晶 Rabelais – Page 8 – Akira Rabelais

1966-03-282023-01-07

Dialogue Heresyes i, in Wks. 141/2 In the interpretacion we may paraduenture styck, Is it not so? That is some Satire keene and criticall.

The sense of display is abolished. The objects are inorganic and dateless: milky long-necked bottles and squat flasks, a biscuit tin, a fluted bowl, some long-beaked metal pitchers. They carry no marks, patterns or brand names. One thinks of them not as manufactured objects but as elements in a hesitantly ideal architectural scheme. Sometimes the slender bottle necks, leaning together, vaguely recall the towers of Bologna or San Gimignano. They look fragile and contingent, but they endure for decades, through picture after picture. (To make quite sure that nothing disturbed the precise relationships he put them in, he drew chalk circles around the the bases of his “models” on the surface of the table.) Occasionally their groups, bound together by some mutual gravitation of shape, might remind one of people insecurely huddled on the edge of a small flat earth, the tabletop.

1709 J. Addison Tatler No. 108. ⁋3 They give mean Interpretations and base Motives to the worthiest Actions. 1526 Bible (Tyndale) 1 Cor. xii. 10 To won is geven the vtteraunce off wisdom..To another the interpretacion off tonges. 1387 J. Trevisa tr. R. Higden Polychron. (Rolls) VII. 153 Ȝe auȝt for to soften þe opiniouns of fonde men wiþ better interpretacioun. 1450 Mirour Saluacioun 1027 After of this dreme herd he swilk interpretacionne. 1733 G. Cheyne Eng. Malady ii. viii. 203 And so the Fever terminates in a critical Abscess. 1807 Monthly Mirror Nov. 374 Mr. Elmsly is about to publish a new critical edition of Sophocles, with a text collated from the best manuscripts and printed editions. 1753 J. Lining Let. 14 Dec. in Ess. & Observ. (Philos. Soc. Edinb.) II. 372 That fever, which continues two or three days, and terminates without any critical discharge by sweat, urine, stool, &c. 1601 P. Holland tr. Pliny Hist. World I. xvii. ii. 500 The foure decretorie or criticall daies, that give the dome of olive trees, either to good or bad. 1382 Bible (Wycliffite, E.V.) Josh. Prol. If the oold oonliche interpretacioun plese to hem. 1871 J. C. Maxwell Theory of Heat vi. 124 M. Cagniard de la Tour estimated the temperature and pressure of the critical state. 1646 Sir T. Browne Pseudodoxia Epidemica vi. i. 279 Whatsoever Interpretations there have beene since, have been especially effected with reference unto..the Greeke and Hebrew text. 1447 O. Bokenham Lyvys Seyntys 44 Aftyr the reulys of interpretacyon Anne is as myche to seyn as grace. 1872 J. P. Mahaffy tr. I. Kant Prolegomena in Kant’s Crit. Philos. III. 62 I now retract it [sc. the word ‘transcendental’], and desire this idealism of mine to be called critical. 1654 R. Whitlock Ζωοτομία 186 He is not Criticall and exact in Garbes and Fashions. 1565 W. Alley Πτωχομυσεῖον To Rdr. f. 16v If these simple Prelections chaunce peraduenture to come into the handes of some scrupulous and captious criticall reader..let him know that it is a great deale more easie to carpe other mens doinges, then to giue better of his owne. 1841 J. R. Young Math Diss. Pref. 7 Even in the extreme and critical case of the problem. 1850 Morning Chron. 25 Dec. 7/4 His opinions..have weight; and we doubt not will be duly estimated by the critical and the judicious. 1719 W. L. Coll. Tunes Ded. sig. A2v/1 It has been the Fate of better Performances than this, to pass under the severe Censures of the Critical. 1909 Trans. Illuminating Engin. Soc. (U.S.) 4 717 f is the critical flicker frequency. 1899 T. O’C. Sloane Liquid Air i. 20 When a gas is at the critical temperature and at the critical pressure also, the least increase of pressure or decrease of temperature will convert it into a liquid. When in this condition, ready to be a gas or a liquid, it is said to be in the critical state. 1881 J. Russell Haigs of Bemersyde Introd. 3 It was not in his nature to be either critical or indifferent. 1605 F. Bacon Of Aduancem. Learning ii. f. 69 There remayn two Appendices touching the tradition of knowledge, The one Criticall, The other Pedanticall. 1867 E. A. Freeman Hist. Norman Conquest I. App. 617 He shows a good deal of critical acumen. 1931 Rev. Mod. Physics 3 347 Bohr’s theory was so quickly supported by the experiments on critical potentials. 1866 G. MacDonald Ann. Quiet Neighb. xi. 191 Perhaps I may have put a wrong interpretation on the passage. 1701 C. Cibber Love makes Man v. 53 Well, Madam, you see I’m punctual..I’m always critical—to a Minute. 1877 M. Oliphant Makers of Florence (ed. 2) x. 257 Things he had done which no charitable interpretation could explain away. 1869 T. H. Huxley in Sci. Opinion 21 Apr. 464/2 The knowledge..requisite for the just interpretation of geological phenomena. 1617 S. Collins Epphata to F. T. i. 5 Wil you blame me as too criticall for distinguishing betweene gerere and gestare? 1890 Church Rev. July 276 In company with most critical commentators on books of the New Testament, Bishop Ellicott has one fault. 1741 C. Middleton Hist. Life Cicero II. viii. 237 Cæsar was conversant also with the most abstruse and critical parts of learning.

