M A R I S K I N E C A F É

Since 2006 If I Can’t Dance has organized reading groups on feminism (2006-2008), masquerade (2008-2010) and affect (2010 – 2012). Taking as point of departure a spirit of exchange and open-ended discussion, the Reading Group aims to facilitate a space for in-depth debate, unexpected links and creative disagreement.

The Reading Group upholds the following set of rules:

In the spirit of an open-ended discussion:
1) There is no audience. We do not need to ‘perform’ this reading group.

2) You do not need to speak from a fixed position. You are not here as a representative of anything or anyone else.

3) Say anything… This is all about making the u-turns needed to discover common points of reference.

From: Annie Fletcher & Sarah Pierce, ‘The Paraeducation Department’, Witte de With /TENT, 2005.

although a dreamer is everybody in his dream, he can be dreaming the dreams of
other characters

―if you are looking for the bilder deep your ear on the movietone! 62.8

―You is feeling like you was lost in this bush, boy? You says: It is
puling sample jungle of woods. You most shouts out: Bethicket me for a
stump of a beech if I have the poultriest notions what the farest he all
means. Gee up, girly!‖ (112.3-6)

―look at this pre-pronominal funferal, engraved and
retouched and edgewiped and puddenpadded, very like a whale‘s egg
farced with pemmican, as were it sentenced to be nuzzled over a full
trillion times for ever and a night till his noddle sink or swim by that
ideal reader suffering from an ideal insomnia‖(120.9-14).

notes

Standard Average European (SAE) is a concept introduced by Benjamin Whorf to group the modern Indo-European languages of Europe. Whorf argued that these languages were characterized by a number of grammatical similarities, which made them different from many of the world's other languages. His point was to argue that the disproportionate degree of knowledge of SAE languages biased linguists towards considering grammatical forms to be highly natural or even universal, when in fact they were peculiar to the SAE language group.

In Whorf's most famous example he contrasted what he called the SAE tense system which contrasts past, present and future tenses with that of Hopi, which Whorf analyzed as being based on a distinction not of tense, but on distinguishing things that have in fact occurred (arealis mood encompassing SAE past and present) as opposed to things that have as yet not occurred, but which may or may not occur in the future (irrealis mood). The accuracy of Whorf's analysis of Hopi tense has later been a point of controversy in linguistics.

Whorf likely considered Romance and West Germanic to form the core of the SAE, i.e. the literary languages of Europe which have seen substantial cultural influence from Latin during the medieval period. The North Germanic and Balto-Slavic languages tend to be more peripheral members.

Alexander Gode, who was instrumental in the development of Interlingua, characterized this language as "Standard Average European".^[1]The Romance, Germanic, and Slavic control languages of Interlingua are reflective of the language groups most often included in the SAESprachbund.

tks wikipedia

Matt Mullican

Ruscha

A 10 minutos da Liberdade, 20 do Paraíso

[Foto e post da querida Ligia Afonso]

Ida Rubinstein @ debussy

do I exist?

[Brian Eno]

Agradecimento – Wislawa Szymborska

Devo muito
aos que não amo.

O alívio de aceitar
que sejam mais próximos de outrem.

A alegria de não ser eu
o lobo de suas ovelhas.

A paz que tenho com eles
e a liberdade com eles,
isso o amor não pode dar
nem consegue tirar.

Não espero por eles
andando da janela à porta.
Paciente
quase como um relógio de sol,
entendo o que o amor não entende,
perdoo,
o que o amor nunca perdoaria.

Do encontro à carta
não se passa uma eternidade,
mas apenas alguns dias ou semanas.

As viagens com eles são sempre um sucesso,
os concertos assistidos,
as catedrais visitadas,
as paisagens claras.

E quando nos separam
sete colinas e rios
são colinas e rios
bem conhecidos dos mapas.

É mérito deles
eu viver em três dimensões,
num espaço sem lírica e sem retórica,
com um horizonte real porque móvel.

Eles próprios não veem
quanto carregam nas mãos vazias.

"Não lhes devo nada" -
diria o amor
sobre essa questão aberta.

