In einem Traum ist das Subjekt ein Schmetterling. Was besagt das? Es besagt, dass das Subjekt den Schmetterling in seiner Realität als Blick sieht. Was wären all die Figuren, Zeichnungen, Farben -wenn nicht ein geschenktes Zu-sehen-Geben, in dem sich für uns die essentielle Primitivität des Blicks abzeichnet. Ein Schmetterling, meingott, nicht mal so verschieden von dem, der den Wolfsmann terrorisiert- Maurice Merleau-Ponty weiß genau, wie wichtig das ist, er verweist darauf in einer Anmerkung, die nicht in seinen Text integriert ist. Tschuang-Tse kann, nachdem er aufgewacht ist, sich fragen, ob nicht der Schmetterling träume, Tschuang-Tse zu sein. Er hat recht, und zwar in doppelter Hinsicht, denn erstens beweist das, dass er nicht verrückt ist, er hält sich nicht für absolut mit Tschuang-Tse identisch -und zweitens, weil er sich nicht bewußt ist, dass er mit seiner Aussage so genau ins Schwarze trifft. In der Tat, als er eben Schmetterling war, erfaßte er sich an einer Wurzel seiner Identität- war er und ist er in seinem Wesen dieser Schmetterling, der sich in seinen eigenen Farben malt- und deshalb ist er im lezten Grunde Tschuang-Tse.
(Lacan, "Vier Grundbegriffe der Psyschoanalyse", 1964, S.82)
Spiegelstadium Recherche 1.0
the classic theory of cinema that the camera is an impartial instrument which grasps, or rather is impregnated by, the world in its ‘concrete reality’ is an eminently reactionary one. What the camera in fact registers is the vague, unformulated, untheorized, unthought-out world of the dominant ideology. Cinema is one of the languages through which the world communicates itself to itself. They constitute its ideology for they reproduce the world as it is experienced when filtered through its ideology’. (Conolli and Narboni 1969, 46)
Scientific criticism has an obligation to define its fields and methods. This implies awareness of its own historical and social situation, a rigorous analysis of the proposed field of study, the conditions which make the work necessary and those which make it possible, and the special function it intends to fill. It is essential that we at Cahiers du Cinema should now undertake just such a global analysis of our positions and aims. (Comolli and Narboni 1969, 43)
Robert Lapsley and Micheal Westlake isolate two aspects of Lacanian theory, which were to prove crucial to film studies. The first is Lacan’s reversal of the Cartesian notion of subjectivity. Rather than the subject creating and naming the world, Lacan states that is in fact language itself, which creates the world, ‘the concept…engenders the thing’ (Lacan 1989, 72). This idea has many implications for filmic criticism, as speech can thus be conceived of as already saturated with the predominant ideology, making it difficult or even impossible to utilise speech to criticize ideological norms. In fact, Lacan even goes so far as to say that language can never fully articulate what the subject wishes to say: the unsignifiable order of the real is evidence of this.
The second of Lacan’s theories that proved indispensable for film studies is his re-reading of Ferdinand de Saussure. Lacan reverses Saussure’s formula for the sign, placing language above reality (S/s). He states that, ‘[f]or the human being the word or the concept is nothing other than the word in its materiality. It is the thing itself. It is not just a shadow, a breath, a virtual illusion of the thing, it is the thing itself’ (Lacan 1987, 178, my italics). Language murders the thing and takes its place. In this model of the sign, there is an endless sliding of signifiers over signifieds, which is temporarily halted by the point de caption. The graph of desire (Lacan 1989, 335) articulates succinctly the complexities inherent in signification. The horizontal vector represents the signifying chain, and intersects with the vector ΔS at two points. The first point of intersection denotes the constitution of the signifier from ‘a synchronic and enumerable collection of elements in which each is sustained only by the principle of its opposition to each of the others’ (Lacan 1989, 336). In short, this point represents the signifier, which attains its status through its difference from other terms in the system of language. The second point of intersection denotes the moment of punctuation, in which the signifier at the first point of intersection attains its full meaning retroactively. The two points of intersection are not symmetrical, nor are they intended to be. The first is ‘a locus (a place rather than a space) and the second is ‘a moment (a rhythm rather than a duration) (Lacan 1989, 336). The elementary cell of the graph cited here is simplistic, but serves to illustrate the relationship between subject and meaning. (http://intertheory.org/psychoanalysis.htm)
Scientific criticism has an obligation to define its fields and methods. This implies awareness of its own historical and social situation, a rigorous analysis of the proposed field of study, the conditions which make the work necessary and those which make it possible, and the special function it intends to fill. It is essential that we at Cahiers du Cinema should now undertake just such a global analysis of our positions and aims. (Comolli and Narboni 1969, 43)
Robert Lapsley and Micheal Westlake isolate two aspects of Lacanian theory, which were to prove crucial to film studies. The first is Lacan’s reversal of the Cartesian notion of subjectivity. Rather than the subject creating and naming the world, Lacan states that is in fact language itself, which creates the world, ‘the concept…engenders the thing’ (Lacan 1989, 72). This idea has many implications for filmic criticism, as speech can thus be conceived of as already saturated with the predominant ideology, making it difficult or even impossible to utilise speech to criticize ideological norms. In fact, Lacan even goes so far as to say that language can never fully articulate what the subject wishes to say: the unsignifiable order of the real is evidence of this.
