Von 16. bis 22. November 2009 bietet Wien erneut die Kulisse der Vienna Art Week. Die generelle Zielsetzung hat sich nicht verändert: Es gilt, Wien als Standort für bildende Kunst zu bewerben und den Kunstmarkt anzukurbeln.

Kleinere Metamorphosen gibt es jedoch allemal: Was 2005 als Event für Geschmacks- und Meinungsbildner der internationalen Kunstszene begann, will heute ein offenes Festival sein – die “Wiener Festwochen der bildenden Kunst” nennt es Robert Punkenhofer, der als künstlerischer Leiter das Programm aus Führungen, Performances und Podiumsdiskussionen koordiniert.

Das Auktionshaus Dorotheum ist zugleich Initiator und Hauptsponsor des zu rund 90 Prozent privat finanzierten Events. “Das Programm wird aber von Institutionen getragen”, erklärt Punkenhofer. “Wir haben heuer mehr Player als bisher, mit über 60 Veranstaltungen in einer Woche.”

Programm

Große Häuser sind ebenso mit dabei wie kleine Initiativen und Galerien. Am Donnerstag präsentiert Albertina-Vizedirektorin Maria Luise Sternath ausgewählte Schätze der Albertina (15 Uhr), am Freitag führt Karlheinz Essl durch das Depot seines Museums (14.30 Uhr; Anmeldung unter VIENNA ART WEEK erforderlich).

Das Performance-Programm (Eintritt frei) beginnt mit der Aktion “foam” des Künstlers Josef Trattner am Dienstag im Künstlerhaus (17.30 Uhr). Im MAK führt Rainer Ganahl am Freitag (20 Uhr) seine Hommage an Alfred Jarrys “König Ubu” auf, gefolgt vom Kochevent “Credit Crunch Buffet”. Die Kuratorin Ursula Maria Probst ist besonders darauf bedacht, zu zeigen, dass die Szene auch außerhalb der großen Häuser floriert. Für ihre Ausstellung “In the Center of Attention” hat Probst in Wien lebende Künstlerinnen aufgefordert, in einem temporär genutzten Raum (Radetzkystraße 23, 1030) auszustellen und selbst Künstler einzuladen. Es gilt, die Belebung und Aufwertung der Stadt durch Kunst zu zeigen- denn gerade für viele jüngere Kreative zeigt sich der Erfolg nicht unbedingt am Markt.

Odem

Viele Künstler erforschen heute, wie sie ihr Ding durchziehen können, ohne durch den Flaschenhals des Kunstmarkts durch zu müssen”, sagt Lorenz “eSeL” Seidler, ein Kenner der Szene-Nischen der Stadt. Er lädt am Samstag zu einer Führung zu Ateliers, Kleingalerien und Kunstwerken im öffentlichen Raum im zweiten Bezirk (14.30 Uhr).

Indem er dabei gezielt falsche oder übertriebene Informationen streut, möchte er auch die “Wien-ist-toll”-Rhetorik des Events hinterfragen. Dass die Kunstwoche die Szene befruchtet, bezweifelt indes kaum ein Teilnehmer: Erst der Mix aus kommerziellen und konsumkritischen, akademischen und populären Initiativenerweckt den Eindruck einer lebendigen Szene.

Nicht zufällig stehen auch Studiobesuche in Architekturbüros und bei Videokünstlern (VJs) auf dem Programm, die Grenze von Kunst und Mode wird von Boutique-Ausstellungen bei Advanced Minority (Westbahnstraße 22, 1070) oder Song Song (Praterstraße 11-13, 1020) aufgelöst. “Im Gegenwartskunstbereich gibt es in kaum einer anderen Stadt so differenzierte Ausstellungsinstitutionen wie in Wien”, sagt Nicolaus Schafhausen, Direktor der Witte-de-With-Kunsthalle in Rotterdam und Teilnehmer einer Diskussion im MUMOK (Montag, 18.30 Uhr). “Von außen erscheint es mir nur manchmal zu sehr auf Konkurrenz angelegt – ich denke, dass man mehr über seinen Schatten springen und auf Synergien setzen könnte.”

