ekscest

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Vaja dela mojstra Juda

Objavil ekscest dne 25.08.2010

YouTube slika preogleda Pri poslednji večerji se razdelijo dramske vloge, slišati in videti je kot prvo skupno branje teksta. Pisec drame in režiser se določi za glavnega igralca:
»Mene bodo križali.«
Nato pridejo na vrsto karakterne vloge:
»Evo, pomočim grižljaj v vino in tisti, ki mu ga izročim, me bo izdal.«
Juda pogoltne, zadrhti in pokaže nase kakor Caravaggiov Matej:
»Saj menda nisem jaz?«
Zvezda/dramatik/režiser pilatovsko izrabi priložnost:
»Ti si rekel!« oziroma, s pravim naglasom: »You said it!«

***

At the last supper the roles are being assigned, it sounds and looks like the first joint reading of a text. The author of the play slash director takes the leading part:
“I am the one to be crucified.”
Then it’s time for the supporting roles:
“Look, I dip this bread into the bowl and the one I give it to is going to betray me.”
Judah swallows, shivers and points a finger to himself like Caravaggio’s Matthew:
“Surely not I?”
The star slash dramatist slash director uses the opportunity like Pontius Pilate:
“You said it!”

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Soundcamp

Objavil ekscest dne 14.08.2010

Za Jukija, ker se vsake toliko spomni.

YouTube slika preogleda

“Na celotnem zemeljskem prostoru in prvič, odkar so bili izumljeni prvi instrumenti, je postala uporaba glasbe polna pomena in polna odvratnosti. Ob nenadoma brezmejnem razširjanju po izumu elektrike in množenju njene tehnologije je postala nekaj nenehnega, kar noč in dan napada na trgovskih ulicah mestnih središč, v veleblagovnicah, pasažah, supermarketih, knjigarnah, podružnicah tujih bank, kjer se dviga denar, celo v kopališčih, celo na plažah, v zasebnih stanovanjih, restavracijah, taksijih, v metroju, na letališčih.
Celo v letalih med vzletanjem in pristajanjem.
*
Celo v taboriščih smrti.
/…/
Slišati in biti poslušen.
Ko je Primo Levi prvič slišal pihalno godbo, ki je na vhodu v taborišče igrala Rosamundo, je le stežka zadušil živčni smeh, ki ga je popadel. Tedaj so se pred njegovimi očmi prikazali bataljoni, ki so se v taborišče vračali z nenavadno hojo: pomikali so se v vrstah po pet in pet, skorajda togi, z napetimi vratovi, kakor ljudje, narejeni iz lesa, in glasba je privzdigovala noge in tisoče in tisoče lesenih cokel ter krčila telesa kakor telesa robotov.
Ljudje so bili tako zelo brez moči, da so nožne mišice proti njihovi volji poslušno sledile moči, vsebovani v ritmih, ki jih je vsiljevala taboriščna glasba in ki jim je dirigiral Simon Laks.
*
Primo Levi je glasbo imenoval peklenska.
Čeprav podobe zanj niso bile običajne, je Primo Levi zapisal: Njihove duše so mrtve in naprej jih kakor suho listje potiska glasba, ki nadomešča njihovo voljo.
/…/
Leta 1943 je na božični večer v taborišču Auschwitz komandant Schwarzhuber lagerskim glasbenikom ukazal, naj gredo bolnicam iz ženske bolnišnice igrat nemške in poljske božične pesmi.
Simon Laks in njegovi glasbeniki so se napotili v žensko bolnišnico.
Sprva je vse ženske, še posebej Poljakinje, popadel jok, iz katerega se je nato izoblikovalo ihtenje, ki je bilo blagozvočnejše od glasbe.
Nato so solzam sledili kriki. Bolnice so kričale: Nehajte! Nehajte! Poberite se! Izginite! Pustite nas, da v miru crknemo!
Naključje je hotelo, da je Simon Laks edini med glasbeniki razumel smisel poljskih besed, ki so jih tulile bolne ženske. Glasbeniki so pogledali Simona Laksa, ki jim je pomignil. In umaknili so se.
Simon Laks pravi, da dotlej ni nikoli pomislil, da bi glasba lahko povzročila tolikšno bolečino.”1

Morda edina sprememba: glasbe ni več, ostal je zvok.

