l'hiber

El invierno
olvidó ponerse sus botas

Rezamos por que sea así

(Los gatos no)

levi-strauss, misceláneo

http://www.liberation.fr/culture/0101601092-le-penseur-des-mondes-perdus





il travaille d’arrache-pied à la bibliothèque publique de New York, où il découvre des fonds ethnologiques très riches et entame sa thèse sur les Structures élémentaires de la parenté. «Je me suis senti assez vite homme de cabinet plutôt qu’homme de terrain»,


Lévi-Strauss ne rentre à Paris qu’en 1947. Quelques années plus tard, il refuse un poste à Harvard : «Je savais que j’appartenais par toutes mes fibres à l’Ancien Monde ; irrévocablement.»


En 1955, Tristes Tropiques marque un tournant : le professeur Lévi-Strauss, justement reconnu par ses pairs universitaires et chercheurs, devient un écrivain et savant mondialement connu. Ecrit à la demande de Jean Malaurie, lui-même ethnologue et directeur de la jeune collection Terre humaine, l’ouvrage tranche avec les précédents par son style et sa liberté de ton. Convaincu, après deux échecs au Collège de France, qu’il ne ferait pas de carrière universitaire, Claude Lévi-Strauss a accepté de «repenser ses aventures» et «d’écrire pour une fois sans précaution».



En 1962, dans la Pensée sauvage, il montre combien «la pensée à l’état sauvage, florissante dans tout esprit d’homme - contemporain ou ancien, proche ou lointain - tant qu’elle n’est pas cultivée et domestiquée pour accroître son rendement» n’a «rien de désordonné ni de confus», mais qu’au contraire, «partant d’une observation du monde qui témoigne d’une minutie et d’une précision stupéfiantes, elle analyse, distingue, classe, combine et oppose»


la musique, qui a été sans doute sa plus grande passion. Il voit un lien évident entre les mythes et la musique. Selon lui, «les structures mythiques préfiguraient à l’état latent les formes musicales»

estructura del mito

Pour démontrer que les mythes, ces récits premiers et fondateurs, ne doivent rien à la fantaisie ni à l’arbitraire mais au contraire à la reproduction plus ou moins conforme d’invariants et de schèmes, le chercheur y transcrit, interprète et compare plus de 800 mythes amérindiens et d’un millier de leurs variantes. Le mythe est cette parole structurante qui a survécu au temps, qui assure la continuité du groupe et de l’espèce.

--IBID

sin escritura

Une fois sa thèse passée, il est élu en 1950 directeur d’études à l’Ecole pratique des hautes études. Face à la protestation d’étudiants africains, il transforme l’intitulé de sa chaire, «Religions des peuples non civilisés», en «Religions des peuples sans écriture».

http://www.liberation.fr/culture/0101601012-levi-strauss-un-deracine-chronique

levi-strauss, et lacan

Lévi-Strauss ne rentre à Paris qu’en 1947. Affecté au Musée de l’Homme, il rencontre Georges Dumézil, Michel Leiris dont il lit l’œuvre «avec délectation», et Jacques Lacan, en qui il voit un «chaman» des sociétés modernes.

http://www.liberation.fr/culture/0101601012-levi-strauss-un-deracine-chronique

claude levi-strauss y los pantalones de mezclilla

il est rapidement révoqué du fait des lois raciales de Vichy. Il choisit et obtient un poste à la New School for Social Research de New York, un centre d’accueil pour intellectuels européens persécutés par le nazisme et commence à enseigner, sous le nom de Claude L. Strauss, comme on le lui demande à cause de la marque de blue-jeans: «Je vécus ainsi plusieurs années aux Etats-Unis sous un patronyme mutilé. Depuis, cette malheureuse homonymie n’a cessé de me hanter. Tel un fantôme. Il ne se passe guère d’année sans que je reçoive, en général d’Afrique, une commande de jeans».

http://www.liberation.fr/culture/0101601012-levi-strauss-un-deracine-chronique

locura y psicoanálisis

Entonces, la salud mental tampoco existe. Frente al montaje de ideales de salud mental colectivos, Lacan enunciaba proposiciones provocadoras, como "todo el mundo está loco".

Eric Laurent

http://virtualia.eol.org.ar/019/template.asp?dossier/laurent.html

no-saber

la paradoja de que lo más importante de la Escuela no es lo que ella sabe sino lo que sabe que no sabe, lo más precioso del saber de la Escuela es que ella sabe que no sabe.

***

Crear una Escuela significa estar dispuesto, en todo momento, a sacrificar la institución, si es necesario, en favor del psicoanálisis. Lacan demostró esto sacrificando su Escuela cuando le pareció que ya no estaba funcionando para el psicoanálisis

***
El análisis es una profesión delirante, en la medida en que es pos ible encontrar entre los analistas a aquellos que piensan que están solos , pues la propia experiencia analítica lo favorece, por el hecho de que e n su consultorio el analista es analista sólo cuando analiza; es por eso que los analistas son proclives a llevar su subjetividad a lo absoluto.

****
La respuesta de Lacan fue sustituir las Sociedades por la Escuela, una institución cuya particularidad es la de no saber algo esencial, no saber qué es un analista.

******

Estoy esperando que en estas jornadas ocurra una discusión muy precisa para que se sepa si cada uno está preparado para sacrificar el goce de las rivalidades y de las oposiciones por una Escuela. La pregunta es: ¿el goce que se puede obtener de la Escuela podrá ser más fuerte que el goce que se obtiene al debatir y al herir al enemigo vencido? Tenemos que esperar para ver si eso se produce; antes de eso no podemos decir nada.

*****


Horacio Etchegoyen, futuro presidente de la IPA, es mi amigo. Cuando le preguntaron cuál era él tema que la IPA va a trabajar en el futuro, respondió: "La diferencia entre transferencia y repetición, que es un punto que Lacan señaló en 1964 y que él aprendió de mis conferencias caraqueñas del '80, 1o cual es muy simpático de su parte, pero no implica que tengamos tantas cosas para aprender.


----Jacques A. Milller

http://www.wapol.org/fr/las_escuelas/TemplateArticulo.asp?intTipoPagina=4&intEdicion=1&intIdiomaPublicacion=5&intArticulo=289&intIdiomaArticulo=1&intPublicacion=10

behind the scenes and freedom

I really like the behind the scenes role, because all my freedom is there.

--------brian eno

http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html

leaved

We were leaved to the dust.

Después de ver REVOLVER

Quise mirar hacia los agujeros de mi percepción...

más suave

pieza: softer, softest (live performance)
artista: courtney love

(Descalza, sola, con su guitarra, frente a una multitud.)

malibu

pieza: malibu
artista: hole

(video oficial)

animal

"¡Hablar, hablar, hablar!... ¡La gente se la pasa hablando! Los animales no hablan, por eso no mienten."

----------La prostituta q sale en la peli BREAKING AND ENTERING

cetáceo

"Una vez me retaron a filmar MOBY DICK desde el punto de vista de la ballena... Mi película recaudó 400 millones de dólares por todo el mundo."

-----El personaje q hace Dustin Hoffman, en WAG THE DOG

circunstancias

"No existe eso q la gente llama problemas. Sólo hay situaciones."

---------De la película Revolver, de Guy Ritchie.

afrenta

HOMERO: No te preocupes, hijo. Yo te construiré una casa-de-árbol tan grande que ¡será una afrenta para el mismo Dios!
BART: ¿Y puede tener una escalera plegable?
HOMERO: Sólo si es una afrenta para Dios.

Executive Producer

EL DUEÑO DE UN ESTUDIO: "¿Y quién demonios es usted?"
HOMERO SIMPSON: "¿El término PRODUCTOR EJECUTIVO le dice algo?"
MEL GIBSON: "¡¿Productor ejecutivo?!"

melissa, siempre

pieza: malibu
artista: hole (live performance)

(En esta versión, hay un juego de cámaras entre el rostro de Curtney y el hermoso rostro de Mellissa Auf der Maur, más o menos hacia el final de la canción.)

con mayor razón...

-¿Y si candidateamos al Presidente para el Nobel de la Paz?
-Bueno, pues si Henrry Kissinger lo ganó...
-Pero, nuestro hombre sí trajo la paz.
-Oye, pero no había guerra.
-Pues eso le da mayor mérito.

-----------Diálogo entre Hoffmman y De Niro, en WAG THE DOG

necesario

"No puedes tener una guerra sin un enemigo... Bueno, se podría, pero sería una guerra muy aburrida."

-----El personaje de Robert DeNiro en la peli WAG THE DOG

Gail Kim

in the enosphere,,,,,,,,,,Franck Mallet 2001

http://music.hyperreal.org/artists/brian_eno/interviews/artpress01.html



"It's a particular color, ambient music is intended to induce calm and a space to think. Ambient music must be able to accommodate many levels of listening attention without enforcing one in particular."