Dass das Zusammenspiel zumindest während der Vienna Art Week funktioniert, sieht Punkenhofer in den Anmeldungen für die Kunstwoche bestätigt. Heuer gebe es kein Budget, um wie in den Anfangstagen 500 “Opinion Leader” einzufliegen, erklärt er.

Kommen würden die Kenner trotzdem, bisher seien Zusagen aus 16 Nationen eingelangt. Geht es nach Punkenhofer, sollen künftig Auftragsarbeiten das Programm attraktiver und für das Publikum sichtbarer machen – wenn möglich mit Unterstützung der öffentlichen Hand. “Hier sind wir noch von den Wiener Festwochen entfernt”, sagt er. “Ich glaube aber, dass wir dorthin kommen müssen.”

Führungen

Von Montag, 16.11., bis Samstag, 21.11., finden täglich Spezialführungen in Museen und im öffentlichen Raum sowie Atelierbesuche statt. Für diese Veranstaltungen ist eine Anmeldung auf der homepage der Vienna Art Week erforderlich (“Programm”).  Etliche Vorträge, Performances und Ausstellungen sind jeden Tag frei zugänglich. Secession, Künstlerhaus, Wien Museum & Essl Museum eröffnen während der Art Week neue Ausstellungen.

Hier finden Sie den Link zur offiziellen homepage der VIENNA ART WEEK href=”http://www.viennaartweek.at”>

Die scoop sailors wünschen angenehme Stunden im Rausch der Kunst.

I piccoli editori, le piccole realtà, stentano assai in un mondo costruito su misura per i grandi, dove l’ossessione per il profitto e per il guadagno di nuove fette di mercato porta poi alle degenerazioni che sono sotto gli occhi di tutti. Per questo, vogliamo dedicare uno spazio alle nuove proposte di chi fatica a trovare spazi, pur proponendo ottime cose.

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PROPONIAMO QUESTO TESTO:
Autore Charles Baudelaire, Honoré de Balzac , Lev Tolstoj , Sigmund Freud, Stupefatti,

Stupefatti! è una raccolta di 4 saggi brevi che vertono sul tema della droga scritti da grandi autori della letteretaura moderna: Balzac con Il trattato degli eccitanti moderni, Baudelaire con Il poema dell’hashish, Freud con Sulla Coca e Tolstoj con Perché la gente si droga?. Partendo dal caffè e dall’alcol per finire all’hashish e alla cocaina questi quattro grandi autori prendono in esame gli effetti sull’uomo e sulla società umana che la “droga” inizia ad avere sin dall’inizio del secolo scorso. Senza scadere in una acritica esaltazione della droga e neppure in un preconcetto rifiuto di analisi, ma in un tentativo di capire le cause di un fenomeno crescente – come in Tolstoj – o di spiegarne gli effetti e i terribili postumi – come in Baudelaire, Balzac e Freud, che provarono le droghe su se stessi. Stupefatti! riesce a offrire un punto di vista fuori dagli schemi consueti, cercando, al di là della tradizionale divisione tra proibizionisti e antiproibizionisti, di capire un fenomeno in costante ascesa: quello del consumo di droghe nella società moderna.

Alfred Jarry, Ubu in bicicletta, In uscita
A cento anni dalla sua morte da dietro la collina spunta la sagoma di un Alfred Jarry avido di esercizio fisico e di nuove sensazioni. La bicicletta, così come l’assenzio o il revolver, è un prolungamento naturale della maschera di Ubu che Jarry ha portato per tutta la vita.
Non dormiva forse insieme al suo «scheletro esterno», la Clement Luxe 96, mitica bicicletta che non fu mai pagata? Ubu in bicicletta raccoglie gli scritti velocipedi di Jarry. Vedremo Gesù in derapata sul Golgota, Issione attaccato alla propria ruota per l’eternità, i pedoni investitori, l’acrobata del Giro della Morte, una quintupletta lanciata alla rincorsa di un treno da Parigi alla Siberia, dei ciclisti ubriachi fradici dopati con il Perpetual Motion Food . .

