soft white chocolate.

Lire ça.
Croire pour le mire et le peilleur.
Ecouter ça.
Entendre sa voix rire mais pas trop.
Trouver ça.
Se dire: oh et puis merde (genre ouvrir un pot de pâte à tartiner de chocolat blanc fait par la ferme du hameau du roy qui se trouve entre Genappes, Waterloo et Rhode Saint Genese...).

 

Yukoku Rite of Love and Death de Mishima.jpg

 

 

(image: Yukoku Rite of Love and Death de Mishima)

22:32 24/01/2012 | Lien permanent | Tags : humoeurs |  Facebook

Esprits, êtes-vous là ?

Ecoutez l'émission 54 minutes

Esprits, êtes-vous là ? (4/4) : "A bon entendeur ! Vers une autogestion de la santé mentale ?" (Rediffusion) 3

29.12.2011 - 17:00

Un documentaire d'Alexandre Breton et Guillaume Baldy - Rediffusion de l’émission du 16 mars 2011. En écho à l’exposition « L’Europe des esprits ou la fascination de l’occulte – 1750-1950 » qui se déroule au Musée d’art moderne et contemporain de la ville de Strasbourg jusqu'au 12 février 2012

Victor Brauner, Chimère, 1939 (visible à l'exposition) M. Bertola / Musées de Strasbourg©ADAGP Paris, 2011

Le phénomène des «voix» est très répandu parmi les personnes considérées comme psychotiques et, plus spécialement, schizophrènes. Ce phénomène des hallucinations auditives relève de la symptomatologie traditionnelle des psychoses et concerne, en France, la moitié des personnes adultes atteintes de psychoses délirantes chroniques. Or, depuis une vingtaine d'années, la psychiatrie, et notamment en France, doit faire face à de sérieuses critiques concernant d'une part ses classifications nosographiques et d'autre part ses méthodes de traitement des pathologies mentales. À cette critique a répondu l'émergence d'une revendication accrue du côté des patients : le droit de vivre de manière satisfaisante avec leurs voix, sans en passer par la « camisole chimique » des neuroleptiques. Aussi, ces revendications ont-elles été catalysées par un réseau international constitué de soignants et de patients, le Réseau d'Entraide des Entendeurs de Voix (REEV), né en Suisse dans les années 1980, à l'initiative du Pr. Marius Romme et de son assistante Sandra Esher, qui lui-même a donné naissance à d'autres réseaux, comme l'important Intervoice en Grande-Bretagne, ou Hearing voices au Pays-Bas. Depuis, ce sont plusieurs centaines de groupes d'entraide qui ont essaimé en Europe, sans compter les relais à travers le monde entier –à l'exception de la France. Ces réseaux sont destinés à aider ceux qui désormais sont nommés les entendeurs de voix à «prendre le contrôle de leur voix» et, ce faisant, des états d'angoisse morbide associés aux passages à l'acte qu'ils peuvent souvent générer. Enquête de l’équipe de Sur les docks,  lors des journées de formation « Travailler et parler avec les voix » organisées en février 2011 à Armentières.

Avec :
Ron Coleman, ancien usager, figure majeure du Réseau Hearing Voices et consultant spécialisé dans le « recovery » et le traitement des psychoses. Auteur de nombreux ouvrages qui sont à la base du travail effectué au sein des Réseaux d'Entendeurs de Voix ;

Eleanor Longden, ancienne usagère, psychologue à Bradford en Angleterre, membre du réseau Intervoice ;
Massimo Marsili, psychiatre au Département de Santé mentale de Trieste ;
Patrick Le Cardinal, psychiatre à l'EPSM de Lille-Métropole ;
Vincent, usager participant aux journées de formation "Travailler et parler avec ses voix" à Armentières.

Traduction : Yann Derobert

Production : Alexandre Breton
Réalisation : Guillaume Baldy

 

16:20 24/01/2012 | Lien permanent | Tags : act-u, healfff |  Facebook

23
jan

Prochaine lecture physique Chez Bruegel

Petite annonce lecture physique:

327629_10150382996464539_828119538_8201238_109192623_o.jpg

Femme approchant la quarantaine d'années et la centaine de kilos souhaite rencontrer jeune public de tous bords lors d'un espace littéraire court mais enrobé de crépinette et d'animaux de la ferme... pour affinités et pire.
www.miladyrenoir.be

@

Coiffure Liliane au sein du Centre Culturel Bruegel.

