#effacement

[cheminer-poesie-cressant]

source : @cheminer-poesie-cressant

.

Le temps n'a pas de prise sur l'invisible. Le trouver et c'est l'éternel que l'on voit.

L'effacement doit devenir un chant de création où le temps sera de nulle contrainte.

--

Time has no hold over the invisible. Find it, and it is the eternal that one sees.

Erasure must become a song of creation where time will be of no constraint.

.

(De disparition fondé, extraits)

© Pierre Cressant

(mardi 26 septembre 2006)

[luminael]

A MULTIMEDIA SYLLABUS ( for the Effaced. )

Topics — I. The Irreversible ( & mercy ) / II. Selfhood / III. Love as a Discipline / IV. Sanctuary & Cage / V. The Inscribed Verdict / VI. Tension as Appetite & Play / VII. Memory Against Oblivion / VIII. Idealism in Resistance / IX. Self-Exposure / X. The Forbidden Beloved / XI. Unkept Keeper / XII. Aesthetic Attention / XIII. Intensity / XIV. The Vocation of Community-Tending / XV. Faith & Damnation.

What the fuck is this, Nell ? — A peripheral self-study in effacement and attachment issues. A patronizing assignment, yet a gift nonetheless.

Note — There is a substrate which I have not included: grief, loss, and longing. It has no heading of its own because every territory here is a transformation of it and/or in dialogue with it. Grief faces the foreclosed; longing faces the unreachable. They are the same ache pointed in opposite directions, backward and forward, two faces of a single loss. For the same reason, treat the categories as doors into one room rather than as separate rooms. They are angles of approach, and any work that enters under one of them will answer, if you ask it, to several others.

I. THE IRREVERSIBLE ( & mercy ) / The foreclosed; the deed that cannot be unmade.

( permanence is a property of states, whereas irreversibility is a property of transitions. the first asks ❛ will it stay? ❜ while the latter asks ❛ can you go back? ❜ ) 

Film: La Jetée, dir. Chris Marker

Film: Irréversible, dir. Gaspar Noé

Manga & anime: Land of the Lustrous

Musical: Anaïs Mitchell, Hadestown

Fiction: Nietzsche, Thus Spoke Zarathustra, Part II (“On Redemption”)

Nonfiction: Vladimir Jankélévitch, Forgiveness and L'Irréversible et la nostalgie

Nonfiction: Hannah Arendt, The Human Condition, the chapter on Action

Music: Arvo Pärt, “Spiegel im Spiegel”

Poetry: Robert Frost, “The Road Not Taken”

Visual Art: Roman Opałka, 1965 / 1 to infinity

II. SELFHOOD / Transgression, the self imposed by others, self-erasure, self-expenditure, sacrifice; the double; metamorphosis.

Fiction: Clarice Lispector, The Passion According to G.H.

Poetry: Rimbaud, A Season in Hell

Visual Art: Ana Mendieta, Silueta series

Performance Art: Marina Abramović, Rhythm 0

Nonfiction: Georges Bataille, Inner Experience

Nonfiction: Simone Weil, Gravity and Grace

Nonfiction: René Girard, Violence and the Sacred

Play: Euripides, Iphigenia at Aulis

Film: The Sacrifice, dir. Andrei Tarkovsky

Visual Art: Caravaggio, The Sacrifice of Isaac

Visual Art: Grünewald, the Isenheim Altarpiece

III. LOVE AS A DISCIPLINE / A practice and a labor; none of the coming and going of weathers.

Essay: bell hooks, All About Love

Discourses (?): Søren Kierkegaard, Works of Love

Letters: Rainer Maria Rilke, Letters to a Young Poet

Lecture / Essay: Olga Tokarczuk, “The Tender Narrator”

Film: The Story of the Last Chrysanthemum, dir. Kenji Mizoguchi

Craft: Kintsugi

IV. SANCTUARY & CAGE / The walled garden.

Fiction: Faulkner, “A Rose for Emily”