  1. Pascal Quignard: Sovraštvo do glasbe; prevod: Suzana Koncut(back)
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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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Pipi in Melkijad, mali in veliki bratec

Objavil ekscest dne 25.10.2009

Preden je beseda predana Justinu Sodji in novemu razglasu Društva teoretikov zarote, je ekscest dolžan prolog:

Zapis, ki sledi, ne želi podlegati homofobiji, temveč preizpraševati pogoje filozofije oziroma strahu pred njo.
Sosprehajalka ima prav, ko se sprašuje, zakaj se morajo pop revizionizmi tako rekoč vselej zreducirati na dovtipe okoli seksualnega (kronski primer: Tarantinova/Avaryjeva Top Guna teza), vendar si ekscest dovoli domnevati, da gre v tukajšnjem primeru za poskus, ki se ne omeji na seksualno in pop. Tudi če gre za neuspel poskus, šteje vsaj zadržek.

Vnaprej gre odpraviti še ta pulp fiction: “Zmotno je razširjeno mnenje, da so prašiči umazane živali. Če jim omogočimo primerne življenjske razmere, skrbijo prašiči za svojo čistočo bolj kot preostale domače živali. Toda če so preveč nagneteni v ogradah in nimajo dovolj ločenega prostora za spanje, krmljenje in iztrebljanje, se njihov naravni nagon za čistočo poruši.”

Konec prologa. Na potezi je Justin Sodja, v imenu Društva teoretikov zarote:

“Pipi in Melkijad. Zdaj, ko nismo več otroci, je čas za vprašanje: v kakšnem razmerju sta pravzaprav mali in veliki pujs?
Uradno sta mlajši in starejši brat. A kaj če brata zamenjamo z bratcem?
Mar ne gre za klasičen, antičen primer odnosa med učencem in učiteljem, med pedom (paisom) in erastom (erastēsom), dečkom in ljubimcem? Odnos-inštitucija, ki je skrbel za vzgojo in izobrazbo, kultivacijo.

Deleuze & Guattari uvedeta ključno besedo: ‘Prijatelj je tak lik, zanj celo trdijo, da priča o domnevnem grškem izvoru filozofije: druge civilizacije so imele Modrece, Grki pa se ponašajo s ‘prijatelji’, ki niso zgolj skromnejši modreci. Prav Grki naj bi dokončno pokopali Modreca in ga nadomestili s filozofi, s prijatelji modrosti, tistimi, ki iščejo modrost, a je formalno ne posedujejo. Vendar naj ne bi šlo zgolj za razliko v stopnji, kot na kakšni lestvici, med filozofom in modrecem: stari modrec, ki prihaja z Vzhoda, naj bi mislil s Podobo, medtem ko naj bi filozof iznajdeval in mislil Pojem. /…/ Kaj pomeni prijatelj, ko postane pojmovni lik ali pogoj za delo mišljenja? Pravzaprav ljubimec, kaj če gre prej za ljubimca?’

Pipi in Melkijad sta takšna prijatelja in takšna ljubimca. Mali velikega na začetku vselej povpraša po pojmu. Veliki je daleč od tega, da bi posedoval vednost, ta je, kot se spodobi, le približna, in pogostokrat jo izsilijo šele vztrajno vsiljiva vprašanja malega.

Nato odpujsata domov.”

YouTube slika preogleda
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The Will to Power-Nap

Objavil ekscest dne 20.10.2009

Oh, the antivegetative, antivegetarian bias of Aristotle’s ethics.

