Finnegans Triskaidekaphobia

732 thirteen letter words in Finnegans Wake

Recirculation, Camibalistics, Bidimetoloves, Habitacularly, Celescalating, Blackguardise, Hurtleturtled, Crunchbracken, Workingstacks, Consternation, Inimyskilling, Wounderworker, Verytableland, Wrothschields, Fleckflinging, Ladymaidesses, Scentbreeched, Bergincellies, Countrybossed, Harpsdischord, Antediluvious, Selfstretches, Jerrybuilding, Prapsposterus, Countlessness, Thanacestross, Anntisquattor, Mightmountain, Infrarational, Reversogassed, Starshootings, Paddyplanters, Doublejoynted, Sibsubstitute, Updipdripping, Authenticated, Leisureloving, Pouringrainia, Skertsiraizde, Magnificently, Vociferatings, Assbawlveldts, Conspicuously, Spontaneously, Circumstances, Reconstricted, Twitterlitter, Convertedness, Cobwebcrusted, Ecclectiastes, Phantomweight, Lodginghouses, Bakenbeggfuss, Correspondant, Appraisiation, Establishment, Particularist, Poulichinello, Norveegickers, Antilibellous, Nonactionable, Coulinclouted, Reamalgamerge, Quaintesttest, Objectionable, Semiprivately, 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Mollification, Manifestation, Complimenting, Whereoneafter, Twofromthirty, Chassetitties, Crackajolking, Dispillsation, Firstnighting, Forehearingly, Loughlinstown, Buikdanseuses, Envenomoloped, Gravitational, Loungelizards, Holenpolendom, Memorialising, Entomophilust, Chimerahunter, Personalities, Contrarieties, Carrageehouse, Ratiocination, Passionpallid, Psychological, Ethiquethical, Sequentiality, Kischabrigies, Uncouthrement, Dariaumaurius, Jiggerypokery, Antechristian, Semetomyplace, Prepossessing, Fundamentally, Sesquipedalia, Feueragusaria, Prepronominal, Jesuistically, Sinistrogyric, Floprightdown, Unfashionable, Paleographers, Exhibitionism, Bootherbrowth, Overcarefully, Droopadwindle, Imperfectible, Upandinsweeps, Forestallings, Billiardhalls, Buaboababbaun, Zoomorphology, Omnianimalism, Hookbackcrook, Booseworthies, Drinkthedregs, Plebmatically, Acknowledging, Hackleberries, Hockinbechers, Hickheckhocks, Unsightliness, Apostolopolos, Bubblingplace, Floodsupplier, Oldshouldered, Presumptively, Hearthsculdus, Uncustomarily, Livsadventure, Thoroughgoing, Contributting, Controversies, Justification, Comesilencers, Intempestuous, Assassiations, Dearstreaming, Skillmustered, Infustigation, Subtractional, Morbidisation, Obintentional, Paleoparisien, Pneumodipsics, Unconsciously, Poposterously, Honoriousness, Preprocession, Sarchnaktiers, Synerethetise, Constellatria, Adiaptotously, Heliogobbleus, Motamourfully, Baileycliaver, Inexhaustible, Laetification, Commontoryism, Reupprearance, Interlocative, Brutherscutch, Primomobilisk, Misunderstord, Unconditional, Helixtrolysis, Undistributed, Blanchemanged, Subordinating, Orchidectural, Needlesswoman, Morphological, Schoolteacher, Cleopatrician, Hyperchemical, Gropesarching, Singlebiassed, Avoirdupoider, Nearapoblican, Conversazione, Entertainment, Cuttlefishing, Extraordinary, Categorically, Hemiparalysed, Stonestepping, Bickerrstaffs, Impenetrablum, Occidentaccia, Shamelessness, Precipitation, Unwhisperably, Scoppialamina, Blasphematory, Moromelodious, Cyclewheeling, Consciousness, Missmisstress, Thoroughpaste, Monosyllables, Scissymaidies, Lightthrowers, Convulsionary, Rapidshooting, Hazelhatchery, Silvamoonlake, Forstfellfoss, Kissuahealing, Marcellewaved, Flushcaloured, Fishnetzeveil, Contemplation, Archdeaconess, Chattahoochee, Wickerpotluck, Nightmarching, Musquodoboits, Amphitheayter, Creakorheuman, Mangrovemazes, Sojestiveness, Diseasinesses, Hemustwhomust, Ringsoundinly, Vicereversing, Complementary, Imbretellated, Disconnection, Mademoisselle, Mightwhomight, Disconvulsing, Forforgetting, Inflammabilis, Inculmination, Nevertheleast, Smellsniffing, Parleyglutton, Lossassinated, Spectacularly, Lightingshaft, Ameltingmoult, Whiteliveried, Frockenhalted, Rhainodaisies, Poetographies, Aroundabrupth, Altfrumpishly, Whenceforward, Checkenbrooth, Streelwarkers, Dapplebellied, Troublebedded, Expectoration, Specification, Skirtaskortas, Thumbtonosery, Childergarten, Longsuffering, Thousandfirst, Gillyflowrets, Weatherbitten, Ivorbonegorer, Fortyshilling, Sherrigoldies, Singoutfeller, Rendningrocks, Moguphonoised, Antisipiences, Steppingstone, Beelyingplace, Trueprattight, Rifocillation, Maymeaminning, Tootpettypout, Vindicatively, Humphreystown, Bracelonettes, Sempereternal, Allwhichwhile, Olivehunkered, Castlecowards, Goldfashioned, Civilisations, Hyacinthinous, Caiuscounting, Dondderwedder, International, Bissyclitties, Antiquissimam, Wolsherwomens, Ventitillated, Steeplechange, Apostrophised, Medeoturanian, Lochlaunstown, Uteralterance, Toadhauntered, Approxemetely, Serpumstances, Goaneggbetter, Simperspreach, Blaablaablack, Triperforator, Countinghands, Sickenagiaour, Supershielded, Eclectrically, Circumcentric, Antidulibnium, Monofractured, Translatentic, Amplification, Arboriginally, Paradoxmutose, Shufflebotham, Breachesmaker, Secondsnipped, Annexandreian, Nosestorsioms, Donconfounder, Wholeabelongd, Drumadunderry, Salamagunnded, Ambilaterally, Illfollowable, Gielgaulgalls, Dressparading, Sleepytalking, Saksalaisance, Boomarpoorter, Louthmouthing, Passthecupper, Barneydansked, Myrioheartzed, Disgeneration, Begeylywayled, Synnbildising, Reformication, Caughtnapping, Witchbefooled, Paraguastical, Paramilintary, Intrepidation, Bulgeglarying, Psuckofumbers, Bulchrichudes, Satisfunction, Nupersaturals, Dustungwashed, Renewmurature, Herdsquatters, Stormtrooping, Bitteraccents, Hairmaierians, Barangaparang, Trosstpassers, Centelinnates, Foregotthened, Swishingsight, Heptahundread, Banjopeddlars, Rassociations, Aplompervious, Heliotropical, Cadderpollard, Hissindensity, Deboutcheries, Julianneswith, Assistershood, Projectilised, Keenheartened, Plinnyflowers, Wellnourished, Guiltshouters, Accampaigning, Boomarattling, Wellwillworth, Catatheristic, Contemplating, Murmurrandoms, Baskatchairch, Disassembling, Quazzyverzing, Sweecheeriode, Naytellmeknot, Parasollieras, Jangtherapper, Sixdigitarian, Dovesandraves, Valinnteerily, Avragetopeace, Mispeschyites, Ahquickyessed, Whallhoarding, Bottleholders, Thalassocrats, Whereinbourne, Incomputables, Uncomeoutable, Pedestarolies, Loovahgloovah, Receptionated, Gonlannludder, Clandoilskins, Dinnasdoolins, Rainydraining, Consideration, Inspiterebbed, Blennercassel, Greenislender, Motometusolum, Comicsongbook, Parthalonians, Allocutioning, Replenquished, Overopposides, Accomondation, Dissimulating, Fathomglasses, Cattleraiders, Gallowglasses, Sweepstakings, Manausteriums, Humbodumbones, Regnumrockery, Killeachother, Contradicting, Burrymecarott, Materfamilias, Brownesberrow, Andrewmartins, Nursetendered, Newhigherland, Wherebejubers, Perilwhitened, Pugnoplangent, Virilvigtoury, Goosegreasing, Krasnapoppsky, Crinklydoodle, Haggispatrick, Proprietoress, Soppositorily, Brozaozaozing, Thinkamuddles, Gratification, Chiefoverseer, Blindquarters, Fleshfettered, Genuflections, Pontoffbellek, Kisslemerched, Substantively, Poachmistress, Assauciations, Autobiography, Spondaneously, Pushpygyddyum, Fourmillierly, Besterfarther, Cantoridettes, Antitopically, Trestraversed, Blohablasting, Nissunitimost, Unshrinkables, Presumptuably, Pulladeftkiss, Longsephyring, Velktingeling, Prescriptions, Juxtaposition, Unmentionable, Fleischcurers, Intentionally, Asbestopoulos, Schisthematic, Disseminating, Allergrossest, Trampthickets, Comestabulish, Exsearfaceman, Slumbersomely, Equilebriated, Confarreating, Terrorgammons, Lostsomewhere, Fleshcoloured, Femorafamilla, Paynattention, Dallytaunties, Phyllisophies, Frecklessness, Interstipital, Clandestinely, Kellsfrieclub, Glorification, Redcolumnists, Companykeeper, Journalwriter, Allassundrian, Sleevemongrel, Constantineal, Brotherkeeper, Hebdomedaries, Filmacoulored, Unadulterated, Sallysfashion, Mortinatality, Wateringplatz, Wellbelavered, Grandnational, Disasperaguss, Commissioners, Shellyholders, Naughtingerls, Alltoolyrical, Ramescheckles, Wholeabuelish, Hummingsphere, Sidesplitting, Jollification, Littorananima, Personnalitey, Calvescatcher, Fullchantedly, Tightsqueezed, Catoninelives, Testymonicals, Moulsaybaysse, Agglutinative, Mirthprovoker, Dockandoilish, Neaheaheahear, Expressionism, Hammisandivis, Nikrokosmikon, Misunderstood, Concelebrated, Leafboughnoon, Phantastichal, Backscuttling, Droopleaflong, Irrepressible, Parapolylogic, Distressfully, Fourfettering, Tetrahedrally, Quadriliberal, Tortoiseshell, Encroachement, Theophrastius, Tripenniferry, Embarrassment, Administrants, Mudfacepacket, Dryfilthyheat, Turkeycockeys, Strawnummical, Pisciolinnies, Pebbledropper, Dispensations, Litterarumque, Archimandrite, Conciliabulum, Unbespokables, Factification, Tuttifrutties, Supernumerary, Trickspissers, Sinsinsinning, Windwhistling, Swatmenotting, Gladrolleries, Unmatchemable, Volimetangere, Pantoloogions, Thomistically, Puseyporcious, Northwhiggern, Caecodedition, Trippudiating, Mastersinging, Unnecessarily, Massacreedoed, Holyhagionous, Orangepeelers, Interferences, Interrogation, Concomitantly, Contravention, Regulationing, Disjunctively, Supernatently, Pickpuckparty, Superflowvius, Nircississies, Glenagearries, Pfuffpfaffing, Primapatriock, Macauscullpth, Allenglisches, Bestpreserved, Complimentary, Homesweetened, Teaspoonspill, Preprotestant, Disincarnated, Confoederated, Byusucapiture, Rivulverblott, Whencehislaws, Domestication, Drumcollogher, Mortification, Circumference, Wherewithouts, Freakandesias, Megalopolitan, Sunsmidnought, Unaccompanied, Companionship, Revolucanized, Lilienyounger, Peningsworths, Tallonkindles, Regimentation, Threadneedles, Attachatouchy, Muezzatinties, Lickybudmonth, Kinderwardens, Commandeering, Furrinfrowned, Silentsailing, Stiffstarched, Unpreoccupied, Salmonpapered, Daughterpearl, Thimblecasket, Godolphinglad, Caubeenhauben, Speechreading, Illuminatured, Litteringture, Skillmistress, Interrogarius, Blasphemously, Reprehensible, Chastisements, Interlocutory, Hedcosycasket, Luxuumburgher, Bluefunkfires, Photoflashing, Maypoleriding, Conningnesses, Christmastyde, Staggerhorned.