Nonfiction: Gaston Bachelard, The Poetics of Space

Poetry: Rilke, “The Panther”

Visual Art: Louise Bourgeois, Cells and Femme Maison

Film:Room, dir. Lenny Abrahamson

V. THE INSCRIBED VERDICT / Judgment that becomes a fact about you, written into the body.

Film: The Passion of Joan of Arc, dir. Carl Theodor Dreyer

Fiction: Kafka, “In the Penal Colony”

Play: Sophocles, Antigone

Nonfiction: Foucault, Discipline and Punish

Nonfiction: Simone Weil, “The Iliad, or the Poem of Force”

VI. TENSION AS APPETITE & PLAY / Conflict and provocation enjoyed for their own sake, the nudge to the order of things.

Essay: Lewis Hyde, Trickster Makes This World

Essay: Roger Caillois, Man, Play and Games

Nonfiction: Johan Huizinga, Homo Ludens

Fiction: Vladimir Nabokov, Pale Fire

Film:Funny Games, dir. Michael Haneke

VII. MEMORY AGAINST OBLIVION / Refusing to let a person or a moment be erased.

Opera: Henry Purcell, Dido and Aeneas, “Dido’s Lament”

Manga & anime: Frieren: Beyond Journey’s End

Poetry: Thomas Hardy, “Poems of 1912-13”

Music: The Caretaker, Everywhere at the End of Time

Music: Nick Cave and the Bad Seeds, Ghosteen

Nonfiction: Roland Barthes, Camera Lucida

Fiction: W.G. Sebald, Austerlitz

Fiction: Borges, “Funes the Memorious”

Fiction: Toni Morrison, Beloved

Fiction: Proust, In Search of Lost Time

Visual Art: Christian Boltanski (e.g., Monument (Odessa) and Menschlich)

Visual Art: Masahisa Fukase, Ravens

Visual Art: Hiroshi Sugimoto, Seascapes and Theaters

VIII. IDEALISM IN RESISTANCE / Building or insisting on a better world because the real one is doomed or disenchanted.

Nonfiction: Ernst Bloch, The Principle of Hope

Fiction: Albert Camus, The Plague

Fiction: Miguel de Cervantes, Don Quixote

Visual Art: Hilma af Klint, The Paintings for the Temple

IX. SELF-EXPOSURE / ?

Poetry: Walt Whitman, “The Wound-Dresser”

Nonfiction: Emmanuel Levinas, Otherwise than Being

X. THE FORBIDDEN BELOVED / The love that cannot be had; the touch that wounds or kills.

Film: In the Mood for Love, dir. Wong Kar-wai

Essay: Anne Carson, Eros the Bittersweet

Nonfiction: Roland Barthes, A Lover’s Discourse: Fragments

Poetry: Sappho, Fragment 31

Performance Art: Pina Bausch, Café Müller

XI. UNKEPT KEEPER / Yet is never themselves held.

Audio Drama: The Magnus Archives

Essay: Maurice Blanchot, The Space of Literature

Poetry: T.S. Eliot, The Waste Land

Film: Wings of Desire, dir. Wim Wenders

Film: Stalker, dir. Andrei Tarkovsky

XII. AESTHETIC ATTENTION / Seeing for its own sake, distributed across an object’s properties, the world made strange and so made visible. Attention as the substance of love.

Essay: Bence Nanay, “Aesthetic Attention”

Essay: Simone Weil, “Reflections on the Right Use of School Studies”

Poetry: Elizabeth Bishop, “The Fish”

XIII. INTENSITY / Living at maximum amperage.

Film: Whiplash, dir. Damien Chazelle

Visual Art: Boccioni, Unique Forms of Continuity in Space

Performance Art: The Rite of Spring (Stravinsky and Nijinsky, and Pina Bausch’s staging on bare earth)

Nonfiction: Walter Pater, The Renaissance, the Conclusion

Nonfiction: Yukio Mishima, Sun and Steel

XIV. THE VOCATION OF COMMUNITY-TENDING / Welcome, mediate, and bind the many.

Nonfiction: Martin Buber, I and Thou

Poetry: Gwendolyn Brooks, “Paul Robeson”