'  '  samedi18février2012 - à partir de 20h '  '

"
3 jours de Cabaret dans le théâtre du Centre Breugel. 3 jours de folie, d'humour, de charme et de musique. Exceptionnellement, l'entrée est payante (10€), et il est préférable de réserver ses places à l'avance (max 4 places par personnes), Ecrivez nous à : coiffureliliane@gmail.com. Ce Samedi soir là, le spectacle sera suivi d'une soirée dansante costumée dans le thème "glamour". "

 

20:42 23/01/2012 | Lien permanent | Tags : lis tes ratures, agendada, act-u |  Facebook

Salade romaine de langues

Sexus Antiquitus

Chez les Romains, le comble du plaisir est dans le baiser, pas le pénis.

Hein!

confession.jpg


20:31 23/01/2012 | Lien permanent | Tags : arts, humoeurs, place net |  Facebook

20
jan

Tuli Tuli

, la, la, 26 il faut confronter les idées vagues avec des images claire.jpgla, la, la, .

00:01 20/01/2012 | Lien permanent | Tags : arts |  Facebook

17
jan

Franz Bartelt, un balcon à Nouzon

 

 

« Il existe un exotisme de proximité » affirme Franz Bartelt, prix du premier roman avec Les Fiancés du paradis, grand prix de l’humour noir avec Les Bottes rouges. Depuis près de 45 ans qu’il s’est posé à Nouzonville, dans les Ardennes, cet écrivain contemple paysages et populations en oscillant de la fascination à la goguenardise.

sauterelle eau.jpg

11:35 17/01/2012 | Lien permanent |  Facebook

16
jan

HdelaF by MF

histoire de la folie Foucault.jpg

extrait de ça

beasts present.jpg

22:19 16/01/2012 | Lien permanent | Tags : lis tes ratures |  Facebook

mots, signes, sons : gestes (vie)

http://vimeo.com/7470760

ORGESTICULANISMUS
[2009 - 9‘29’’]

"C’est par le mouvement qu’on s’approprie sa propre vie. Par la liberté d’aller, de venir, d’avoir des gestes d’amour, de colère, peu importe. Quand on est privé de mouvement comme je le suis, si on veut survivre, il faut réinventer le mouvement autrement."
Benoît Labaye

 

poker.jpg

(illustration by ... ? ...)

21:57 16/01/2012 | Lien permanent | Tags : arts |  Facebook

Parades en amour

how to ruin.jpghttp://www.youtube.com/watch?v=nOilM-RO4Tw
http://www.youtube.com/watch?v=fTEifoTxomE
http://www.youtube.com/watch?v=vVX1uOpvt0o

14:15 16/01/2012 | Lien permanent | Tags : humoeurs |  Facebook

dernier voyage

dernier_voyage.jpg

12:08 16/01/2012 | Lien permanent |  Facebook

13
jan

T'y es fou...

lis tes ratures, humoeurs

(...)" Au monde il y a les crétins, les imbéciles, les stupides et les fous.
-Il ne va pas rester grand-chose !
-Si, nous deux par exemple. Ou au moins, sans vouloir vous offenser, moi. Mais en somme, quiconque, à y regarder de près, participe de l'une de ces catégories.Chacun de nous de temps à autre est crétin, imbécile, stupide ou fou. Disons que la personne normale est celle qui mêle en une mesure raisonnable toutes ces composantes, ces types idéaux. (...)  J'espère que vous n'avez pas pris ma théorie pour argent comptant. Je ne suis pas en train de mettre l'univers en ordre. Je m'explique sur ce qu'est un fou pour une maison d'édition. La théorie est ad hoc, d'accord ? Alors.
 -Le crétin ne parle même pas, il bave, il est spastique. Il plante son sorbet sur son front, par manque de coordination. Il prend la porte-tambour à contre-sens. 
-Comment fait-il ?
-Lui y arrive. Raison pourquoi il est crétin. Laissons-le à son sort.
-Laissons-le.
-Etre imbécile est plus complexe. C'est un comportement social. L'imbécile est celui qui parle toujours hors de son verre. (...) Lui il veut parler de ce qu'il y a dans son verre, mais sans savoir ni comment ni pourquoi, il parle en dehors.  Si vous voulez, en termes communs, c'est celui qui fait des gaffes, qui demande des nouvelles de sa charmante épouse au type que sa femme vient de larguer. Je rends l'idée ?
- Vous la rendez. J'en connais.
- L'imbécile est fort demandé, surtout dans les occasions mondaines. Il met tout le monde dans l'embarras, mais ensuite il offre matière à commentaires. Dans sa forme positive, il devient diplomate. Il parle hors de son verre quand ce sont les autres qui ont fait une gaffe, il fait dévier le propos. Mais il ne nous intéresse pas, il n'est jamais créatif, c'est du rapporté. L'imbécile ne dit pas que le chat aboie, il parle du chat quand les autres parlent du chien. Il se mêle les pinceaux dans les règles de la conversation, et quand il se les mêle bien il est sublime. (...)
-Et le stupide ?
-Ah. Le stupide ne se trompe pas dans son comportement. Il se trompe dans son raisonnement. C'est celui qui dit que tous les chiens sont des animaux domestiques et que tous les chiens aboient, mais que tous les chats sont aussi des animaux domestiques et donc qu'ils aboient. Ou encore, que tous les Athéniens sont mortels, tous les habitants du Pirée sont mortels, donc que tous les habitants du Pirée sont Athéniens.
-Ce qui est vrai. 
- Oui, mais par hasard. Le stupide peut même dire une chose juste, mais pour des raisons erronées. (...) Le stupide est plus insidieux. L'imbécile, on le reconnaît tout de suite (sans parler du crétin), tandis que le stupide raisonne presque comme vous et moi, sauf un écart infinitésimal. C'est un maître ès paralogismes. (...) On publie beaucoup de livres de stupides, parce que, de prime abord, ils nous convainquent. Le lecteur d'une maison d'édition n'est pas tenu de reconnaître le stupide. L'Académie des Sciences ne le fait pas, pourquoi l'édition devrait-elle le faire ? (...)
- Nous ne sommes pas encore arrivés aux fous. 
-J'y viens. Le fou, on le reconnaît tout de suite. C'est un stupide qui ne connaît pas les trucs.Le stupide, sa thèse il cherche à la démontrer, il a une logique biscornue mais il en a une. Le fou par contre ne se soucie pas d'avoir une logique, il procède par court-circuits. Tout pour lui démontre tout. Le fou a une idée fixe, et tout ce qu'il trouve lui va pour la confirmer.Le fou, on le reconnaît à la liberté qu'il prend par rapport au devoir de preuve, à sa disponibilité à trouver des illuminations. Et ça va vous paraître bizarre, mais le fou, tôt ou tard, met les Templiers sur le tapis.
-Toujours ?
-Il y a aussi les fous sans Templiers, mais les fous à Templiers sont les plus insidieux. Au début vous ne les reconnaissez pas, ils ont l'air de parler normalement, et puis tout à coup..."

