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RIP Umberto Eco (1932 – 2016)

Umberto Eco was an Italian novelist, essayist and philosopher. He is best known for his bestselling 1980 historical mystery novel The Name of the Rose (which I have never been able to finish, although I did see the film).

The only one of his novels I read was Foucault's Pendulum, in the summer of 2013 in Turkey, which was great for many reasons, not in the least for mentioning the subject matter that would later make it to the cacopedia.

I'm a big fan of his non-fiction and I thoroughly enjoyed The Search for the Perfect Language, Six Walks in the Fictional Woods, Kant and the Platypus: Essays on Language and Cognition, Inventing the Enemy and The Infinity of Lists.

On Ugliness deserves special mention, it's a wonderful book.

And oh yes, I would hate to see the Bibliotheca semiologica curiosa, lunatica, magica, et pneumatica, Umberto Eco's library which consists entirely of books that describe falsities, dispersed.

Who is the new Umberto Eco? A nobrow genius? His voice will be missed.

Above is an excerpt from the 2013 documentary Signs & Secrets: The Worlds of Umberto Eco.

P. S. The last survivors of 1932 (in my canon) are Robert Coover, Dušan Makavejev, Dieter Rams, Ernest Ranglin, Paul Virilio, Fernando Arrabal and Stéphane Audran.

Robert Wyatt’s Top Five Fifties Jazz Albums

1 Thing

Kleine trip met Charlotte naar Frankrijk. Ruzie gekregen:

Autosnelweg verlaten in Troyes, gegeten in Chaource, geprobeerd te slapen in charmant hotel in Riceys, uiteindelijk geslapen in Montliot, iets gevonden voor twee nachten in Châtillon-sur-Seine, eerste dag rondgereden en mooi dorp gezien: Rochefort-sur-Brévon. Dag twee: Dijon (art museum, archeological museum, botanical garden) en Flavigny.

"In 1985 vraagt Hans Kusters aan Lange Jojo en Roland Verlooven een liedje te schrijven en op te nemen voor de Belgische voetbalkampioen Anderlecht . Dat werd ‘ Anderlecht kampioen’, beter bekend als ‘Olé olé olé ! We are the champions’. Intussen is het één van de bekendste voetbal anthems ter wereld geworden, onderscheiden met diverse internationale awards . Hans wil wel later niet herinnerd worden als die jongen van ‘dat voetballiedje’ , maar hij is apetrots dat er in Japan alleen al meer dan twee miljoen exemplaren van werden verkocht en dat twee leden van U 2 , zei het onder een schuilnaam ,er een cover van hebben opgenomen." [1]
"The artistic import is what painters, sculptors, and poets express through their depiction of objects or events. Its semantic is the play of lines, masses, colours, textures in plastic arts or the play of images, the tension and release of ideas, the speed and arrest, ring and rhyme of words in poetry. [...] Artistic expression is what these media will convey [...], the import of artistic expression is broadly the same in all arts as it is in music - the verbally ineffable, yet not inexpressible law of vital experience, the pattern of affective and sentient being." --Susanne Langer, 1942

That taste is still barbaric which needs a mixture of charms and emotions in order that there may be satisfaction

"Any taste remains barbaric if its liking requires that charms and emotions be mingled in, let alone if it makes these the standard of its approval"[2] is a dictum by Immanuel Kant found in Critique of Judgment.

Did he mean by this phrase as taste as a the direct appeal to the senses?


[edit]

Dutch translation

"Smaak die voor welgevallen een bijmengsel behoeft van bekoring en ontroering, en die zelfs tot maatstaf van instemming maakt, blijft barbaars.” --Critique of Judgment, Jabik Veenbaas en Willem Visser

The Europe List, the largest survey on European culture established that the top three films in European culture are

  1. Roberto Benigni's Life is Beautiful
  2. Donnersmarck's The Lives of Others
  3. Jean-Pierre Jeunet's Amélie

Belgium, Denmark, Germany, Greece, Ireland, Netherlands and Sweden had the film at number 1.

