2009/11/25

"Mozart's desiring-machine? "Raise your ass to
your mouth, ... ah, my ass burns like fire, but what can be the meaning
of that? Perhaps a turd wants to come out. . . . Yes, yes, turd, I know
you, I see you, I feel you. What is this—is such a thing possible?"*

*From a letter by Mozart, cited by Marcel More, Le Dim Mozart et le monde des okeaux ("Paris: Galliniard,
1971), p. 124: "Having come of age, he found the means of concealing his divine essence, by indulging in
scatological amusements." More shows convincingly how the scatological machine works underneath and
against the Oedipal "cage." A/O 325

_____________________________

_________________________________________________________________

Mozart's never ending mystery ~ Requiem

and here Mozart

__________________

et ici Pairing

Stravinsky and Mozart

at the Boston Symphony Orchestra

A brief but interesting discussion comparing some of the differences

between Stavinsky and Mozart, and Stravinsky's interest in using

'the language neo-classical music ' in a 'modern' way.

"Stravinsky and Mozart. The season
continues Sept. 26 and 29 with two choral masterpieces, Stravinsky's
"Symphony of Psalms" and Mozart's Requiem, both featuring the
Tanglewood Festival Chorus, John Oliver, conductor. Soloists for the
evening are bass Eric Owens and three up-and-coming young singers
making their BSO debuts - soprano Grazia Doronzio, mezzo-soprano Anke
Vondung, and tenor Michael Schade"

2009/11/19

L'intrusion de Gaïa

Video and information about a talk given last winter by Isabelle Stengers concerning the present catastrophic situation ~ the overall ecosophic barbarism and what might be done to end it,prevent, to overcome it.I'd strongly suggest watching the whole set of videos, and the debate which followed.

__________________
I.Stengers: résister à la barbarie qui vient (Ath).3.
Via lavolteruz. -

----------------------------------------------------------

Au temps des catastrophes, résister à la barbarie qui vient

Un appel à la résistance par la prise de conscience de chacun, aussi bien dans le domaine économique que dans le domaine de l'écologie

Grandes conférences de Wallonie picarde

REPERES POUR L'AVENIR 2009-2010

Pourquoi ce cycle de grandes conférences ?

Lundi 26 octobre 2009

20 h Palace d'Ath

L'intrusion de Gaïa

Au temps des catastrophes, résister à la barbarie qui vient

Isabelle Stengers

Crise économique, sociale, sanitaire, climatique, alimentaire… Pour la philosophe belge Isabelle Stengers, nous sommes entrés dans le temps des catastrophes, marqué par un sentiment collectif diffus de désarroi et d’impuissance. Dans ce contexte agité, notre mode de croissance actuel, irresponsable, voire criminel, doit être maintenu coûte que coûte même s’il s’apparente, selon elle, à une véritable barbarie. Faut-il alors se résoudre à l’opinion de certains écologistes radicaux selon laquelle la défense de la planète dépasse celle des humains ? Selon l’hypothèse Gaïa, la terre est un organisme et nous en faisons partie, il n’y a donc pas lieu d’opposer humain et nature.

Mais comment agir puisque dénoncer n’est pas suffisant ?

Pour Isabelle Stengers, il s’agit d’apprendre, et cela à toute échelle, à briser le sentiment d’impuissance qui nous menace, d’expérimenter ce que demande la capacité de résister aux expropriations et aux destructions du capitalisme. Elle se sert d’une multitude d’exemples pour construire cette alternative possible basée sur la prise de conscience de chacun, aussi bien dans le domaine économique que dans le domaine de l’écologie.

Isabelle Stengers s’est fait connaître en 1979 avec La Nouvelle Alliance écrit avec le prix Nobel de chimie Ilya Prigogine. Depuis, elle n’a cessé d’interroger les discours dominants des sciences et de leurs experts face à d’autres savoirs, plus minoritaires, ceux des usagers ou des militants. Elle est membre du comité d’orientation de Cosmopolitiques, cahiers théoriques pour l’écologie politique. Elle a écrit avec Philippe Pignarre La sorcellerie capitaliste (2005, La Découverte) et participé au Livre noir de la psychanalyse (2005, Les Arènes). En mars 2009, elle publie Au temps des catastrophes. Résister à la barbarie qui vient (Editions La Découverte, Les Empêcheurs de penser en rond).