The second of Lacan’s theories that proved indispensable for film studies is his re-reading of Ferdinand de Saussure. Lacan reverses Saussure’s formula for the sign, placing language above reality (S/s). He states that, ‘[f]or the human being the word or the concept is nothing other than the word in its materiality. It is the thing itself. It is not just a shadow, a breath, a virtual illusion of the thing, it is the thing itself’ (Lacan 1987, 178, my italics). Language murders the thing and takes its place. In this model of the sign, there is an endless sliding of signifiers over signifieds, which is temporarily halted by the point de caption. The graph of desire (Lacan 1989, 335) articulates succinctly the complexities inherent in signification. The horizontal vector represents the signifying chain, and intersects with the vector ΔS at two points. The first point of intersection denotes the constitution of the signifier from ‘a synchronic and enumerable collection of elements in which each is sustained only by the principle of its opposition to each of the others’ (Lacan 1989, 336). In short, this point represents the signifier, which attains its status through its difference from other terms in the system of language. The second point of intersection denotes the moment of punctuation, in which the signifier at the first point of intersection attains its full meaning retroactively. The two points of intersection are not symmetrical, nor are they intended to be. The first is ‘a locus (a place rather than a space) and the second is ‘a moment (a rhythm rather than a duration) (Lacan 1989, 336). The elementary cell of the graph cited here is simplistic, but serves to illustrate the relationship between subject and meaning. (http://intertheory.org/psychoanalysis.htm)
Glaukos
To be inscribed beneath a tableau.
I want to describe the charming Glaukos, gently gathering up a heap of his love letters in a ray of sunlight. All written on fine perfumed paper, some already old, some from a few months ago, all of them beginning with: My dear little Glaukos, or my darling Glaukos, or oh you, the best of my friends, or little soft flesh of mine, or my little beloved.
Glaukos smiles at the memory of great violent passions that stirred him in days gone by, his lovely clear eyes, blue flowers, dimming for a moment, drawing him back onto his sleepless bed, filling his mind with foolish fancies and infinite despairs.
All his hopeless dreams of being loved as distractedly as he loved, by this person or that person, he had realized almost all of them. But satisfied love flies elsewhere. Today his heart is calm. But he has so many male friends and by some he is loved boundlessly. All of them are very beautiful, and delight in subtle thoughts. Often seated on the muscular knees of one of them, cheek to cheek, bodies entwined, he discusses with him Aristotle's philosophy and Euripedes' poems, while they embrace and caress each other, making elegant and wise remarks in the sumptuous room, beside magnificent flowers...
I have described Glaukos dreaming alone, nearly naked to show off his beauty before dressing in precious linen. He smiles and the sun warms him.
M. Proust
Written before 15 October 1888.
I want to describe the charming Glaukos, gently gathering up a heap of his love letters in a ray of sunlight. All written on fine perfumed paper, some already old, some from a few months ago, all of them beginning with: My dear little Glaukos, or my darling Glaukos, or oh you, the best of my friends, or little soft flesh of mine, or my little beloved.
Glaukos smiles at the memory of great violent passions that stirred him in days gone by, his lovely clear eyes, blue flowers, dimming for a moment, drawing him back onto his sleepless bed, filling his mind with foolish fancies and infinite despairs.