www.pianobedizioni.com

The reputation of the 1890s for foppish aestheticism, “decadence”,  moral inversion, and other forms of what we today would call just plain good fun played out on both sides of the Channel – Oscar wasn’t of the only national type known for a little Mauve-Decade Wildeing – and let us never forget the cartoon that immortalized the decade’s Francotone hipsters, Choisie et Debussycats – as this letter in the new number of THE TIMES LITERARY SUPPLEMENT of London reminds us:

Pataphysics, what’s that?

Sir, – In the NB section of the September 18 issue, the question is asked, “Pataphysics, what’s that?”. An excerpt from a woefully neglected book by Scott Slater and Alec Solomita, published by E. P. Dutton (1980), titled Exits: Stories of dying moments and parting words, may help answer your question:

“On December 10th, 1896, the city of Paris was outraged . . . and delighted by Alfred Jarry’s play, ‘Ubu Roi.’ The first word of the play, ‘Merdre’ (a play on the French word ‘merde,’ . . . variously translated as ‘shittre’ or ‘pshitt’) created a pandemonium in the crowded theater that lasted fifteen minutes. Many walked out; the rest of the audience separated vocally into two hysterical factions, some of whom came to blows . . . . The scatological classic played that one night and not again until 1908, a year after Jarry’s death.

“Jarry, only twenty-three in 1896, became an instant celebrity. He also became so obsessed with, and committed to, the character of Père Ubu that he virtually transformed himself into his king of Pataphysics (Jarry’s own science based on a sort of anti-reason). In the world of Père Ubu, everything is turned upside-down. So Jarry began all his meals with the dessert and ended with the appetizers. He adopted the character’s gestures and nasal tone. The language he began using (employing the royal ‘we’ and substituting nouns with descriptive phrases such as, for a bicycle: ‘that which rolls’; for a bird: ‘that which chirps’) is still heard in certain literary circles in Paris.”

The source for this is Roger Shattuck’s The Banquet Years: The origins of the avant-garde in France, 1885 to World War I (revised ed. New York: Vintage Books, 1968).

NB: Mancunian artist-designer John Coulhart notes on his blog that

the famous first word of the play, “Merdre!”, doesn’t mean “shitter”…Rather, it’s an untranslatable combination of the French words for “shit” and “murder” which Cyril Connolly rendered unsatisfactorily as “Pschitt!” in his 1968 translation with Simon Watson Taylor.

Spencer Museum of Art, University of Kansas

Program for Ubu Roi

Special edition on salmon-colored paper inserted in the deluxe programs for the 1896 performance of the play at the Théâtre de l’oeuvre, Paris

Another letter in the TLS recalls the abolitionist sympathies of an iconic figure in housewares:

Manacles

Sir, – In his article about American slavery (September 25) Michael O’Brien asks “Should manacles be placed beside the Wedgwood plates?”. The idea is not necessarily incongruous: the image of a manacled and kneeling slave sometimes appeared on Josiah Wedgwood’s plates – and, more famously, medallions – in support of the abolition of slavery, bearing the motto “AM I NOT A MAN AND A BROTHER?”.

Wikipedia on Wedgwood’s cameos:

Wedgwood was a prominent slavery abolitionist. His friendship with Thomas Clarkson – abolitionist campaigner and the first historian of the British abolition movement – aroused his interest in slavery. Wedgwood mass produced cameos depicting the seal for the Society for the Abolition of the Slave Trade and had them widely distributed, which thereby became a popular and celebrated image. The Wedgwood medallion was the most famous image of a black person in all of 18th-century art. The actual design of the cameo was probably done by either William Hackwood or Henry Webber who were modellers in his Stoke-on-Trent factory. From 1787 until his death in 1795, Wedgwood actively participated in the abolition of Slavery cause, and his Slave Medallion, which brought the attention of the public to the horrors of the Slave trade, was very effective in bringing public attention to abolition. Wedgwood reproduced the design in a cameo with the black figure against a white background and donated hundreds of these to the Society for distribution. Thomas Clarkson wrote; “ladies wore them in bracelets, and others had them fitted up in an ornamental manner as pins for their hair. At length the taste for wearing them became general, and thus fashion, which usually confines itself to worthless things, was seen for once in the honourable office of promoting the cause of justice, humanity and freedom”.