Umberto Eco.  Le Pendule de Foucault.

(Merci M.)

15:15 13/01/2012 | Lien permanent | Tags : lis tes ratures, humoeurs |  Facebook

10
jan

Le rôle de l'auteur évolue en même temps que celui du livre

L'essor des réseaux sociaux et d'Internet a permis de multiplier les contacts entre deux mondes jusque-là bien distincts. L'auteur et son lectorat. Une évolution à mettre en parallèle à celle du livre.

Avec l'apparition de la lecture numérique et de tout ce qui l'a accompagnée, certains ont vu un changement de statut du livre. Le livre est en train passer d'un statut qui était à la fois contenant et contenu – imaginez-vous un livre, que vous voyez- vous ? Vous voyez l'objet n'est-ce pas - à un contenu seul.

la suite de l'article là.

10:20 10/01/2012 | Lien permanent |  Facebook

Pour apprendre le néerlandais, il vaut mieux le chanter

art_54518.jpgMet Talitha.

09:52 10/01/2012 | Lien permanent | Tags : humoeurs |  Facebook

30
déc

là haut sur la montagne

45 Aux tout-petits qui vivent avec Dieu, Collection ecole de Catechistes d'Ottawa, Ottawa, 1966.jpg

yihoodeouuuaaa (men only?)

08:49 30/12/2011 | Lien permanent | Tags : muse-hic |  Facebook

Kerouac - croyances-et-techniques-pour-la-prose-moderne

32 find-a-word.jpg


Liste des essentiels

 

- Carnets secrets noircis et pages sauvagement dactylographiées, pour votre propre plaisir.
- Soumis à tout, ouvert, à l’écoute.
- Essayez de ne jamais vous enivrer en dehors de chez vous.
- Soyez amoureux de votre vie.
- Ce que vous ressentez trouvera sa propre forme.
- Ayez l’intelligence d’un fol imbécile heureux.
- Exploser aussi intensément que vous le voulez (1).
- Écrivez ce que vous voulez, des tréfonds au fond de votre esprit.
- Les visions indicibles de l’individu.
- Pas le temps pour la poésie, mais exactement ce qui est.
- Des tics visionnaires qui secouent la poitrine.
- Accroché par la transe, rêvez de l’objet avant vous (2).
- Suppression des inhibitions de la littérature, de la grammaire et de la syntaxe.
- Comme Proust, soyez à la recherche du joint perdu  (3).
- Racontez la véritable histoire du monde dans un monologue intérieur.
- La perle des centres d’intérêt est l’œil à l’intérieur de l’œil.
- Écrivez pour vous-même, dans le recueillement et d’étonnement.
- Travaillez depuis la concision, moyennement, les yeux grands ouverts, en nageant dans la mer de la langue (4).
- Accepter la perte définitive.
- Croyez en les contours sacrés de la vie.
- Luttez pour tracer l’esquisse des flots intacts qui existent déjà dans votre esprit.
- Ne vous arrêtez pas pour penser aux mots, mais pour mieux voir une image.
- Gardez tous les jours la trace de la date ornée de vos matins.
- Pas de crainte ni de honte, dans la dignité de votre expérience, de votre langue et de vos connaissances.
- Écrivez pour que le monde lise et voie les photos exactes que vous prenez de lui.
- Un livrefilm est un film mis en mots, la forme visuelle de l’Amérique (5).
- Dans l’éloge des personnages, dans la désolation de la solitude inhumaine.
- Composition sauvage, indisciplinée, pure, venant du dessous, plus folle que meilleure.
-  Vous êtes un génie, tout le temps.
- Écrivains et réalisateurs de films truculents sur terre, sponsors et anges au paradis (6).