It's strange to think a piece I recorded in two and a half days has aquired a kind of immortality. I thought it would be ephemeral. But it has a new life beyond the record. A part of me has become immortal, out of my control.

Nobody had really thought about this question, and yet we are increasingly likely to find ourselves in places with background music, an ambience. Still, no composers have thought to write for these modern spaces which represent 30% of our current musical experience.


I dreamed of a music without barriers, taking in classical instruments, new electronic instruments and "non-instruments"


I have always learnt things out of fascination.


For ten years Music For Airports was dismissed as crap!


People wanted to create a sound world using the studio, and not just to tell a story.


Music is my true home!


but when you study music in the classical system, you are always on the inside.

la revancha de lo intuitivo,,,,,,brian eno,,,,,,1999,,,,,,excerpts

http://www.wired.com/wired/archive/7.01/eno.html



But now I'm struck by the insidious, computer-driven tendency to take things out of the domain of muscular activity and put them into the domain of mental activity. This transfer is not paying off. Sure, muscles are unreliable, but they represent several million years of accumulated finesse. Musicians enjoy drawing on that finesse (and audiences respond to its exercise), so when muscular activity is rendered useless, the creative process is frustrated.



In my experience, the instruments and tools that endure (because they are loved by their users) have limited options.



Indeed, familiarity breeds content. When you use familiar tools, you draw upon a long cultural conversation - a whole shared history of usage - as your backdrop, as the canvas to juxtapose your work.

brian eno,,,,,,,wired interview,,,,,2007

http://www.wired.com/culture/art/news/2007/07/eno_qa_full?currentPage=all


But the breakthrough for me -- I happened to start working in studios just at the time that multi-tracking became available, and I realized it made music-making a lot like painting in that you could add and take away colors, you could stretch things and turn them upsidedown and do all sorts of different things. So I thought of myself as a sonic painter rather than as a composer.




So, it was always really trying to pick technologies that were around and seeing what else you could do with them. You know, I think that technology is always invented for historical reasons, to solve a historical problem. But they very soon reveal themselves to be capable of doing things that aren't historical that nobody had ever thought of doing before.

brian eno 2002

http://www.indexmagazine.com/interviews/brian_eno.shtml

PETER HALLEY: I’m such a workaholic that the only way I can even make friends with people is by interviewing them. [laughs]

BRIAN: I make most of my friends through working situations as well.

BRIAN: When I watch my two little girls play, the thing that interests me about their games is the very laborious sets of relationships they’ll construct between the characters. You know, “You’re the auntie, but the mother doesn’t like you because you did this.” It’s terribly complicated, and there’s never any game at the end of it. The building of the network of relationships is just about all that ever happens.

PETER: That’s said to be a skill that’s prominent in women.

BRIAN: Yes. It led me to my theory that cities are places built for women.

PETER: Wow.

BRIAN: In cities, you have the opportunity to do all the things that women are really specialized at: intense social relationships and interactions, attention to lots of simultaneous details. And of course in cities you can do very few of the things that men are good at.

PETER: Like what?

BRIAN: You can’t break anything in a city. Everything is valuable, so you’re limited in how much you can test the physical nature of things — which I think is a big part of a man’s make up.

"I recently read Richard Sennett’s book The Uses of Disorder. It’s a very intelligent anti-planning book, and I thought, “This is fantastic, but nobody’s ever going to read it.” So I decided to condense it. I wanted to present the argument of the book in three thousand words. I went through it with a yellow highlighter, marking the bits that really got the germ of the idea. Then I photocopied all the parts I’d marked and collaged them together. After that, I had this idea that every serious book should be publishedin two forms. There should be the full version, but preceding it by a month or so should be the filtered version."


"...the introduction to his book Contingency, Irony, and Solidarity. It’s only a few pages long and it’s so good. The book is about Nabakov and Orwell, and about writing and the idea that works of imagination are the way that we arrive at new social concepts, rather than works of so-called rational deduction. In the end, what Rorty turns out to be saying is that philosophy is just another kind of writing. It doesn’t have any special grasp on the truth."

PETER: I’d like to bring up Norbert Elias again. In one of his books, he kind of refutes the idea of individual consciousness. He says consciousness only resides in the group. That seemed enormously important to me.

BRIAN: I recently read a book about the CIA’s experiments in the ‘60s and ‘70s using psychedelic drugs as interrogation tools. In the end, they found that what worked best was old-fashioned solitary confinement. It drove the subjects completely mad.

PETER: It seems that almost the biggest pain humans can feel is total aloneness.

BRIAN: Occasionally I go off for a few days just to sit somewhere on my own. I refer to it as “going into the abyss.”




"One often used to hear high art people saying that pop music was so boring and formulaic. I never thought that was true. All that formula and repetition is like a great big vehicle for carrying the moment of difference — the tiny point where something happens that didn’t happen before. As a listener, the first question I ask myself is, “Why am I moved by that? Why does that difference matter to me?”


"If something I do gets criticized, I would never say, “They didn’t understand me,” or “What I did was too good for them.” I would assume there was something wrong with what I was doing."


"I’ve often thought that there are two varieties of artists. There’s the fussy type, which I tend to be, who always censor themselves, and then there are people like Miles Davis and Prince who just say, “Look, if it came from me, it’s probably good.” "


"A few years ago I was interested in what was happening to the act of curating. I’d seen a few shows in Europe, particularly in France and Germany, where the name of the curator was bigger on the poster than the names of the artists. It’s like saying, “Here’s somebody who can draw an interesting line through our culture. He can connect a few things which you’ll probably find worth taking seriously.”


"As an English person living in America in the early-’80s, I was much more receptive than a native would have been. I didn’t have many friends there, so I would just listen to the radio. There were complete lunatics on the airwaves — people whose views seemed so objectionable. I started recording them just because I wanted to show my friends in England what people in America were listening to."


"Things always look much more calculated in retrospect. I agree that you can draw a line through the things that I did, but at the time they all seemed chaotic to me. "

behind scenes

I really like the behind the scenes role, because all my freedom is there.

http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician

nature fabric

"I get steadily more interested in the idea that here's nature, the fabric of things or the ongoing current or whatever, and what you can do is just ride on that system, and the amount of interference you need to make can sometimes be very small."

http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician

can't understand

It's like David Byrne said to me the other day: 'Sometimes I write something that I really can't understand, and that's what excites me.' I felt such a sympathy with that position.

"writing" lyrics

"So what I do first is work on the track till its identity is fairly well established, I already know how its gonna sound in terms of textures and time and speed and all that, then I take all that home, a rough mix version of it and I just keep playing it very loud and just singing along with them just singing anything really, and sometimes that anything is just right for it. It s the only thing I do, I guess, that approaches improvising, because everything else is very pedestrian in the way it's made. What often happens is that I get an idea of how the words will fall and what their function be rhythmically, so I start singing or placing the syllables in a certain way, and they're just nonsense at the beginning. Then certain types of sounds will emerge, like a particular vowel sound will suit a particular song. Like, for some reason, the vowel sound 'i' suited 'Baby's on Fire,' it's a sharp kind of thin sound; so then I'm working around two things, which is this vowel sound and this syllable construction, and quite soon words arise from that, and you only need to get about six words out of that for you then to have a good clue of what the song is going to be about. And I know it sounds extremely perverse whenever I explain it, to finally at the end of it all sit down and read it and say, 'Ah, so that's what it's about.' But what strikes me is that following this process, the preoccupations that manifest are not ones that you're necessarily conscious of at any earlier point."

http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician

musicanción

You see, the problem is that people, particularly people who write, assume that the meaning of a song is vested in the lyrics. To me, that has never been the case

--------brian eno

http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician

musilyrics

With the lyrics I have all these tricks and techniques which were first conceived as a way of defeating self-consciousness about writing lyrics, and because I don't have anything to say in the usual sense. I prefer to let the music prompt something from me. See what that prompts and then examine it after the event.

------------brian eno

http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician

fuck the trainning

"One of the interesting things about having little musical knowledge is that you generate surprising results sometimes."

--------brian eno

http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician

no-manual

"...so strictly speaking I'm a non-musician. None of my skills are manual, they're not to do with manipulation in that sense, they're more to do with ingenuity, I suppose."

-----------brian eno


http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician

fun, building

"Nearly all the things I do that are of any merit at all start off all just being good fun, and, I think, um, I'm sort of building up to doing something else quite soon."

------------brian eno

http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#tape

musijungla

"...it's a sort of jungle sound, really."

-------------brian eno

http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#tape

recordar a mcluhan

Everybody thinks that when new technologies come along that they're transparent and you can just do your job well on it. But technologies always import a whole new set of values with them.

----------brian eno

Read more: http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/1996/06/02/PK70006.DTL#ixzz0NCeX5jVO

primero, muerto

"Of course, they want another Nevermind, but I'd rather die than do that."