American Philosophical Society, Philadelphia via franklinremix at Flickr

Africans in America (WGBH for PBS)

Happy birthday to Alfred Jarry (8 September 1873-1 November 1907), creator of Père Ubu and ‘Pataphysique, and to the Blessed Virgin Mary (birth traditionally celebrated by Roman Catholics on 8 September).

Originality Corner
I Am The Polish Army, Pataphysically Speaking

I Am The Polish Army is the project of Brooklyn duo Emma DeCorsey and C.P. Roth, a drum and guitar pair that have been playing together for the last two years. The twosome’s name comes from a line in surrealist Alfred Jarry’s play “Ubu Roi,” a farcical play ridiculing military aggression, not ridiculing Poland. Jarry, an absurdist and trickster, expressed his ideas through mockery, exaggeration, and satire, and even coined his own antiphilosophy, “pataphysics.” Pataphysics is the “science” of making assumptions about things and inventing reasons, plausible and implausible, for why things happen. For instance, if I see my landlord and he doesn’t say “hi” it obviously means he hates me, probably because my haircut offends the upright gentry of his building. Obvious, right? That’s a pataphysical story I invent in my head to explain reality to myself. Ok, are you buying this?

Well, opposite the absurdity of Alfred Jarry, I Am The Polish Army chronicles real life stories of “sex, lost love, drinking, [and] suicide,” on their newest “Club Demos” EP. “Us In The Woods” recounts the story of three friends sleeping in the woods Chan Marshall of Cat Power narrative style. “Dead Men” reminisces about what a lost lover leaves behind. The realism of DeCorsey’s lyrics contrasts with the borrowed Jarry namesake, and perhaps the Jarry reference is a defense mechanism IATPA uses to speak of uncomfortable human emotion. DeCorsey says in email that she is a “young, emotionally fragile, and ultimately passionate woman living in the city right now,” and listeners will hear this in her unguarded vocal delivery, which combines Loretta Lynn’s twang and Katie Eastburn from Brooklyn’s Young People’s straightforwardness.

Similar as Jarry inspires us to create personalized narratives out of our surroundings, I Am The Polish Army uses their union of Appalachia and indie rock to inspire listeners to muse over their city life in New York and Brooklyn. IATPA’s shrewd bass and guitar interplay inspire thought, and could easily pass as a soundtrack for a drizzly stroll under the JMZ underpass on Broadway in Brooklyn. And it is this brooding thought that produces the dual nature of I Am The Polish Army: nonfiction and fable, modern and folk. But finally, I Am The Polish Army embodies the characteristics of the Brooklyn it is in–a modern, electric city. DeCorsey says IATPA has consciously chosen only to play its Appalachia electric. “It doesn’t make sense,” she says of performing acoustic, “electricity…is important…because the city is electric to me and that’s the world I’m in.”

Today I simply haven’t been doing the kind of thinking that allows me to deliver this daily quotation gimmick o’ mine (either that or I’m just fresh out of ideas at the moment), so let’s forgo the obligatory preface and allow these two quotes to introduce themselves.