 

N-d-T : Kerouac manipule sa langue avec dextérité. Il joue constamment avec le vocabulaire, l’absence de ponctuation et les tournures des phrases. Souvent, plusieurs interprétations/traductions sont donc possibles, en voici quelques unes :

 

(1) « Soufflez aussi profondément que vous souhaitez souffler ».
(2) « Accroché par la transe, rêvez de l’objet devant vous ».
(3) Jeu de mots ici : Teahead peut désigner de la marijuana et faire ainsi allusion au livre À la recherche du temps perdu. Mais  Teahead peut également être une contraction de Tea et de Ahead. Tea, le thé, ferait alors référence aux madeleines que Proust trempait dans son thé. Ahead of time désignerait alors un précurseur. Traduction alternative : « Comme Proust et son thé, soyez un vieux drogué précurseur de votre époque »
(4) Pithy (concis) middle (milieu) eye out (un œil sur qqc ou un œil ouvert) : Succession de mots juxtaposés sans cohérence grammaticale évoquant l’idée d’un élargissement progressif.
(5) « Un livrefilm est un film mis en mots, la forme américaine visuelle »
(6) « Écrivains et réalisateurs de films terrestres sponsorisés et financés par les anges au paradis ». Outre cette double interprétation possible, on note un jeu de mots ici : earthly, peut être un néologisme anglais signifiant terrestre (earth+ly) et/ou quelque chose de truculent (earthy).

 

Texte de Jack Kerouac, auteur américain, Belief & Technique For Modern Prose: List of Essentials » extrait d’une lettre de 1958 écrite à Don Allen. Version originale.

 

08:29 30/12/2011 | Lien permanent | Tags : lis tes ratures |  Facebook

28
déc

Nagasaki, August 9th 1945 (from jose ángel gonzález)

nagasaki.jpgNagasaki, August 9th 1945

Interestingly enough, when Hiroshima was atom-bombed, the Tokyo government radio told the people that a “new type of bomb” had been used. The real horrors in Hiroshima were unknown to the wider populace; since the city was utterly destroyed and communications were hard, even the imperial government was not totally of what happened there. Two days would pass before the government met to discuss the new developments. In the wider world, the situation was quickly changing too; the Soviet Union’s declaration on war on Japan threw a wrench into both American and Japanese strategies.

On the American side, the decisions to use two nuclear bombs — to show than American has more than enough supply of such weapons — had been agreed upon since April 1945.  Only the potential targets were debated upon, so that the U.S. could ban conventional attacks on those cities — in part so it would be easier to measure the destruction from the atomic bomb. The top choice was the emperor’s place in Kyoto, but the decision was vetoed by Secretary of War Henry L. Stimson, who spent his honeymoon there and enjoyed the city. (Another thing Stimson considered was that if the emperor were to perish, it would have hardened the Japanese resolve and precluded a surrender.) Top targets became Hiroshima and Kokura. However, August 9th 1945 was a particularly cloudy day in Kokura. The bombing carrying the bomb gave up on Kokura and went on to its secondary target,  Nagasaki.

The Japanese Supreme Council received the news that Nagasaki had been destroyed while they were just debating the terms of surrender. Now,  surrender was not only inevitable, but also the only route for survival. On August 15th,the Emperor’s surrender speech was broadcast over the radio — this was the first time an Emperor of Japan had deigned to speak through a radio.

On the day after the Nagaski Bombing,a military photographer  Yosuke Yamahata took over a hundred photographs of the devastated city. His photographs, taken in an interval of twelve hours in the  afternoon of August 10th, were the most extensive record of  the atomic bombings. In between Japan’s surrender and arrival of the American Occupation Forces, these photos were widely circulated; for instance, the 21 August issue of Mainichi Shinbun printed them. The Western audience would, however, have to wait further seven years before the censorship was lifted and they appeared in the 29 September 1952 issue of Life, together with Yoshito Matsushige’s photos of Hiroshima.  The same year they also appeared in the book form.

