Carmelo Bene - Majakovskij "All'Amato Me Stesso" (Poesia)

recita Majakovskij "All'Amato Me Stesso"

Quattro. Pesanti come un colpo.

"A Cesare quel che è di Cesare, a Dio quel che è di Dio".

Ma uno come me dove potrà ficcarsi?

Dove mi si è apprestata una tana?

S'io fossi piccolo come il grande oceano,

mi leverei sulla punta dei piedi delle onde con l'alta marea,

accarezzando la luna.

Dove trovare un'amata uguale a me?

Angusto sarebbe il cielo per contenerla!

O s'io fossi povero come un miliardario.. Che cos'è il denaro per l'anima?

Un ladro insaziabile s'annida in essa:

all'orda sfrenata di tutti i miei desideri

non basta l'oro di tutte le Californie!

S'io fossi balbuziente come Dante o Petrarca...

Accendere l'anima per una sola, ordinarle coi versi...

Struggersi in cenere.

E le parole e il mio amore sarebbero un arco di trionfo:

pomposamente senza lasciar traccia vi passerebbero sotto

le amanti di tutti i secoli.

O s'io fossi silenzioso, umil tuono... Gemerei stringendo

con un brivido l'intrepido eremo della terra...

Seguiterò a squarciagola con la mia voce immensa.

Le comete torceranno le braccia fiammeggianti,

gettandosi a capofitto dalla malinconia.

Coi raggi degli occhi rosicchierei le notti

s'io fossi appannato come il sole...

Che bisogno ho io d'abbeverare col mio splendore
il grembo dimagrato della terra?

Passerò trascinando il mio enorme amore

in quale notte delirante e malaticcia?

Da quali Golia fui concepito

così grande,

e così inutile?

1974 -- Bene! Quattro diversi modi di morire in versi. Majakovskij-Blok-Esenin-Pasternak; adattamento testi di C.B. e R. Lerici; traduzioni di: I. Ambrogio, R. Poggioli, A. M. Ripellino, B. Carnevali; riduzione, adattamento, regia e voce recitante C.B.; scene M. Fiorespino; direttore della fotografia G. Abballe; musiche di V. Gelmetti; voce solista C:B.; assistente alla regia C. Tempestini; mixer video A. Lepore; operatori RVM: M: Nicoletti, E. Piccirilli; produzione RAI; durata 1h 20', trasmesso in due parti il 27 e 28/10/1977, Rai 2.


________________________

more here

ben e deterri ng

Dzzze wroted several essays abo ut Be ne a nd his work O e of the ca nniest momen ts in their
relations

Prof Challe nger climbed i n the geo strata

was that while writig his first long essay he had not see be e's work!

Jill saw Ben e as AnCient grEECe
Frann y was skirted o' her happin ess

Afterwards Be e havig read it was spooked b y it s a cc racy

be e was beamn i death
' life --the Roar of Darkn Ess I nTe Sity

Del's artic pre cise predicates

fibrilliatig i' the air







________
i the fair

strat a

of re con tres

o recherche
des

cogn itio s et
des i te siitieeeeesssssssssss

3 S. Czerkinsky, JJ Passera, 16 soit 32 travaux plus ou moins violets et ustensiles, éditions Karl Flinker, Paris, 1973.

«Nous sommes tous des voleurs, nous sommes tous des juges», écrivait, en 1973, quelqu’un qui pouvait répondre au nom de Stefan Czerkinsky, dans un dialogue avec quelqu’un qui pouvait s’appeler Gilles Deleuze : «Le discours de la peinture est déjà dans le Code Pénal, Civil, des Douanes, des Commissaires Priseurs, des professions libérales acheteuses, et dans le corps de tous.»