----------------------kurt cobain

http://en.wikipedia.org/wiki/In_Utero

prosticel

Mi celular es como las prostitutas: siempre cobra más de lo acordado, entrega menos de lo prometido, y se la pasa apurándome para que "ya termine".

International Psychoanalytical Association

página de la internacional psicoanalítica

instituto mexicano de psicoanálisis

página oficial de los frommnianos

asociación psicoanalítica mexicana

página oficial de los freudianos

la apasionada ejecución de la bajista kristen pfaff

pieza: gutless (life performance)
artista: hole

(el video y el audio tienen pobre calidad técnica, pero con la grandísima ventaja de que está en primer plano, todo el tiempo, la hermosa bajista kristen pfaff, fallecida en 1994, a los 27 años de edad.)

kristen pfaff.....una diosa q murió demasiado pronto

Video tributo a Kristen Pfaff

el hermoso coreo de kristen pfaff

pieza: mis world (live version)
artista: hole

melissa auf der maur....in her words

http://melissaaufdermaur.org/content/page/10/quotes_by_melissa


"All of us are half men and half women we have just as much masculine as feminine, so I would definitely describe the new project as me wrestling with those two sides."



"I sold my life to Capitol Records; it sucks."


"I mean, the way I see it is, every penny I've ever made through music is free money."


"I am still making up songs in my head and on my answering machine."


"I must've been a rastafarian in a previous life. They think their hair is an extension of themselves, and every time I get mine cut, I cry. My mother is a big Bob Marley fan. Maybe that explains it. "


"I'm glad I spent a chapter of my life there to really get to know the ugly beauty of the American dream."


"The bass is the mother of all instruments."



"I get so into it. The only time I ever feel the same way is when I'm having sex; it's the epitome of unifying with something."
-Melissa on playing bass



"I do fuck, but i don't say fuck"
-Melissa after Courtney tries to get the audience to get Melissa to say fuck


"Canadian red-head, believes in aliens or other worlds. Likes sexy rock music. You must be able to take acid and not freak out."
-Personal ad


"I was just considering to start playing bass, and when I saw D'arcy playing those Gish songs, with these wacked out, kinda trippy guys, I just thought: I want to be this girl."


"I have to point out that I was born on St. Patrick's day and that both my parents have black hair and that I came out redheaded and pale. I mean I have lots of Irish in my blood, so it makes sense, but the redhead gene is a completely schizophrenic, chaotic DNA thing that makes no sense at all. they just come up whenever. there's no predicting it. scientists can't pin it down. so it's always been kind of a big hang up of mine. when I was a kid, I thought it was gross. and I was like, "i wanna be like everyone else. Please take away this red hair." but then throughout the years, I realized it was special. Someone gave me— I think a makeup artist —this scientific explanation that our pigment is fucked up and something we have reacts weird to the sun so freckles are the reaction. sometimes if I'm on mushrooms or something and I look in the mirror, I look green and I feel like there's major yellow. the moral of the story is that supposedly redheads have a wider color spectrum in their skin. there's green, blue, purple and brown in my skin so supposedly we can wear more colors than most people."

melissa auf der maur...."but I will be"

http://melissaaufdermaur.org/content/page/5/biography



Her father bought her her first bass(A japanese Fender Squier) for her 21st birthday. "At that time I was going up to the local punk bands and asked if I could jam with them. 'Well', they said, 'Are you any good?' and I said, 'No, but I will be.'"

courtney love,,,,,,,por caitlin moran

http://www.timesonline.co.uk/tol/life_and_style/article630036.ece

But, as Love herself is the first to admit, “My press is disproportionate to the amount that I’ve done.”


“My mother told me she tried to abort me, and that I was the result of a rape. My dad says my mother was high on acid. I was raised by wolves.” She shrugs — maybe she has heard R. D. Laing’s aphorism, about character being conditioned by the fuck that made you.


“The language of love letters/Is the same/As suicide notes."

courtney love,,,,,,,,,por laura barton

http://www.guardian.co.uk/film/2006/dec/11/biography.popandrock

"What does the man that I married have any fucking thing to do with my experience as a woman? Other than completely destroying half my life?"


"Kim Gordon [of Sonic Youth] sits me down and says, 'If you marry him your life is not going to happen, it will destroy your life.' But I said, 'Whatever, I love him, and I want to be with him!'" Love hesitates. "It wasn't his fault. He wasn't trying to do that."

• Culture
• Film

Love me do

She's been a stripper, an actor, an addict, a rock star and, since 1994, the seriously troubled widow of Kurt Cobain. Here, she talks to Laura Barton about her 'transgressions', the day Johnny Depp saved her life, and why she's been blacklisted by Hollywood.

• Buzz up!
• Digg it

• 
• • Laura Barton
  • The Guardian, Monday 11 December 2006
  • Article history

Burning, but not out ... Courtney Love in 2004. Photograph: Scott Gries/Getty

She is wearing a pussycat-bow blouse, sipping lapsang souchong, her eyes tilted down demurely over her china cup. Poised in all her silken finery, the figure once described by Rolling Stone magazine as "the most controversial woman in the history of rock" is barely recognisable. As much as we think we know who Courtney Love is, nothing prepares you for the sprawling intelligence or the keen beauty of her. Love is not like most female celebrities. She is bigger than that. Her hands are meaty and her eyes enormous, her bosom has been surgically enhanced and her lips swollen with collagen. She looks as if someone has coloured her in and strayed beyond the lines.

But Love has always been about crossing lines. She has been a delinquent, a stripper, an actor, a drug addict, a rock star, and since 1994, the widow of Kurt Cobain, the Nirvana frontman who committed suicide at the height of his fame, leaving her with a two-year-old daughter, Frances Bean, and a note that claimed: "It's better to burn out than fade away."

"Kurt, Kurt, Kurt, Kurt, Kurt, Kurt, Kurt, Kurt, Kurt, Kurt," she says today with weary exasperation, and she lights a cigarette. Her voice is a threadbare drawl. Love, 42, has just returned from an appearance on Radio 4's Woman's Hour where she was dismayed to find that the interview lingered on the suicide of Cobain. "It was this lovely woman in a grey sweater, but it was so fucking awful. She asked me, 'Had you any intimation that Kurt was going to kill himself?' And, you know, sometimes I don't know how to just do that. I thought it would be more of a feminist thing." She sits crotch-forward in her short skirt, legs splayed wide. "What does the man that I married have any fucking thing to do with my experience as a woman? Other than completely destroying half my life?"

Even before his death, Cobain had dominated Love's life. They met in 1989 at an L7 concert, when they were both fledgling musicians with burgeoning drug addictions, but by the time they married, in 1992, Nirvana had become one of the biggest bands in the world. "Kim Gordon [of Sonic Youth] sits me down and says, 'If you marry him your life is not going to happen, it will destroy your life.' But I said, 'Whatever, I love him, and I want to be with him!'" Love hesitates. "It wasn't his fault. He wasn't trying to do that."

By the time of his death, however, Love had become something of a hate-figure in the eyes of many of her husband's fans, and in the days, weeks, years of its aftermath, she has been accused of everything from driving Cobain to suicidal despair to hiring a hitman to kill him. Death threats have been made, abuse hurled and shotgun shells thrown on stage at her shows. Such was the level of devotion Cobain inspired, that Love was not allowed to own his death like other widows - she had to share it with his grieving public. Though she does, she points out, own his ashes. They are kept in a bank vault in Los Angeles. "No cemetery in Seattle will take them."

The most obvious comparison is Yoko Ono, whose own art has been for ever overshadowed by the death of her rock star husband. Indeed, on the song 20 Years in Dakota, Love draws her own analogy: "She spent 20 years like a virus/ They want to burn the witch who's inside us/ Well you, you don't fuck with the fabulous four."

Why, I wonder, did Cobain have the success and not her? "Cause the complete phenomenon happened," she shrugs. "After 20 years of people trying to find the next thing, to follow REM, he happened to be the one with the talent and the looks." Yes, but so did she. Love is momentarily quiet. "Yeah, but you know, I'm a woman."

irse en paz

Cuando muera, con mi último pensamiento, quiero ver-oír en mi mente, la forma en que Melissa Auf der Maur dice "I'll gonna rescue you", y la forma en que corea, en el video Malibu, de Hole.

melissa auf der maur.... malibu

pieza: malibu (live version)
artista: hole

"I don't drink coffe, I'll take tea, my dear."

pieza: english men in new york
artista: sting

"women and children first, and children first, and children"

pieza: idioteque
artista: radiohead

cuando (aún) quedaba algo de eurythmics

pieza: don't ask me why
artista: eurythmics

¿lo único q valió la pena de bowie en los 90's?

pieza: jump, they say
artista: david bowie

"el jefe", agobiado por su divorcio

pieza: streets of philadelphia
artista: bruce springsteen

"when they get/ what they want/ then tey'll never want it again"

pieza: violet
artista: hole

melissa auf der maur.... con hole

pieza: doll parts (live performance)
artista: hole

suzanne y su guitarra

pieza: luka
artista: suzanne vega

en una noche de 1989...

pieza: fascination street
artista: the cure

razón

-Y ¿por qué no cortas toda comunicación con ella?
-Es que, sin Ella estoy muerto.
-O sea que..., todo volvería a la normalidad.

asia argento,,,,,,by alan jones

http://odetoazia.com/info/bio.php



My father and mother never read me fairytales to put me to sleep at night or ever sung lullabies. I used to get my nose pushed in books on art and culture instead. That gave me the desire to read voraciously though so it was ultimately a good thing.