 

nevver:

9 August 1945, Leaflet Dropped on Nagasaki

The B-29 superfortress Enola Gay lands at its Tinian base after its atomic bombing mission over Hiroshima on Aug. 6, 1945. (AP Photo)

This is a photograph released by the U.S. government in 1960 that shows the Little Boy atom bomb, the type detonated over Hiroshima on Aug. 6, 1945. The bomb was 29 inches in diameter, 126 inches long and weighed 9,700 pounds with a yield equivalent to 20,000 tons of TNT explosive. (AP Photo)

In this undated handout picture from the U.S. Air Force, the ground crew of the B-29 “Enola Gay” which bombed Hiroshima, Japan on Aug. 6, 1945 with the “Little Boy” nuclear bomb, stands with pilot Col. Paul W. Tibbets, center, in the Marianas Islands. It was the first use of nuclear weapons in warfare. (AP Photo/U.S. Air Force)

This picture made from the town of Yoshiura on the other side of the mountain north of Hiroshima, Japan, shows the smoke rising from the explosion of the atomic bomb at Hiroshima, Aug. 6, 1945. It was picked up from an Australian engineer at Kure, Japan. Note the radiation spots on the negative caused by the explosion of the A-bomb, almost ruining the film. (AP Photo)

Survivors of the first atomic bomb ever used in warfare are seen as they await emergency medical treatment, on August 6, 1945, in Hiroshima, Japan. The explosion instantly killed more than 60,000 people, with ten of thousands others dying later from effects of the radioactive fallout. (AP Photo)

 

19:19 28/12/2011 | Lien permanent | Tags : poly-tiques |  Facebook

Trésor de la Langue (Merci DJP)


Monument expérimental et conceptuel paru en 1989
Le lien wikipédia qui explique le projet
Cet album recèle une sorte de "révélation" sur la perception, onirique et troublant.
http://www.megaupload.com/?d=8GATQWFH

17:53 28/12/2011 | Lien permanent | Tags : muse-hic |  Facebook

heart in bits

I feel old, I feel cold
I feel old, I feel cold
I’m sublime, I’m sublime
And is there something there behind me
Like a movie, like a movie
I am mesmerized by my own beat
Like a heartbeat, like a
heartbeat, like a heartbeat
I feel old, I feel cold
I am mesmerized by my own beat
Like a movie, like a movie
It’s behind me like a heartbeat

01 the act done by me against my will is not my act.png


Like a movie, like a heartbeat
By a own beat, by a heartbeat
By a own beat, like a heartbeat
Like a heartbeat, like a heartbeat
Like a heartbeat, like a heartbeat
Heartbeat, like a heartbeat
Like a heartbeat, heartbeat
Like a heartbeat, like a heartbeat
Like a heartbeat, like a heartbeat
Like a movie, it’s behind me
I am mesmerized by my own beat
Like a heartbeat, like a heartbeat
Like a heartbeat, like a heartbeat
Like a heartbeat, like a heartbeat
Like a heartbeat, like a heartbeat
Like a heartbeat, like a heartbeat

 

humoeurs,muse-hic

17:51 28/12/2011 | Lien permanent | Tags : humoeurs, muse-hic |  Facebook

26
déc

rectum verseau

dehors.

healfff

 

dedans.

 

pas loin de.

 

 

 

 

U, man of peu de faith, with no limites, et encore moins de tact, fake off.

21:41 26/12/2011 | Lien permanent | Tags : healfff |  Facebook

19
déc

We want you!

Durant le Première Guerre Mondiale, le gouvernement américain avait décidé d’engager l’anglais Arthur Mole et l’américain John D. Thomas pour créer des photographies de foules de soldats représentant des symboles forts des USA.



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patriotic-photography

18:10 19/12/2011 | Lien permanent | Tags : poly-tiques |  Facebook

I'm a loser baby so why don't you k*** me...

Aren't we all losers?

surely not.

bords.jpg

13:37 19/12/2011 | Lien permanent | Tags : humoeurs |  Facebook

allez, je rigole hein

rigolons tous.

à un moment, c'est flippant le rire des autres.

 

aisselleroumain.jpg

13:35 19/12/2011 | Lien permanent | Tags : humoeurs |  Facebook

Prêt à jeter

Voici un extrait du documentaire "Prêt à jeter" de Cosima Dannoritzer (2010).
Celui-ci raconte l'histoire de "l'obsolescence programmée", un concept qui consiste à raccourcir délibérément la durée de vie d'un produit pour en augmenter la consommation. Le documentaire retrace les débuts en 1920 (lorsqu'un cartel fut formé pour limiter la durée de vie des ampoules électriques) jusqu'à des cas actuels touchant des produits électroniques de dernière génération (iPods, imprimantes...).
 