“O, if only, instead of being a hell, the universe had been an immense celestial anus!” (Comte de Lautréamont, Fifth Canto of Les Chants du Maldoror)

“PA UBU. – Hornstrumpot! We shall not have succeeded in demolishing everything unless we demolish the ruins as well. But the only way I can see of doing that is to use them to put up a lot of fine, well-designed buildings.” (Alfred Jarry, Ubu Enchained)

If you’re wondering what the hell I’m getting at here, then finish off your rapidly dying summer by reading Roger Shattuck’s excellent work of cultural history, The Banquet Years, an erudite profile of the French avant-garde from the 1880s on to the outbreak of World War I; the chapters on Jarry and Henri Rousseau are especially fascinating. I wonder how many times Groucho Marx read Ubu Roi…

Experimentation vs. Convention in Dramatic Writing

I will always remember with nostalgic fondness my first encounter with experimental dramatists in Suzanne Westfall’s Modern Drama course during my undergrad studies at Lafayette.  Susan Glaspell’s Machinal, Luigi Pirandello’s Six Characters in Search of an Author, Alfred Jarry’s Ubu Roi, and August Strindberg’s Ghost Sonata were delicious counterpoints to my footings in Marlowe, Shakespeare, Shaw, and Wilde (excepting, perhaps, Salome).  Looking back now, I wonder what it was about these writers and works that so intrigued me.  After all, at 19 or 20, anything remotely unconventional tends to appeal.  This much I remember: it was not the dialogue in these plays that drew me in. The wit and sarcasm of Shakespeare’s clowns and Wilde’s widows were nowhere to be found (of course, Beckett’s Godot is another matter).  Anyway, I think their allure sprung from their ideas and their visuality:  Glaspel’s industrialized feminist metaphors; Pirandello’s inversion of invention and authorship (which I think speaks to my fascination with Charlie Kaufman’s film, Synechdoche, New York); Jarry’s hyperbolic sexualized abstractions, and Strindberg’s dark and dreamy depiction of love and death.  When I read them, I witnessed creative motives, sensibilities, driving and redefining craft.    

In his most recent post on “Upstaged,” the theatre blog for Time Out NY, David Cote joins the discussion about craft vs. experimentation that has been taking place on the Lark Play Development Center blog, which I still need to read through.  But before doing so, I want to jot down some of my own thoughts on the subject.

As timely and relevant as this topic is, a stroll through theatre history reminds us that there is nothing new about it.  To be part of the theatre, at most any place or time in history, is to be part of this tension.  During the Restoration period in England, for example, the debate centered on innovation versus imitation and whether “native” drama could be truly “English” if it rigidly adhered to classical conventions or allowed continental influences, such as Italian opera or French farce.  

The labors of some experimentation have born blessed fruit while others have yielded only rotten tomatoes.  The novel, whose name alone speaks to what its originators were trying to do, was incidentally indebted in part to dramatic writing; the form was considered experimental and frequently criticized when it began to emerge. It has clearly endured, but not without its own generational conflicts about form and function.  And so the story goes with poetry, too.  When I talk with my college freshmen about grammar conventions, I always show them poems by e.e. cummings.  Without fail, they are shocked to learn that a formally educated Harvard grad could produce almost indecipherable poetry that dismantles syntax and exploits punctuation.  If nothing else, I try to then convey that it’s not a bad idea to know “rules” or precedents before you break them, so you can defend your work.  Of course, some don’t feel they should have to explain themselves either way.  Cote touches on this type in his post: they are the ones who say, “Don’t get it? Too bad. It’s from my heart.”  The reality, however, is that few writers of any genre  write for an audience of one; necessity and human nature together won’t allow it.  So experiment away, but you need to make sure enough people speak your language, and preferably ones with adequate cash, clout, or contacts to buy your book or attend your show.

The past also reminds us that there is nothing different or varied about the need for diversity or variety and that the term “experimental” is both relative and subjective.  By the actual dawning of the Modern period in the early 20th c., and the flurry of -isms that comprised it, from surrealism and dadaism to absurdism and expressionism, the term meant something very different than it had centuries earlier when Behn, Dryden, Shadwell, Otway, and others were contemplating creativity and convention.  And, of course, that is because through the centuries, their “innovations” became our theatre mainstays, our repertories, repeat, repeat, repeat.  

All this said, the tension that exists between experimentation and convention in the theatre may be one of the few good conflicts that exists today.  No actual blood has been shed yet, right? More later after I check out the discussion on the Lark blog.