« Nous vivons des temps étranges, un peu comme si nous étions en suspens entre deux histoires, qui toutes deux parlent d’un monde devenu « global ». L’une nous est familière, elle est rythmée par les nouvelles du front de la grande compétition mondiale et a la croissance pour flèche du temps. Elle a la clarté de l’évidence quant à ce qu’elle exige et promeut, mais elle est marquée par une remarquable confusion quant à ses conséquences. L’autre, en revanche, pourrait être dite distincte quant à ce qui est en train d’arriver, mais elle est obscure quant à ce qu’elle exige, quant à la réponse à donner à ce qui est en train d’arriver ». (Isabelle Stengers, Au temps des catastrophes, La Découverte, Paris, 2009, p.9).

This poster reproduction via the site Athois la Terre

--------------------------------------------------------------------------------

Titre du livre : Au temps des catastrophes. Résister à la barbarie qui vient.
Auteur : Isabelle Stengers

Éditeur : Les Empêcheurs de penser en rond
Date de publication : 05/01/09
N° ISBN : 2707156833

Web Journal Non Fiction. Fr ___ link ____________________here

Résumé : Un appel à la résistance par la prise de conscience de chacun aussi bien dans le domaine économique que dans le domaine de l'écologie.

Hicham-Stéphane AFEISSA

"Du possible, sinon j’étouffe !" Gilles Deleuze aurait aimé cette belle formule qui donne son titre au tract que les intermittents du spectacle et précaires d’Ile-de-France ont diffusé il y a quelques années pour faire connaître les motifs de leur grogne . Du possible – c’est-à-dire non pas nécessairement une perspective d’avenir riante, celle des lendemains qui chantent, mais plus modestement, et de manière plus vitale aussi bien, une restauration des puissances d’agir, de sentir, d’imaginer et de penser, un renouvellement des capacités de faire et de défaire des mondes.

Deux caractéristiques remarquables autorisent à tenir l’expérience des intermittents en France pour révélatrice d’une situation politique globale. Tout d’abord, la façon dont ils ont été considérés par le pouvoir en place – par celles et ceux que Isabelle Stengers appelle dans son dernier livre "nos responsables" : à savoir, comme des surnuméraires. Trop nombreux sont les intermittents du spectacle. Mais trop nombreux aussi sont les enseignants, les étudiants, les chômeurs, les inactifs, les vieux, les artistes, les journalistes de France Télévision, etc. On en vient à se demander à la longue si les politiques néolibérales contemporaines ont d’autre fonction que de fabriquer des déficits et d’utiliser les populations comme variable d’ajustement.

Mais le plus étonnant dans un tel discours est qu’il ait pu rencontrer un accueil aussi favorable auprès de l’opinion publique, laquelle en est venue à se dire, sur tous ces sujets d’actualité, qu’il n’y avait effectivement pas d’autres choix possible que de supprimer des emplois, que de réduire les aides sociales, que d’augmenter le temps de travail, que d’alléger les charges patronales, etc. C’est qu’"il faut bien réformer", n’est-ce pas, et en cette affaire le mieux est toujours l’ennemi du bien. Il en va en effet de deux choses l’une : soit moins de droits sociaux, soit plus de chômeurs ; soit des salaires revus à la baisse, soit des délocalisations ; soit les OGM, soit la perte de compétitivité de l’agriculture européenne ; soit les brevets, soit pas de recherche.

Telles sont quelques-unes des "alternatives infernales", comme les appellent Isabelle Stengers et Philippe Pignarre, que le discours néolibéral aime à multiplier, et par lesquelles trop souvent nous nous laissons piéger, capturer, envoûter . Tout l’intérêt du mouvement des intermittents, de ce point de vue, a tenu à l’étonnante capacité de résistance qu’il a manifesté, et qui s’est traduite par la tentative de réouverture d’un espace de possibles. En lisant collectivement le protocole de réforme, en confrontant les rapports des experts aux pratiques d’emploi et aux savoirs des uns et des autres, les intermittents ont produit une contre-expertise qui a permis de déplacer le combat sur le terrain même de la production de savoir."