[Bertil Nilsson undisclosed double-page]

Dan Perjovshi

Encontros Procure o descanso após o salto: performance por Angie Keefer

Angie Keefer é escritora, artista, editora, engenheira amadora e, ocasionalmente, bibliotecária. Como prelúdio do encontro Práticas da auto-representação por meio da publicação, que acontece dia 23, a artista, junto a um mágico, apresenta uma performance baseada no relato abaixo:

“Neste verão passei uma semana dirigindo de Nova York para o Alabama para visitar o lugar de nascimento de Helen Keller, cuja biografia tenho pesquisado para um filme sobre ‘falar através de outros’. No caminho meu carro quebrou. Tive que passar uma noite em Harrisonburg, Virginia, esperando a oficina mecânica abrir na manhã seguinte. Este incidente em si é de pouca importância, assim como o fato de que, no dia seguinte, enquanto os mecânicos estavam instalando novas velas de ignição, caminhei até um centro comercial onde pedi um café em uma pequena cafeteria. Me sentei do lado de fora com meu café, numa mesa embaixo de um toldo, à frente de um estacionamento comum, quase deserto. Um carro passou lentamente. Depois de alguns minutos, a lentidão me irritou. Porque ficar ali por tanto tempo, gastando gasolina? Além disso, aquilo era estranho. Porque não estacionar e sair do carro ou simplesmente ir embora? Reparei que a placa do carro era GR8 TRIX, e pude ver através do vidro traseiro um adesivo transparente colado por cima da luz de freio que dizia ‘Got Magic?’, como o famoso slogan ‘Got Milk?’. Havia um homem dentro do carro. Ele usava óculos escuros. Desconfiei que ele era um mágico. Presumi que encontrar um mágico em um estacionamento de uma pequena e mundana cidade na Virgínia era algum tipo de sinal, então andei até o carro e bati na janela. Depois de um momento de hesitação, ele abaixou o vidro alguns centímetros. Eu perguntei ‘Você é mágico?, baixando um pouco mais o vidro ele respondeu ‘Prefiro o termo i-lu-si-o-nis-ta.’ Ele mexeu a boca de uma maneira exagerada e pronunciou a palavra vagarosamente, como se quisesse sugerir algo além do óbvio. Conversamos durante cerca de meia hora sobre o seu trabalho. Me perguntei como ele entrou neste negócio e o que é necessário para ser um ‘i-lu-si-o-nis-ta’ de sucesso. Perguntei a ele o que leva pessoas a acreditar em algo que elas sabem que é claramente falso. Ele respondeu ‘Ah, esta é a parte fácil. É a estrutura narrativa. Depois que as pessoas já estão envolvidas na história, eles querem acreditar, e por isso acreditam. Todas as vezes.’ Depois disso ele me mostrou um truque. Fez com que bolinhas de borracha desaparecessem de suas mãos e aparecessem nas minhas. Começou com uma, depois duas, depois três. No final, ele me entregou o seu cartão, que guardei, para não ter dúvidas de que o encontro realmente aconteceu.”

Angie Keefer também estará no simpósio Práticas da auto-representação por meio da publicação, no dia 23 de setembro as 15h no Lounge Bienal.

Esse evento conta com a parceria cultural do b_arco.

Lotação: 50 pessoas
Distribuição de senhas no local 1h antes do evento Entrada gratuita.
Informações: +55 11 3081.6986
contato@bienal.org.br
www.obarco.com.b
r

YES - Derrida on Joyce

the question of the 'yes'. In my short essay on Joyce I tried to deal only with the word 'yes' as it was...performed, so to speak, in Ulysses; and I tried to show how all the paradoxes which are linked to this question of the 'yes'...this has to do with the fact that deconstruction is a 'yes', is linked, is an affirmation. When I say 'yes' - as you know, 'yes' is the last word in Ulysses - when I say 'yes' to the other in the form of a promise or an agreement or an oath, the 'yes' must be absolutely inaugural. In relation to the theme today, inauguration is a 'yes', I say 'yes' as a starting point, nothing precedes the yes, the yes is the moment of the institution, the origin; it's absolutely originary. But when you say 'yes', if you don't imply that the moment after that you will have to confirm the 'yes' by a second 'yes' - when I say 'yes', I immediately say 'yes, yes' - I commit myself to confirm my commitment in the next second, and tomorrow and after tomorrow and so on, which means that the 'yes' immediately duplicates itself, doubles itself. You cannot say 'yes' without saying 'yes, yes', which implies memory in the promise; I promise to keep the memory of the first yes and when you, in a wedding for instance, in a performative, in a promise, when you say 'yes, I agree, I will' you imply, 'I will say 'I will' tomorrow and I will confirm my promise', otherwise there is no promise. Which means that the 'yes' keeps in advance the memory of its own beginning. That's the way it's a different word. If tomorrow you don't confirm that you have founded today your program you will not have any relation to it.