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Lessons of Darkness

Minnesota Declaration

Herzog
  1. By dint of declaration the so-called Cinéma Vérité is devoid of vérité. It reaches a merely superficial truth, the truth of accountants.
  2. One well-known representative of Cinéma Vérité declared publicly that truth can be easily found by taking a camera and trying to be honest. He resembles the night watchman at the Supreme Court who resents the amount of written law and legal procedures. ‘For me,’ he says, ‘there should be only one single law: the bad guys should go to jail.’ Unfortunately, he is part right, for most of the many, much of the time.
  3. Cinéma Vérité confounds fact and truth, and thus ploughs only stones. And yet, facts sometimes have a strange and bizarre power that makes their inherent truth seem unbelievable.
  4. Fact creates norms, and truth illumination.
  5. There are deeper strata of truth in cinema, and there is such a thing as poetic, ecstatic truth. It is mysterious and elusive, and can be reached only through fabrication and imagination and stylization.
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Wie sich alles „erhellt“ und „erhält“.

Von der Musik der tausend Plateaus oder ihrem Bau
Norbert Schläbitz

„Ich habe den Bau eingerichtet und er scheint wohlgelungen. Von außen ist eigentlich nur ein großes Loch sichtbar, dieses führt aber in Wirklichkeit nirgends hin, schon nach ein paar Schritten stößt man auf natürliches festes Gestein“ (Kafka 1996: 132).

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Rahmungen in der Kunst

Kunstwerke im Allgemeinen weisen Rahmungen auf, die als Grenzen wahrgenommen werden. Ein Buch beginnt und endet – so scheint es zumindest. Und dazwischen nur spielt sich eine bedeutend phantastische Welt ab. Ein Bild hat eine Fläche, die von einem Rahmen umgeben ist und verdeutlicht auf ähnliche Weise, wo die Illusion und Interpretation ihr Ende findet. Solche Rahmungen markieren „Gegenstände“ und weisen Phantasiereisenden in der Kunst den Weg, ermöglichen den Austritt, auch deshalb, weil eine Abstand ermöglichende Grenze stets erhalten bleibt. Man mag Texte konkretisieren und Bilder verinnerlichen, stets bleibt ein materieller Abstand erhalten und wird plastisch dokumentiert durch irgendwelche Rahmungen. Sicherlich – Foucault hat zu recht die Einheit des Buches als Knoten in einem diskursiven Netz (vgl. Foucault 41990: 36) und das homogene Werk als „Gewimmel sprachlicher Spuren“ (ebd.: 37) verdeutlicht, gleichwohl bleibt die augenscheinliche Rahmung durch die prinzipielle Gegenständlichkeit des Interesses erhalten, was zumindest die Vorstellung oder Suggestion vom „Anfang und Ende“ am Leben hält.

Die Rahmung, die man in der Musik mit dem „Objekt“ der Partitur einst gefunden hatte, was der Musikwissenschaft die dem Auge geschuldete Analyse und Leben gab, erwies sich im 20. Jahrhundert mit neuen Aufschreibesystemen recht bald als instabil, als grenzerweiternd das Rauschen der Welt erforscht wurde, das sich in Partituren nicht mehr symbolisch festhalten ließ.