Film: Babette’s Feast, dir. Gabriel Axel

Visual / Performance Art: Rirkrit Tiravanija (e.g., Untitled (Free) (1992); Untitled (1999))

XV. FAITH & DAMNATION / The passage between the sacred and the fallen; faith held under doubt, the sympathetic damned.

Nonfiction: Søren Kierkegaard, Fear and Trembling

Poetry: John Milton, Paradise Lost

Poetry: Gerard Manley Hopkins, the “Terrible Sonnets”

Film: Winter Light, dir. Ingmar Bergman

Music: Ethel Cain, Preacher’s Daughter

EXTRA: GAME RECOMMENDATIONS.

Disco Elysium (ZA/UM). ( The fractured self rendered as a parliament of competing voices one assemble, betray, or lose control of. ) Required. Either play this or watch me play this.

NieR: Automata (PlatinumGames).

Undertale (Toby Fox). ( Both your mercy and cruelty leave permanent marks on the world. )

Outer Wilds (Mobius Digital). ( A time loop spent learning a dead civilization’s last day, and learning to accept the end of everything. )

Pathologic 2 (Ice-Pick Lodge). ( Progress is ruthless and control is futile. )

Silent Hill 2 (Konami). ( A man’s guilt and his trial. )

Hades (Supergiant). ( Joy in the repetition of going and returning. )

Signalis (rose-engine). ( A promise kept across the cycles of a cold recurrence; love refusing to die when the body does. )

Citizen Sleeper (Jump Over the Age). ( An emulated human consciousness in a borrowed, failing body. )

What Remains of Edith Finch (Giant Sparrow). ( Room by room, the deaths holds. )

Omori (Omocat). ( A dream-world refuge built over a single unbearable act. )

Steins;Gate. ( Every reversal exacting a fresh and different loss. )

Umineko When They Cry. ( A metaphysical trial staged again and again to force a confession out of fate itself. )

[les-portes-du-sud]

Sous les feuilles d'ivoire, elle s'efface,

Un mystère caché dans un doux espace.

Sa beauté s'élève, fragile, éthérée,

Comme un souffle de brume au clair de la forêt.

Les nervures des pétales murmurent un chant,

Un écho subtil, délicat et troublant.

Elle est l'ombre et la lumière en fusion,

Une énigme vivante, une douce illusion.

©les-portes-du-sud

[jacquesdor-poesie]

J'ai tout digéré du monde et bientôt je serai digéré par lui. Gibier du temps, proie fragile oxydée d'émotions. Lutter contre quoi ? Vous avez inventé la roue, le canon, le parapluie, le planeur mais rien qui empêche ou guérisse des disparitions. De mon côté je n'aurais fait que des mots ; ils ne seront parvenus ni à faire basculer un amour, ni à convaincre d'un retour les âmes en allées. Des phrases éphémères relâchées dans la nature, sur la toile, comme des souris de laboratoire. Des mots sauvés ou perdus d'avance : confettis, éclats de clarinette, sourire en douce. À la fin, c'est le point qui clos la recherche du sens et des frissons ; pas d'autre issue pour l'écrit, la pensée, l'existence ; tout s'arrête à cette ponctuation ... Et puis l'écho d'une suspension, d'une errance, d'un silence et son oubli magnifique ; point final au-delà du point.

jacques dor

[shihlun]

Hugo Santiago

- Un siècle d'écrivains : Maurice Blanchot

1998

[petitmonsieur1]

[poemesdujour]

[random-xpressions]

No one spoke about the selfless love that the sun had for the moon - he had to slowly fade and disappear from the horizon so that the moon could be visible and seen. To give up one's light, to efface oneself totally - isn't that the very essence of love - why else do you think God has been repeating this pattern of day & night endlessly since the dawn of creation - yet we humans don't take a lesson!

Random Xpressions