1961-01-282022-09-18

I Am for an Art

I am for an art that is political-erotical-mystical, that does something other than sit on its ass in a museum.

I am for an art that grows up not knowing it is art at all, an art given the chance of having a starting point of zero.

I am for an art that embroils itself with the everyday crap & still comes out on top.

I am for an art that imitates the human, that is comic, if necessary, or violent, or whatever is necessary.

I am for all art that takes its form from the lines of life itself, that twists and extends and accumulates and spits and drips, and is heavy and coarse and blunt and sweet and stupid as life itself.

I am for an artist who vanishes, turning up in a white cap painting signs or hallways.

I am for art that comes out of a chimney like black hair and scatters in the sky.

I am for art that spills out of an old mans purse when he is bounced off a passing fender.

I am for the art out of a doggys mouth, falling five stories from the roof.

I am for the art that a kid licks, after peeling away the wrapper.

I am for an art that joggles like everyone’s knees, when the bus traverses an excavation.

I am for art that is smoked, like a cigarette, smells, like a pair of shoes. I am for art that flaps like a flag, or helps blow noses, like a handkerchief.

I am for art that is put on and taken off, like pants, which develops holes, like socks, which is eaten, like a piece of pie, or abandoned with great contempt, like a piece of shit.

1960-10-312023-01-07

The Ghost’s Leavetaking

Enter the chilly no-man’s land of about
Five o’clock in the morning, the no-color void
Where the waking head rubbishes out the draggled lot
Of sulfurous dreamscapes and obscure lunar conundrums
Which seemed, when dreamed, to mean so profoundly much,

Gets ready to face the ready-made creation
Of chairs and bureaus and sleep-twisted sheets.
This is the kingdom of the fading apparition,
The oracular ghost who dwindles on pin-legs
To a knot of laundry, with a classic bunch of sheets

Upraised, as a hand, emblematic of farewell.
At this joint between two worlds and two entirely
Incompatible modes of time, the raw material
Of our meat-and-potato thoughts assumes the nimbus
Of ambrosial revelation. And so departs.

1959-07-312023-04-03

Harry Potter & The Rhinocerotidae … the world descends into the absurdist chaos of stampede.