“Of the irrational element one division seems to be widely distributed, and vegetative in its nature, I mean that which causes nutrition and growth; for it is this kind of power of the soul that one must assign to all nurslings and to embryos, and this same power to fullgrown creatures; this is more reasonable than to assign some different power to them. Now the excellence of this seems to be common to all species and not specifically human; for this part or faculty seems to function most in sleep, while goodness and badness are least manifest in sleep (whence comes the saying that the happy are not better off than the wretched for half their lives; and this happens naturally enough, since sleep is an inactivity of the soul in that respect in which it is called good or bad), unless perhaps to a small extent some of the movements actually penetrate to the soul, and in this respect the dreams of good men are better than those of ordinary people. Enough of this subject, however; let us leave the nutritive faculty alone, since it has by its nature no share in human excellence.”

***

“Nerazumski del duše se odraža v dvojem: po eni strani v tem, kar je splošno in vegetativne narave, hočem reči, kar je vzrok hranjenja in rasti. To sposobnost lahko zasledimo v vseh hranjenih bitjih, tako v embrionalnem kot v zrelem stadiju, in sicer verjetneje kot katero koli drugo lastnost. Ta sposobnost je skupna vsem bitjem in ni specifično človeška. Zdi se, da je ta del duše in ta sposobnost najbolj dejavna v spanju, torej ravno tedaj, ko je najteže razločevati dobrega človeka od slabega. Zato tudi pravijo, da se pol življenja srečneži v ničemer ne razlikujejo od nesrečnežev; in ta trditev je utemeljena, saj spanje pomeni popolno nedejavnost duše, namreč nedejavnost duše, kolikor je le-ta lahko plemenita ali slaba. Edini razloček je v tem, da nekatera dejanja vendarle vplivajo tudi na spanje, in da so zato sanje plemenitih ljudi lepše kot sanje povprečnežev. Toda dovolj o tem! Pustimo vegetativno stran duše, ki ni deležna človeške vrline!”

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The Class of Opera

Objavil ekscest dne 10.09.2009

When Adorno diagnosed opera with becoming an obsolete form he also predicted the bourgeoisie abandoning the opera house and amusingly leaving it to their petit(-es) counterparts so they could think they had found for themselves the old gravity and dignity of high art.

Nevertheless, the bourgeoisie can’t help but preserve their affection for the opera. Conveniently, they (with a little help of technology – but it so retrograde to even mention that) move their reception into the privacy, even more, isolation of their homes and vehicles.

At least until there is a knock at the door or the servant doesn’t respond to the ringing of the bell.

Funny Games [Michael Haneke, 1997]YouTube slika preogledaLa cérémonie [Claude Chabrol, 1995]YouTube slika preogledaWhat else could they be watching but Don Giovanni, the hero of the bourgeois emancipation, whom Haneke recently staged for the Opéra National de Paris? So, who attended?

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Niki

Objavil ekscest dne 2.09.2009

Če bi bil vsakdo povsem razumen in če bi vsakdo prebral Senekovo LXIII. pismo Luciliju, potem v tej kulturosferi ne bi bilo nikogar, ki bi žaloval dlje kot dan.
Na srečo nihče ni povsem razumen, na nesrečo vsakdo ne prebere Senekovega LXIII. pisma Luciliju.

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The open door

Objavil ekscest dne 23.08.2009

YouTube slika preogleda
Epictetus: “Above all, remember that the door stands open. Be not more fearful than children; but as they, when they weary of the game, cry, ‘I will play no more’, even so, when thou art in the like case, cry, ‘I will play no more’ and depart. But if thou stayest, make no lamentation.”

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Vacancies

Objavil ekscest dne 15.08.2009

Rain cries instead of samurais.1
YouTube slika preogleda Perry Smith played by Robert Blake, who in 2005 himself is tried (and acquitted) for the murder of his wife. The name of Smith’s accomplice Richard ‘Dick’ Hickock is commonly misspelled as Hitchcock. Understandably, Bates Motel has 12 rooms and 12 vacancies. Main highway got relocated.
Psycho begins in Phoenix, Arizona, the same place where in 1993 Joe Arpaio, sheriff of Maricopa County, sets up an open-air jail comprised of army-surplus tents. Two years later he introduces a neon Vacancy sign on a tall guard tower.
YouTube slika preogleda

  1. In Cold Blood [1967, Richard Brooks](back)
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