“I admit that it would be easier for me to concede matter and extension to the soul than to concede the capacity to move a body and to be moved by it to an immaterial thing” --Elisabeth of the Palatinate, criticizing Descartes' dualism.

Original French: Et j'avoue qu'il me serait plus facile de concéder la matière et l'extension à l'âme, que la capacité de mouvoir un corps et d'en être ému, à un être immatériel.

Dutch: Ik moet toegeven dat het voor mij makkelijker is om materie en extensie toe te schrijven aan de ziel, dan om een immaterieel iets het vermogen toe te schrijven een lichaam te bewegen of om bewogen te worden door een lichaam.

Hon - en katedral[3] was opened exactly 50 years ago on this day.

Evelyn McHale

Die Welt des Glücklichen ist eine andere als die des Unglücklichen.

The world of the happy man is a different one from that of the unhappy man.

Tractatus Logico-Philosophicus

James Casebere at De Canvasconnectie today.

While researching the depiction of opium in the visual arts (and more specifically the link between women and opiates at the turn of the century), I stumbled upon Cocain (1921) by German writer Franz Wolfgang Koebner (above). It is probably no coincidence that Cocaina by Pitigrilli was published that same year.

“A Bigger Splash” Soundtrack Tracklisting 1. Observatory Crest – Captain Beefheart 2. Beauty Is Only Skin Deep – Robert Mitchum 3. Black Silk Stocking – Charisma 4. Jump Into The Fire – Nilsson 5. Moon Is Up – The Rolling Stones 6. Heaven – The Rolling Stones 7. “Dal labbro il canto estasiato vola” – Daniil Shtoda, Dorothea Röschmann, Adrianne Pieczonka, Larissa Diadkova, Stella Doufexis, Berliner Philharmoniker, Claudio Abbado 8. Okanagon – Ensemble Phoenix Basel 9. Pranam II – Ensemble Phoenix Basel 10. Aguirre I (L’acrime Di Rei) – Popol Vuh 11. Emotional Rescue – St. Vincent

"Wir kämpfen nicht gegen die nackte und nicht gegen die freie Kunst, sondern gegen die häßliche Kunst." --Friedrich Jodl on Klimt's university paintings.

"in an interview in the Neue Freie Press Jodl claimed that they protested not against nude art, nor against free art, but against ugly art. According to the philosopher, if the Austrian government wanted to support the odd direction of twentieth-century art, they should put these modern works in museums, not in universities. For Jodl a university was not an appropriate site for new art, which, significantly, he characterized as ugly.14 Franz Wickhoff objected to Jodl’s characterization of Klimt’s painting as ugly, and spearheaded a counterpetition, submitted to the Ministry, denying that faculty members had the expertise to make judgments on aesthetic questions of beauty and ugliness.15 By that time Wickhoff , who was in Rome when he first heard of the Klimt debacle, had in fact already sent an emphatic telegram to the rector of the university, a theologian named Wilhelm Neumann, condemning the protest against Philosophy and censuring any personal support Neumann may have lent the protestors.16 Finally, on 9 May 1900, Wickhoff delivered a lecture in defence of Klimt’s painting. Entitled ‘What is ugly?,’ this lecture was discussed extensively in the newspapers at the time. The Deutsches Volksblatt, " [4]
"The second problem involves the sourcing of discussions of "the sublime." The text of this article defines the source of discussion of the sublime in the arts in the late 18th century as Edmund Burke, but by far the best-known writer on aesthetics to tackle the issue was John Ruskin in the 19th century. However, Ruskin takes up his discussion of "the sublime" from the starting point of the late-18th-century poet Heinrich Schiller, who earlier (Schiller's letter to Körner of February 23, 1793, which is entitled, "Freedom in the appearance is one with beauty") discusses the sublime and defines it. "An object is perfect, when everything manifold in it accords with the unity of its concept; it is beautiful, when its perfection appears as nature." [op. cit.] So Schiller's definition of "the sublime" involves unity and nature."[5]

