“It must be confessed that the self is nothing but an echo.” Paul Valéry, Cahiers
[“It must be confessed that the self is nothing but an echo.”]
Text quoted from Typography: Mimesis, Philosophy, Politics, Philippe Lacoue-Labarthe, trans by Christopher Fynsk, Stanford University Press 1998:pp.139. Image reproduced from http://armonte.wordpress.com/tag/paul-valery/
“the anti-architectural conception of place making is not a rejection of shelter as such. It is a search for a form of home more adequate to the process of becoming oneself at that place.”
Carter, Paul, Material Thinking: the theory and practice of creative research, Melbourne University Publishing, 2004: pp.154
“Can you ever forgive me for posting this delightfully corny image?” I had almost forgotten how I got here and then realised it had been produced by a search for images of Rebecca Horn. Hence a combination of surrealist chance and google images produced French Horn with Mouse [or Mouse with French Horn].
John Cale of the Velvet Underground is playing in the background [Fragments of a Rainy Season] and I am reading about writing, techné and female sexuality and this image provided a little light-hearted relief. Could it be that somewhere deep in Dissertation Land there is a mouse playing a french horn?.
Image reproduced from http://rakstagemom.wordpress.com/tag/the-nutcracker/ [there is very little here about the genesis of this image.]
To stand in the Shadow
of the Wound’s-Mark in the Air.
For no-one and nothing to Stand.
Unknown,
for you
alone.
With all, that within finds Room,
even without
Speech.
To Stand in the Shadow by Paul Celan, text reproduced from http://www.poetryintranslation.com/PITBR/German/Celan.htm, image reproduced from http://www.bbc.co.uk/programmes/b00vcpb7 For a pdf of Celan’s poems from poemhunter.com click here
Excerpt from A Lovers Discourse
A Lovers Discourse by Roland Barthes consists of a peripatetic fragmentary writing which explores the ‘extreme solititude’ that is a lovers discourse evicted by authoritative discourses, placed outside as it were, yet perhaps spoken by ‘thousands of subjects’. It is as Barthes explains a structural portrait of ‘someone speaking within himself, amorously, confronting the other [the loved object], who does not speak. Barthes takes us on a discursive journey, a performative utterance and structure of address to the other through absence, affirmation, waiting, circumscribing, contingencies, bodies, declaration, embrace, image, the unknowable, langour and silence. Continue reading