Careful Creation of Concepts

------ Stefan Czerkinsky,ask------Deleuze, "What precautions should be taken when producing a concept?" Deleuze

You put your blinker on, and check in your rearview mirror to make sure another
concept isn't coming up behind you; once you've taken these precautions, you
produce the concept. (282)

------------------------------ alors
une note

Concepts are not in your head; they are things, peoples, zones, regions,
thresholds, gradients, temperatures, speeds, etc. (312)

Et puis ceci n'est pas un fragment de bois taillé en biseau à une extrémité et abîmé

by Stefan Czerkinsky
Published in 1973, Éditions Galerie Karl Flinker (Paris)

narration beccomi g s

sow i term of s uper ego s
it's what become of uncle he

he becom e exile from
his ow de s ire

-----------------------
there are gaps even between things that are
contiguous, gaps that are affirmations, pieces of a puzzle belonging not
to any one puzzle but to many, pieces assembled by forcing them into a
certain place where they may or may not belong, their unmatched edges
violently bent out of shape, forcibly made to fit together,

_______________

c'est l'e re[i]verse

Doctor Deleuze on America’s Griffith school of editing:

“It is wrong to criticize it as being subordinate to the narration; it is the reverse, for the narrativity flows from this conception of montage.”||||||||||||||||_________________________________________________

__________________||||||this chro os break there :

We are free to think
that there is finally even less dishonesty in psychoanalysis than in the established
literature

since the neurotic pure and simple produces a solitary work,

irresponsible, illegible, and nonmarketable, which on the contrary must pay not
only to be read, but to be translated and reduced

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

sHe makes at least an economic
error, an error in tact, and does not spread his values

lit

"It is not the first two persons that function as the condition for literary enunciation; literature begins only when a third person is born in us that strips us of the power to say 'I' (Blanchot's 'neuter')" - Gilles Deleuze, "Literature and Life"

if it not like be d
the wh y
------------------------ fermez le I
q ui
_________________________________
______________________________________

for surely
its the other that

est deja a

utre



moments. ... At first I mistook it for passion,
for ecstasy. ... I thought I had found a living volcano, a female
Vesuvius. I never thought I had found a human ship going down in an
ocean of despair, in a Sargasso of impotence. Now I think of that black star

gleaming through the hole in the ceiling, that fixed star which hung above
our conjugal cell, more fixed, more remote than the Absolute, and I know it
was her, emptied of all that was properly herself: a dead black sun without
aspect."--------------------- A copperish glow like the face at the bottom of a black hole. The
point is to get out of it, not in art, in other words, in spirit, but in life, in real
life. Don't take away my power to love.

DELIT DE GREVE.1

Greve GreVe GreVe ou Grave! Obesance? Suivance Dance ~ allez vous en en greve! mes amis!
___________________________ Delicate strike of labouring its heart shelfed felt wish want . piston positive to its popluar to minor delicate between ~ obediances? oR moVe round line line line erring its thoughtful body

DANS LE CADRE DU SEMINAIRE RENE SCHERER PROFESSEUR EMERITE DE PHILOSOPHIE A L UNIVERSITE DE VINCENNES A ST DENIS PARIS 8 ...

DELIT DE GREVE.1
by soukaz
_________________________ basically the whole country including Canadaa land ought to go on strike creating a fat Immanence between each body of Water ImmaNEnce to its fat floor.
its horizontal shape ending its cacacacacacapeeeppeeeesshit


______________________ come to the mirror lad
not lady
but Lad
yer country is about to geyser fort? fortdadada? O je jette le petit objet a desire
vers future

O my raBBLE MY rabble o babbble of truths


Now paris is on strike
and so

shall
Canadada blabalabla landsome

--------------------------------------MANIF DU 19 MARS 09 A PARIS GREVE GENERALE POUR UN BOUCLIER SOCIAL NI ¨PAUVRE NI SOUMIS

MANIF DU 19 MARS 09 A PARIS .2
by soukaz

MANIF DU 19 MARS 09 A PARIS GREVE GENERALE POUR UN BOUCLIER SOCIAL NI ¨PAUVRE NI SOUMIS

h a u n t e d w a n t e d ----

"The film makers decided they wanted to find some of the Vincennes students. These students, revealed in all the uncertainties of the original footage, had become fictional characters to the film-makers. "



Characters in this film of distance yet to find the opening
hole through time ~

What has been reterritorialized abolished denied its place.