(merci Laurence K.): Xtrait

As_time_passes_by_____by_D_Me.jpg time goes like?


13:27 19/12/2011 | Lien permanent |  Facebook

yes he can.

"L’artiste Miguel Endara a eu l’idée de dessiner le visage de son père. Pour réaliser cette illustration tout en pointillés appelée “Hero”, il lui a fallu plus de 3,2 millions de points d’encre ainsi qu’une bonne dose de patience." Ici.



32-million-ink-dots3

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32-million-ink-dots1

13:22 19/12/2011 | Lien permanent | Tags : arts |  Facebook

ah oui les fêtes de fin d'année trop bien... vite vite la fin!

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merci BuzzFeed.

13:19 19/12/2011 | Lien permanent | Tags : humoeurs |  Facebook

18
déc

His master's voice

Diane Arbus - Bartender at Home with a Souvenir Dog, New Orleans, 1964.jpg Dog's love

 

Le groupe Dead Sea Lions - le morceau “Yellow Books”. Réalisée par les Romains et Emmanuelle, cette vidéo propose de voir les signes d’amour de maîtres à leurs chiens.

 

(photo de Diane Arbus)

10:00 18/12/2011 | Lien permanent | Tags : arts, textes |  Facebook

17
déc

Long Live the Immaterial!

 

 

act-u,arts (Friederike Pezold - Mundwerk, 1975)


Yves Klein

The CHELSEA Hotel Manifesto

Due to the fact that I have painted monochromes for fifteen years,

Due to the fact that I have created pictorial immaterial states,

Due to the fact that I have manipulated the forces of the void,

Due to the fact that I have sculpted with fire and with water painted with fire and with water,

Due to the fact that I have painted with living brushes - in other words, the nude body of live models covered with paint: these living brushes were under the constant direction of my commands, such as "a little to the right; over to the left now: to the right again, etc.."By maintaining myself at a specific and obligatory distance from the surface to be painted, I am able to resolve the problem of detachment.

Due to the fact that I have invented the architecture and the urbanism of air - of course, this new conception transcends the traditional meaning of the terms "architecture and urbanism" - my goal from the beginning was to reunite with the legend of Paradise Lost. This project was directed toward the habitable surface of the Earth by the climatization of the great geographical expanses through an absolute control over the thermal and atmospheric situation in their relation to our morphological and psychical conditions.

Due to the fact that I have proposed a new conception of music with my "monotone - silence - symphony"

Due to the fact that I have presented a theatre of the void, among countless other adventures...

I would never have believed, fifteen years ago at the time of my earliest efforts, that I would suddenly feel the need to explain myself - to satisfy the desire to know the reason of all that has occurred and the even still more dangerous effect, in other words - the influence my art has had on the young generation of artists throughout the world today.

It dismays me to hear that a certain number of them think that I represent a danger to the future of art - that I am one of those disastrous and noxious results of our time that must be crushed and destroyed before the propagation of my evil completely takes over.

I regret to reveal that this was not my intention; and to happily proclaim to those who evince faith in the multiplicity of new possibilities in the path that I prescribe - Take care! Nothing has crystallized as yet; nor can I say what will happen after this. I can only say that today I am no longer as afraid as I was yesterday in the face of the souvenir of the future.

An artist always feels uneasy when called upon to speak of his own work. It should speak for itself, particularly when it is valid.

What can I do? Stop now?

No, what I call "the indefinable pictorial sensibility" absolutely escapes this very personal solution.

So...

I think of those words I was once inspired to write. "Would not the future artist be he who expressed through an eternal silence an immense painting possessing no dimension?"

Gallery-goers, like any other public, would carry this immense painting in their memory (a remembrance which does not derive at all from the past, but is solely cognizant of the indefinable sensibility of man).

It is necessary to create and recreate a constant physical fluidity in order to receive the grace which allows a positive creativity of the the void.

Just as I created a "monotone - silence - symphony" in 1947, composed in two parts, - one broad continuous sound followed by an equally broad and extended silence, endowed with a limitless dimension - in the same way, I attempt to set before you a written painting of the short history of my art, followed naturally by a pure and effective silence.

My account will close with the creation of a compelling a posteriori silence whose existence in our communal space, after all - the space of a single being - is immune to the destructive qualities of physical noise.

Much depends upon the success of my written painting in its initial technical and audible phase. Only then will the extraordinary a posteriori silence, in the midst of noise as well as in the cell of physical silence, operate in a new and unique zone of pictorial immaterial sensibility.