But my unusual childhood did make me a strong character so I'm not complaining".



"I was nine and living with Daria and my half-sister Anna (from Nicolodi's previous relationship). I wanted to be a writer and wrote loads of weird poetry. I was convinced I was going to be a child prodigy in the literary arena.


B. Monkey was the first time I didn't think of acting as a stupid profession.


I chose hard work over sex. I didn't need that sort of distraction. I wanted to be on my own and take proper charge of my life.


"After all the depressing problems with B. Monkey, I almost lost interest in being an actress so I decided to write Scarlet Diva to save myself from death. I knew if I didn't write it, I would die creatively. I was obsessed and all I wanted to do was write this movie.


I'm not an ambitious actress, my ambition is to do whatever I choose to do well and not embarrass myself".

asia argento,,,,,,,,by caroline ryder

http://swindlemagazine.com/issueicons/asia-argento/



An introvert, she immersed herself in books as a way of making up for having virtually no friends. While the kids at her school were obsessing over Madonna and Duran Duran, Argento was crushing on Dostoyevsky and Baudelaire and watching the films of Roman Polanski. “Those were my youth idols,” she says. At age eight, she had already published a book of poems.



“I am not a princess; I am a worker. I don’t want my ass to be licked. Maybe that’s why I do a million other things. Acting is not hard – that’s a lie that many actors tell. They feel embarrassed to be appreciated for something that isn’t very hard. So they can become spoiled brats. I fell into this trap for a while myself.”


the teenage Asia, who shaved her head and wore boyish clothes, spent much of her time convinced she was not much better looking than one of the corpses in her father’s movies. “I was the ugly one,” she says, “the weirdo, the geek, the freak.”




“I was very young when I started being naked in front of people – 21 or so,” she says. “From being someone who only cared about studying and reading all these books and then all of a sudden being the sultry bitch from hell, it was funny to me. Being a sex queen was funny. Today, I see it as my insecurity and my fragility manifesting itself. But at the time I thought, ‘This is the real power – look at my pussy.’”

asia argento...interiew

http://www.indexmagazine.com/interviews/asia_argento.shtml



BRUCE [LA BRUCE]: Were you always different? I envision your childhood as sort of gothic, not quite normal.
ASIA: Well, it wasn’t normal in the sense that I was never happy. The horror wasn’t cinematic — it was in my head. I knew melancholy very well.


BRUCE: Don’t you ever enjoy the more transgressive scenes?
ASIA: They can certainly be freeing. In The Phantom Of The Opera, I lose my virginity in front of my father. It’s the Electra complex to the maximum!


BRUCE: Do you think of yourself as having a strong masculine side?
ASIA: Yes, much, much stronger than the feminine.


I don’t care about being in big films. I’d rather work two days on a TV show and live on the money for a year.


The thought of someone coming into my place and leaving their things was a nightmare to me. The idea of being obliged to talk to somebody — of having that level of intimacy — disgusted me.



the only person I want to spend time with is my boyfriend, Marco. He’s very peaceful and calm. He plays the piano, and I read, and he’s never intrusive. He’s a great person. It’s a miracle to me, because I’ve never even had friends that I would want to hang around with for longer than twenty-four hours.



I’m proud to be different, to be the monster.



BRUCE: You certainly capture that sensation in Scarlet Diva. Though you don’t show penetration, the sex scenes go way beyond acting.
ASIA: It’s true, the sex scenes are real. But I wasn’t interested in penetration — I was interested in showing what the real sex did to the faces and the bodies of the actors





I did, but I don’t remember much of my childhood. My memories begin at nine, when I started working. That’s when my life started to feel like my own.


My favorite thing about porno is that it’s real — I mean the sex is real. Porno moves me so much more than films like Gone With The Wind, because I am always reminded that these people on screen actually met, and this actually happened. No other kind of film can give you that feeling.


Abel [Ferrara] taught me a lot. He’s the most manipulative and crazy beast, of course.


Walken’s performance [in Abel Ferrara's New Rose Hotel] was brilliant. He was so completely out of his mind, so incredibly angry, that he couldn’t remember his lines. We always had to keep big sheets of paper tacked up with his words written on them. [laughs]

from Russia, with love

pieza: all the things she said
artista: tatu

video oficial

live performance

reina del dolor

pieza: king of pain (live cover)
artista: alanis morissette

"¿qué parte de tu memoria es selectiva...?"

pieza: hands clean (live performance)
artista: alanis morissette

sting, hace treinta años

pieza: roxane
artista: the police

legado

'I see what I do as part of a longer legacy than just rock 'n' roll.'

--------------sting

http://www.sting.com/news/interview.php?uid=4687

no before noon

"I've lived in hotels for 25 years, and I've collected homes all over the world so that, to some extent, I can he relieved of that. I mean, this is a nice hotel, but to check into a hotel and shut the door is kind of prison-like. It's nicer to arrive somewhere you own, with a couple of books you own, a couple of paintings, something of yours. It's a nice luxury and I'm glad of it."


"I love America," he replies. "I owe it a great deal and it gave the world popular music, jazz, movies... the last century was definitely the American century, and I'm in love with that idea."


"It's almost too kitsch to turn down."


"Now, if I have an hour at home, I tend to listen to classical music. I rarely go to pop music to learn something because I usually recognise the archetypes it is drawn from. If I put on Bach or Brahms, that's different. I'm in the presence of genius, which can only do you good."


"When I perform I play my hits. I walk out in front of 20,000 people and nearly everyone's pleased to see me. I sing songs they want to hear, they know the lyrics, and I think, 'I wrote this in my living-room and now look.'"


"I don't like singing before noon."


----------------------sting

http://www.sting.com/news/interview.php?uid=3787

I sing for money

This was always my ambition to make a living playing music. That's what I do. I sing for money.

*************
Success for me is having a handful of friends.

*************

I do have that anxiety there, thinking how on earth am I going to do this again, how on earth am I going to face that blank page again, that dread.The solution is I go on tour for as long as I possibly can and then I don't have to think. There's no thinking involved in touring at all, it's just like being a tennis player.
****************

I clock on in the morning at 10 o'clock and I start work. It's painstaking work and sometimes you don't get anything; there's just nothing to show for it.

----------------sting

http://www.bbc.co.uk/pressoffice/pressreleases/stories/2003/09_september/25/ws_sting.shtml

musidemócrata

I studied British Constitution at school and one of the pillars of democracy is you separate church and state, you really do.

And the other pillar of democracy is a free and unfettered 4th estate – the media and the press.

It doesn't work unless you have that ability to question, the ability to criticise. It's very important, particularly in times like these.

------------sting

http://www.bbc.co.uk/pressoffice/pressreleases/stories/2003/09_september/25/ws_sting.shtml

destroyed by love

There's another view of love. Anybody who's ever been in love knows it's easy to be destroyed by love, it's such a powerful emotion.

And so I start to write about love – to describe it in terms of warfare, in terms of being devastating and destructive, like a tidal wave.

-sting

http://www.bbc.co.uk/pressoffice/pressreleases/stories/2003/09_september/25/ws_sting.shtml

trabajo creativo

It is mechanical to a certain extent, when you're being creative. I just put the hours in. I don't wake up in the morning and go, 'Now I'm going to create a masterpiece, this is going to be the greatest thing I've ever done.'

-sting

http://www.bbc.co.uk/pressoffice/pressreleases/stories/2003/09_september/25/ws_sting.shtml

I sort of work in miniature. I write about relationships in a very microscopic way. I find another little story, then another, a bit of melody here. It's like a painting. It's only when you move back from it and you actually see you've produced something, quite a big landscape when you've been working in small details.

---sting

http://www.bbc.co.uk/pressoffice/pressreleases/stories/2003/09_september/25/ws_sting.shtml

musipintor

I sort of work in miniature. I write about relationships in a very microscopic way. I find another little story, then another, a bit of melody here. It's like a painting. It's only when you move back from it and you actually see you've produced something, quite a big landscape when you've been working in small details.