L’étoile de Jarry [appareil noirâtre parental Les films Lidl 2005]

Alfred Jarry

SUPRABARBATUL

(roman modern)

Multi autori cauta absolut in operele lor, dar nici unde nu se face mai bine decat in romanele moderne. Chiar daca uneori sunt mai greu de perceput ideile dintr-un astfel de roman.

Romanele lui Alfred Jarry, “Suprabarbatul” si “Superfemeia” vor sa recreeaza in fond caracterul absolut ale celor doua fatete umane (masculinul si femininul).

Dincolo de toate conotatiile, romanul e in fond unul al sentimentelor; de fapt al neputintei Suprabarbatului de a iubi.

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Andre Marcueil este Suprabarbatul, un barbat inteligent, puternic, frumos, viril.

“Marcueil intruchipa atat de perfect tipul omului obisnuit, incat tocmai asta devenea cu-adevarat extraordinar.”

In urma unor discutii in anturajul sau despre performantele legendare ale unor barbati: Hercule (despre care legendele spun ca a avut intr-o singura noapte 30 de virgine) , indieni care detineau secretul unor prafuri magice, Andre Marcueil decide sa le dovedeasca celor din anturajul sau ca acest lucru nu e imposibil.

Pregateste o camera, in care trebuia ca un Indian, impreuna cu 7 fete sa bata recordul… numarul record de 70.

Planul lui Marcueil este altul. Va lua locul Indianului, iar fetele vor fi inlocuite de Ellen Erson, cea de care se simtea atras si care il iubea.

Recordul este depasit in cele 48 de ore, dar planul sau e desconspirat. Tatal lui Ellen il obliga sa o ia de nevasta.

Si Andre si Ellen refuza. Andre pentru ca stia ca nu o iubeste pe Ellen cu adevarat, chiar daca ii adora fiinta. Ellen pentru ca stia ca Andre nu o iubeste.

Tatal recurge la stiinta. Cu ajutorul unui prieten, creaza masina-de-indus-iubire, pentru a-l face pe Andre sa o iubeasca pe Ellen. Totul insa esueaza, masina se indragosteste de Suprabarbat, incarcandu-se cu energia acestuia, ceea ce duce la auto-distrugerea amandurora.

Ellen accepta sa se marite cu un alt barbat.

“Un iscusit mester giuvaergiu i-a pus in locul perlei un inel de care nu se desparte niciodata, una dintre lacrimile solide ale Suprabarbatului ei.”

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“DUMNEZEU ESTE INFINIT DE MIC.

Cine poate pretinde asa ceva? Fireste ca nu un om. Caci omul l-a creat pe Dumnezeu, sau cel putin pe Dumnezeul in care crede.

Ceea ce nu inseamna ca Dumnezeul conceput de om este adimensional.

Este doar mai mare decat orice dimensiune, fara a fi insa in afara oricarei dimensiuni, nici imaterial si nici infinit. E numai nedefinit.

Astazi noi stim ca exista un alt Dumnezeu, care l-a creat pe om, care salasluieste in nucluel viu al tuturor fiintelor si care e sufletul nemuritor al omului.

Caci, pentru a fi Dumnezeu, trebuie ca a lui Creatie sa fie infinit de mare. Daca ar fi pastrat vreo dimensiune oarecare, si-ar fi limitat Creatia si n-ar mai fi fost Cel care a creat Totul. Dumnezeu e inafara oricarei dimensiuni, e inauntru.

E un punct.”

Voronin seamănă pe zi ce trece tot mai mult cu celebrul personaj al lui Alfred Jarry – Ubu. Un personaj grotesc care dă fiori, pentru că oricum are organele de forță în mâinile lui și încă poate măcelări pe cine vrea. Emite doar absurdități agresive gen: „Ei nu sînt oponenţii Partidului Comuniştilor, ci ai Moldovei. Ei au respins mîna întinsă, au blocat alegerea preşedintelui, încearcă să ducă ţara în haos”. Într-adevăr, ce fraieri! Să scape o așa oportunitate! Au avut ocazia să-l voteze pe Voronin și să asigure independența RM, iar ei, ca niște prostovani, au dat șansei cu piciorul.