Having reached today this point in space and knowledge, I propose to gird my loins, then to draw back in retrospection of the diving board of my evolution. In the manner of an Olympic diver, in the most classic technique of the sport, I must prepare for my leap into the future of today by prudently moving backward, without ever losing sight of the edge, today consciously attained - the immaterialization of art.

What is the purpose of the retrospective journey in time?

Simply, I wish to avoid that you or I fall under the power of that phenomenon of dreams, which describes the feelings and landscapes provoked by our brusque landing in the past. This psychological past is precisely the anti-space that I put behind me during the adventures of these past fifteen years.

At present, I am particularly excited by "bad taste". I have the deep feeling that there exists in the very essence of bad taste a power capable of creating those things situated far beyond what is traditionally termed "The Work of Art". I wish to play with human feeling, with its "morbidity" in a cold and ferocious manner. Only very recently I have become a sort of grave digger of art (oddly enough, I am using the very terms of my enemies). Some of my latest works have been coffins and tombs. During the same time I succeeded in painting with fire, using particularly powerful and searing gas flames, some of them measuring three to four meters high. I use these to bathe the surface of the painting in such a way that it registered the spontaneous trace of fire.

In sum, my goal is twofold: first of all, to register the trace of human sentimentality in present-day civilization; and then, to register the trace of fire, which has engendered this very same civilization - that of the fire itself. And all of this because the void has always been my constant preoccupation; and I believe that fires burn in the heart of the void as well as in the heart of man.

All facts that are contradictory are authentic principles of an explanation of the universe. Truly, fire is one of these principles, essentially contradictory, one from the other, since it is both the sweetness and torture that lies at the heart and origin of our civilization. But what stirs this search for feeling in me through the making of super-graves and super coffins? What stirs this search in me for the imprint of fire? Why search for the Trace itself?

Because every work of creation, regardless of its cosmic place, is the representation of a pure phenomenology - all that is phenomena manifests itself. This manifestation is always distinct from form and it is the essence of the Immediate, the Trace of the Immediate.

A few months ago, for example, I felt the urge to register the signs of atmospheric behavior by recording the instantaneous traces of spring showers on a canvas, of south winds, and of lightning (needless to say, the last-mentioned ended in a catastrophe). For instance, a trip from Paris to Nice might have been a waste of time had I not spent it profitably by recording the wind. I placed a canvas, freshly coated with paint, on the roof of my white Citron. As I drove down Route National 7 at 100 kilometers an hour, the heat, the cold, the light, the wind, and the rain all combined to age my canvas prematurely. At least thirty to forty years were condensed into a single day. The only annoying thing about this project is that for the entire trip I was unable to separate myself from my painting.

My atmospheric imprints of a few months ago were preceded by vegetal imprints. After all, my air is to extract and obtain the trace of the immediate from all natural objects, whatever their origin - be the circumstance human, animal, vegetable, or atmospheric.

I would like now, with you permission and close attention, to divulge to you possibly the most important and certainly the most secret phase of my art. I do not know if you are going to believe me - it is cannibalism. After all, is it not preferable to be eaten that to be bombed to death? I can hardly develop this idea that has tormented me for years. I leave it up to you to draw you own conclusions with regard to the future of art.

If we step back again, following the lines of my evolution, we arrive at the moment when I conceived of painting with the aid of living brushes. That was two years ago. The purpose of this was to be able to attain a defined and constant distance between myself and the painting during the time of creation.

Many critics claimed that by this method of painting I was doing nothing more that recreating the method that has been called "action painting". But now, I would like to make it clear that this endeavor is distinct from "action painting" in so far as I am completely detached from all physical work during the time of creation.

Just to cite one example of the anthropometric errors found within the deformed ideas spread by the international press - I speak of that group of Japanese painters who with great refinement used my method in a strange way. In fact, these painters actually transformed themselves into living brushes. By diving themselves in color and then rolling on their canvases, they became representative of ultra-action-painters! Personally, I would never attempt to smear paint over my body and thus to become a living brush; to the contrary, I would rather put on my tuxedo and don white gloves.

It would never cross my mind to soil my hands with paint. Detached and distant, the work of art must be completed under my eyes and under my command. As the work begins its completion, I stand there - present at the ceremony, immaculate, calm, relaxed, perfectly aware of what is taking place and ready to receive the art being born into the tangible world.

What directed me towards anthropometry? The answer can be bound in the work that I make during the years 1956 to 1957 while I took part in the giant adventure, the creation of pictorial immaterial sensibility.

I had just removed from my studio all earlier works. The result - an empty studio. All that I could physically do was to remain in my empty studio and the pictorial immaterial states of creation marvelously unfolded. However, little by little, I became mistrustful of myself, but never of the immaterial. From that moment, following the example of all painters, I hired models. But unlike the other, I merely wanted to work in their company rather than have them pose for me. I had been spending too much time alone in the empty studio; I no longer wanted to remain alone with the marvelous blue void which was in the process of opening.

Though seemingly strange, remember that I was perfectly aware of the fact that I experienced none of that vertigo, felt by all my predecessors, when they found themselves face to face with the absolute void that is, quite naturally, true pictorial space.

But how long could my security in this awareness endure?

Years ago, the artist went directly to his subject, worked outdoors in the country, had his feet firmly planted on the ground - it was healthy.

Today, easel-painters have become academics and have reached the point of shutting themselves in their studios in order to confront the terrifying mirrors of their canvases. Now the reason I was pushed to use nude models is all but evident: it was a way of preventing the danger of secluding myself in the overly spiritual spheres of creation, thus breaking with the most basic common sense repeatedly affirmed by our incarnate condition.

The shape of the body, its lines, its strange colors hovering between life and death, hold no interest for me. Only the essential, pure affective climate of the flesh is valid.

Having rejected nothingness, I discovered the void. The meaning of the immaterial pictorial zones, extracted from the depth of the void which by that time was of a very material order. Finding it unacceptable to sell these immaterial zones for money, I insisted in exchange for the highest quality of the immaterial, the highest quality of material payment - a bar of pure gold. Incredible as it may seem, I have actually sold a number of these pictorial immaterial states.

So much could be said about my adventure in the immaterial and the void that the result would be an overly extended pause while steeped in the present elaboration of a written painting.

Painting no longer appeared to me to be functionally related to the gaze, since during the blue monochrome period of 1957 I became aware of what I called the pictorial sensibility. This pictorial sensibility exists beyond our being and yet belongs in our sphere. We hold no right of possession over life itself. It is only by the intermediary of our taking possession of sensibility that we are able to purchase life. Sensibility enables us to pursue life to the level of its base material manifestations, in the exchange and barter that are the universe of space, the immense totality of nature.

Imagination is the vehicle of sensibility!

Transported by (effective) imagination we attain life, that very life which is absolute art itself.

Absolute art, what mortal men call with a sensation of vertigo the summum of art, materializes instantaneously. It makes its appearance in the tangible world, even as I remain at a geometrically fixed point, in the wake of extraordinary volumetric displacements with a static and vertiginous speed.

The explanation of the conditions that led me to pictorial sensibility, is to be found in the intrinsic power of the monochromes of my blue period of 1957. This period of blue monochromes was the fruit of my quest for the indefinable in painting which Delacroix the master could already intimate in his time.

From 1956 to 1946, my monochrome experiments, tried with various other colors than blue, never allowed me to lose sight of the fundamental truth of our time - namely that form, henceforth, would no longer be a simple linear value, but rather a value of impregnation. Once, in 1946, while still an adolescent, I was to sign my name on the other side of the sky during a fantastic "realistico-imaginary" journey. That day, as I lay stretched upon the beach of Nice, I began to feel hatred for birds which flew back and forth across my blue, cloudless sky, because they tried to bore holes in my greatest and most beautiful work.

Birds must be eliminated.

Thus, we humans will have acquired the right to evolve in full liberty without any physical and spiritual constraint.

Neither missiles nor rockets nor sputniks will render man the "conquistador" of space.

Those means derive only from the phantom of today's scientists who still live in the romantic and sentimental spirit of the XIX century.

Man will only be able to take possession of space through the terrifying forces, the ones imprinted with peace and sensibility. He will be able to conquer space - truly his greatest desire - only after having realized the impregnation of space by his own sensibility. His sensibility can even read into the memory of nature, be it of the past, of the present, and of the future!

It is our true extra-dimensional capacity for action!

If proofs, precedents or predecessors are needed, let me then cite Dante, who in the Divine Comedy, described with absolute precision what no traveler of his time could reasonably have discovered, the invisible constellation of the Northern Hemisphere known as the Southern Cross;

Jonathan Swift, in his Voyage to Laputa, gave the distances and periods of rotation of two satellites of Mars though they were unknown at the time;

When American astronomer, Asoph Hall, discovered them in 1877, he realized that his measurements were the same as those of Swift. Seized by panic, he named them Phobos and Deimos, Fear and Terror! With these two words - Fear and Terror - I find myself before you in the year 1946, ready to dive into the void.

Long Live the Immaterial !

And now,

Thank you for your kind attention.

 

    


 

                         

 

23:46 17/12/2011 | Lien permanent | Tags : act-u, arts |  Facebook

Diamanda G.

I wake up and see the face of the devil. I ask him:

- what time is it?

And he says,

- How much time do you want?

Diamanda Galás - The Shit of God


Annie Leibovitz - Diamanda Galás.jpg (DG by Annie Leibovitz)


22:59 17/12/2011 | Lien permanent | Tags : humoeurs |  Facebook