ACT ONE

The scene is a square in a small muggle town. Up-stage a
house composed of a ground ﬂoor and one storey. The
ground ﬂoor is the window of a grocer’s shop. The entrance
is up two or three steps through a glass-patted door. The
word EPICERIE is written in bold letters above the shop
window. The two windows on the ﬁrst ﬂoor are the living
quarters of the grocer and his wife. The shop is up-stage,
but slightly to the left, not far from the wings. In the
distance a church steeple is visible above the grocer’s
house. Between the shop and the left of the stage there is a
little street in perspective. To the right, slightly at an angle,
is the front of a café. Above the café, one ﬂoor with a
window; in front, the café terrace; several chairs and tables
reach almost to centre stage. A dusty tree stands near the
terrace chairs. Blue sky; harsh light; very white walls. The
time is almost mid-day on a Sunday in summertime.

RON WEASLEY and HARRY POTTER will sit
at one of the terrace tables.

1955-04-092023-01-07

Megjegyzések egy kiáltványhoz

Notes de manifeste

Here are the determining facts of the past which tie us together and which, among others, interest us: ‘plastic’ triumphs over anecdote (Manet) – the first geometrization of the exterior world (Cézanne) – the conquest of pure colour (Matisse) – the explosion of representation (Picasso) – exterior vision changes into interior vision (Kandinsky) – a branch of painting dissolves into architecture, becoming polychromatic (Mondrian) – departure from the large plastic synthetics (Le Corbusier) – new plastic alphabets (Arp, Taeuber, Magnelli, Herbin) – abandoning volume for SPACE (Calder) … The desire for a new conception was affirmed in the recent past by the invention of PURE COMPOSITION and by the choice of UNITY, which we will discuss later. Parallel to the decline of painting’s ancestral technique, followed experimentation with new materials (chemical applications) and adoption of new tools (discovery of physics) … Presently we are heading towards the complete abandonment of routine, towards the integration of sculpture and the conquest of the plane’s SUPERIOR DIMENSIONS.

From the beginning, abstraction examined and enlarged its compositional elements. Soon, form-colour invaded the entire two-dimensional surface, this metamorphosis led the painting-object, by way of architecture, to a spatial universe of polychromy. However, an extra-architectural solution was already proposed and we deliberately broke with the neo-plastic law. PURE COMPOSITION is still a plastic plane where rigorous abstract elements, hardly numerous and expressed in few colours (matte or glossy), possess, on the whole surface, the same complete plastic quality: POSITIVE-NEGATIVE. But, by the effect of opposed perspectives, these elements give birth to and make vanish in turn a ‘spatial feeling’ and thus, the illusion of motion and duration. FORM AND COLOUR ARE ONE. Form can only exist when indicated by a coloured quality. Colour is only quality when unlimited in form. The line (drawing, contour) is a fiction which belongs not to one, but to two form-colours at the same time. It does not engender form-colours, it results from their meeting. Two necessarily contrasted form-colours constitute PLASTIC UNITY, thus the UNITY of creation: eternal duality of all things, recognized finally as inseparable. It is the coupling of affirmation and negation. Measurable and immeasurable, unity is both physical and metaphysical. It is the conception of the material, the mathematical structure of the Universe, as its spiritual superstructure. Unity is the absence of BEAUTY, the first form of sensitivity. Conceived with art, it constitutes the work, poetic equivalent of the World that it signifies. The simplest example of plastic unity is the square (or rectangle) with its complement ‘contrast’ or the two-dimensional plane with its complement ‘surrounding space’.

1948-09-172023-01-07

Manifest, a new consciousness with laws of dialectics

Een nieuw bewustzijn binnen de wetten van de dialectiek

The dissolution of Western classical culture is a phenomenon that can be understood only against the background of a social evolution which can end only in the total collapse of a principle of society thousands of years old and its replacement by a system whose laws are based on the immediate demands of human vitality. The influence the ruling classes have wielded over the creative consciousness in history has reduced art to an increasingly dependent position, until finally the real psychic function of that art was attainable only for a few spirits of genius who in their frustration and after a long struggle were able to break out of the conventions of form and rediscover the basic principles of all creative activity.