Seitdem ist eine Rahmung der Musik nicht so leicht mehr auszumachen, wo ein Abstand zur erklingenden Musik nicht möglich ist. Zwar hat auch die Musik Anfang und Ende, aber schon hier wird ein Unterschied zu den anderen Künsten deutlich, denn die Rahmung wird verkörpert durch ein „Nicht“, eine Negativität – allein durch die Abwesenheit von Klang. In diesen Rahmen ist dann die Fülle eines organisierten Klanges eingebettet. Bevor die Musik im Konzertsaal beginnt, verebbt folgerichtig das Stimmengewirr der Zuhörer; die kurz zuvor noch um ihre Stimmung besorgten Musiker halten ein und verstummen ebenfalls. So entsteht die Rahmung des „Nicht“, sodass – auf ein Zeichen des Zeremonienmeisters – aus dieser Ruhehaltung heraus Musik empor schwellen kann. Wir haben es also mit einem Rahmen zu tun, der gerade dadurch Rahmen ist, dass es keinen gibt.

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The Street of Crocodiles

MY FATHER kept in the lower drawer of his large desk an old and beautiful map of our city. It was a whole folio sheaf of parchment pages which, originally fastened with strips of linen, formed an enormous wall map, a bird’s eye panorama.

Będziemy wiecznie żałowali, żeśmy wtedy wyszli na chwilę z magazynu konfekcji podejrzanej konduity. Nigdy nie trafimy już doń z powrotem. Będziemy błądzili od szyldu do szyldu i mylili się setki razy. Zwiedzimy dziesiątki magazynów, trafimy do całkiem podobnych, będziemy wędrowali przez szpalery książek, wertowali czasopisma i druki, konferowali długo i zawile z panienkami o nadmiernym pigmencie i skażonej piękności, które nie potrafią zrozumieć naszych życzeń.

Będziemy się wikłali w nieporozumienia, aż cała nasza gorączka i podniecenie ulotni się w niepotrzebnym wysiłku, w straconej na próżno gonitwie.

Nasze nadzieje były nieporozumieniem, dwuznaczny wygląd lokalu i służby — pozorem, konfekcja była prawdziwą konfekcją, a subiekt nie miał żadnych ukrytych intencji. Świat kobiecy ulicy Krokodylej odznacza się całkiem miernym zepsuciem, zagłuszonym grubymi warstwami przesądów moralnych i banalnych pospolitości. W tym mieście taniego materiału ludzkiego brak także wybujałości instynktu, brak niezwykłych i ciemnych namiętności.

Ulica Krokodyli była koncesją naszego miasta na rzecz nowoczesności i zepsucia wielkomiejskiego. Widocznie nie stać nas było na nic innego, jak na papierową imitację, jak na fotomontaż złożony z wycinków zleżałych, zeszłorocznych gazet.

Hung on the wall, the map covered it almost entirely and opened a wide view on the valley of the River Tysmienica which wound itself like a wavy ribbon of pale gold, on the maze of widely spreading ponds and marshes, on the high ground rising towards the south, gently at first, then in ever tighter ranges, in a chessboard of rounded hills, smaller and paler as they receded towards the misty yellow fog of the horizon. From that faded distance of the periphery, the city rose and grew towards the centre of the map, an undifferentiated mass at first, a dense complex of blocks and houses, cut by deep canyons of streets, to become on the first plan a group of single houses, etched with the sharp clarity of a landscape seen through binoculars. In that section of the map, the engraver concentrated on the complicated and manifold profusion of streets and alleyways, the sharp lines of cornices, architraves, archivolts and pilasters, lit by the dark gold of a late and cloudy afternoon which steeped all corners and recesses in the deep sepia of shade. The solids and prisms of that shade darkly honeycombed the ravines of streets, drowning in a warm colour here half a street, there a gap between houses. They dramatized and orchestrated in a bleak romantic chiaroscuro the complex architectural polyphony.