Hicham-Stéphane AFEISSA

Creative CommonsLes articles publiés sur nonfiction.fr sont diffusés sous licence "creative commons". Vous pouvez donc les diffuser librement et les publier sur vos sites et vos blogs à condition de le faire à titre non lucratif, sans les dénaturer, en indiquant les coupes et en mentionnant l'auteur et obligatoirement la source à la fin de l'article sous la forme : www.nonfiction.fr.

____________________________________
More Isabelle Stengers at Radio Deleuze
__________________________

2009/11/17

the articulate Z

but it s all there . the z. the x. the a. the t . the work . the double work. the time to creat. but there is no Z in Sartre you say

2009/11/16

turn to it

_________________ Interviews in the Aristotelian Cave

_C__ Why is every poet a politician?

CDuffy ___I don't mean that in the banal literal sense, I mean that every poet is in the space of freedom and her work is the field of its expression, its desire and hope. The hope of human freedom everywhere. that does not mean poets don't crazy and choose the opposite and even in some cases, have chosen tyranny or something that looks like freedom. Think of Neruda and his choice, his great poems singing the praises , implicitly and even explicitly of the old Soviet Union. Or take Aragon's poems praising Communism at around the same time, back in the 1930's... And then Ezra Pound going the other way, and supporting Mussolini. These were mistakes, and in the latter's situation it was a delirium, a racist delirium. Many poets do this, and so many are, and will continue to make these sorts of mistakes even dangerous ones. But in general poets, great poets come to freedom, and if necessary they return to it.

C__ And you do you make mistakes, have you made them?

CDuffy_____ (laughing crying weeping sobbing beating his breast): Mea culpa Mea cupla Mea Maximum culpa culprit! Yes, yes of course I have, but I think they didnt last, and to my knowledge no one, except my self, my inward self, was harmed by them.
O and I think the verses, and poems,the books,and the rest of it, the whole complete shebang, has , on the whole not been a hindrance to any persons, people and not to Freedom . That is for sure.

C__ and if you found out you were wrong about that, what then?

CDuffy__ It's not a question. It's a statement question isn' it? I say this this, and this say to question statement its a question statement its a freedom statement to say harmed hindered and hurt? I was wrong, if wrong was the statement hindered those others hurt and loved by "moi" and myselves so if wrong was I the I was wrong and existentially mistaken erred . And I like to spell the word freedome with an e. Because it's an E vowel and its out and open like a vowel ought to be open as a vow . No?

________________ (Duffy is hurried out the back door to his hovel and osteoarthritis)___

(waiting him there are darlings of many shapes and ... the secret ...)

E rise to love and late

and a

whats interesting is the politics of the molecular and becomings an d this other type and how th e two twine or dont

arts like that too I think

________________

C Are you a politican D?

CDuffy _____________ Every poet's a politician

______________________________________________

2009/11/15

l Welcome to Capitalism again and again

We suffer the sickness of Isms

each ism_fication makes us sick. what separates us __ what separates "them" & "us"
we who are is who 'they' are

Yer wall
their wall
city wall
city hall
state wall
space
wall
Capital wall
LabOUr wall
man & woman wall
young old
its an infinite
series of dualism
division
not
visions
capital comes again again to turn your work into someone else's loss. yer labour is stolen from you the wage's the pay off , the pay off profit heeling under the millions excluded...
____________________the machine recreates
itself
Wall keeps In
Prevents Entry
Cuts some off
Blocks others in
wall is a ball crushing other under
"walls are no damn good wherever they are...."

from Uprising Radio (see link below)

The Failure of Capitalism After the Fall of the Berlin Wall

Published 10 Nov 2009, 10:54 am
Filed under Feature Stories

Listen to this segment | the entire program

Yesterday marked the 20th anniversary of the fall of the Berlin Wall, symbolizing the end of Communist power in 1989 and the beginning of a reunification of Germany. ...

Yesterday’s anniversary was marked with world leaders participating in ceremonies and thousands of Berliners and tourists flocking to the streets of the city. ...

But in the context of today’s global recession, what can be said about the promise of capitalism?

And, what about walls that exist today, such as the US-Mexico border, and the so-called Separation wall in the Palestinian territories?