Rudolf Otto defines the ineffable as ἄρρητον (arreton) [[6]

mysterium tremendum ac fascinans


“Le Je-ne-sais-quoi et le presque rien” (Vladimir Jankélévitch, 1957)

New Atheism

Schopenhauer on the Clamores horrendos

Schopenhauer haalt in De wereld als wil en voorstelling tijdens zijn uiteenzetting over beeldhouwkunst de discussie aan die er is geweest over het niet schreeuwen van Laocoön in deze beeldengroep. De meningen van Lessing, Goethe en Winckelmann worden aangehaald en tegengesproken. Volgens Schopenhauer is de verklaring voor het niet schreeuwen van Laocoön dat het uitbeelden van schreeuwen buiten het domein van de beeldhouwkunst valt. Een gebeeldhouwde schreeuw, zonder het geluid, zou zelfs lachwekkend overkomen, aldus Schopenhauer.

An Oak Tree, One and Three Chairs

Un lit défait (c. 1824) is an aquarelle by French painter Eugène Delacroix.

Tip of the hat to Roger Scruton. Un lit défait was featured in his documentary Why Beauty Matters[7], a passionate defense of the cult of beauty and an attack on the cult of ugliness.


The Newsroom

RIP Charles Gatewood (1942 2016)

Charles Gatewood (November 8, 1942 - April 28, 2016) was an American photographer, writer, videographer, artist, and educator living and working in San Francisco, California. His work specialized in America's sexual underground. He is perhaps best-known for the film Dances Sacred and Profane[8].

A poem Ariwara no Narihira brings the famous image of red maple leaves floating on the Tatsuta River

Congo became a regular guest on Morris's television show, Zootime, and reached fame with an exhibition of his work in 1957. His paintings were not merely a curiosity: They were widely recognized as beautiful. Congo had a refreshingly energetic style, and he seemed to strive for symmetrical coverage, rhythmical variations, and eye-catching contrasts of color.
Congo always stayed within the borders of the paper, and created rudimentary compositions, such as a heavy dot surrounded by bold circular strokes, or a fan-shaped widening of lines. His art was considered to be beyond the level of that of a young child, in terms of both composition and boldness. The latter may have been due to the fact that chimpanzees are stronger and have better motor control than young children. Their paintings immediately strike us as forceful statements, whereas a young child's art tends to look tentative.
Picasso hung a Congo on his wall. The paintings of other apes -- one of whom was given the name Pierre Brassou, to trick art critics -- have been accorded serious, sometimes glowing, reviews by experts who, unlike Picasso, thought that the artists were humans.

Monkey art

stroop effect

Melville J. Herskovits, Man and His Works, Alfred A.Knopf, 1948, p.381.

Deleuze and the Lacanian Real, Slavoj Zizek [9]

"For one thing, Butler is not content to say that machines extend the organism, but asserts that they are really limbs and ... but "does any one say that the red clover has no reproductive system because the bumble bee (and the bumble bee only) .." --Anti-Oedipus - Pagina 313


Art and the Ineffable (1961) by W. E. Kennick

onderzoeksseminarie esthetica

When dealing with the issue of reparations, how far back in time do we need to go? Do we need to take into account colonies in antiquity?

"I finally hold a copy of Idols of Perversity in my hands.

See also

  • I finally hold a copy of 'Short History of the Shadow' in my hands[10]
  • I finally hold a copy of Rabelais and His World in my hands[11]
  • I finally hold a copy of Five Faces of Modernity in my hand[12]

La vie étrange des objets (1959, The strange life of objects) is a book by Maurice Rheims, subtitled histoire de la curiosité (The history of curiosity).

While researching Gustav Klimt, I thought it was a good idea to watch the film Klimt (2006). It's a truly awful film, take for example the scene where Gustav Klimt smears a piece of cake in the face of Adolf Loos to solve a dispute over ornament[13]:

Gustav Klimt, responding to Loos's claim that ornament is crime and having covered the face of Loos in cake:

What you were just saying is merely ornamental.
Therefore it's useless and therefore it's ugly.
However this cake has allowed me to shut your mouth.
Therefore it's useful, it's expressive, and above all it's beautiful.

