21
jui

copié-collé - j'ai tout aimé.

VANDALISME, ÉPIGRAPHIE

Les meilleurs graffitis du mouvement contre la Loi Travail.

paru dans lundimatin#66, le 20 juin 2016

C’est sur l’espace d’un mur - vertical, solide, public, universellement visible - que le Pouvoir a commencé à brandir sa Parole et son Droit ; la loi a commencé à se publier sur les murs. C’est sur ce même espace que, pendant des siècles, on a enregistré les mesures, les pric, les règlements commerciaux.
C’est sur les murs que le temps, solaire et astronomique, est devenu mesurable, et c’est encore sur les murs que, depuis toujours, se sont conservés la mémoire du temps vécu, les noms des morts, leurs derniers mots. La même « chose » qui assurait à la ville (antique ou moderne) sa forme et sa réalité, a toujours été utilisée pour enregistrer son histoire, pour glorifier ses héros, pour célébrer le rosaire des noms du pouvoir et représenter la guirlande des empereurs, des gouverneurs, des rois et des dieux.
Mais la pierre des murs ne fut pas dépositaire des seules écritures et images officielles, grandiloquentes et pleines d’autorité : elle n’a cessé de recevoir les humeurs des peuples, les opinions des individus, les graffitis de protestation, d’acclamation, de rébellion, puis les chants et les louanges.
Si parmi toutes les choses le mur est la « chose politique » par excellence, c’est parce qu’il nous apprend que la ville n’est pas seulement un espace de vie commune mais aussi et surtout un espace de projection imaginaire partagé, [...] comme un immense organe de pierre, capable de multiplier l’expérience à l’infini, de transformer la ville en un kaléidoscope d’images, de sensations, de signes, mais aussi de tenir le registre de tout ce qui se pense et de tout ce qui se dit ; il amplifie nos sens, il en constitue une sorte d’extension prosthétique. [...] C’est pourquoi les inscriptions murales de toutes les époques offrent une forme de tatouage spirituel, le premier signe à travers lequel une époque inscrit sa présence et la réfléchit.

JPEG - 66 ko
On s’est radicalisés sur Internet
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Nous sommes l’étoffe dont sont tissés les rêves
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Les asthmatiques se vengeront !!!
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l’être et le néon
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On fait comme DAB
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Elue manif de l’année
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Lol vous l’avez bien cherché !
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50 nuances de Bris
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Pénurie complète
Pénurie basmati
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Demain c’est plus très loin
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Pour la suite du monde
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Ni Dieudonné Ni Maitre Gims
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Eh Cazeneuve, arrête le délire ! