conversational drift, informatic license, exquisite enclaves
PERSONAL PUBLISHING PANDEMONIUM SPECIAL ISSUE
YOU'RE A NEIGHBOURING WEBLOG AUTHOR? POST TO THE PPPMONITOR AND FIND YOURSELF KNEE DEEP IN THE PANDEMONIUM!
nqpaofu.com by jouke kleerebezem
69
notes, quotes, provocations and other fair use
68
history
portal
70
17 May local colour transit
Saturday I take time to lick the wounds, trying to balance fatigue just enough to find the energy to drive down home tomorrow or would I make it tonight?. I get to do some uploads: dark bread and old Reypenaer and biological items that are hard to find where I live. It's wholesome to cross the early morning city. I breathe. The past fortnight has been a social burden. I leave this afternoon.
[16 May 2003 ] 7 x 7
Loops bring back momentum. Rockin' it.
Ownership. The hungry view into the luscious sunny northern French landscape, scanning its horizons overseeing it while in rapid transit. On the train back to Maastricht I transcribe the entire paragraph on my online turf in Max's book. Still for every é I enter & e a c u t e ; for some of that good looking French.
Last night was worth every penny the detour, briefly talking to Pierre, then off with the Thames and Hudson Paris people to dinner and after drinks with Max. I meet Marie-Anne Couveu (if I read her hand writing well), who is the principal of Galerie Anatome which I plan to visit on a next trip to Paris. Of course I hope for some professional possibilities in this city or else in France. Another relevant meeting would be English-French translator Evelyne Chatelain. For a start I could ask her to translate lemoulindumerle.com, but I would be even more helped with a translation of some of the essays that I wrote over the past years to make a small bundle in fine print.
16 May local colour the way we screen
Pierre di Sciullo (left) and Max Bruinsma (right) at Artazart (note the book in the lower right hand corner)
(page 127) "Le weblog, c'est une parole. Il exprime l'expérience quotidienne de son auteur, à travers des textes, des illustrations, des mises en pages, des choix éditoriaux, dont il est le seul maître. Les weblogs ne sont pas des critiques exhaustives qui prétendent mettre fin à l'invasion de l'information. Bien au contraire, ce sont des manières précises d'exprimer, d'un point de vue personnel et professionnel, le monde dans lequel vit l'auteur ; le contenu est tributaire du vecu et les connaissances d'un individu, pour le meilleur ou pour le pire. Les weblogs reflètent l'ambiance et l'humeur qui correspond à la vie que mène l'auteur. Ils manifestent une diversité subtile et infini qui n'attire généralement qu'un public très limité : des cercles de personnes aux affinités communes." (Jouke Kleerebezem Daily Operations; the Weblog, 2001).
(page 134) "Grand critique de la vie sur le Web, Jouke Kleerebezem (voir page 127) s'est fait un nom aux Pays-Bas en tant qu'artiste et curateur. Il habite dans un manoir en pleine campagne française et compense son isolement relatif par une collection sans cesse croissante des sites Web, une façon d'ancrer fermement la demeure et sa communauté dans l'espace virtuel. La maison et ses habitants sont décrits sur www.lemoulindumerle.com, une 'homepage' qui porte bien son nom.
Mais le principal, c'est-à-dire l'analyse critique d'Internet, est ailleurs, sur le site intitulé Notes Quotes Provocations and Other Fair Use. Avec un nom pareil, ce site met tous les chances de son côté pour se retrouver dans vos 'favoris'! C'est à la fois une base de données des écrits de Kleerebezem et un blog rempli de références sur le Web. Pour résumer le concept à la fois politique et culturel du site, Kleerebezem déclare: 'NQPAOFU est de l'édition personnelle plutôt qu'une publication personnelle ; un processus, une acte plutôt qu'un produit. Le rythme quotidien, le mélange d'informations, d'analyses, d'opinions et de critiques à la fois personnelles et 'professionnelles', les liens avec des autres weblogs, tout cela conduit à une connectivité qui, à mon avis, constitue la véritable 'profession de foi' qui se cache derrière le propos.' Grâce à une typographie nette et claire et une absence presque totale d'interface, à l'exception des nombreux hyperliens internes, Kleerebezem démontre que le Web est un seul texte si toutefois vous avez assez de
(page 135) créativité pour combiner vos notes personnelles et petites provocations avec une utilisation 'juste' des citations d'autrui.
A la lecture de 'First Things First 2000', un appel international à la responsabilité sociale et à l'esprit critique des designers graphiques publié dans Adbusters et dans de nombreux autres magazines, Kleerebezem c'est énervé contre ce qu'il considerait être de la 'bonne conscience' gratuite rédigée par une bande d'idéalistes de salon grassement payés et il a décidé de réagir: il a posté une critique féroce sur la liste de diffusion de Info-Design et, dès le lendemain matin, a réservé le nom de domaine www.idie.net, 'car c'est dans les réseaux de communication que le pouvoir de l'information émerge à l'heure actuelle.' Le site, surnomé' 'I DIE for change' (que l'on pourrait traduire par : je crêve d'envie de voir les choses changer), est une sorte de plateforme militante proposant des essais critiques et des déclarations de Kleerebezem ainsi que des liens vers de sites d'artistes, de designers et de théoriciens qui défendent une approche activiste et critique des nouveaux médias, de la société d'information et du Web. 'Je voudrai, explique Kleerebezem, que idie.net soit un projet plus collectif. Il aurait beaucoup à gagner d'une participation active, de recherches multiples, d'une production et d'une édition dynamique.' La simplicité de la présentation (une seule page avec des liens internes, écrite en HTMl de base) est une déclaration d'intention en soi. A mon avis, même si Kleerebezem reconnaît que le site est 'plus ou moins bloqué à son stade infantile', c'est l'une des meilleurs critiques que 'First Things First' pourrait espérér !
1) Les initiales NQPAOFU sont aussi celles d'une citation latine, devise [d'origine, JK] de Kleerebezem: "Nunc Qualibet Parte Alloquium Orant Fratres Urbanitatis" (à présent, les frères citoyens font leurs sermons là où bon leur semble).
(Max Bruinsma, Sites de création; innover sur le web, traduit de l'anglais par Evelyne Châtelain-Diharce, 2003, isbn 9 782878 112276)
[15 May 2003 ] sortie
On board Thalys, just leaving Liège, 5 minutes late at 1:40pm., I unpack the 01Book, CP4300, and a couple of books and newspapers for the first two-and-a-half of what will be 24 hours of well deserved solitary escape. At the Artazart bookshop in Paris tonight from 7pm. Max will present the French edition of Deep Sites (link at the book designer Annelys de Vet's): Sites de création; innover sur le web. An individual 2,500 copies French edition is Thames and Hudson's idea which fits me fine. I decided to join Max after he told me about it over fresh Limburg asparagus last Sunday night, when the two of us were the last remaining PPPandemonium participants.
As you've noticed, giving the personal publishing phenomenon some proper real world attention, risks to silence its routines.
If you're not with me tomorrow, that would be the worst.
(Bonnie Prince Billy, 'Nomadic Revery' on I See a Darkness)
01Tunes
Albert Ammons, Pete Johnson, Meade Lux Lewis, Pinetop Smith & Jimmy Yancey
Barry McGuire
Billy Bragg and Wilco
Bonnie Prince Billy
Bonzo Dog Band
Byrds
Canned Heat
Coldplay
Creedence Clearwater Revival
Crosby, Stills, Nash & Young
Derek Trucks, Gov't Mule & Bill McKay
Destiny's Child
Diana Krall
Diana Krall, Cassandra Wilson
DJ Cheb i Sabbah
Dolly Parton, Loretta Lynn & Tammy Wynette
Dolores Keane & Iris Dement
Donovan
Drifters
Easybeats
Electric Prunes
Fiona Apple
Fiona Apple & Adam Duritz
Four Tops
Frankie Valli
Gillian Welch
Grand Funk Railroad
Hot Tuna
Iris Dement
Jane Siberry & KD Lang
Janis Joplin
Janis Joplin & Jimi Hendrix
Jefferson Airplane
Jethro Tull
JK
John Prine, Johnny Cash & Bob Dylan
Joi
Jorma Kaukonen & Tom Hobson
KD Lang
Kinks
De La Soul
Led Zeppelin
Lemon Pipers
Liz Phair
Luther Vandross
Massive Attack
MdM
Natacha Atlas
Nick Cave
Nick Cave & Kylie Minoge
Nina Simone
Nitin Sawhney
Norah Jones
Quicksilver Messenger Service
Righteous Brothers
Skip Spence
Small Faces
Spiritualized
Steppenwolf
Steve Miller band
Supremes
Talvin Singh
Turtles
The Who
Wilco
Wilco & Black Crowes
Zappa
15 May local colour
Het voorheen 'allochtone' werd tot dagdagelijkse werkelijkheid dankzij een het oorspronkelijk inheemse opdikkende, gelaagde verrijking met mediale voor-beelden en de publicitaire na-beelden van onze consumptie daarvan. Zo werd het authentieke inheemse een onbereikbaar ideaal, dat hooguit gereconstrueerd kan worden in zorgvuldig samengestelde en geïsoleerde omgevingen 'out of this world' en exotisch: de themaparken. De moderne kunsten hebben anderhalve eeuw goed gedijd onder vergelijkbare omstandigheden: in splendid isolation. De laatste decennia vond in reactie hierop en onder druk van medialiserende culturele orden een ontmusealisering plaats. Nu echter de uitzondering regel is geworden (het uitheemse werd het alledaagse) kunnen, na een tijdelijke verlossing uit het isolement, de visuele artistieke disciplines hun al danig geremde voorsprong gebruiken om een nieuwe vlucht te wagen.
De inhoud voor zo'n ontsnapping stapelt zich op, de vorm lijkt op zich te laten wachten. Andere disciplines weten de mazen van het mediale net beter te vinden en lijken voor geloofwaardiger vertellingen en beelden te kunnen zorgen. 'Mode' en 'design' bezitten momenteel een hoger mediageniek gehalte dan de beeldende kunst. Voor mij bewijst deze aandacht niet dat daar ook werkelijk nieuwe samenstellingen van ideale en dagelijkse werkelijkheden plaatsvinden, of een aan de mogelijkheden en eisen van de beeldcultuur tot een productieve en een consumptieve interactie beantwoordende prestatie wordt geleverd. Mode en design zijn, meer dan de beeldende kunst, oorspronkelijke (native) mediale disciplines en profiteren tijdelijk beter van de productie- en distributievoorwaarden in de Vroege Informatietijd.
Van een informatiserende beeldcultuur waarin we zoveel dynamiek aantreffen valt geen vaste bodem te ontdekken. Maar in een gelaagdheid van betekenisgevingen vormt elke structuur de bodem voor een nieuwe structuur. In een context van onbegrensde voor- en nabeelden ontwikkelen denkbeelden zich langs andere trajecten dan wanneer de ideologie een lineaire emancipatie voorschrijft. Dat 'de' kunst nu de pas zou inhouden beantwoordt misschien niet aan de overspannen verwachtingen van een rechtlijnig vooruitgangsideaal en past al helemaal niet in een ideologie van vooruitgeschoven denkbeelden zoals die door de historische avant-gardes werd geponeerd, maar kan een zorgvuldige strategie blijken.
De ingehouden pas respecteert de complexe structuren waarop hij treedt. De beeldende kunst schrijdt vooruit zonder de enorme inhoudelijke rijkdom van het eigentijdse culturele aggregaat te willen beschadigen of er uit louter effectbejag gebruik van te willen maken. Zo bemiddelt de kunst onze ervaring van de nieuwe omgevingen waarin ideale en dagelijkse werkelijkheden elkaar stap voor stap benaderen.
[14 May 2003 ] before you know
One of the conclusions of these days' activities would be that the word 'weblog' either needs a more precise definition or cannot be used anymore for the bulk of publishing that is now associated with it. The artist/authors who make up the PPPandemonium do not identify with it.
[11 May 2003 ] publishing horizons
Flying over the public information landscape we oversee large amounts of data, in endless effortless motion.
[10 May 2003 ] opening screens
The installation finished just-in-time before 3, I have momentum management on my side once more. Once you print out a couple of days of wood s lot as a paper scroll you find new proof how its content abounds yet holds together. Then a quilted pattern of the participants' and relevant opening screens gives an overview of styles of information organization that would otherwise only be achievable with some 20 monitors. When the sites come off-screen they map completely different from how they do in their native click through view environment. Next week I'll try to improve these first observations in a couple more larger print outs, combining both quilt view and longer scrolls. Because 'size matters', to quote 20% of that infamous spam.
Screen to paper, web to map, renewed adding ink to paper through a fine sieve things after ten years of dislocated connectivity seem conspiring to get me off line for some of my production. At the opening Macha Roesink and Mark Kremer invite me to wander off to the Museum de Paviljoens later this year or next; when I return with Paul and Rogério after having picked up the latter from the railway station, I find Lex's mail informing after the "art is crisis" essay's progress and some further musings on its presentation. Paper publishing is luring behind the gallery print outs. More water stain'd to come.
[9 May 2003 ] home away from home
BlogBlown away from the web?
Publish to link, publish to be linked to: the defined non-stability of the medium's content is not reflected in most of its publications, e.g. 99% of the web's content is one-to-many, ex-cathedra publishing.
Also the reading table at the Tribunal should supply the daily update of the PPPMonitor.
[8 May 2003, I think] go get
Only got up at 6:30am. after having whiled in bed, again pondering time and date stamping. It seems such triviality but has a strong presence in the weblog. As a part of its core calculating it's just what computer does all the time, and best: tracking time, update after update, replacing previous versions of reality with new ones in deadly linearity with limited backwards possibilities. The computer is but a clock. A clock which not only forces us to bide our time but does so for us, irreparably forcing us forwards into endlessly updated presents, limiting us to undo its, and our own, actions.
When one speaks of clocks in this environment, one has to link to the clock of the long now, if only for future reference: buy two, use one, freeze one. We can't freeze time and so doesn't the CLN. To frame not freeze is our destiny. Freeze frame is as good as it gets, before 6:47. The best time story that comes to mind is about the builders of this library who planted behind it a wood which' oaks in a couple of hundred years would grow the size of the beams used in the building, to just-in-time replace them: the clock of growth and the clock of decay ticking at the same speed. The story must come from mister CLN Danny Hillis himself. Wish such balanced time consuming would count for today's design. That's what he probably said at one Doors. I'm no conservationist. But I'd rather see time consume itself while leaving us alone. Burning its own rubber. My clock of growth and clock of decay since long have been out of pace. But the framing is getting better. Forever focused as an alternative to forever young. Oh and my sons are growing up fine, thank you.
The best relationship between two people goes by the proof of permitting deep honesty. To speak and to be spoken to freely is the just measure of loving affection.
8 May local colour water stain'd
Print paradise revisited. Frans' workshop is my workshop. I was never initiated in wood or metal, but print, ink, paper, its tools and processes, not to forget its printers!, I am familiar with from when they were invented really. The only manual skill that I ever really developed was in silkscreen printing. This ability was early on recognized by master printer Rolf Henderson, my guru at Minerva art school. He sold me his printshop when I graduated. Can a pupil be more rewarded? I should talk to him today.
I haven't touched a squeegee since a while. Inks are water based. The dirtying and cleaning has become a different process here. You wash off the ink in luke warm water. The going is smooth. I print CMYK within an hour. A limited edition of 6 typographicalposterspapers per color and an artistic whim of 3, black print on this pink paper that I happen to find on a shelf.
[7 May 2003 ] data trails
In the everyday information is not only dumped upon us in large quantities, but also sent by us in equal amounts, most of the time without knowing when and what exactly we are revealing, or to whom.
Information sharing, data or file sharing, personal publishing and leaving a data trail for grabs or for well thought-out selection is common media practice in Early Information Age. Out of all things nerdy Paul finds himself digging up Konspire2b, Kees downloads it for a first test run and I print their short history of content distribution for off-line wall papering, although a first line like theirs usually makes me skip the load, "for as far back as our collective human memory goes, we have been trying to distribute content to as many people as possible." At the same time Jo Frenken slips us an open source content management system, OpenCms. The iTunes shops are doing good business and will be spoken about more. Meanwhile my own data drain materializes in local colour: Cyan, Magenta, Yellow and Black in housestyle provided Knockout type poster printing with Frans Vos. More people call in to tell me they'll be coming this week-end. The evening is spent downloading big upgrades, Kast and songs. Staring in the fire.
7 May local colour
On the fly I design a PPPandemonium poster for screenprint. Plus ça change... As with the invitation I love the returning skill that gathered atrophy for maybe 20 years. I love every smelly detail of it. Making the model on the laserprinter, this is almost as get go as is posting a weblog entry.
[6 May 2003 ] flash concentration
A sudden change of attention requires your mind to make a full switch.
Made such A U turn of mind over the past 24 hrs. Engaging in an email discussion with Paul and Rogério also helps. I'm tempted to quote but we have made no agreements on such coming out. Something personal that doesn't go public still exists.
Yet have no idea what exactly will be up for an installation Friday. Patience. Un-nerve. Avoidance into other business, related but definitely not like the reading/writing/linking I planned for these days.
'Mail art meets self publishing' P-P-PostFest? Ha!
6 May local colour
Laurens Schumacher, René Belleflamme and myself do another provider visit to prepare JvE hosting plans. Look at those names, three languages if you include Kleerebezem, respectively meaning as much as 'shoe maker', 'beautiful flame' and 'garment brush'. Bet you didn't know that. Real names are a hoot. We visit cobweb.nl and will receive luna.nl on their return visit.
[5 May 2003 ] inside stories. and a call to contribute expanded weblogs
Momentum management. Full attention ahead. Arriving yesterday evening after a bright sunny drive, I've entered PPP week, with deliverables for 9-15 May scheduled. First up will be an installation before Friday 3pm. at the symposium's venue: the Jan van Eyck Academie gallery space. Originally conceived as a kind of chronological Internet begat www begat homepage begat weblog lineage representation, sort of along the interests and desires of Ted Nelson, Tim Berners-Lee, Dave Winer and the Pyra ppl, since a couple of days I project a different format. It will be weblog-only. I treat the presentation as a weblog entry. It will be open for contribution. It expands weblogging off-line in real-time with a maximum 24 hour lag... Weblogging as hard copy as it gets. For a hard copy audience. With hard copy linking and other inconveniences. And a magazine to emerge from it.
In short. Parallel to the other preparatory activities, over the next days I collect material relevant to this week-ends presentations and discussions, as if as if I am working NQP. I will present all material in a wall-paper poster format, using a window (back) to the web through the janvaneyck.nl/onlinepublishing address. The gallery installation's window to weblogging will remain fed through a Swiki, over the installation's run time 9 May-8 June coming. It could have a possible reprise this fall in Vilnius, Lithuania at the CAC Contemporary Art Center, about which you'll read more here over the next weeks. In addition it will go to print in a magazine format, for the time being dubbed the PPP Monitor (Personal Publishing Pandemonitor?): "All Weblog That's Fit To Print", one issue guaranteed as a PPP proceeding, a second one possibly with the Lithuania event. See the call for contributions below.