GUEST: Victor Grossman, American journalist and author, is a resident of East Berlin for many years. He is the author of Crossing the River: A Memoir of the American Left, the Cold War, and Life in East Germany

via

Victor Grossman's Znet Space

and

UpRsing Radio

Bolivia a democracy in the works...

from Znet an excerpt of an interview concerning the Bolivarian Revolution

By Michael A. Lebowitz
and José Sant Roz

Caracas

At the Centro Internacional Miranda, I had a chance to converse with Lebowitz, a professor from the Simon Fraser University in British ||

Columbia (Canada). Lebowitz is the author of outstanding books such as "Socialism does not fall from the sky" (much discussed by President Chávez) and "Build it now: Socialism for the 21st Century". I do not hesitate to declare that Lebowitz is an essential light for us in the Bolivarian revolutionary process. Many problems and many concerns were raised in this interview and he responded to them with simple and accurate clarity. Here I present the first part.

SR: We are concerned with the issue of socialism, but there is sometimes a big difference between what is said and what is done in reality.

ML: This is always going to be true. But the first thing we need to do is to create a vision and for this you need the words. There is an old saying that if you do not know where you want to go, any road will take you there, but no, this is not true; rather, if you do not know where you want to go, no road will take you there. And I think that in Venezuela, with the development of the concept of socialism for the 21st century, we know where we want to go.

We don't want to move towards a society in which the State directs everything. It should be a society where people develop themselves through their practice, through their protagonism.

This vision is clear and it is a vision that is very different from the experiences of socialism in the twentieth century. That is the first step, a very important step, but now we come to the crucial step:

Understanding how this should be done in practice and how can we establish the institutions that allow people to develop. This is being developed now through the communal councils, workers councils, where people participate in making the decisions that affect them.

The problem, though, is that it's not so easy to do that when there are people who want to do everything for others from above.

They say: we are going to create communal councils everywhere, communes everywhere.

And if the people are not ready to develop their communal councils, they say we'll do them ourselves.

Part of the problem is impatience that does not respect the process and the time that must elapse for people to develop themselves.

Furthermore, there are people who are totally opposed to the idea that the people themselves make their own decisions.

The clearest case can be seen with worker's participation.

There are people who believe that workers are unable, that they are not prepared, and that they don't have the knowledge to make decisions affecting their work process.

The result of this attitude that workers are not capable is reflected in the fact that electricity outages are occurring throughout all of Venezuela.

The workers know what the problems are, but they have not been allowed to implement the solutions, to take the necessary steps to prevent such outages. Vision is important but it is not enough; it is not sufficient--- struggle is always necessary.

ST: Simón Bolívar founded Gran Colombia on 17 December 1819, and died on 17 December 1830, and then this tremendous work he created with his great strength and will disappeared. What if Chavez were to disappear today?

ML: I think it would be a great loss, not only for Venezuela but for the whole world, because under the leadership of Chavez the hope that was lost has been restored, the

hope that there is an alternative to neoliberalism. If such a thing occurred at this time it would be more than a loss, it would be a tragedy, because I think the process is not sufficiently developed that it could continue with leadership from below.

Perhaps by 2020 there would be a possibility that the process could continue without Chavez. But right now NO.

for the remainder of this interview go to Znet

Bolivian Revolution

ObaMa ma in China .. on the road.. or pouring pavement...

Is authoritian capitalism back to stay? ______________

Par Pierre Haski | Rue89 | 15/11/2009 | 16H28

C'est un rituel : quelques heures avant l'arrivée de Barack Obama, plusieurs dizaines de dissidents, libres penseurs ou activistes de causes diverses ont été arrêtés et mis au vert le temps de la visite du président des Etats-Unis. Routine, certes, mais qui vient singulièrement brouiller le sens de cette rencontre entre les deux « grands » du XXIe siècle. La suite

A Woman Among Warlords:

A Woman Among Warlords: Malalai Joya in Canada for book tour Nov. 13 - 27

Montreal

Tuesday, Nov. 24, 7p.m. Salle Marie-Gerin-Lajoie, Pavillion Judith-Jasmin, UQAM. Metro Berri-UQAM. Suggested contribution: $5. Simultaneous translation available. Organized by Collectif Echec a la guerre and the Federation des femmes du Quebec.

