"During the 60s people forgot what emotions were supposed to be. And I don't think they've ever remembered. I think that once you see emotions from a certain angle you can never think of them as real again."
- Andy Warhol
successor to Thinkige Kru whose feed doesn't seem to be working properly for reasons unknown - the old blog + archive remains here https://thinkigekru.blogspot.com/ -^^^^^^^^^^^^^^^^^^^^^^^^^vintage thoughts from others, vintage thoughts from me - varying degrees of profundity - thoughts quoted for the turn of thought / phrase rather than for truth value - quoted not necessarily because i agree with them or approve of them - i don't necessarily agree with my own past thinkiges!
“Writing aloud is not expressive; it leaves expression to the pheno-text, to the regular code of communication; it belongs to the geno-text, to significance; it is caried not by dramatic inflections, subtle stresses, sympathetic accents, but by the grain of the voice, which is an erotic mixture of timbre and language, and can therefore also be, along with diction, the substance of an art: the art of guiding one’s body….
"Due allowance being made for the sounds of the language, writing aloud is not phonological but phonetic; its aim is not the clarity of messages, the theater of emotions; what it searches for (in a perspective of bliss) are the pulsional incidents, the language lined with flesh, a text where we can hear the grain of the throat, the patina of consonants, the voluptuousness of vowels, a whole carnal stereophony: the articulation of the body, of the tongue, not that of meaning, of language.
"A
certain art of singing can give an idea of this vocal writing; but since melody
is dead, we may find it more easily today at the cinema. In fact, it suffices
that the cinema capture the sound of speech close up… and make us hear
in their materiality, their sensuality, the breath, the gutturals, the fleshiness
of the lips, a whole presence of the human muzzle (that the voice, that
writing, be as fresh, supple, lubricated, delicately granular and vibrant as an
animal’s muzzle), to succeed in shifting the signified a great distance and in
throwing, so to speak, the anonymous body of the actor into my ear: it
granulates, it crackles, it caresses, it grates, it cuts, it comes: that is
bliss”
Roland Barthes, The Pleasures of the Text
- Lauren Oyler, interviewed for The Paris Review by Sheila Heti
Getting savaged in reviews for her new collection No Judgment ( a freakily forensic going-over here - breaking down the Wiki sources, including Wiki footnotes, behind one essay).... still, Oyler's observation above struck me as interesting thinkige.... the best blogging operates according to this logic... it has no obligation to pick up the thread, return to its starting point. Its starting point may not even be at the start.
“The Daemonic is that which cannot be accounted for by understanding and reason.... In Poetry there is from first to last something daemonic, and especially in its unconscious appeal, for which all intellect and reason is insufficient, and which, therefore, has an efficacy beyond all concepts. Such is the effect in Music to the highest degree, for Music stands too high for any understanding to reach, and an all-mastering efficacy goes forth from it, of which, however, no man is able to give an account. Religious worship therefore cannot do without music. It is one the foremost means to work upon men with an effect of marvel.”
Goethe in dialogue with Eckermann -
Gesprache mit Goethe
Oh, to be in England Robert Browning, Home-Thoughts, from Abroad |
"During the 60s people forgot what emotions were supposed to be. And I don't think they've ever remembered. I think that once ...