All his hopeless dreams of being loved as distractedly as he loved, by this person or that person, he had realized almost all of them. But satisfied love flies elsewhere. Today his heart is calm. But he has so many male friends and by some he is loved boundlessly. All of them are very beautiful, and delight in subtle thoughts. Often seated on the muscular knees of one of them, cheek to cheek, bodies entwined, he discusses with him Aristotle's philosophy and Euripedes' poems, while they embrace and caress each other, making elegant and wise remarks in the sumptuous room, beside magnificent flowers...
I have described Glaukos dreaming alone, nearly naked to show off his beauty before dressing in precious linen. He smiles and the sun warms him.
M. Proust
Written before 15 October 1888.
Erschrocken
Heute habe ich über den Tot eines Kerles erfahren, der genau so alt wie ich war (28) und bin erschrocken. Er war ein Filmkritiker aus Thailand.
film noir
The clock stopped some years ago at three past midnight. On its dusted surface a picture is reflected, distorted by the rounded shape of its glass cover. Margaret, Pauline, a forgotten name. Who is the person of the picture?
She walks in.
---
blood runs crazy!
...can even touch the scarlet furniture...
Don't let him die!
---
a cold noise spreads out the silence of the empty room.
Eternity.
The sound of long strides echoes from the wet floor. A door opens as the blue and red light penetrates the still stage.
---
The sun-glasses cover her gaze like the perfect mask. "How d'I know I trust you?" The words fall dry through the telephone line. She sucks once more her menthol cigarrette, exhalate the flavoured smoke, breath in, breath out. No answer.
She walks in.
---
blood runs crazy!
...can even touch the scarlet furniture...
Don't let him die!
---
a cold noise spreads out the silence of the empty room.
Eternity.
The sound of long strides echoes from the wet floor. A door opens as the blue and red light penetrates the still stage.
---
The sun-glasses cover her gaze like the perfect mask. "How d'I know I trust you?" The words fall dry through the telephone line. She sucks once more her menthol cigarrette, exhalate the flavoured smoke, breath in, breath out. No answer.
Breña -hommage a Augusto Rojas Llerena-
AMADA MÍA
Vals
Autoría: Augusto Rojas Llerena
¿Dónde estarás amor, que yo te espero?
Surge en mi nueva vida una esperanza;
de volverte a encontrar en mi camino
y pedirte perdón porque te quiero.
Volverás junto a mí
porque mi corazón se fue contigo,
llegarás porque aquí
un pedazo de mi alma yo te di
Dulce amada mía, luz de mi esperanza,
dame tu consuelo que mi corazón
está llorando por su añoranza.
Lucerito triste, que alumbras mi vida,
dile que regrese, dile que mi amor
está esperando siempre a su amada.
ROSA DE AMÉRICA
Vals
Autoría: Augusto Rojas Llerena
Tus ojos son dos luceros
quieren robármelos, no sé yo,
porque eres mi linda Rosa
como el tesoro que guardo yo.
Escondido aquí en el pecho
llevo tu nombre grabado,
porque siempre te llamaron
Rosa la flor celestial.
Guardo de tu mirada
sólo un recuerdo, paloma mía,
para que no se borre
ni con el tiempo en mi corazón.
Serás para mí, mágica ilusión,
Rosa que en la América reinó.
Serás para mí, mágica ilusión,
Rosa que en la América reinó.
Star Witness
MY TRUE LOVE DROWNED IN A DIRTY OLD PAN
OF OIL THAT DID RUN FROM THE BLOCK
OF A FALCON SEDAN 1969
THE PAPER SAID '75
THERE WERE NO SURVIVORS
NONE FOUND ALIVE
TREES BREAK THE SIDEWALK
AND THE SIDEWALK SKINS MY KNEES
THERE'S GLASS IN MY THERMOS
AND BLOOD ON MY JEANS
NICKELS AND DIMES OF THE FOURTH OF JULY
ROLL OFF IN A CROOKED LINE
TO THE CHAIN-LINK LOTS WHERE THE RED TAILS DIVE
OH HOW I FORGOT WHAT IT'S LIKE
HEY WHEN SHE SINGS, WHEN SHE SINGS WHEN SHE MOVES LIKE SHE RUNS
MOVES LIKE SHE RUNS
HEY WHEN SHE MOVES, WHEN SHE MOVES WHEN SHE MOVES LIKE SHE RUNS
MOVES LIKE SHE RUNS
"HEY PRETTY BABY GET HIGH WITH ME,
WE CAN GO TO MY SISTER'S IF WE SAY WE'LL WATCH THE BABY"
THE LOOK ON YOUR FACE YANKS MY NECK ON THE CHAIN
AND I WOULD DO ANYTHING
TO SEE YOU AGAIN
GO ON, GO ON SCREAM AND CRY
YOU'RE MILES FROM WHERE ANYONE WILL FIND YOU
THIS IS NOTHING NEW, NO TELEVISION CREW
THEY DON'T EVEN PUT ON THE SIRENS
MY NIGHTGOWN SWEEPS THE PAVEMENT, PLEASE
DON'T LET HIM DIE
OH HOW I FORGOT...
