June 03, 2014
June 03, 2014
nature morte
1916
Mikhail Larionov
b. June 3, 1881
Lars Iyer
Bright colours. A spongy sofa. The counsellor, practically knee to knee with you. The counsellor, giving you a chance to speak, to have your say. The counsellor, taking you seriously. And what are you going to say? What will you tell her? I am dead, tell her that. I’ve never been born, say that. Something in me is not alive, say that. Death has opened its eyes in mine, say that._______________________
My limbs feel heavy. My head feels heavy, say that. I can barely lift my arms. I can barely lift my eyelids, say that. I want to sleep all the time. I want to lie down, say that.
I don’t feel real. I don’t think anything is real, say that. I feel numbed. Stunned, say that. I am a puppet. Someone else is controlling me. Something else. Say that.
I am made of glass, say that. I have no insides, say that. My voice is not mine, say that. My heart is not mine. My hands are not mine. My brain is not mine. Say those things, blank-voiced, desolate.
And then, looking up, bright-eyed, wild-eyed, tell her of your joy – your wild, impersonal joy. Tell her of time torn open. Torn apart. Tell her of demented time. Tell her that you’ve been outside. Tell her you’ve heard non-human laughter.
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from Toot Sweet
Daniel Owen
spigot a form to water
oceans of grief
ill consumed in time to dance
on faces in rooms in the quiet
before speech or non-speech
we’ve all been
there before what else
what little else in the space
between light and touch
over the mountains a tourist
bears a sack of rests
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The Recluse
The online journal from The Poetry Project
Issue 10
_______________________
set design
Prokofiev's "The Buffoon"
(1921)
Mikhail larionov
Christian Quendler
AbstractMetaphor, Bodily Meaning, and Cinema
In this essay, I examine conceptual metaphors of the camera eye as figurations of the cinematic dispositif that reflect on sensory and symbolic aspects of cinema. Since camera-eye metaphors often hypothesize between medial, formal and experiential dimensions of film, they are particularly insightful for studying embodied conceptualizations of cinema. Drawing on insights from phenomenology and cognitive semiotics, I will investigate how filmic camera-eye metaphors blend sensory knowing with conceptual knowledge structures. My case studies are two recent explorations of camera-eye vision that offer a self-reflexive commentary on the history of cinema: Julian Schnabel’s Le Scaphandre et le papillon (The Diving Bell and the Butterfly, 2007) and Gaspar Noé’s Enter the Void (2009). Both films celebrate the deep-seated metaphorical base of cinema as a form of vicarious experience and its constructive power to create alternative and abstract models of reality. The Diving Bell and the Butterfly presents the experience of locked-in syndrome through a pastiche of historical film styles. Enter the Void renders the psychedelic state of the protagonist’s near death experience through a series of camera loops that draw on new imaging technologies. I will discuss these films as critical responses to traditional notions of filmic storytelling that extend the narrative scope by including sub-personal dimensions of experience.
Image and Narrative
Vol 15, No 1 (2014) _______________________
Portrait of Natalia Goncharova
Mikhail Larionov
_______________________from Ghost of Intention
Judah Rubin
The RecluseII.I am the stone that kills me
–Kamau Braithwaite
Say there is money but it rusted
–Lorine NiedeckerSusan Howe says
it is from
enclosure that American history emerges — then, too
from silence of the border
itself — mutation of the land and
scars upon
it. The bondsman — helial
within the
seismic mediate — the dark
shivered to know the text as hanging
matter, loose and between
the effluorescent missive
The captivity narrative
extends in heresy to
our present
the unfolding of
a deferrent chimera.
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La Pluie
Mikhail Larionov
1904-1905
What Is The Struggle In “my Struggle”?If being a writer is like being a swimmer, and life is like the ocean through which you swim, then Knausgaard's book starts out being about the waves but ends up being about the stroke.
Joshua Rothman
(....)Writers have portrayed consciousness in all sorts of ways: as what William James called “an alternation of flights and perchings” (“Mrs. Dalloway”), as a river-like flow, carrying thoughts and perceptions in its current (“Ulysses”), as the creation of an unseen, inner artwork (“In Search of Lost Time”). Knausgaard has found his own way of understanding it: as a struggle. It’s the struggling that gives life its texture—constant, absorbing, and unending, the same whether you’re nine, nineteen, or thirty-nine. Like many struggles, this one is simultaneously tormenting and rewarding, heroic and pathetic, dynamic and static, purposeful and a waste of time. The main thing is that you can’t stop struggling. You’re a creature of struggle. You desperately want to win each battle but you never want the war to end.
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