Loos:

You, Herr Klimt, I forgive.
And you know why I forgive you?
Because at least your paintings are sexual, as all art should be.
The crucifixion for example.
Now what could be more sexual than the crucifixion?

I'm not sure Loos and Klimt met. But I'm quite certain Loos would not have allowed to be pied like that.

Chassol

Kitsch is the absolute denial of shit, in both the literal and the figurative senses of the word

As I was going up the stair, I met a man who was not there, he wasn’t there again today, I wish that man would go away.

Dahesh Museum of Art, De nimf en de bunny - Merlijn Schoonenboom

Barnett Newman "The Sublime is Now"

La voix humaine

"Accusing Klimt of presenting ‘‚unclear ideas through unclear forms (Verschwommene Gedanken durch verschwommene Formen),‛’ they suggested that he ‘had produced an aesthetic failure.’11 The ugliness of Klimt’s painting, therefore, was characterized not only as a result of the deviation of its figures from the classical canon, but also of their ambiguous, blurred rendering."[14]


Detail of the Garden of Earthly Delights (right, "hell" panel)

I visited the 2016 Bosch expo yesterday. I was surprised by the Wilgefortis bearded lady (in the Gallerie dell'Accademia), of which I did not know it existed[15] (and it's not on Wikimedia Commons either). I was disappointed that the Hell panel of the The Garden of Earthly Delights was not there.

What caught my eye? Bosch's many depictions of hats, his frequent use of the colour pink[16], his kopvoeters[17], the omnipresence of fire and blazes[18] in his work, the recurring motive of fractured globes.

Most of the time I was in total awe. Do you want to see Ascent of the Blessed without travelling to Venice, the central panel to The Garden without flying to Madrid ... and so on? Get thee there post haste.

The exhibition was fantastic, crowded, if you still want to go (I'm not sure there's any tickets left), go in the morning.

The staff at the Noordbrabants Museum are extremely nice.

The Red Vineyard (1888) is the only painting by van Gogh sold during his life.

Nec mergitur ou La Vérité sortant du puits, Hôtel de ville d’Amboise. [19]

Fuck That is a subvertisement, a meme hack.

Mary of Burgundy by Michael Pacher.

Carajicomedia (Prick Comedy) is a poetic work of Renaissance erotica, in the same category as La Cazzaria.

Spanish writer Juan Goytisolo appropriated the title in 2000 when he published Carajicomedia (above), translated in English as A Cock-Eyed Comedy (2005).


Over the last seven years I have been compiling the Jahsonic 1000, a list of thousand songs I would put on a mixtape if mixtapes were that big. I finished it a while ago. Here it is. You can now listen to that list here on YouTube.

Blurb:

The Jahsonic 1000 (2007-15) is a list of 1000 songs compiled by Jan Willem Geerinck. It was started early 2007 as the World music classics category and concluded in November 2015. Every time Geerinck heard or remembered a recording which he thought fit to be in the Jahsonic 1000, he added it to the category. There were no second thoughts. The list is not hierarchical and needs to be listened to as a gigantic mixtape put on shuffle, or alternatively, played alphabetically. This last method makes for some surprising juxtapositions. Neil Young and Lee Perry are the artists with the highest frequency: 8; they are followed by Serge Gainsbourg (6), Stevie Wonder (5), Herbie Hancock (4), James Brown (4), Kraftwerk (4), Nina Simone (4), Peggy Lee (4), Sylvester (4), The Kinks (4), The Rolling Stones (4) en The Velvet Underground (4).

Notes:

The first song is “(I Can't Get No) Satisfaction” and the last song is “Zungguzungguguzungguzeng”. The alphabetical arrangement makes for some interesting juxtapositions. "I'm Not in Love" by 10cc is followed by "I'm Still In Love" by Alton Ellis and there are four songs which start with "California": "California Dreamin'" by The Mamas & the Papas, "California Love" by 2Pac, "California Soul" by Marlena Shaw and "California Über Alles" by the Dead Kennedys.