Veni, Vidi, Venue. When after my studies in typography and photography in 1979 I turned to artistry as to prefer it over design I entered the art world by opening an artists' space, even before I made my first piece or even seriously having touched artist materials. That I only did for the space De Zaak's opening exhibition, soon turning to painting, using (and keeping visible parts of it in the early works) canvases of this other artist, leaving the discipline at my entering it, Joop Bos. My first painting ever showed his unfinished red tulips in the middle of my muddy oil painted picture representing something like what was supposed to represent a megaphone. Amplification was to follow. Unhindered by any history with the medium I submitted it to the Koninklijke Subsidie voor de Schilderkunst (Royal Painting Subsidy) selection and was admitted to the show, with some 40+ new colleagues, greeted by HM Beatrix herself. Who said the medium isn't the message?
I don't know whether it is good design practice or just my inclination to first pay attention to the context and community practice and atmosphere, before eventually but not necessarily entering it myself. My first 'art work' I personally consider that artists' space proper: its concept and organization and its later publications. Its activities spanned the 1980s, that's how I survived them anyway. The 1990s were going to be for the web. QED.
5 May local colour
Waiting for breakfast to be served (actually for the baker to arrive) at the one-of-a-kind Tribunal café where the morning crew has already sand covered the floor and scrubbed the sidewalk in front when I arrive at 8am. This place has two faces: the evening and night smoky blue and beer golden, and the morning coffee brown, yolk yellow and bacon pink. I'm among the morning regulars. When the smell of green soap froth mixes with fresh newspaper print and every trace of the night has disappeared, including the male barkeepers having been replaced by women. Too bad the radio is on the wrong station. In their magazine rack I spot but Donald Duck weekly and a scotched sign saying: "Due to a lack of personnel there's humans working here. Treat them kind, they're rare!"
this call's 'permalink': nqpaofu.com/2003/nqpaofu69.html#ryoroi
expand your weblog off-line open invitation
Weblog authors are invited to sprawl their publications off-line to contribute to the Personal Publishing Pandemonium installation (and subsequent printed matter) in the gallery space of the Jan van Eyck Academie, Maastricht the Netherlands, over its 9 May through 8 June 2003 installation period.
all weblog that's fit to print
With a Swiki as its editing agent (Personal Publishing Pandemonium Monitor), every 24 hours its 'recent changes' with no further editing will be printed and posted in the gallery space, which from 9-11 May form the backdrop to the symposium and subsequently is open to the public, on weekdays from 9am-5pm through June 8. The symposium context is peer-to-peer personal publishing, over the exhibition period a general public will be introduced to this genre of journalistic/literary production.
nothing a little cut and paste won't cure interest alert
The PPPandemonium's prime interests are with your ideas on topics like:
- the documented life
- the (no hierarchy?) private/professional mix or if you prefer:
- a personal/political ambiguity
- the fact/fiction ratio
- its (a-spectacular) daily routine instead of deadline (and 'event') driven base
- its free character, being still an amazing feat
- write and/or link the genre specificities; building components and how sustainable are they?
- personal publishing position in oeuvre: relation to other (artistic, literary, design?) expressions/channels
- how 'personal' is personal publishing or could it get? Do we know of some extreme confessional examples?
- how do we 'document' life: can private and public information safely (and comfortably) exist online? "One site fits all?"
- issues of 'voice'/identity/authorship
If these are not the focus of your current attention please do not hesitate to cut and paste your or someone else's thoughts on such issues. In addition to the expanded weblogging to be expected, as a curator I will select and emphasize some background material and extensively quote from all the good material that exists 'out there'.