________________a field regroups? invites a philosophical space of repatriation?
"The original university had been demolished, and replaced by a woodland that revealed no traces of the previous architectural inhabitants. People who lived in the area, said Thomson, were no longer sure there had been a university..."

"So to respond properly to Deleuze's lectures we have to attune ourselves to their qualities of IMPROPER TRANSMISSION, the qualities that do not fulfill Deleuze's edicts, where faithful becomes distance to faithfulness. "

It becomes in effect a territory of deterritorialization ~

--------------------------------------------------- cannot get in your zero body-----7 minus 1= 0

(and for those missing the event the people that is coming?)
vec les fantômes de la révolution qui hantent nos désirs.

"When Marielle Burkhalter wanted to put them in an archive, the university said the quality was too poor and threw them away. Burkhalter was able to retrieve half of the original tapes from the trash.

EXAMPLE 2: Deleuze himself worked on a five hour edit, but was unable to clean up the image. Was this before he wrote the letter: restoring will destroy more than it will save. So the work ends up stranded "

is that who they say you aRe?

All images: Silvia Maglioni and Graeme Thomson, Facs of Life (2009, work in progress).

_____________________________ where is clifford duffy

1 9
8 7

1

9

8

6
-------------------

tune into 102.
lines of escape.
here in there

To be 2009 in 1972. To be 1972 in 2009.

facs of life

after le borde clinique ~other s on the haunted run ~
and students here and there
___________________________structuring replacing
_____

----------------
Now watch: cinemautonome.Facs of Life 2

dechire ...
choses....
disparaitre ...

underdevlopment

_________________________ ici ailleurs
_________________________________

Facs of Life. Presentation of work in progress by Silvia Maglioni and Graeme Thomson. Gasworks, Sun 15 March 2009

"Maglioni and Thomson showed some of the original footage, but their work and the Gasworks event was very much about the present, and most of the three hour seminar was a presentation of their work-with and out of this footage. "

"how do you film a becoming of thought? "

this question is a perfect thought

a becoming beginning thought

to unfold its seed ~

IT JUST DOESN'T FEEL DONE WITH: DELEUZE, VINCENNES AND THE KENNINGTON OVAL GASWORKS 1975-2009

'But there is the idea of obscure corners to be remembered amidst all this talk of education as service and normalization...'

A RESPONSE: Your film seeks to respond to the avoidance of professionalization. "There's nothing worse than specialists" said Deleuze, by which we can understand now "there is nothing worse than Deleuzians."


____________________________
yet the loop over time
the deterritorialization of time's to come
its future becomings
a film to come
and a becoming of its full gift
'how do you film a becoming of thought? '



_some of>________ The snips and snaps that go to make up this posting are in part based on
quotations excerpted and reconstructed redone here from



More Milk Yvette : it just doesn't feel done

O to be music riche

---------------------------- radio france vivace ~ Monsieur Mozart ~

Our musics are fine Mister Mozart
dance along with piano key & our sabot
kick up your sore foot & your
hollow knee
over floor

yer round shoe
go fling roun
keeping it keepsake goan


_________

*
depuis 04:00
Programme musical

Mozart et le piano (1784-1786)

Par Benjamin Hertz
2006V8826E0029
rediffusion du 09.11.06
*

04:53

Wolfgang-Amadeus Mozart
Concerto pour piano et orchestre n°24 en do mineur, K.491
Clara Haskil, Piano
Orchestre National
André Cluytens, direction
réf : MONTAIGNE TCE 878

*
et à...
05:22

Wolfgang-Amadeus Mozart
Concerto pour piano et orchestre n°23 en la Majeur, K.488
Daniel Barenboïm, Piano
Orchestre de Chambre Anglais
réf : EMI 7 62825 2


a france vivace ~ ici
____________________________

'Et puisque, après Deleuze, j’en appelais à Nietzsche, je me suis souvenu qu’il expliquait la naissance de la musique par le fait que sa nature avait mis l’homme “sur la voie de l’invention du plaisir”. C’était à mon sens la meilleure réponse à la question initiale sur la présence d’idée dans la musique. Pardi, le plaisir !'

via cairn

Y a-t-il une idée dans la musique ?