---sting

http://www.bbc.co.uk/pressoffice/pressreleases/stories/2003/09_september/25/ws_sting.shtml

comenzar vacío

But starting with that feeling of emptiness, that blank page, was a good place to start and gradually I started to piece together fragments of stories.

--sting

http://www.bbc.co.uk/pressoffice/pressreleases/stories/2003/09_september/25/ws_sting.shtml

musireflexión

'It would be nice if more people could appreciate it. I think it's beautiful, special and timely in a way. For me it's the music of self-reflection. The world has become less reflective - we don't have self-reflective leaders any longer: we have people who think they're right, whatever they do, but never look at the judgments they've made. So, yes, this music could be timely. The result of self-reflection is melancholy, and that's beautiful, a useful human emotion. I feel this music has nurtured me as I've been immersing myself in it. I've felt supported by it.'


--------sting

http://www.sting.com/news/interview.php?uid=4687

lightning 2

lightning

telefon tel aviv... citas

http://remixmag.com/artists/remix_tapeheads/


"We wanted to bring back that life and noise into a record that sounded like a record."


“A little over a year ago, my friend [Marc Hellner from Chicago band pulseprogramming] gave me an Otari MX5050BII, and it changed everything,” Eustis says of the 2-track, ¼-inch tape recorder. “While we were in the process of demoing, we were making loops, remixing to analog, slowing and speeding things up. It was so different than what we did before, and it has this timeless quality. It sounds real because it is real — it's a physical media to master. It's not ones and zeros; it's a physical piece of shit with silver oxide on it wrapped around an aluminum spool. The move to tape, for sure, for mixdown and as an instrument was a huge shift.”


“I realized I liked making music more than writing, orchestrating or programming it,” Cooper says.

“It's like a Vonnegut kind of thing,” Cooper reflects on the album's themes of nature's anger and angry natures. “He found humor in the most fucked-up things, but it wasn't morbid. He just recognized that being a human in the world, you have to go along and watch the stupid shit — you can't stop it; you just have to laugh and say, ‘It's fucked up.’”


“We have [Chicago post-rock icons] Tortoise's old [Neotek Series II] mixer, and it made things sound more real; it sounded like what I remember music sounding like. It gave it this beautiful sound that wasn't there before — a little high end shaved here and there and not always as full-frequencied, but somehow sounding better, with more girth. The mixer also helped in the work flow, to have it in front of you where you could touch it."

telefon tel aviv...interviewed

http://remixmag.com/artists/remix_tapeheads/

música sin adjetivos

Classical music is founded on a very clear distinction between music and noise. In rock, as in electronic music, these barriers are coming down. I dreamed of a music without barriers, taking in classical instruments, new electronic instruments and "non-instruments"

--------------brian eno

http://music.hyperreal.org/artists/brian_eno/interviews/artpress01.html

metáforas

Humans actually codify most of their knowledge not in terms of mathematical tables, sets of statistics and scientific laws, but in terms of metaphors. Most of the things we normally have to deal with understanding are complex, fuzzy, messy, changing, and in fact poorly delineated. We don't actually know where the boundaries of them are, let alone being able to make clear questions about them. We spend a lot of our time as ordinary humans navigating through complicated situations with one another, that require constant negotiation, and constant new attempts to understand.





brian eno


http://www.edge.org/3rd_culture/eno/eno_p4.html

la peligrosa cultura

What people don't realize is that culture is powerful and could be dangerous too. As long as culture is talked about as though it's a kind of nice little add-on to make things look a bit better in this sort of brutal life we all lead, as long as it's just seen as the icing on the cake, then people won't realize that it's the medium in which we're immersed, and which is forming us, which is making us what we are and what we think.

brian eno

http://www.edge.org/3rd_culture/eno/eno_p4.html

cienciarte

Here I am, an artist ÷ who reads mostly science books ÷ like most other artists. I know very few artists who read books about art.

brian eno

http://www.edge.org/3rd_culture/eno/eno_p3.html

sin tele

"I gave it up because I'm a potential addict. I know that if I had a television in my flat I would convince myself that everything on it was really interesting."

--------brian eno

http://www.guardian.co.uk/music/2005/jun/07/politicsandthearts.interviews

brian eno: generative music

http://www.inmotionmagazine.com/eno1.html

iposible repetir

Repetition is a form of change


---Brian Eno

http://www.loopers-delight.com/history/Loophist.html

in-the-studio

the particular area that I'm involved in: in-studio composition, where you no longer come to the studio with a conception of the finished piece. Instead, you come with actually rather a bare skeleton of the piece, or perhaps with nothing at all. I often start working with no starting point. Once you become familiar with studio facilities, or even if you're not, actually, you can begin to compose in relation to those facilities. You can begin to think in terms of putting something on, putting something else on, trying this on top of it, and so on, then taking some of the original things off, or taking a mixture of things off, and seeing what you're left with - actually constructing a piece in the studio.

----brian eno

http://music.hyperreal.org/artists/brian_eno/interviews/downbeat79.htm

para equipos ordinarios

Most of my records don't sound good in optimum conditions, where there are very large speakers which are extremely well balanced and have lots of high and low frequencies. I mix, really, for what I imagine most people have medium-priced hi-fi - and for radio a bit as well. It's the very naive producer who works only on optimum systems.

=====brian eno

http://music.hyperreal.org/artists/brian_eno/interviews/downbeat79.htm

compositor

So I think there is a difference in kind between the kind of composition I do and the kind a classical composer does. This is evidenced by the fact that I can neither read nor write music, and I can't play any instruments really well, either. You can't imagine a situation prior to this where anyone like me could have been a composer. It couldn't have happened. How could I do it without tape and without technology?

--brian eno

http://music.hyperreal.org/artists/brian_eno/interviews/downbeat79.htm

improvi-grabar

Jazz is an improvised form, primarily, and the interesting thing about improvisations is that they become more interesting as you listen to them more times. What seemed like an almost arbitrary collision of events comes to seem very meaningful on relistening. Actually, almost any arbitrary collision of events listened to enough times comes to seem very meaningful. (There's an interesting and useful bit of information for a composer, I can tell you.)

---brian eno

http://music.hyperreal.org/artists/brian_eno/interviews/downbeat79.htm

brian enno: the studio as a compositiona tool

http://music.hyperreal.org/artists/brian_eno/interviews/downbeat79.htm

otra vez mcluchan

In this, the 21^st century, we may need icons more than ever before.

------brian eno

http://www.longnow.org/views/essays/articles/BrianEnoLongNow.php

hic et nunc

The longer your sense of Now, the more past and future it includes.

------------brian eno

http://www.longnow.org/views/essays/articles/BrianEnoLongNow.php

hablar, pensar

This self-generating music is so exciting to me. I think that's really something. I think talking is really something, thinking, having ideas and all that sort of thing. I'm fascinated by all those things. Teaching, as well, I do a lot of. But adding to the obscene pile of CDs in the world doesn't thrill me that much at the moment.

---------brian eno

Read more: http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/1996/06/02/PK70006.DTL#ixzz0M4PoI8Qy

no es la compu

"I think people are really reacting to what has been rather an unimaginative use of computer technology so far."

----------Brian Eno

Read more: http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/1996/06/02/PK70006.DTL#ixzz0M4PBnZVC

long now foundation

http://www.longnow.org/

mejores

"I'm also lucky in that I always manage to work with musicians better than myself. "

--------Sting

http://www.billboard.com/bbcom/yearend/2005/century/2003_2.jsp

abandonados

-... sí, como en los noventas.
-Claro..., de lo peor fue que en esa época no contamos con U2, que anduvo con sus experimentos de techno, dance, e industrial.

ya viene

Miércoles 22, julio 2009...
(5:06 p.m.)

Primeros signos y síntomas de la inminente Crisis de Manía.

la máscara no oculta..., revela

"The irony is, of course, as Oscar Wilde taught us, the mask reveals the man."

--------------Bono


http://www.atu2.com/news/article.src?ID

Ashtarth

verdad incuestionable

Tú y yo somos malas reediciones de una mala relación.

recomendaciones de cine

últimas pelis vistas:

-EASTERN PROMISES, dirigida por Cronenberg.

-SHOT'EM UP, con Clive Owen y Monica Belluci.

-

homero y wikipedia

Bart: "Eso no es lo que leí en el artículo de Wikipedia."
Homero: "No te preocupes, hijo. Al llegar a casa lo cambiaremos... ¡CAMBIAREMOS MUCHAS COSAS!"

sábado

-Aunque sea, déjame pagarte el taxi, son las dos de la mañana.
-¡No necesito ni quiero NI MADRES de ti! -dijo ella, con mucha ira, tirando del portón con gran fuerza; él apenas alcanzó a esquivar el golpe en la frente.

bíblico

Homero: "Tu mamá tiene la loca idea de que apostar es malo, aunque la Biblia diga que no es así."
Lisa: "¿Dónde dice eso la Biblia?"
Homero: "Esteeee, por el final."

final necesario

que el dolor me aplaste
que tu ausencia me destruya

pero que suceda YA

international foundation erich fromm (intaliano)

http://www.ifefromm.it/biografia.php

¡cómo se parece a D...!

pieza: human behavior (live performance)
artista: björk
album: debut

Bart, el sucio

Marge: ¡Bart!, ¡no puedes pedirle a Dios q mate a Bob Patiño!
Homero: ¡Así es!, ¡haz tu propio trabajo sucio!