Together with the class society from which it emerged, this culture of the individual is faced by destruction too, as the former’s institutions, kept alive artificially, offer no further opportunities for the creative imagination and only impede the free expression of human vitality. All the isms so typical of the last fifty years of art history represent so many attempts to bring new life to this culture and to adapt its aesthetic to the barren ground of its social environment. Modern art, suffering from a permanent tendency to the constructive, an obsession with objectivity (brought on by the disease that has destroyed our speculative-idealizing culture), stands isolated and powerless in a society which seems bent on its own destruction. As the extension of a style created for a social élite, with the disappearance of that élite modern art has lost its social justification and is confronted only by the criticism formulated by a clique of its connoisseurs and amateurs.

Western art, once the celebrator of emperors and popes, turned to serve the newly powerful bourgeoisie, becoming an instrument of the glorification of bourgeois ideals. Now that these ideals have become a fiction with the disappearance of their economic base, a new era is upon us, in which the whole matrix of cultural conventions loses its significance and a new freedom can be won from the most primary source of life. But, just as with a social revolution, this spiritual revolution cannot be enacted without conflict. Stubbornly the bourgeois mind clutches onto its aesthetic ideal and in a last, desperate effort employs all its wiles to convert the indifferent masses to the same belief. Taking advantage of the general lack of interest, suggestions are made of a special social need for what is referred to as ‘an ideal of beauty’, all designed to prevent the flowering of a new, conflicting sense of beauty which emerges from the vital emotions.

As early as the end of the First World War the DADA movement tried by violent means to break away from the old ideal of beauty. Although this movement concentrated increasingly on the political arena, as the artists involved perceived that their struggle for freedom brought them into conflict with the laws that formed the very foundations of society, the vital power released by this confrontation also stimulated the birth of a new artistic vision.

1943-04-062022-10-20

Radio Levania, émettre dans l’espace de la désidération

Chers passagers, nous vous invitons maintenant à rejoindre le complexe du rez-de-chaussée, où à vous installer à l’étage – la mutation va bientôt commencer. Pour le bon déroulé de cette séquence nous vous engageons à trouver un endroit confortable et à svous asseoir pour écouter dans les meilleures conditions.

« Les grandes personnes sont décidément bien bizarres », se dit-il simplement en lui-même durant son voyage.

Vous qui entrez, n’abandonnez pas tout espoir, ni toute mélancolie
Entrez dans l’espace de la désidération
Entrez dans ce lieu où diagnostiquer le vertige de la perte des étoiles
Quand l’émerveillement pour le cosmos se retourne en mélancolie
Nous faisant sentir tout ce qui est perdu
Quand le plaisir renouvelé des choses spatiales dit aussi la tristesse, et l’abandon
Et la volonté de retrouver quelque chose d’indistinctement cosmique
Et de goûter la douceur et l’amertume du miel laiteux des étoiles
Voilà la désidération qui s’étoile bientôt en affect, en syndrome, en pensée, en fiction, en recherches spatiales, endocosmologiques, tous azimuts
Entrez dans ce lieu fait aussi pour appréhender une voie qui mène à un état autre
Un lieu pour réinventer l’espoir et la mélancolie,
Un lieu pour transitionner, avec les étoiles, les humains, les mondes,
Un lieu pour appréhender l’affect de la désidération, et muter avec lui
Un lieu pour initier cette découverte et cette transmutation
Un lieu pour appréhender l’avenir
Un lieu pour découvrir
Une onde
Un chemin
Des voix dans le cosmos
Un lieu pour voir, un lieu pour écouter, un lieu pour dormir, un lieu pour rêver
Avec l’aide de la cellule Cosmiel
Avec la voix de Radio Levania
Vous qui entrez, n’abandonnez pas tout espoir, ni toute mélancolie.