Hubert Nyssen Hubert Nyssen est écrivain et éditeur, fondateur des éditions Actes Sud.

____________________________

et voila
here
a charming
coincidence of name and musique chez
d. rubenstein's website

________________

Pierre Deleuze -

O Pierre Deleuze

O Deleuze
O Stone
Deleuze
O leuze of ludic
of de de of
of ludic leuze les leuze de ludi
of play of surface
appearances around
cartographic hedge

O sheleuze
towin is leuze
leu
as in leu
&
lieu

(Deleuze Nom porté dans la Lozère, le Gard et l'Hérault, où il désigne celui qui est originaire d'un lieu-dit l'Euze (= l'yeuse, le chêne vert). On le trouve aussi dans le nord de la France et en Belgique, où il semble correspondre à la commune de Leuze, dans l'Aisne.)


chêne
nom masculin
(ancien français chasne, du gaulois cassanus)
Arbre capable d'une grande longévité, aux fruits (glands) enchâssés dans une cupule, et commun dans toute l'Europe de l'Ouest et en Amérique du Nord, tant dans les forêts naturelles que dans celles où les sylviculteurs l'ont semé ou planté.

aLOrs ________________much longevity

-so philOsopher n musican ~
et

------------------
Love ~
Barát (Hungarian) - From Proto-Slavic *bratrъ, *bratъ, from
_____________________________________
Amicus (Latin) – amare: to love
Amico (Italian) – amare: to love
Ami (French) - aimer: to love
Amigo (Spanish) - amor: to love
Mik (Albanian) - amicus from Latin

Pierre Deleuze
World Premiere Piano Quintet


A. Dvorak Piano

Quintet in A Major Op.5



F. Schubert: String Quintet in C Major D956

------------------------------------
Violin & Viola
D. Rubenstein


and cheze radio deleuze radio challenger places bet





_____________________
_________________
O to be Rich
and
musical
~



O
debted musical beaute

_________________________

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

this ghost editio

why does time forward go that way in blogbld space? Doctor can ye reply? No answer to stare is staircase of chronos? Cannot it reverse the floogoffluidripidrabidbite?

so no top to bottom at lov'es belly . come to the dance. Prof. Challenger its long medication on English Civil war. But what of North Ireland and its shipbuilding working slugs heaving ho-ing and blowing their horn what pragma is that which sees its bearings strait to the gate of desire love. not the king of spent dice for sure.

Old PegLeg! me heartie! a dare and a do and she must she's not homosexual but hoboto her nomadglad deem > O my steaming hotdogs of glories! shall her whisper kingdom come to dumB!

a forgotten work

Van Gogh’s Ear II - The Last Words of Dutch Schultz-- a forgotten character _ forgone to wind machine gun....// blip of sun//. cut--ision. visit to this. where to shame. cause t' effect follow it :

"Palace Chop House. 12 East Park Street, Newark. 1935. A pair of hitmen from Murder Inc enter and force the bartender onto the floor at gunpoint. At the back of the restaurant, they approach and open fire on three seated men talking shop, two of whom, despite being hit, draw their revolvers. In the ensuing firefight, one of the assassins dives into the toilets and comes face to face with the Jewish mobster Dutch Schultz occupied at the urinal. Before Schultz can pull out his flick-knife, a shot rings out, narrowly missing him and shattering the wall-tiles. The second catches him in the chest, the .45 bullet ricocheting internally off his bones and through nearly every internal organ in his stomach. His assailant turns and flees with his partner into a waiting getaway car."
By Darran Anderson.

more of that here 3 AM mag

Every getaway is an escape. On the lam. Beat it, scram, on the fly. Get a light foot, head for the hills. Shake a leg.

more blinding
alleys
over the pistil

balk at nuttin' fictives 4fore

karl marx wrote i got no little time for short books

difference and pirates

Sunday, 8 March 2009

by Corry Shores postin '

to ___________>

repeating difference s ____________________

Gilles Deleuze

Différence et répétition

Difference and Repetition

Chapitre II: La répétition pour elle-même

Chapter II: Repetition for Itself

First paragraph of the chapter.