Face împrumuturi imense pe care tot simplul cetățean va trebui să le suporte, dar condițiile acordării lor sunt ținute în secret. Mai mult, nici măcar nu se sfiește să recunoască că împrumutul este unul politic. Așa ceva, repet, poți întâlni doar citind „Ubu rege”.

Păi dacă asta înseamnă statalitate, să fie el sănătos, că nimeni n-are nevoie de ea. Dacă statalitate înseamnă comunism băgat pe gât, anularea democrației, paranoia la nivel de stat exprimată prin sintagma stalinistă „dușmani ai poporului” și variațiile ei: provocatori plătiți din exterior, dușmani ai statalității, opoziție criminală etc.,  precum și amenințarea cu războiul civil, auzită tot mai frecvent din gura tovarășilor lui de partid, atunci preferăm să renunțăm la așa stat și să cerem fie reunirea cu patria-mumă România, fie crearea unui protectorat european + umbrela NATO. Căci jungla comunistă nu înseamnă statalitate.

Père Ubu will eat an extra hot dog for you in celebration.

*Image from Wikimedia

Was ist pataphysik?Ce este patafizica?Cred ca cea mai mai buna definitie este data de scriitorul Alfred Jarry,in cartea a doua a romanului neo stiintific,”Faptele si opiniile doctorului Faustroll”,:”patafizica este stiinta solutiilor imaginare,care acorda simbolic lineamentelor proprietatilor obiectelor descrise prin virtualitatea lor”.La aceasta definiste mai este adaugat un argument in plus,:”patafizica este stiinta ce se supra-adauga metafizicii si se intinde dincolo de metafizica,tot cat acesta se intinde dincolo de fizica”.

Ea propune o reflexie profunda asupra universului paralel,este o stiinta care terorizeaza deconstructia realului si construierea lui la modul absurd.Acest termen odata descoperit a influnetat de-a lungul timpului scriitorii suprarealisti dar si teatrul contemporan.

Colegiul de Patafizica a fost creat pentru studiera problemelor celor mai importante ale universului,univers pe care Faustroll il defineste “cel care este propria exceptie”.Colegiul a admis spate propozitii fundamentale ale patafizicii.

1.Patafizica este stiinta acestui domeniu ce se intinde dincolo de metafizica;ea depaseste metafizica atat cat aceasta depasteste fizica-in toate sensurile ad libitum.

2.Patafizica este stiinta particularului,a legilor ce guverneaza exceptiile

3.Patafizica este stiinta solutiilor imgainare.

4.Pentru ea toate sunt acelasi lucru.

5Patafizica este de alura imperturabila.

6.Totul este “patafizic”,totusi,putini oameni pun constiincios patafizica in practica

7.Dincolo de ea nu este nimica.Patafizica este instanta suprema.

Aceste sapte “propozitii”,le-am gasit citind diverse articole despre patafizica.In fine daca e sa mai scriu sunt o multime de definitii si presupuneri,insa o sa continui altadata sa mai editez la acest post…

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Känns i mediavinden att patafysiken får nu viss uppmärksamhet. Kanske beror på att Rönnels Antikvariat har nyligen utgivet Mathias Nystrands magisteruppsats Antikvariatshandlaren i Visby och andra berättelser, som är, enligt föregående länk, det första riktiga försöket att tränga sig in i Göteborgsförfattaren Claes Hylingers författarskap. … se även Claes Hylingers presentation av (hans översättningar av) Nasruddin, som Nystrand spårar som en av patafysikens föregångare! :-O enligt Fredrik Sjöbergs recension på Nystrands bok.

Gidouille, symbol för patafyiken

Ytterligare en patafysisk bok som nyligen kommit på svensk marknad är Patafysik av Jean Baudrillard, en minsann egendomlig bok. En symbol som förenar denna och föregående omnämnda bok är symbolen till vänster! Jag tror spiralen var Alfred Jarrys symbol för hans nyfunna idé. Idén kallade han patafysik.

