produccionesinvisibles

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"En la historia de la fotografía existen otras imágenes de niños y niñas que marcaron umbrales de indignación social: Aylan Kurdi en una playa de Turquía; Óscar Martínez y su hija Valeria ahogados en el Río Bravo; la niña quemada por napalm en Vietnam; el niño frente al buitre fotografiado por Kevin Carter; el niño anónimo con los brazos en alto frente a soldados nazis en el gueto de Varsovia. Esas imágenes impidieron que esas vidas se convirtieran solo en estadísticas. Ingresaron al espacio público con nombres, historias, rostros. Se volvieron presencias activas." https://www.tiempoar.com.ar/ta_article/una-imagen-contra-la-anestesia-generalizada/

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Søren Kierkegaard ilumina esta contradicción: «Cuando un hombre tiene la boca tan llena de comida que no puede comer, y está a punto de morir de hambre como consecuencia, ¿darle de comer consiste en meterle más comida en la boca o consiste en quitarle algo para que pueda comenzar a comer?».

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De lo perdido, de lo irremediablemente perdido, sólo deseo recuperar la disponibilidad cotidiana de mi escritura, líneas capaces de cogerme del pelo y levantarme cuando mi cuerpo ya no pueda aguantar más. (Significativo, dijo el extranjero.) A lo humano y a lo divino. Como esos versos de Leopardi que Daniel Biga recitaba en un puente nórdico para armarse de coraje, así sea mi escritura.

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La luz del atardecer descompone nuestra percepción del viento

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Undiú

Song · João Gilberto · 1973

Undiú means 'sound of a bird' in Portuguese.

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This work resonates interestingly in regards to the last two quotes from Duchamp about painting being an act of choosing colors.

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A readymade is a work of art without an artist to make it, if I may simplify the definition. A tube of paint that an artist uses is not made by the artist; it is made by the manufacturer that makes paints. So the painter really is making a readymade when he paints with a manufactured object that is called paints. So that is the explanation.

THE READYMADE AND THE TUBE OF PAINT

IT TOOK MARCEL DUCHAMP exactly one year, from Sonate (Sonata) in August 1911 to Mariée (Bride) in August 1912, to make his way through Cubis

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The word art, etymologically speaking, means to make, simply to make. Now what is making? Making something is choosing a tube of blue, a tube of red, putting some of it on the palette, and always choosing the quality of the blue, the quality of the red, and always choosing the place to put it on the canvas, it’s always choosing. So in order to choose, you can use tubes of paint, you can use brushes, but you can also use a ready-made thing, made either mechanically or by the hand of another man, even, if you want, and appropriate it, since it’s you who chose it. Choice is the main thing, even in normal painting.13

THE READYMADE AND THE TUBE OF PAINT

IT TOOK MARCEL DUCHAMP exactly one year, from Sonate (Sonata) in August 1911 to Mariée (Bride) in August 1912, to make his way through Cubis

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«El carácter se forma los domingos por la tarde». Aforista madrileño. http://www.enriquevilamatas.com/textos/textbolanoenblanes.html

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"El caso del aislamiento de Bolaño durante años en Blanes me recuerda a esos libros de los que nos habla Elías Canetti en La provincia del hombre, libros que tenemos a nuestro lado muchos años sin leerlos, libros de los que no nos alejamos y a los que llevamos de una ciudad a otra, de un país a otro, cuidadosamente empaquetados, aunque haya muy poco sitio, y que tal vez hojeemos en el momento de sacarlos de la maleta; sin embargo, nos guardamos muy bien de leer aunque solo sea una frase completa. Luego, al cabo de los años, llega un momento en el que, de repente, como si estuviéramos bajo la presión de un imperativo superior, no podemos hacer otra cosa que coger un libro de esos y leerlo de un tirón, de cabo a rabo; este libro actúa como una revelación. En aquel momento sabemos por qué le hemos hecho tanto caso. Tenía que estar mucho tiempo a nuestro lado; tenía que viajar; tenía que ocupar sitio; tenía que ser una carga, y ahora ha llegado a la meta de su viaje; ahora levanta su velo; ahora ilumina los años en los que ha vivido mudo a nuestro lado." Enrique Vila Matas http://www.enriquevilamatas.com/textos/textbolanoenblanes.html

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No somos más que el tiempo que nos queda caminando hacia el olvido que seremos. Es duro, pero es así. El resto, literatura. Lo mejor es no pensarlo mucho: seguir andando, tomar cafés, enamorarse, ver la lluvia…

Karmelo C. Iribarren, Las luces interiores: Un día bueno

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You need not see what someone is doing to know if it is his vocation, you have only to watch his eyes: a cook mixing a sauce, a surgeon making a primary incision, a clerk completing a bill of lading, wear the same rapt expression, forgetting themselves in a function. How beautiful it is, that eye-on-the-object look.

“Sext” is part three of Horae Canonicae, a series of poems by W. H. Auden first published in a 1955 collection, titled The Shield of Achilles. The title concerns the canonical hours of the Christian Church. https://genius.com/W-h-auden-sext-annotated

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i’m thinking of ending things

Jake: I suppose I watch too many movies. Young Woman: Everybody does. Societal malady. Jake: Fill my brain with lies to pass the time, in the blink of an eye, and an eye blink in excruciatingly slow motion. Young Woman: It’s like the rabies virus, attaching itself to our ganglia, changing us into itself.

Jake: Viruses are monstrous. Young Woman: Everything wants to live, Jake. Viruses are just one more example of everything. Jake: But… Young Woman: Even fake crappy movie ideas want to live. Like they grow in your brain, replacing real ideas. That’s what makes them dangerous.

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Susanne Hofer - Senor Costa

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No, no estoy contento, pero sé que con otro destino sería otra persona. Y como dice Spinoza, «cada cosa quiere la soledad de su ser». Yo insisto en ser Borges, no sé por qué.

Borges, https://elpais.com/cultura/2020/06/12/babelia/1591960732_814904.html

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Given Lynn Margulis’ central role in the articulation of the Gaia theory, I would love to hear her reformulation of it in the wake of our current viral pandemic. What we’re witnessing affirms her ontological formulation decades ago. We are viruses, we are bacteria, we are multitudes of different cells, of different species, of the same cells, of the same species, as part of a shared planet. We cannot escape our interconnectedness. If we explore the imposed biological, ecological, and astral strictures, then we open ourselves up for new prospects and more possibilities than can be perceived at present. Right now, that’s certainly a lot to fathom.

http://www.vdrome.org/

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Cinema had its start in a search for an empirical answer: Do all four of a horse’s feet leave the ground when it runs? The animal-locomotion work of Muybridge, bird flight for Marey, insect studies for Percy Smith, and actuality films by the Lumière brothers. That empiricism was followed quickly by narrative, typified by D.W. Griffith and Méliès. Yet cinema arose out of the science of looking, to know in the empirical fashion. In short, these references boil down to the thing vs the idea or description of the thing. I like to look at the former and roll around formulations of the latter. I am interested in creating a sensorial thought experience, finding novel passages for navigating the density of life.

http://www.vdrome.org/