Hamburguer

Maestra: Tomar acción ahora podría ser la diferencia entre que su hijo, Bart, termine como un stripper o llegue a ser Juez de la Suprema Corte.
Homero: ¿Juez de la Suprema Corte?... Así yo podría viajar por todo el mundo: Londrés, París, Berlín, Hamburgo... ¡Mmmm! ¡Hamburguesa!

In the Navy

Homero se enlista en la Reserva de la Marina. Diálogo con su oficial en jefe:

Oficial: Bien, Simpson... Yo no te agrado y tú no me agradas.
Homero: Usted sí me agrada.
Oficial: Bueno, pues tú no me agradas.
Homero: Le agradaría si me conociera.

Para los q vieron la peli STATE OF GRACE, con Sean Penn y Gary Oldman

Pieza: Exit
Artista: U2
Álbum: Ratle and hum

"don't let them kill us"... Sarajevo

Pieza: Miss Sarajevo
Artista: brian enno/ U2 / pavarotti

homero y bush

Lisa: "Si tuviera edad para votar, yo no habría votado por él".
Homero: "¡Un momento!: si Lisa no votó por George Bush, entonces yo tampoco voté por él."
Marge: "Tu nunca votas, Homero."
Homero: "Yo voté por q nuestro shampoo volviera a su antigua botella de vidrio... Después, me volví un cínico."

homero y la mitología greco-latina

"¡Oh, dios de los océanos!... los griegos te llamaban Poseidón. Los romanos..., Aquamán."

-Homero

Pieza: The rip
Artista: Portishead
Album: Third

Video para el album:
http://www.youtube.com/watch?v=ggOZ4RuKRgE


Video en vivo:
http://www.youtube.com/watch?v=bIdxAlJojnk&feature=related


Cover por Radiohead:
http://www.youtube.com/watch?v=zPPH1qg8Qo4&feature=related

Pieza: Malibu
Artista: Hole
Album: Celebrity Skin

http://www.youtube.com/watch?v=dnpsaNR7J04

Genitales q se frotan mutuamente...

¿Qué poesía puede haber en eso?

Nadia

Eras talla uno...,

y ¡te dejé ir!

-Pero, ¿¡acaso enloqueciste!?... ¡Con tu estilo de vida nunca más sentirás placer!
-...ni dolor.

¿podemos ir por cerveza y una marucha?

Te quise como eras...

Nunca me consideraste

suficiente

para ti.*




*(Que no te quede duda... sabes perfectamente quién eres.)

"El miedo es una alienación."

-Miryam

Mirar de lejos..., por protección

Me gustan las mujeres como me gustan los tigres.

Hoy..., un amanecer perfecto.

"¡Lisa!: ¡En esta casa respetamos las leyes de la termodinámica!"

-Homero

Recomendaciones cinematográficas...

Últimas pelis q he visto:

-Sex and Death 101, con Winona Ryder.

-The Day the Earth Stood Still, con Jennifer Connelly.

-The Reader, con Kate Winslet.

-Knowing, con Nicholas Cage.

"You'd gave me nothing...
Now...
it's all I have."

--------Bono
*En la canción "One", del álbum Achtung Baby.

("Me diste nada...
Ahora,
eso es todo lo que tengo.")

Traducción propuesta por J.A.

"...notre personnalité sociale est une création de la pensée des autres."

----------Marcel Proust


("nuestra personalidad social es una creación del pensamiento de los otros".)

O bien, una traducción más cercana al español que usamos en México:

("nuestra personalidad social es una creación del pensamiento de los demás.)

*Traducción: J.A.

luto por la poesía

¿Qué buscas aquí?...
Aquí no hay nada...

Todas las letras son cadáveres.

estridente

¿Alguna vez
dejará de hablar tanto

este silencio?

vapor

Nada me dejaste...

Ni siquiera la memoria...
Ni siquiera un pedastal para el olvido...

Ni siquiera el vapor de lo que fuera una lágrima.

condena inmutable

Ni siquiera
eso que vive detrás de tus ojos

pudo
(jamás podrá,
fue estúpido pensar que podría)

salvarme.

¿Todavía hay un ser humano debajo de mi piel? (¿Alguna vez lo hubo?)

-Te has fijado en su mirada? Da la impresión de q estuvo en una Guerra; debe haber visto cosas horribles.
-O algo peor...

-Nadie tiene rostro.
-Venerable Maestro, ¿a qué se refiere?
-¿Ves como tengo razón?

Nadie ha visto al Silencio... (Aunque, una vez...)

La luz, dicen, ayuda a ver mejor... Pero, pasar mucho tiempo en lo oscuro, dilata las pupilas, nos permite observar cosas q nadie más vería.

Ciento noventa mil años de cazadores-recolectores... Y ¡para esto!, ¡para pasar los días engordando frente al televisor, frente a la computadora!

Al menos ya dejé de fingir (¿hace cuánto?) q esto tiene sentido.

Estoy harto de ser yo... (Tendré q hacer algo.)

Silencio

El Silencio no es la ausencia de sonido... Es una situación en la q no sabemos escuchar los estímulos q nos rodean.

Recordar siempre a Sartre:

"El ser humano no es libre... Está condenado a ser libre."

Dilema del Lobo Estepario

A veces, el Lobo Estepario se enfrenta a la tentación... cree q ha encontrado algo parecido a un alma afín, una posible compañera... Tiene, en esos momentos, q hacerse una gran violencia, refrenar su impulso, y decirse:
"no, Lobo Estepario, no te equivoques... No está en tu naturaleza... No puede ser... Aléjate de ella, y sufre tu nostalgia en las estepas (tu único territorio)... Otras heridas han cerrado antes... Ésta cerrará también... (A menos q sea la q se infecte, se extienda, y acabe, finalmente, con tu pesadilla-existencia.)"

Ser... Conocer

Nadie puede declarar "yo existo" sin meterse en una encrucijada epistemológica.

Irresoluble

Hace treinta años q me enamoré por primera vez.. No puedo evitar la conclusión: lo único más insoportable q no tener pareja es... tener pareja.

Es imposible morir joven

"Tan pronto como un ser humano ha nacido, tiene edad suficiente para morir."

----------- Martin Heidegger

Devenir...

El paso-del-tiempo es un escupitajo en el rostro del Ser.

Cicatriz

"No quiero morir sin cicatrices."

------Tyler Durden
(En Fightclub, de Chuck Palahniuk)

Anatomía...

No..., los ojos no son las ventanas del Alma... Son sus barrotes.

Dificultad...

Cada día me está resultando más difícil fingir que algo (lo que sea) me importa... Cada vez más profundo en los intestinos del vacío.

Juicio...

- ¿Tiene alguna prueba de haber existido hoy?
- No, su Señoría.
- ¿Y ayer?
- Tampoco, su Señoría.
- ¿Y la semana pasada..., el mes pasado..., el año anterior?
- En realidad..., no, su Señoría.
- No me deja otra salida... Tengo que declararlo culpable de enajenación social. Lo condeno a seguir así de por vida... ¡Siguiente caso!

No lo necesitamos...

"Nuestros padres fueron nuestra imagen de Dios...
Si nuestros padres nos fallaron, ¿qué te dice eso de Dios?...
Tal vez Dios no nos quiere, nunca nos deseó..., incluso puede que nos odie...
¿Somos los hijos-no-deseados de Dios? Pues, ¡así sea!, ¡que se pudra!, ¡no lo necesitamos!..."
¡Que se vaya a la fregada la Redención! ¡Que se vaya a la fregada la Salvación!"

---- Tyler Durden
(En Fightclub, de Chuck Palahniuk.)

Carta abierta...

Queridos lectores:

Ojalá existieran.

Una presentación

- (...) especialista en abandonos.
- ¿En tratarlos?
- No..., en sufrirlos.

La red

Cientos de miles de millones de personas conectadas a este sistema nervioso artificial... Todos, en soledad eléctrica.

Despersonalizado

Debe ser terrible ser yo... Por fortuna, no es completamente mi caso.

Vino

"In vino pars veritas" (en el vino está parte de la verdad), decían los romanos... Ahora podemos decirlo completo: ¡En el vino está toda la verdad!

Asfixia

¡Qué bien respiraría el planeta sin los seres humanos encima!