Three songs start with the phrase “Baby I”: “Baby I Love You So,” “Baby I'm Scared of You” en “Baby, I Love Your Way”. “I Want You Back” and “I Don't Want You Back” are not far apart, as they are in real life and “Hurt So Bad” and “Hurt So Good” are neighbours. Other neighbours are “Soul Cargo”, “Soul Drummers”, “Soul Finger”, “Soul Fire”, “Soul Makossa”, “Soul Man” and “Soul Sauce.”

Enjoy!

The Impressionists and Post-Impressionists were given pride of place in the large central gallery, but Salon painters, though segregated, were not ignored. That they were visible at all annoyed critic Hilton Kramer of the New York Times. In his review "Does Gerome Go with Goya and Monet?" he wrote, "We look to art museums for a sense of quality — a standard of excellence ... to be upheld without compromise. It alters the very purpose of the art museum when the inanities of kitsch . . . Salon painting . . . are admitted into the precincts of high achievement." In this new installation Kramer heard the death knell of modernism, yet John McAndrew had heard the same bells in 1954! [20]

Anthony Howe (kinetic sculptor)

Boris Mikhailov, Mariken Wessels at Fotomuseum Antwerp yesterday.

"Les deesses nous ennuient deja ; elles sont blafardes et maigres, ces pauvres deesses egarees dans notre siecle de science ; il n 'y a plus que les vieillards qui s 'apercoivent de leur nudite." --Emile Zola, dans 'Causerie', La Tribune, le 30 aoflt 1868, [21]
"In painting, I am an idealist. I see only the beautiful in art and, for me, art is the beautiful. Why reproduce what is ugly in nature? I do not see why it should be necessary. Painting what one sees just as it is, no-or at least, not unless one is immensely gifted. Talent is all-redeeming and can excuse anything. Nowadays, painters go much too far, just as writers and realist novelists do. There is no way of telling where they’ll draw the line." --Bouguereau
"Je ne vois que le beau dans l'Art et pour moi l'Art c'est le beau"

En peinture, je suis un idéaliste. Je ne vois que le beau dans l’art et, pour moi, l’art c’est le beau. Pourquoi reproduire ce qui est laid dans la nature ? Je n’en vois pas du tout la nécessité. Peindre ce que l’on voit tel quel, non ...


Geschmacksverirrungen im Kunstgewerbe[22] is an important document in the history of bad taste.

'L'idée de genèse dans l'esthétique de Kant'. Revue d'Esthétique 16:2, 1962–3, 113–36. 'The Idea of Genesis in Kant's Aesthetics' .

A. is short for An.


Het geval Trump bewijst eens te meer dat politiek niets anders is dan "omgaan met de dommerikken" en vooral beletten dat ze zich voor een kar zoals die van Trump laten spannen.

La Frileuse[23] (1879) - William-Adolphe Bouguereau

Histoire Naturelle des Mammifères [24]site:wikipedia.org

Einstein:

  • One may say "the eternal mystery of the world is its comprehensibility."
    • From the article "Physics and Reality" (1936), reprinted in Out of My Later Years (1956). The quotation marks may just indicate that he wants to present this as a new aphorism, but it could possibly indicate that he is paraphrasing or quoting someone else — perhaps Immanuel Kant, since in the next sentence he says "It is one of the great realizations of Immanuel Kant that the setting up of a real external world would be senseless without this comprehensibility."
      Other variants:
    • The eternally incomprehensible thing about the world is its comprehensibility.
      • In the endnotes to Einstein: His Life and Universe by Walter Isaacson, note 46 on p. 628 says that "Gerald Holton says that this is more properly translated" as the variant above, citing Holton's essay "What Precisely is Thinking?" on p. 161 of Einstein: A Centenary Volume edited by Anthony Philip French.
    • The most incomprehensible thing about the world is that it is comprehensible.
      • This version was given in Einstein: A Biography (1954) by Antonina Vallentin, p. 24, and widely quoted afterwards. Vallentin cites "Physics and Reality" in Journal of the Franklin Institute (March 1936), and is possibly giving a variant translation as with Holton.
    • The most incomprehensible thing about the world is that it is at all comprehensible.
      • As quoted in Speaking of Science (2000) by Michael Fripp
    • The eternal mystery of the world is its comprehensibility … The fact that it is comprehensible is a miracle.
      • As quoted in Einstein: His Life and Universe by Walter Isaacson, p. 462. In the original essay "The fact that it is comprehensible is a miracle" appears at the end of the paragraph that follows the paragraph in which "The eternal mystery of the world is its comprehensibility" appears.


The statue of Athena in Sais was identified with Isis, and according to Plutarch was inscribed "I am all that has been, and is, and shall be, and my robe no mortal has yet uncovered." --Plutarch, translated by Frank Cole Babbitt, Isis and Osiris, 1936, vol. 5 Loeb Classical Library

Tom "The Beast" McManamon, aka "Tom McAnimal" - tenor banjo (1993–2006)

One of the pictures of "hottentot" women from the album "Hottentots", album de 19 phot. anthropologiques de femmes hottentotes[25]. See human zoo, anthropologica.

KMSKA ten tijde van de Antwerp expo van 1894, met op de voorgrond het negerdorp


Advertisement for Congolese village at the Antwerp expo of 1894, an example of a human zoo

Advertisement for Congolese village at the Antwerp expo of 1894, an example of a human zoo

I'm leafing through Peter Sloterdijk's latest book Die schrecklichen Kinder der Neuzeit in a Dutch translation and since I don't have time to read it from cover to cover I check the index and I always look up Marquis de Sade first.

Sloterdijk sees the importance of Sade as the first man to break explicitly with his ancestors. He cites from the Philosophy in the Boudoir, more specifically the gruesome scene in which Eugénie sews up her mother's vagina (thus denying her the pleasure of sex but also the use of her vagina for giving birth) and connects it with the following phrase from Beckett's Waiting for Godot in which babies are born above the grave, then fall into the grave and subsequently die:

"They give birth astride of a grave, the light gleams an instant, then it's night once more."

Consequently, Sloterdijk calls Sade the first dogmatic of antigenealogy, or the first antigenealogical dogmatic, see, I gather, generation gap.

P.S. On the cover of the Dutch edition is a prepatory drawing (above) by Trioson of a boy in his famous flood scene, Scène du Déluge.

He Said (1986) is a recording by Pump

Secret and Forbidden (1966) by Paul Tabori

While researching Le Poitevin in combination with Félicien Rops, I stumbled upon Paul Tabori and his book Secret and Forbidden (1966).

On page 92 one reads:

"There was Le Poitevin, the diabolic Frenchman, whose Diableries erotique are malignant, mockeries and grim satires of sex. ... Felicien Rops But he is insignificant compared to Felicien Rops."

I disagree. Le Poitevin is the more interesting artist.

Nevertheless, I will buy Secret and Forbidden if I stumble upon it. Tabori strikes me as an interesting fringe non-fiction writer, who researched his subject matter (which is also my subject matter) before the time of the internet.

Other books that seem interesting are

  • The Art of Folly (1961)
  • Dress and Undress (1969)
  • Social History of Rape (1971)
  • The Natural History of Stupidity (1993) (Originally published as The Natural Science of Stupidity, 1959)

See secret, forbidden


RIP Andrzej Żuławski (1940 – 2016)

Andrzej Żuławski (1940 – 2016) was a Polish film director. He is noted for the body horror film Possession, a powerful divorce allegory.

In Possession, Mark (played by Sam Neill) returns home to Berlin to find his wife Anna (Isabelle Adjani) is leaving him for an unclear reason. He initially suspects an affair and snoops on his wife, but he gradually discovers clues that something far stranger is afoot. Instead, his wife leaves him and her lover, Heinrich (Heinz Bennent) for a bizarre experience with a strange tentacle creature.