Ottawa

Thursday, Nov. 26. Centretown United Church (507 Bank St) 7p.m., Ottawa Peace Assembly.

"This biography should have made Joya a leading player in Afghanistan's post-Taliban political life. Instead, she is a poster child for its failure. Saluted abroad for her courage and nominated for, or the winner of, a long list of international human rights and peace prizes, she lives clandestinely in Afghanistan itself, suspended from parliament for allegedly insulting the warlords and drug barons who occupy most of its seats." - New Statesman

"Perhaps the most remarkable feature of this inspiring memoir is that despite the horrors she relates, Malalai Joya leaves us with hope that the tormented people of Afghanistan can take their fate into their own hands if they are released from the grip of foreign powers, and that they can reconstruct a decent society from the wreckage left by decades of intervention and the merciless rule of the Taliban and the warlords who the invaders have imposed upon them." - Noam Chomsky

Malalai Joya has been called "the bravest woman in Afghanistan." At a constitutional assembly in Kabul in 2003, she stood up and denounced her country's powerful NATO-backed warlords. She was twenty-five years old. Two years later, she became the youngest person elected to Afghanistan's new Parliament. In 2007, she was suspended from Parliament for her persistent criticism of the warlords and drug barons and their cronies. She has survived four assassination attempts to date, is accompanied at all times by armed guards, and sleeps only in safe houses.

Often compared to democratic leaders such as Burma's Aung San Suu Kyi, this extraordinary young woman was raised in the refugee camps of Iran and Pakistan. Inspired in part by her father's activism, Malalai became a teacher in secret girls' schools, holding classes in a series of basements. She hid her books under her burqa so the Taliban couldn't find them. She also helped establish a free medical clinic and orphanage in her impoverished home province of Farah.

A Woman Among Warlords: Malalai Joya in Canada for book tour Nov. 13 - 27 | rabble.ca

Louvre érotique: Rue89 et Zoomorama

Ecole de Fontainebleau: Portrait de Gabrielle d'Estrées et de sa soeur la duchesse de Villars (1594)

Peut-on admirer des œuvres d'art sur Internet ?
le prouve avec Cristianne Rodrigues qui rend compte sur ce blog des grandes expositions

Durant l'Antiquité en Grèce, l'acte sexuel était librement représenté par les arts, ainsi qu'à Pompéi, où des représentations des phallus, signe de chance, étaient fréquentes à l'entrée des habitations.

Plus tard, au Moyen Age, l'art devenant un outil pour des fins religieuses, la représentation de la nudité aura un rapport direct avec le concept de péché originel. On va souvent trouver, par exemple dans la représentation de l'enfer, des personnages dont les parties génitales sont dévorées par des serpents ou des scorpions.

Puis dans la Renaissance, protégé sous les thématiques biblique et mythologique, le nu va exprimer une nouvelle esthétique à travers laquelle les artistes interprètent l'évolution de la société. Le corps masculin, d'abord gras puis musclé, traduit la philosophie humaniste qui place l'être humain au centre de l'univers, alors que le nu féminin commence à exprimer une sensualité jusqu'alors interdite.

Les artistes de la Renaissance vont trouver des astuces dans la représentation du corps -telles que des poses stratégiquement calculées afin de cacher les organes génitaux ou alors protégés par des cache-sexes ou des feuilles de vigne- pour que la nudité n'entraîne pas le rejet de l'œuvre, jusqu'à ce que les œuvres de nus correspondent à une plus grande légèreté des mœurs de la société, aux XVIIIe et XIXe siècles.

Une puissance démoniaque dans la conscience humaine

Le Musée du Louvre conserve de nombreuses peintures et sculptures représentatives de cette évolution, dont cette vingtaine que vous pouvez apprécier sur ces deux zoomoramas. Je vous propose donc une exposition virtuelle, où vous pourrez regarder des œuvres de plusieurs époques qui rendent compte du parcours historique entrepris par les artistes pour que l'expression soit enfin libre, dans une civilisation où l'érotisme a presque toujours représenté une puissance démoniaque

Par Cristianne Rodrigues

at Rue 89

2009/11/13

average awareness..