Cultura

La expresión "Ciencia y Cultura" es inexacta... La primera es un subconjunto de la segunda. (Cutura: Ciencia, Artes, Oficios, Costumbres.)

Opiáceo

Es insultante eso de que "las religiones son el opio del pueblo"... El opio sí quita el dolor.

Amnesia invencible...

El ser humano actual, el homo televidens, detesta el concepto Memoria. Es un organismo atemporal, ahistórico. (Vuelta a las cavernas. En vez de la fogata, la pantalla de televisión. En vez del Anciano Sabio y sus relatos mágicos, el presentador de noticias y su malabarismo de "cápsulas informativas".)

Más peligroso...

Un lobo solitario es más peligroso q el lobo común: el lobo común caza en manada..., el lobo solitario tiene q volverse más fuerte y atrevido; él es su propio líder y su sola compañía.

¡Huyan!

"En amour, la seule victorie est la fuit."

---------Napoleón Bonaparte


("En el amor, la única victoria es la retirada.")
* Trad. mía

¡¡¡¡¡Cómo se atreven a culparme!!!!!

Alex Garland...

DE UNA ENTREVISTA CON ALEX GARLAND (Autor de la novela The Beach)

"I do have a background that's worth mentioning: My dad's a cartoonist, and I always thought I was going to end up doing cartoons. I used to draw comic strips constantly, so I picked up a lot about how to construct a narrative by that. And actually I think that this comes through in the book, in as much that it's quite cinematic, and comic strips are quite cinematic -- the length of chapters, and the speed with which the plot moves, and that kind of thing. So it is my background in one kind of way." *


* http://www.salon.com/feb97/alex970211.html

De Jerzy Kosinki

"The violence is never gratuitous," he says. "I write about what I see in society."

Wherever he is, Kosinski has access to lethal chemicals. "I'm not a suicide freak, but I want to be free," he says. "If I ever have an accident or a terminal disease that would affect my mind or my body, I will end it."

Kosinski takes a different perspective on his own psyche. "I have the destructive potential of an artist," he reflects. "I could be a terrorist. I could be a great criminal. I could be a sex maniac. But writing is my protection in life. Because of it, I am merely creative."

Del artículo publicado en la revista People: * September 17, 1979
* Vol. 12
* No. 12

Because He Writes from Life—His—Sex and Violence Haunt Jerzy Kosinski's Fiction

By Andrea Chambers



Puede consultarse en
http://www.people.com/people/archive/article/0,,20074595,00.html

Avant Garde... Recordatorio

"Afin de répondre à ces missions, une avant-garde est souvent constituée de troupes légères et rapides."*

(A fin de responder a sus misiones, la vanguardia frecuentemente está constituída por tropas ligeras y rápidas.) -Trad. mía



*http://fr.wikipedia.org/wiki/Avant-garde_(militaire)

Definicón...

La Poesía es el invento de la Humanidad para no permanecer atrapada en las redes del Lenguaje.

"No se puede hacer ninguna afirmación sobre el mundo en su conjunto."

---------Ludwig Wittgenstein
(En su Tractatus Logico-philosophicus.)

Marcas

"No quiero morir sin cicatrices."

---------Tyler Durden
(En Fight Club.)

Felicidad robada

-¿Por qué has despertado tan triste?
-Si no estoy triste... Lloro de alegría.
- (¿?)
-Soñé que todos los editores del mundo habían sido exterminados con saña inaudita.

Feria del Libro

Acabo de pasar por la zona peatonal del Centro de Tampico... Había un mercado de libros... Un explicador oficioso me dijo q no era un mercado, sino una feria. (Pero yo no vi juegos mecánicos, dulces de algodón, etc.)...

Estoy confundido... Sufro lo que Ronald David Laing llama una crisis epistemológica.

Homo Libris

No hay..., no puede haber..., me doy cuenta de q ha sido monstruosa la pretensión de q exista, un posible puente, un apenas entendimiento entre un hombre como yo, q pertenezco a la especie homo libris, y el la inmensa mayoría del resto de las personas, que debo clasificar como pertenecientes a la especie homo televidens.

Monólogos de TRAINSPOTTING

(Tomado del guión fílmico original, en http://sfy.ru/sfy.html?script=trainspotting)

TRAINSPOTTING... Monólogo inicial

Choose life. Choose a job. Choose a career. Choose a family, Choose a fucking big television, Choose washing machines, cars, compact disc players, and electrical tin openers.

Choose good health, low cholesterol and dental insurance. Choose fixed-interest mortgage repayments. Choose a starter home. Choose your friends.

Choose leisure wear and matching luggage. Choose a three piece suite on hire purchase in a range of fucking fabrics. Choose DIY and wondering who you are on a Sunday morning. Choose sitting on that couch watching mind-numbing sprit-crushing game shows, stuffing fucking junk food into your mouth. Choose rotting away at the end of it all, pishing you last in a miserable home, nothing more than an embarrassment to the selfish, fucked-up brats you have spawned to replace yourself. Choose your future. Choose life.

But who would I want to do a thing like that?

I chose not to choose life: I chose something else. And the reasons? There are no reasons. Who need reasons when you've got heroin?

People think it's all about misery and desperation and death and all that shite, which is not to be ignored, but what they forget -


is the pleasure of it. Otherwise we wouldn't do it. After all, we're not fucking stupid. At least, we're not that fucking stupid. Take the best orgasm you ever had, multiply it by a thousand and you're still nowhere near it. When you're on junk you have only one worry: scoring. When you're off it you are suddenly obliged to worry about all sorts of other shite. Got no money: can't get pished. Got money: drinking too much. Can't get a bird: no chance of a ride. Got a bird: too much hassle. You have to worry about bills, about food, about some football team that never fucking winds, about human relationships and all the things that really don't matter when you've got a sincere and truthful junk habit.



TRAINSPOTTING... Monólogo final

Now, I've justified this to myself in all sorts of ways: it wasn't a big deal, just a minor betrayal, or we'd outgrown each other, you know, that sort of thing, but let's face it, I ripped them off. My so-called mayes. But Begbie, I couldn't give a shit about him, and Sick Boy, well, he'd have done the same to me if only he'd thought of it first, and Spud, well, OK, I felt sorry for Spud -- he never hurt anybody.

So why did I do it? I could offer a million answers, all false. The truth is that I'm a bad person, but that's going to change, I'm going to change. This is the last of this sort of thing. I'm cleaning up and I'm moving on, going straight and choosing life. I'm looking forward to it already. I'm going to be just like you: the job, the family, the fucking big television, the washing machine, the car, the compact disc and electrical tin opener, good health, low cholesterol, dental insurance, mortgage, starter home, leisurewear, luggage, three-piece suite, DIY, game shows, junk food, children, walks in the park, nine to five, good at golf, washing the car, choice of sweaters, family Christmas, indexed pension, tax exemption, clearing the gutters, getting by, looking ahead, to the day you die.

-(...)
-Asqueado, por las recientes celebraciones.
-¿Cuáles?
-Ya sabes..., las del crucificado.
-¡Ah!

******

Aterra...

¿Y si la muerte no fuera un descanso?

Richard Nixon y el "Watergate"

Ya en su Understandig Media: The Extensioons of Man (en el capítulo dedicado a la televisión), el gran Marshall McLuhan hizo notar que, para los radioescuchas que lo sintonizaron, el debate presidencial entre Kennedy y Nixon fue arrolladoramente ganado por este último... Quienes lo sintonizaron en televisión, opinaron lo contrario... Y Kennedy fue presidente...

En el recientemente estrenado filme Frost/Nixon (que en México y España se ha comercializado con el título de El Desafío, porque las distribuidoras cinematográficas dan por hecho que los hispanoparlantes somos tan estúpidos como para no estar enterados del "Watergate", y de que Richard Nixon ha sido el único presidente norteamericano que ha dimitido), la escena de la llamada telefónica alcanza dimensiones poéticas... Precaución: el filme comienza un poco "lento", pero hay que verla, insisto, hasta llegar a la escena de la llamada telefónica.

Preveer la pérdida

- ¿Por qué no permites que me acerque (emocionalmente) a ti, Violet?
- Porque estos momentos, así de hermosos como son, se vuelven horribles cuando los pierdes.




(Diálogo en el filme Ultraviolet, dirigido por Kurt Wimmer, y protagonizado por Milla Jovovich... Año: 2006.)

Al escritor

No sientas miedo
hacia la página en blanco

Piensa que es una virgen

piensa en el verbo profanar

Vida/Muerte

"L'affirmation de la vie ne va pas sans la pensée de la mort, sans l'attention la plus vigilante, responsable, voire assiégée, obsédée de cette fin qui n'arrive pas à arriver."

-Jacques Derrida *

("La afirmación de la vida no puede ir sin el pensamiento de la muerte, sin la atención más vigilante, responsable, incluso sitiadora, obsesionada, de este final que no llega a llegar".)