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Paintings Should Stick in the Throat

A question and its answer … are the painters still those painters who are painting the great cave? Do they paint the buffalo on the wall as hunger, the eagle as freedom, and the woman with a big bottom as love? Do they paint the buffalo as the table that magically sets itself? Have they meanwhile left the cave, cleared out of the community, and forgotten all those universal, comprehensible agreements, because magic does not still hunger, because flying does not work and yearning for love does not breed love? Have they traded the cave for some other place? Propagandizing about needs, ‘What does man need?’ feeds upon a yearning for freedom and the fear of death and entices us into taking another way, off the painters’ course. The smart ones, hotshots, innovators, activists – in the forefront madmen and hotspurs – have remained within their own skulls. They proclaim plucky mottos: paintings should stick in the throat, eyelids should be nailed down, and hearts grabbed with pliers. Fish bone, air raid and separation. Well, one still sits together around the fire, warms up the studios, has had enough to eat, and is in love. On battered canvases are those sumptuous ornaments filled with jumbled lines and rich colours; crystalline galleries hang over the frames. All that once stood erect, the still life, has been knocked over, the landscape has been seized and uprooted, the interiors tangled, and the portraits scratched and pierced. Painting became music. Surrealism won. Everything durable has been kicked out of the paintings.

Now, the tone goes right through walls, the line stands upside down. Are the painters now unhappy and freezing? They dance and celebrate with their friends, they invite their fathers and drink Capri with them. A black painting is as white as the sky. The colours in the dark cave are aglow. Light is superfluous. Everything is utterly different, anyway. The paraphernalia of Venus, Zeus, the angels, Picasso were invented by the painters, as were the bull, the roast chicken and the lovers. The pear-wood palette became a pail, the brush a knife, an axe and a club. The largest paintings are larger, and the smallest are smaller than ever before. Someone painted a painting weighing five hundred pounds. A Chinese handwalked over the canvas. A Norwegian painted 168 acres of birch wood on one and one-half square inches of canvas. This is not the way I want to continue. Hygiene, I mean religion, is employed. Discipline is one thing, education another, and meditation, too. Intoxication is used to prepare or to stabilize an attitude. Some eat well, others purify themselves through fasting. While I see no point at all in bustling around, in being confused, zap, zap, my friend between New York and Cologne makes the best paintings in his trouser pocket, where his canary sits. Does one see more of the world by climbing a ladder, does one see still more by lying down flat on the field and by sticking one’s nose in the ground? Either way. The difference between a German and an Italian apple tree is enormously large. In Tuscany in the garden I made photos of such trees. Back home in Germany I was terribly excited by these exotic apple trees, these unpaintable fairy-tale-tree-inventions. I realized that I did not want to paint an apple tree at all. I was still under the mother and had stuck out only my nose. The world had not opened up, the secret remained hidden within the object, but now there was confusion. This is an experience, but not of the kind that broadens your mind through shifting horizons. The first la-la sounds and the first dot-dot-comma-dash are indeed vehement creations for the one who makes them. This is not theory. I composed Fidelio, I know precisely that as a six-year-old I conducted this very piece; hare and dog I painted when I was eight years old, signing them Albrecht Dürer. One of these watercolours is in Vienna, in the Albertina, the dog is lost.

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Little Sleep’s-Head

黒い鳥

VII
LITTLE SLEEP’S-HEAD
SPROUTING HAIR IN THE MOONLIGHT

1

You scream, waking from a nightmare.

When I sleepwalk
into your room, and pick you up,
and hold you up in the moonlight, you cling to me
hard,
as if clinging could save us. I think
you think
I will never die, I think I exude
to you the permanence of smoke or stars,
even as
my broken arms heal themselves around you.

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