ekscest

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Arhiv za December 2009

Ribič Pepe alias kapitan Stari

Objavil ekscest dne 21.12.2009

Kako se že konča Das Boot? S sinhrono smrtjo podmornice in kapitana Starega (Der Alte), po neizogibnem vzoru Ahaba in Moby-Dicka, ter pripovedovalcem, ki preživi, da bi povedal zgodbo.

Think again.

Videti je, kot da gre za enega najslabše zakamufliranih častnikov tretjega reicha na begu. Nadel si je brčice urednika, ki je požegnal oddajo, ter ostal v istih vodah, le iz podmorničarja se je prekvalificiral v ribiča ter zamenjal našitek na kapi.
Morda je glavni adut njegove kamuflaže dežela, v kateri se skriva.

Vseeno ne gre pozabiti: kapitan Stari je (bil) antinaci.

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Laibach srečajo Atomik Harmonik 2

Objavil ekscest dne 20.12.2009

Bratstvo se nadaljuje. Očitno je pivsko.

Nostalgija po “Država, to sem LDS” de Luks. Nekoč je bil Mobitel.
YouTube slika preogleda
YouTube slika preogleda

Pivnica v času med obema vojnama. Zakajen lokal, brutusi za mizami, na privzdignjenem prostoru – kot nekakšnem odru – stoji temna postava in nerazumljivo bruha iz sebe, v jeziku, ki še najbolj spominja na nemščino, tisto, ki jo je izvajal neki brkati komik, jeziku, osrediščenem okoli izrazov »sauerkraut« ali »juden«. Pogled se giblje med mizami, tipi strmijo v govorca, ki se čedalje bolj razvnema, čedalje gromkeje govori, vedno več srda in sline leti iz njega, tudi poslušalci niso neprizadeti, kimajo z glavo in nagibajo pivo v požiralnike. V trenutku, ko se retorik že bliža klimaksu, v bližnjem planu eden izmed bratcev ravno odloži steklenico in se zagleda vanjo, prehod na drugo mizo, kjer se zgodi enako, in tako naprej. Nazaj h govorniku, ki izvaja odločilno, vratolomno točko govora in ko je že tik pred koncem, ko se zdi, da se bo z vseh kotov in krajev pivnice usul preznani vzklik, se zasliši skandiranje: »Laško, Laško, Laško!«

Pir pa bo mir.
Pir pa bo sprava.

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Sense of the Past

Objavil ekscest dne 16.12.2009

“In the critic’s vocabulary, the word ‘precursor’ is indispensable, but it should be cleansed of all connotations of polemic or rivalry. The fact is that every writer creates his own precursors. His work modifies our conception of the past, as it will modify the future.”1

YouTube slika preogleda

Daft Punk created the pop science of Carl Sagan as mediated through John Boswell.
Yes, dear Mr. Mojo, auto-tune is a time machine.

I. Coleridge imagines: “If a man could pass through Paradise in a dream, and have a flower presented to him as a pledge that his soul had really been there, and if he found that flower in his hand when he awoke –Ay!– and what then!”

II. Borges writes about Henry James’ unfinished/unfinishable novel that he has not read: “In The Sense of the Past the nexus between the real and the imaginary (between present and past) is not a flower /…/ but an eighteenth-century portrait that mysteriously represents the protagonist. Fascinated by this canvas, he succeeds in going back to the day when it was painted. Among the persons he meets, he finds, of course, the artist, who paints him with fear and aversion, having sensed something unusual and anomalous in those future features. James thus creates an incomparable regressus in infinitum when his hero Ralph Pendrel returns to the eighteenth century because he is fascinated by an old portrait, but Pendrel needs to have returned to the eighteenth century for that portrait to exist. The cause follows the effect, or the reason for the journey is a consequence of the journey.”

III. James Cameron’s The Terminator: Kyle Reese is a human resistance fighter sent from post-apocalyptic 2029 to 1984 Los Angeles.
Mission #1: prevent cyborg assasin from killing Sarah Connor.
Mission #2: impregnate Sarah Connor with a son who will be a man that sent him to the past.

The reason for the journey is a consequence of the journey. Odysseys. ekscest’s own: 1977-2001-2010.

  1. Jorge Luis Borges: Kafka and His Precursors(back)
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No Laughing Matter

Objavil ekscest dne 14.12.2009

“A man, running along the street, stumbles and falls; the passers-by burst out laughing. They would not laugh at him, I imagine, could they suppose that the whim had suddenly seized him to sit down on the ground. They laugh because his sitting down is involuntary.
Consequently, it is not his sudden change of attitude that raises a laugh, but rather the involuntary element in this change,–his clumsiness, in fact. Perhaps there was a stone on the road. He should have altered his pace or avoided the obstacle. Instead of that, through lack of elasticity, through absentmindedness and a kind of physical obstinacy, as a result, in fact, of rigidity or of momentum, the muscles continued to perform the same movement when the circumstances of the case called for something else. That is the reason of the man’s fall, and also of the people’s laughter.”1

When one morning a man non involuntary sits – or even lies – down, no one is laughing no more.

http://www.vimeo.com/5420333

***

“Nekdo, ki je tekel po ulici, se spotakne in pade: mimoidoči se zasmejejo. Mislim, da se mu ne bi smejali, če bi mogli domnevati, da se mu je na lepem zahotelo sesti na tla. Smejejo se temu, da se je usedel nehote. Ne smejejo se torej temu, da je naglo spremenil položaj, temveč se smejejo nehotenosti te spremembe, nespretnosti. Mogoče se je na njegovi poti znašel kamen, treba bi bilo drugače stopiti ali obiti oviro. Zaradi premajhne gibčnosti, zaradi raztresenosti ali vztrajnosti telesa, zaradi togosti ali pridobljene hitrosti so mišice še naprej opravljale enako gibanje, ko so okoliščine terjale nekaj drugega. Zato je človek padel in temu se mimoidoči smejejo.”

Ko se nekega jutra nekdo ne nehote usede, celo uleže na tla, ni več nikomur do smeha.

  1. Henri Bergson: Laughter: An Essay on the Meaning of Comic(back)
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