Deleuze begins with one of Hume's theses regarding repetition. To understand this notion, we need to review Hume's theory of causal relations. We begin with one of his examples.

Some cannot resist fire's seduction. What power does this beauty possess? We reach into it. And we burn. Yet we try again. Touch & Burn. Touch & Burn. Touch & Burn. Touch... AB, AB, AB, A.... Soon our hands become disinclined to touch the fire. As they near it, our minds cannot but invoke the past impressions of heat.

Deleuze, Différence et répétition (Difference and Repetition), Chap 2, first paragraph

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

Fire's Seduction as Mona dances the trill of peaking round her bends. Her every petition repetitive seducing the forward leap of quantitative loving. Her bowl and accident a sheet remembering the future yet to come,its coming harbinger of its many futured reconnoitering . Welcome to that Sir Peat and of her folding petitioning there is none like love's lively holly

C. c. of l oVe

C o f LoV e C o f LoV e C o f LoV e C o f LoV e C o f LoV e C o f LoV e C o f LoV e C o f LoV e C o f LoV e C o f LoV e C o f LoV e C o f LoV e C o f LoV e C o f LoV e C o f LoV e

sea of love over at dem

space of whipline lashline by-line fly line

I am now no more than a
line. I have become capable of loving, not with an abstract, universal love,

but a love I shall choose, and that shall choose me, blindly, my double, just
as selfless as I. One has been saved by and for love, by abandoning love and

self PLateau 1874~ What happened ?

lowlying

here

C o f LoV e C o f LoV e C o f LoV e C o f LoV e C o f LoV e C o f LoV e C o f LoV e C o f LoV e C o f LoV e C o f LoV e C o f LoV e C o f LoV e C o f LoV e C o f LoV e C o f LoV e

les vies se répètent à l’infin

________________________________

les vies se répètent à l’infini jusqu’à la maigreur atomique
et en haut si haut que nous ne pouvons pas voir avec ces vies à côtés
que nous ne voyons pas
l’utltra-violet de tant de voies parallèles
celles qui nous aurions pu prendre
celles par lesquelles nous aurions pu ne pas venir au monde
ou en être déjà partis depuis longtemps si longtemps
qu’on aurait oublié et l’époque et la terre qui nous aurait sucé la chair
sels et métaux liquides limpides au fond des puits

l'homme approximatif ~ tristan tzara

________________________________________

i'm talking to the shadows ~ black black coffee....

__________________A great tune . .. first heard as sung by sinead o'connor and here ella fitzgerald and voila __julie london doing earlier versions

versions of version
molding unmoldin' your moult
mouth

_______________ its a great dance number too
slow as moving slo w

close as your lady

dirty diana meets professor challEngerRdeleuze- returns

its molar delire

that molar delire

its

that molar delire

its

that molar delire

its

that molar delire

its

that molar delire

La Borde ou le droit à la folie

Here is a fine interview
with Jean Oury Felix Guattari's friend, mentor
and co-worker at la Borde Clinique.
This is what institutional
therapy
looks
like.
One can also see
Guattari
at work
with
the group
of patients
------------ follow the embedded link
as this video is not available to
embed directly into a blog.


_________________________________
Reportage sur la clinique de la Borde à Cour Cheverny où, depuis 1953, un groupe de jeunes psychiatres, influencé par la révolution psychiatrique des années 40, puis par mai 68, cherche "à faire vivre les malades tout en les guérissant". Cette thérapeutique est basée sur la responsabilité, celle des malades comme celle des soignants. Interview du docteur Jean OURY, directeur de la clinique et de Félix Guattari, psychanalyste en chef, sur la spécificité de cette clinique. Interview de malades, seuls ou en groupe à propos de leur maladie et de l'importance de la Borde pour eux. Malades au cours d'activités diverses (ateliers, cuisine, équitation etc.). Interview d'une soignante ; personnel en réunion de gestion.


_________________

also blogged at the guattari complex

____________________________

and in this video
from daily motion
Jean Oury
speaking about the situation as it stands

in France
right now ~

LA NUIT SECURITAIRE_30_Jean Oury