Tomorrow, perhaps next year, perhaps twenty years from now we will - if today there has been any inauguration; we don't know yet, we don't know, we can't today, where I am speaking... who knows? So 'yes' has to be repeated, and immediately, immediately it implies what I call 'iterability', it implies the repetition of itself. Which is a threat, which is threatening at the same time because the second yes may be simply a parody or a record or mechanical repetition; it may say 'yes, yes' like a parrot, which means that the technical reproduction of the originary 'yes' is from the beginning threatening to the living origin of the 'yes', which means that the 'yes' is hounded by its own ghost, its own mechanical ghost, from the beginning. Which means that the second 'yes' will have to reinaugurate, to reinvent the first one. If tomorrow you don't reinvent today's inauguration... it will have been dead. Every day the inauguration has to be reinvented. So that's one thing.

Midway in the Journey

Midway in the journey of our life I came to myself in a dark wood, for the straight way was lost. Ah, how hard it is to tell the nature of that wood, savage, dense and harsh – the very thought of it renews my fear. Dante. Vol.1 Inferno

present-future-past.

in summary, for Hegel, the "dialectical process" or the "concept" of reality is man in the present, focused on future action, determined by his experience of past events. Thus the formula is:

Therefore by realizing itself, the time in which the future takes primacy engenders history

Queen's Bishop to Pawn

Playing with the Ghosts

“Compassion is an unstable emotion. It needs to be translated into action, or it withers. The question is what to do with the feelings that have been aroused, the knowledge that has been communicated. People don't become inured to what they are shown ... because of the quantity of images dumped on them. It is passivity that dulls feeling.”

It felt like a kiss

Adam Curtis

“Os personagens de Hamsun vêm do mundo primitivo dos fjords:

homens que se tornam andarilhos por nostalgia. E os de Walser? Talvez das montanhas de Glarner? Dos pardos de Appenzel, onde nasceu? Não. Eles vêm da noite, quando ela está mais escura, uma noite veneziana, se quiser, iluminada pelos precários lampiões da esperança, com um certo brilho festivo no olhar, mas confusos e tristes a ponto de chorar. Seu choro é prosa. O soluço é a melancolia das tagarelices de Walser. O soluço nos mostra de onde vêm os seus amores. Eles vêm da loucura, e de nenhum outro lugar. São personagens que têm a loucura atrás de si, e por isso sobrevivem numa superficialidade tão despedaçadora, tão desumana, tão imperturbável.”
“Robert Walser”, ensaio sobre Robert Walser escrito por Walter Benjamin. In: Obras Escolhidas I - Magia e técnica, arte e política.

Primary Information

[Mira Schendel]

Derrida on Hegel, could be on Joyce

Hegel's Encyclopedia or Hegel's Logic, it is an attempt to read the absolute knowledge through a single act of memory; this being possible only by loading every sentence, every word with a maximum of equivocalities, of possibilities, of virtual associations, that is, by making this organic linguistic totality as rich as possible.

Love is evil -- Zizek

More generally, when one is passionately in love and, after not seeing the beloved for a long time, asks him for a photo to keep in mind his features, the true aim of this request is not to check if the properties of the beloved still fits the criteria of my live, but, on the contrary, to learn (again) what these criteria are. I am in love absolutely, and the photo a priori CANNOT be a disappointment – I need it just so that it will tell me WHAT I love… What this means is that true love is performative in the sense that it CHANGES its object – not in the sense of idealization, but in the sense of opening up a gap in it, a gap between the object’s positive properties and the amagalma, the mysterious core of the beloved (which is why I do not love you because of your properties which are worthy of love: on the contrary, it is only because of my love for you that your features appear to me as worthy of love). It is for this reason that finding oneself in the position of the beloved is so violent, traumatic even: being loved makes me feel directly the gap between what I am as a determinate being and the unfathomable X in me which causes love. Everyone knows Lacan’s definition of love (“Love is giving something one doesn’t have…”); what one often forgets is to add the other half which completes the sentence: “… to someone who doesn’t want it.” And is this not confirmed by our most elementary experience when somebody unexpectedly declared passionate love to us – is not the first reaction, preceding the possible positive reply, that something obscene, intrusive, is being forced upon us?