Vad är patafysik? Kanske följande citat, från artikeln Towards a ‘patakabbal som jämför patafysik med kabbala, kan klargör lite grann av dess ståndpunkt:

A ‘pataphysician has an altitude in if but no attitude in life. The person, that which mosbunall confuse with the self, is considered as an imaginary solution. There are as many roles on the stage of life as there are possible answers to a poll answered by Jarry. The character of a ‘pataphysician is like a glove, like a puppet in a theater.

A kaballist also sees life as a theatre play. The role played is considered a mere shadow resulting from the rules of the divine light. The role on te stage of existence is played seriously but without equating the self with the person. Any emotion, thought, feeling are just necessary props for playing the role.

Both the awakened kaballist and the conscious pataphysician (hence the apostroph) try not to desire, but to elevate the value of the world they adapt themselves to by the way they consider it. In this sense both can be seen as an art of existence.

Fler länkar om Claes Hylinger

• Han hyllar det absurda
• Claes Hylinger – gäst på Bokens dag
• Det dagliga livet inspirerar

Recensionen på Jean Baudrillards bok Patafysik hos Norrköpings Tidningar, där man även försöker se vilken roll patafysiken spelat i Jean Baudrillards liv:

• http://www.nt.se/kultur/artikel.aspx?articleid=319538

Fotnoter:

1. Verkar som att “person” i citatet används i betydelsen “mask” = grekiskans “persona”. (Jmfr “persona” i treenighetsläran).
2. “Mosbunall” är myntad av Robert Anton Wilson och verkar betyda “most but not all”, enligt wikipedia (2009-04-04).
3. Länken till “theater” är död. En liknande länk hos Spencer Museum of Art kan hittas här.

La simplicité n’a pas besoin d’être simple, mais du complexe resserré et synthétisé.
– Alfred Jarry.  «Linteau»  11 août 1894

blogging about random shit got me thinking about the relationship between serial and aleatory music (like country and western, in their way) –the soundtrack to sock hops where libertarians and anarchists all get down and the smart girls are so tall they’re small–which reminded me to post a link to John Cage’s beautiful, long out of print, prohibitively expensive book of graphic notations. Explore, enjoy.

That comes courtesy of UbuWeb, whose faq reminds us they are “an archive not a blog”--a distinction which prompted A Man Named Me to have something of a crisis. He felt like, maybe, gasp, cough, (wasp rasping on bone), honk, HONK, “go already”–Am I an archive trapped in the body of a blog? (blink)

“i don’t know what to say to him…”

“sometimes it helps just to listen”

comments are also nice

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I find the following passage from Wikipedia’s Alfred Jarry page strange, sad, and funny–its touch so light I’m apt to imagine it as the result of many hands making small changes, a series of edits guided by incidental formal concerns, i.e. an accidental byproduct (haven’t looked at the page history, know nothing of its true origin, have likely by now overstated my case, lapsed into hyperbole, gilded many lilies and clitorides to boot). I think it reads better with a short sentence before it:

“At 17 Jarry passed his baccalauréat and moved to Paris to prepare for admission to the École Normale Supérieure. Though he was not admitted, he soon gained attention for his original poems and prose-poems. A collection of his work, Les minutes de sable mémorial, was published in 1893.

That same year, both his parents died, leaving him a small inheritance which he quickly spent.

Jarry had meantime discovered the pleasures of alcohol, which he called ‘my sacred herb’ or, when referring to absinthe, the ‘green goddess’. A story is told that he once painted his face green and rode through town on his bicycle in its honour (and possibly under its influence).”

Speaking of good prose catching me by surprise, a few weeks(?) back (we’ll be dead in a moment), I recently attended a reading by C.D. Wright, during the Q&A of which, in response to a seemingly non sequitur question, she expressed her enduring love and admiration for the movies of Terrence Malick, which reminded me of my enduring love and admiration for this poster:

You can find the out of print poems of Frank Stanford (he and Wright were lovers used to do it provided me with an opportunity for narcissistic bad tone) here, and speaking of speaking of,        .