Nº. 1 of  1

Kult des Fragments

"Methode dieser Arbeit: literarische Montage. Ich habe nichts zu sagen. Nur zu zeigen."

Walter Benjamin: Passagen-Werk

Posts tagged Fragments:

Whatever Works (Woody Allen 2009)
“Our refinement of the abyss: to oblige us to ask ourselves whether, in truth, we are falling.”
Pierre-Albert Jourdan, Fragments (trans. John Taylor)

Whatever Works (Woody Allen 2009)

Our refinement of the abyss: to oblige us to ask ourselves whether, in truth, we are falling.

Pierre-Albert Jourdan, Fragments (trans. John Taylor)

Maya Deren & Marcel Duchamp - The Witches’ Cradle, 1943, Part II 


 Maya Deren & Marcel Duchamp - The Witches’ Cradle, 1943
Watch here.
[via experimentalcinema]

 Maya Deren & Marcel Duchamp - The Witches’ Cradle, 1943

Watch here.

[via experimentalcinema]

John Hughes: One-Way Street: Fragments for Walter Benjamin, 1992

"Where are you now? At this very moment where are you? I still miss our ‘nothing’, your desire, our secret wounded love, remember"
Francesca Mazzucato - Fragments
[via booksandsorrows]

"Where are you now? At this very moment where are you? I still miss our ‘nothing’, your desire, our secret wounded love, remember"

Francesca Mazzucato - Fragments

[via booksandsorrows]

(via francesca-mazzucato)

beetleinabox:

Francis Bacon, Fragment of a Crucifixion, 1950 (Stedelijk Van Abbemuseum, Eindhoven).
Thomas Bernhard writes:

"Our greatest pleasure, surely, is in fragments, just as we derive the most pleasure from life if we regard it as a fragment, whereas the whole and the complete and perfect are basically abhorrent to us. Only when we are fortunate enough to turn something whole, something complete or indeed perfect into a fragment, when we get down to reading it, only then do we experience a high degree, at times indeed a supreme degree, of pleasure in it." 
(Thomas Bernhard, Old Masters, trans. Ewald Osers (Chicago: University of Chicago Press, 1989), p 18).

beetleinabox:

Francis Bacon, Fragment of a Crucifixion, 1950 (Stedelijk Van Abbemuseum, Eindhoven).

Thomas Bernhard writes:

"Our greatest pleasure, surely, is in fragments, just as we derive the most pleasure from life if we regard it as a fragment, whereas the whole and the complete and perfect are basically abhorrent to us. Only when we are fortunate enough to turn something whole, something complete or indeed perfect into a fragment, when we get down to reading it, only then do we experience a high degree, at times indeed a supreme degree, of pleasure in it."

(Thomas Bernhard, Old Masters, trans. Ewald Osers (Chicago: University of Chicago Press, 1989), p 18).

The Ribbon
objets / objects
Every object touched by the loved being’s body becomes part of that body, and the subject eagerly attaches himself to it.
[…]
2. Aside from these fetishes, there is no other object in the amorous world. It is a world sensuously impovrished, abstract, erased, canceled out; my gaze passes through things without acknowledging their seduction; I am dead to all sensuality except that of the “charming body.” Of the external world, the only thing I can associate with my condition is the quality of the weather, as if the day’s character were a dimension of the Image-repertoire (the Image is neither profound nor colored, but it is charged with all the nuances of light and warmth, communicating with the amorous body, which thus feels itself to be well or ill as a whole, as a communion). In the code of Japanese haiku, there must always be a word which refers back to the time of day and of the year; this is the kigo, the season-word. Amorous notation retains the kigo, that faint allusion to the rain, to the evening, to the light, to everything that envelopes, diffuses.
-
Das Schleifchen
OBJEKTE. Jedes vom Körper des geliebten Wesens berührte Objekt wird Bestandteil dieses Körpers, und das Subjekt klammert sich leidenschaftlich daran.
[…]
2. Über diese Fetische hinaus birgt die Welt des Liebenden kein weiteres Objekt. Es handelt sich um eine sinnliche arme, abstrakte, ausgepreßte Welt, der alle Besetzungen entzogen sind; mein Blick streift die Dinge, ohne ihrer Verführung zu erliegen; ich bin für alles Sinnliche tot, außer für das des ‘reizenden Körpers’. Von der Außenwelt ist das einzige, was ich mit meinem Zustand in Verbindung bringen kann, das Kolorit des Tages, so als ob das ‘herrschende Wetter’ eine Dimension des Imaginären wäre (das Bild ist weder farblich abgetönt noch tief; aber es ist mit allen Nuancen des Lichts und der Wärme ausgestattet und kommuniziert global, wie in einer Einheit mit dem Körper des Liebenden, der sich gut oder schlecht fühlt). Im japanischen Haiku schreibt der Code immer das Wort vor, das auf den Augenblick des Tages oder Jahres verweist; es ist das kigo, das Tages- und Jahreszeitenwort. Das Gedächtnisprotokoll des Liebenden bewahrt vom Haiku das kigo, diese winzige Anspielung auf den Regen, den Abend, das Licht, auf alles, was verschwimmt, zerfließt.

Roland Barthes, A Lover’s Discourse: Fragments [Fragments d’un discours amoureux], 1977. [via ekstasis].

[thanks to fette:and foxesinbreeches!]

-

Roland Barthes: Fragmente einer Sprache der Liebe. Übersetzt von Hans-Horst Henschen. Frankfurt am Main 1988, S. 178/179.

I can no longer think except in fragments.

Antonin Artaud

[via metahipertxt:misstugui:billyjane:uminuscula]