[26]


Human Nature (Michael Jackson song)

However, the group had little success at the new label, and faded into obscurity after two more albums, although they charted in the UK Singles Chart in January 1977 (#43) with the disco single "You + Me = Love" from the album Method to the Madness. The lead singer on the single "You + Me = Love" was Taka Boom, who is Chaka Khan's younger sister.

Walter Gibbons ‎– Jungle Music (Mixed With Love: Essential & Unreleased Remixes 1976-1986)

RIP Jacques Rivette (1928 - 2016)

https://www.youtube.com/watch?v=H49XxzpHKxk

Above: Duelle

Schopenhauer on the ugliness of the genitalia in On the Affirmation of the Will-to-Live

Having rejected the Kantian position that our sensations are caused by an unknowable object that exists independently of us, Schopenhauer notes importantly that our body — which is just one among the many objects in the world — is given to us in two different ways: we perceive our body as a physical object among other physical objects, subject to the natural laws that govern the movements of all physical objects, and we are aware of our body through our immediate awareness, as we each consciously inhabit our body, intentionally move it, and feel directly our pleasures, pains, and emotional states. We can objectively perceive our hand as an external object, as a surgeon might perceive it during a medical operation, and we can also be subjectively aware of our hand as something we inhabit, as something we willfully move, and of which we can feel its inner muscular workings.[27]

De digitale Duitse editie telt de woorden "Leib" (en gerelateerde woorden zoals Leiber, Leibes, Leibe, 264 keer keer, op een totaal van 2370 pagina's, een gemiddelde van ruim eenmaal per pagina.


"Every true, genuine, immediate act of the will is also at once and directly a manifest act of the body."

"De wereld is mijn wil." p. 54

Het genie is "het helder oog van de wereld". --p.240

"[de mens] kent geen zon en geen aarde, maar altijd alleen maar een oog dat een zon ziet, een hand die een aarde voelt." --p. 53

"Elke ware uiting van zijn wil is meteen en onherroepelijk ook een beweging van zijn lichaam." -- p. 154

"ons eigen lichaam [...] het vertrekpunt [...] van het aanschouwen van de wereld." --p. 69

"het lichaam gaat aan het gebruik van het verstand vooraf" --p. 70

"het hele lichaam kan niets anders zijn dan mijn zichtbaar geworden wil." --p. 161

"De delen van het lichaam moeten dus volledig voorzien in de belangrijkste behoeften waarin de wil zich manifesteert: zij moeten er de zichtbare uitdrukking van zijn. Tanden, slokdarm en darmkanaal zijn de geobjectiveerde honger; de genitaliën de geobjectiveerde geslachtsdrift; de grijpende handen, de rappe voeten beantwoorden aan een al iets minder direct streven van de wil." --p. 162

Toch moet het aan Schopenhauer nagegeven worden dat hij als eerste het lichaam zo centraal gesteld heeft, om het met de woorden van Nietzsche te zeggen: Schopenhauer was misschien wel de eerste filosoof die filosofeerde "am Leitfaden des Leibes" (met het lijf als leidraad) waarbij ons lichaam de sleutel is tot het verstaan van de wereld. --JWG
En zoals het lichaam als geheel de objectivering is van de wil als geheel, zo zijn de afzonderlijke lichaamsdelen de objectiveringen van de voornaamste begeerten waardoor de wil zich manifesteert: tanden, slokdarm en darmkanaal zijn de geobjectiveerde honger, de genitaliën de geobjectiveerde geslachtsdrift enz. --[28]


Lauxtermann, P.F.H., Schopenhauer herontdekt?, in: Tirade, 245-6, Jg. 23, 1979, S. 279-320.

Het antwoord moet luiden, dat Schopenhauer, om met z'n leerling Nietzsche te spreken, ‘am Leitfaden des Leibes’ filosofeerde; ons lichaam, dat ons als enige object op twee verschillende manieren gegeven is, wordt voor hem de sleutel tot het verstaan van de wereld. --[29] p. 303

the guiding thread of the body”, “am Leitfaden des Leibes”.8 8 Cf. NL 1884, KSA 11 --Nietzsche, from the Nachlass

Full excerpt:

Am Leitfaden des Leibes erkennen wir den Menschen als eine Vielheit belebter Wesen, welche theils mit einander kämpfend, theils einander ein- und untergeordnet, in der Bejahung ihres Einzelwesens unwillkürlich auch das Ganze bejahen.