--Trad. de J.A.

* Citado en
http://www.evene.fr/citations/auteur.php?ida=1524&p=2

El preocupante año 1984

Algunos de los acontecimientos de 1984:

-Sale a la venta la primera Macintosh (que resultará en la popularización del uso de la interfaz gráfica de usuario, en la computación a nivel mundial).

-William Gibson publica su novela Neuromancer, inauguración del género cyber-punk. (En este trabajo, Gibson acuñó el término ciberespacio.)

-Indira Gandhi es asesinada por uno de sus guardaespaldas... Como el tirador era un sij, el gobierna contraataca: asesina a entre tres y cuatro mil sijs.

-Se publica Fire in the valley: the making of the personal computer. (Autores: Paul Freiberg y Michael Swaine.)

-También se publica Hackers: heroes of the computer revolution. (Autor: Steven Levy.)

-Y también se publica The little kingdom: The private story of Apple Computer. (Michael Moritz.)

-RACTER publica el libro de poemas The policeman's beard is half constructed. (Lo interesante es que RACTER es un programa de computadora... Su creador lo diseñó para ser capaz de generar expresiones verbales de matiz poético... El subtítulo de la obra es Computer prose and poetry by RACTER).

Marshall McLuhan dice...

*If it works, it's obsolete.
("Si funciona, es obsoleto.")

*The story of modern America begins With the discovery of the white man by
The Indians.

("El relato de la América moderna comienza con el descubrimiento del hombre blanco por parte de los indios.")

*Today each of us lives several hundred years in a decade.

("Hoy, cada uno de nosotros vive cientos de años en una década".)

*One of the nicest things about being big is the luxury of thinking little.

("Una de las cosas más agradables acerca de ser grande, es poder darse el lujo de pensar en pequeño.")

*This information is top security. When you have read it, destroy yourself.

("Esta información es de altta securidad. Cuando la hayas leído, destrúyete a ti mismo.")

*Only puny secrets need protection. Big discoveries are protected by public
incredulity.

("Solamente los secretos insignificantes necesitan protección. Los grandes descubrimientos son protegidos por la incredulidad pública.")

+Aforismos tomados de

http://www.marshallmcluhan.com/poster.html


++Trad. de J.A.

Regreso

«On ne retourne pas dans un pays qui n'existe plus.»

------------------Joseph Brodsky *

("No se regresa a un país que ya no existe..")

Trad. de J.A.

*Citado en
http://www.liberation.fr/evenement/010180528-en-s-eloignant-on-se-souvient

MIEDO A SER

"... a nada le tiene el ser humano tanto miedo, hasta llegar a ser un miedo literalmente pánico, como a tener que proceder por sí y ante sí, por su cuenta y riesgo, no ya en los negocios de la vida corriente, ni siquiera en los ocios de la vida culta, sino en el gran negocio y ocio de hacerle frente, con la propia existencia, con el propio ser, inasistido, solo, nudo, al Universo, al Existir, al Ser -con mayúsculas- antes que ser individuo, y tener que enfrentar tal, ser masa material de funcionamiento mecánico irresponsable... Y se atisba que el afán de dominación del hombre moderno, la voluntad de acción del hombre fáustico, su creencia en la infatigabilidad por el movimiento, la tecnificación creciente de todo lo humano, pudiera no ser más que una vía de escape al conflicto ontológico-metafísico del afrontar individualmente al Ser, del ser individuo en el Universo."

-José Gaos, HISTORIA DE NUESTRA IDEA DEL MUNDO. Editorial UNAM, 1994, página 738.
(La obra es transcripción de dos cursos dados por el autor en 1966-67,en el Colegio de México.)

Inutilidad de las cualidades

«Les qualités sont du domaine de tous le monde. Les vices seuls marquent la personnalité.»

-Pal Léautaud *

("Las cualidades son cosa de todo el mundo. Sólo los vicios distinguen la personalidad.")

----Trad. de J.A.

*Citado en http://www.evene.fr/celebre/biographie/paul-leautaud-578.php?citations

INTELIGENCIA/BESTIALIDAD

«L'intelligence ? Une question de chimie organique, rien de plus. On n'est pas plus responsable d'être intelligent que d'être bête.»

-Paul Léautaud *

("¿La inteligencia? Una cuestión de química orgánica, nada más. No se es más responsable de ser inteligente que de ser una bestia.")

----Trad. de J.A.

*Citado en http://www.evene.fr/celebre/biographie/paul-leautaud-578.php?citations

SOLEDAD... NOVEDAD

«La solitude conserve neuf.»

-Paul Léautaud *

("La soledad conserva nuevo.")

----Trad. de J.A.

*Citado en http://www.evene.fr/celebre/biographie/paul-leautaud-578.php?citations

GRANDES SENTIMIENTOS

«Je n’ai jamais été capable de grands sentiments : ils me font rire.»

-Paul Léautaud*

("Nunca he sido capaz de grandes sentimientos: me hacen reir.")

----Trad. de J.A.

*Citado en http://www.evene.fr/celebre/biographie/paul-leautaud-578.php?citations

ANTEPONER AL OTRO

"Aimer, c'est préférer un autre à soi-même."

-Paul Léutaud *

("Amar es preferir a un otro antes que a sí mismo.")
--------Trad. de J.A.


*Citado en http://fr.wikipedia.org/wiki/Paul_L%C3%A9autaud

NECESIDAD VS. AMOR

"Dans le mariage, on fait l'amour par besoin, par devoir. Dans l'amour, on fait l'amour par amour."

-Paul Léautaud *

("En el matrimonio, se hace el amor por necesidad, por deber. En el amor, se hace el amor por amor.")
-------Trad. de J.A.


*Citado en http://fr.wikipedia.org/wiki/Paul_L%C3%A9autaud

CAPITAL ERÓTICO... PREOCUPANTE CONCEPTO

"Erotic capital is power possessed by an individual as a result of his or her sexual attractiveness to others. It is one among other species of capital, including social capital, symbolic capital, and cultural capital.

The concept has been developed by sociologist Adam Isaiah Green (University of Toronto), who builds on Pierre Bourdieu's (1980) concept of capital. Green defines erotic capital as accruing to an individual due to the quality and quantity of attributes that he or she possesses which elicit an erotic response in another. Some of these attributes may be immutable, such as an individual's race or height, while others may be embodied, acquired through fitness training, plastic surgery, or a makeover, among other techniques.

Erotic capital is interconvertible with other forms of capital, as when actors parlay erotic capital into financial capital or social capital."

------------------http://en.wikipedia.org/wiki/Erotic_capital

("El capital erótico es el poder que posee un individuo como resultado de su atractivo sexual. Es una màs entre otras clases de capital, incluyendo el capital social, el capital simbólico, y el capital cultural.
"El concepto ha sido desarrollado por el sociólogo Adam Isaiah Green (de la Universidad de Toronto), quien lo ha construido basàndose en el concepto de capital de Pierre Bourdie (1980). Green define el capital eròtico como el crecimiento del valor de un individuo debido a la calidad y cantidad de atributos que posee para producir una respuesta eròtica en los demàs. Algunos de estos atributos pueden ser inmutables, como la raza y la estatura, mientras otros pueden ser representados, adquiridos mediante el entrenamiento fìsico, la cirugìa plàstica, o el cambio de look, entre otras tècnicas.
"El capital eròtico es interconvertible con otras formas de capital, como cunado un actor transforma su capital eròtico en capital financiero o capital social.")
---Trad. de J.A.

DOMESTICADORES... DOMESTICADOS

"To primitivists, domestication not only changes the ecology from a free to a totalitarian order, it enslaves the species that are domesticated, as well as the domesticators themselves. According to primitivism, then, humans are nearing the beginning of the last phase of the domestication process as we are now experimenting with direct genetic engineering, and are making dramatic and frightening advances in the fields of psychology, anthropology, and sociology. This thereby allows us to quantify and objectify ourselves, until we too become commodities and property of no greater or lesser fundamental import than any other asset."

---------------------http://en.wikipedia.org/wiki/Anarcho-primitivism

("Para los primitivistas, la domesticación no sólo cambia la ecología de un orden libre a uno totalitario, también esclaviza a las especies que son domesticadas, así como a los mismos domesticadores. De acuerdo al primitivismo, entonces, los humanos están cerca del inicio de la última fase del proceso de domesticación, pues ahora estamos experimentando con ingeniería genética, y haciendo dramàticos y atemorizantes progresos en los campos de la psicología, la antropología y la sociología. Esto nos lleva a cuantificarnos y convertirnos en meros objetos, hasta que nos volvamos bienes de consumo y propiedades de ni mayor ni menor importancia fundamental que cualquier otro bien o propiedad.")

---Trad. de J.A.