OF OIL THAT DID RUN FROM THE BLOCK
OF A FALCON SEDAN 1969
THE PAPER SAID '75
THERE WERE NO SURVIVORS
NONE FOUND ALIVE
TREES BREAK THE SIDEWALK
AND THE SIDEWALK SKINS MY KNEES
THERE'S GLASS IN MY THERMOS
AND BLOOD ON MY JEANS
NICKELS AND DIMES OF THE FOURTH OF JULY
ROLL OFF IN A CROOKED LINE
TO THE CHAIN-LINK LOTS WHERE THE RED TAILS DIVE
OH HOW I FORGOT WHAT IT'S LIKE
HEY WHEN SHE SINGS, WHEN SHE SINGS WHEN SHE MOVES LIKE SHE RUNS
MOVES LIKE SHE RUNS
HEY WHEN SHE MOVES, WHEN SHE MOVES WHEN SHE MOVES LIKE SHE RUNS
MOVES LIKE SHE RUNS
"HEY PRETTY BABY GET HIGH WITH ME,
WE CAN GO TO MY SISTER'S IF WE SAY WE'LL WATCH THE BABY"
THE LOOK ON YOUR FACE YANKS MY NECK ON THE CHAIN
AND I WOULD DO ANYTHING
TO SEE YOU AGAIN
GO ON, GO ON SCREAM AND CRY
YOU'RE MILES FROM WHERE ANYONE WILL FIND YOU
THIS IS NOTHING NEW, NO TELEVISION CREW
THEY DON'T EVEN PUT ON THE SIRENS
MY NIGHTGOWN SWEEPS THE PAVEMENT, PLEASE
DON'T LET HIM DIE
OH HOW I FORGOT...
mirror_stage (note 1)
Four steps to the front and we are there, in the middle. The aspect of this crossway is unmaterial, unplausible. But it is there, flushing desire, dead and life. I got the feeling I will look there for ever, without touching, without tasting, just looking images estimulated by a soundtrack, going to another orbit outside my body. As I land on a quite well known geography -which I cannot recognize- I close my eyes, hold my breath and go on moving, moving and moving because there is no other alternative. Motion is my only possibility. Four steps back, four front, we're in the middle, dancing so hard.
And, in a way, I'm not discovering anything. No point in doing such a thing. To discover. Instead of that I try to re-cover, to hide, to dress, to be someone else, to make someone else possible in me. To live another life, to die another death. To be a mirror...
And, in a way, I'm not discovering anything. No point in doing such a thing. To discover. Instead of that I try to re-cover, to hide, to dress, to be someone else, to make someone else possible in me. To live another life, to die another death. To be a mirror...
the voice
The ancient Egyptian sacred statue which, at every sunset, as if by a miracle, issued a deeply reverberating sound. This mysterious sound magically resonating from within an inanimate object is the best metaphor for the birth of subjectivity. For Subjectivity in its proto-ontological status. Subjectivity is here reduced to a spectral voice, a voice in which resonates not the self-presence of a living subject, but the void of its absence.
Geschwindigkeit
Wenn Bergson sagt, der Geist ist ein Ding, das dauert, könnte man hinzufügen: es ist unsere Dauer, die denkt, fühlt und sieht. Die erste Produktion unseres Bewußtseins wäre demnach seine eigene Geschwindigkeit gegenüber der Zeit, wodurch die Geschwindigkeit zu einer kusalen Idee wird, zu einer Idee vor der Idee. So ist es heute üblich, davon auszugehen, daß unsere Erinnerungen vieldimensional sind, daß das Denken ein Transfer ist, ein Transport (metaphora) in buchstäblichem Sinne.
Abonnieren
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