outside light (Page 279)

outside light

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days 14 & 15 @ sf

The actor occupies the instant, while the character portrayed hopes or fears in the future and remembers or repents in the past: it is in this sense that the actor “represents.” … This is how the Stoic sage not only comprehends and wills the event, but also represents it, by this,

day 13 @ sf/surface/soapface

When is a pulse a rhythm? And a rhythm a pulse? Where is the stage a square, a yard, a stockyard, a human stockyard and the stockyard a painting? Paul called me up on the metophoricity of these concrete generalities, where everything consorts and difference cannot obtain. The point is

2 day 13 @ sf

so there’s this pulse, right? and you might say it’s a vivifying pulse and you can’t hear it but it unites the work. And when I say you can’t hear it, when you give up on waiting to hear it, you do hear it. It comes

day 12 @ sf:

The event is sense itself … Over states of affairs and their depth, their mixtures and their actions and passions, psychoanalysis casts the most intense light in order to reach the point of emergence of that which results, that is, the event of another type, as a surface effect. Therefore, whatever

which is worse, this snobbery or the inverted snobbery of what Paul Virilio calls a ‘pitiless art’? (“Art can rest on sinister foundations,” says Diaghilev in Chinchilla.)

I said, ‘Marco Polo, the hero of the Christian west. This man travelled freely [because of Genghis Khan, its villain] because of the Mongols. He went from outpost to outpost along roads they made safe, where before he would not have gone ten miles without a knife at his throat,

day 11 – see previous post “towards day 11” – @ sf, The Mother

Day 11 at the Soap Factory had been a long time coming. Sickness and the making of a side project at www.filmaka.com, a 3 minute short, “The End of the World,” had intervened. When it finally came, I’d spent the morning at Children, Youth and Family, otherwise

“art has the most intimate knowledge of disease,” says Serge Diaghilev in Robert David MacDonald’s Chinchilla. But is the artist, Francis Bacon, who expresses, inoculated in the way that the perverse philosopher, Friedrich Nietzsche, who incorporates, is

Returning to a bottomless abyss that he renewed and dug out afresh, that is where Nietzsche perished in his own manner. It would be preferable to say that he “quasi-perished;” for sickness and death are the event itself, subject as such to a double causality: that of bodies, states of