__________________________

C______ you were kidding of course Mister D. claiming it takes a year to write these fictionAverages?

C Duffy_ Kidding tongue in cheek, in check the write speeds her way past verse covering her tracks with lies, fake bibliographical and hoped for lives. She's a liar in the first degree. Take any fiction ask yourself how long does it take?A year a week a month? But one ought to ask what is a fake? A , I mean old Plato, the guy who wanted to be a poet but became a philosopher. What is that? what is a year, _________ A token, a time, a zone, of flesh, breast and hair.

The fictions take years to year, to write. They are not flat spaced out cadets waiting to be charmed by the first gay queer that comes along. They are true homosexual poems. what is textual deterritorialized writing?--------------- and even un_editorialized .

2009/11/11

Average

___________

On average how long does it take to

write a fiction? I mean yours.

About a year, after I finish not revising .

I revise and vise and unvise. I find a version then cut that back and rewrite it, checking to see all the mistakes are left as is.

A year? You are pulling my leg aren't you?

O no I am very serious. Gravely so. It takes months and months of pondering, peering and comparing, then I take them apart one letter at a time. I take all the vowels,for instance and add them all up to see how many there are: when I've done that, then i randomize it,and then substract some, and multiply others.

Then I got to bed and thinkof the world and those I've not met who I love.

________________

2009/11/10

cracker ___________________jacks

Is it true every poet keeps crackers in her pocket?

of course! of course! that's the first they do when yer sent to Poet training school!

that 's like ABC baby you gotta have crackers absolutely a must

hungry days and late nights at the typewriter yer brain goes wiry

Crackers are a must

__________________________

____________________ The interviewing continues. the poets takes her body off her hair and grabs inside a harem. its a real one though with living beings, and stranger becomings than you can ever imagine.

_____________________

meantime we come toput our body twogether

2009/11/09

contin 2

_______________________________

___________________________________

Do you really live in a tent?

That is my secret! Im not like that idiot from Toronto announcing all my private miseries! and besides I laugh at them.... (ues yes I live in a tent, a capitalist tent) (a schizo tent) (my volume is capitalism and schizophrenia)

( Actually I live in a privately owned home passed on down by generations of tentbuilders and owned by the State. I am a child of the State. And the Stated. this is where all artists live. a good friend recently suggested to me that what I do here is not really blogs. He said its a website. A bunch of them, but still in his view, they are websites and not blogs. it's because i dont have comments, and he thinks blogs are about opinion. but artists have changed that, and do what they wish with blogs. there are many poets and some good ones too, very good ones, and other kinds of artists who have comments. and they also endlessly 'submit' their work to 'published'
in websites and magazines. to me that is like paying rent for something. i dont believe in that. i am a communist. communists share and dont submit . to me artists who do that, are replicating history and the old things. i liketo change history in small ways, even tiny ones, and then sometimes if possible can be a cog in the bigger picture. like doing something. whatever. but why do poets and writers, well writers its a different ballgame, but poets have this anxiety to publish. i never had that. at Least Not that Way.
I think poets shld be paid by the word and produce. the more you produce well okay we need an economics for that. A socialist economics... (Long Live Bizet~!~)

But teaching I am suspicious of that, and they are suspicious of me too... I represent a new syntax, the syntax of disorder. WomanMan in Disorder!

Sir Duffy~ Yer a chaos machine, a pretentious farce,a idiot look a like!
yer blogs are pure chaos, daisy chains of affect and madness! this interview is insane.... the wall has fallen and I am collapsing through you and your RSS feeds, the blogs, no comments the infinite servitude of the them is amazing ! you are a reckless entrepreneur ....

' punished for my sins....'. the price of desire its not depression you fool! its poverty! exclusion tracks shut down ...! silence! ineptitude .... exile in the house.. cracked isp!s crippled out computers... this is not a poem! it's a dog! a Rottweiler a fit bull a frigging pit bull!

__________________________The patient is rushed out back to his house of fools and rent a dogs. Wolves not included. No fuckeefuckee for Mister Dee.

_____________________ Ladies and Genitalmen tune into radiodeleuze for the discon. sage of Doctor D.

_________________________________________________________

the winter years were not so wintry for us creators. End myth