To monitor the gallery project please from 9 May-8 June step by janvaneyck.nl/onlinepublishing or come back to NQP69, the PPP special issue.
beyond the gallery
To be included in the symposium's proceedings, published as a b/w printed magazine/pamphlet format, we'll select relevant entries from the installation to be streamed to the printing press in their entirety, with previous notification to their authors, who will in return receive 10 free copies of the printed publication in the mail and in addition can order any number at cost price for their personal use and distribution.
A possible second issue of the printed Personal Publishing Pandemonium Monitor could appear at the occasion of another installation in the Vilnius Lithuania Contemporary Art Center, where NQPaOFU was invited to contribute to a 2 months 24/7 event. Contributors to the first issue will be posted on follow-ups.
the jan van eyck gallery on 5 may morning before emptying out
[1-3 May 2003 ] the 01 publication
I consider lemoulindumerle.com, idie.net and NQPaOFU one publication. In three parts if you like. Because I am attached to titles and numbering as defined stages of attention, or thresholds, or passages from one focus to another, I mark different parts of the publication differently. Of course titles and numbers are different markers, read differently. Additional to the threefold titling of the three domains (which are not titles but domain names, data addresses, although actually lemoulindumerle.com could be considered the title of the Le Moulin du Merle house's Internet extension), I title entries and possibly supply them with commentary anchors in the HTML underlying them. The whole 'mark-up' thing is a titling business anyway. Meta information never is a clean address just facilitating the text's navigation and archiving.
The time stamp of weblog entries is troublesome. Why mark the exact date and time of writing? Why live by the calendar for a literary production? I have no explanation for I have no schedule and live by natural cycles and my metabolism.
A link doesn't always provide enough of a passage experience, while it really should in most cases. Links level otherwise hugely different contexts, contents and routines. I have nothing to do with Mark or Ray linked below, besides they are just the authors of Wood s lot and Bellona Times respectively, not Mark and Ray in this context I don't and should not necessarily know who they are or what they're like. In the context of the link the old author/text relationship, or author/personage ambiguity becomes relevant in new ways (unfinished).
Limit by object or subject: by content matter or author angle? Two ways, which is the third? In online personal publishing the more or less authorless (or rather 'author loose') text shapes up (unfinished).
Wood s lot ('repost') on 28 April linked me back to my own past thoughts and landed me in my own publication in a part which is different from my actual attention. But it fits the occasion of upcoming events and thus my current preoccupations. Which are returning focuses anyway:
There's no totality of experience, no hierarchy, at the cost of no story. Yet, cross referencing between mutually interpretative parties builds multifaceted refraction, creating different images for new stories. Writing links is different from straight 'linking'. Different links would be differently valued, a merely illustrative note becoming distinctive from an antithetical or a supportive one. To know how and what to link is a great skill, seriously different from knowing how and what to write.
Around the same time Bellona Times sends me off to Giorgio Agamben, but anyway I would have come across him, his The Coming Community on my desk, opened on page 64 to quote once again from 'Without Classes', or 'Dim Stockings'. Or just copy a new quote from the linked site of the Saas Fee European Graduate School:
"Artistic subjectivity without content is now the pure force of negation that everywhere and at all times affirms only itself as absolute freedom that mirrors itself in pure self-consciousness."
[30 April 2003 ] que tient
Cioran by Bresson
Cioran in Cahiers 1957-1972:
"Exposition surréaliste. Tout ce qui est 'choc', tout ce qui est provocation s'annule de soi au bout de quelques années. Ne tient, en art comme en tout, que ce qui a été fait dans la solitude, face à Dieu, que l'on soit croyant ou non."
Impossible de s'entendre avec quelqu'un qui n'a pas quelque blessure secrète.
The secret wound as a key to understanding supposes it to be secret as to what and how it hurts, yet revealing its presence, between wounded. The wound as a bond I know very well. Yet to live after the wound, grateful to whatever hurts, even if it doesn't communicate understanding, requires real talent. The talent to be wounded is a talent to pay attention. Blessé blessed.
nqpaofu.com 1998-2003 jouke kleerebezem Notes Quotes Provocations and Other Fair Use