Haskell, Francis (1972). "The sad clown: some notes on a 19th century myth". In French 19th century painting and literature: with special reference to the relevance of literary subject-matter to French painting, ed. Ulrich Finke. Manchester: Manchester University Press


Kačena divoká

The Danish Girl

In August 2015 it was announced that Dismaland, an art installation, would be curated at the Tropicana by the artist Banksy. The "sinister twist on Disneyland" opened during the weekend of 21 August 2015 and ran until 27 September 2015, attracting 150,000 visitors from all over the world and generating an estimated £20m in extra revenue for the town.


La Cage de verre

RIP Ettore Scola (1931 – 2016) was an Italian film director.

I remember A Special Day fondly. The story of an oppressed housewife and her gay neighbor who stay at home in Rome on the day that Hitler visits Mussolini.

And then there was Brutti, sporchi e cattivi which literally means Ugly, Dirty and Bad but which was released as Down and Dirty (1976).

There is a scene in that film which I'll never forget. A large and grotesque family live in an extremely poor bidonville of the periphery of Rome. The protagonist is one-eyed patriarch Giacinto (Manfredi). Four generations of his sons and relatives are cramped together in his shack, managing to get by mainly on thieving and whoring.

One night, a distant family member comes to the shack, sees the buttocks of the sleeping girlfriend of the patriarch, pulls down her underpants and starts to fuck her from behind. When she turns around and asks him quizzically "who are you?", he answers reassuringly, "I am from the house."

[30]


I finally hooked my mobile to my stereo. The first song I played was "No Diggity". Then the album Le marteau sans maitre.

[31] Blowfly documentary The Weird World of Blowfly, the original dirty rapper.

See also American satire, American music, American pornography, American erotica.

RIP Blowfly (1939 - 2016)

Blowfly was an American musician, songwriter and producer, known for his sexually explicit lyrics. Here is his bawdy version of the alphabet song of Sesame Street.

You can listen to the song here[32]. It's been sampled in many drum and bass songs[33]. See also American satire, American pornography, American erotica.


RIP Blowfly (1939 - 2016)

Blowfly was an American musician, songwriter and producer, known for his sexually explicit lyrics and for writing such songs as "90% of Me Is You".


"Les Deux Versions de l'imaginaire" (English: "The Two Versions of the Imaginary") is a text by Maurice Blanchot.

David Bowie's Top 100 Books

Faded "no entry" sign

Star Special (1979) is the title of a two hour radio show in which David Bowie played some of his favourite records[34].


https://www.youtube.com/watch?v=QWtsV50_-p4

Only one song by David Bowie made it to my top 1000 and it's one that came late in his career: "Where Are We Now?" (2013, above).

This lack of interest on my part is due the fact that when I was fifteen in 1980, the age that you are most susceptible to new music, Bowie was already a commercial artist and I considered him slick, albeit efficient.

The Slave Market Presentation by Otto Pilny (Swiss, 1866-1936), orientalist painter.

Walter Benjamin photographed by Gisèle Freund, 1938.


"Schwerer ist es, das Gedächtnis der Namenlosen zu ehren als das der Berühmten." - Gesammelte Schriften, Band 1, Teil 3. Suhrkamp Frankfurt/M. 1974. S. 1241, see Walter Benjamin's monument

Scheherazade and Shahryār by Ferdinand Keller, 1880 [35]

La Grosse Maria Venus de Montmartre, 1884. Óleo sobre tela. 79 x 64 cm. Von-der-Heydt-Museum, Wuppertal

https://www.youtube.com/watch?v=N9pOq8u6-bA

RIP Pierre Boulez (1925 – 2016)

"Étude aux chemins de fer" (1948) above is the first piece of musique concrète.

[edit]

See also


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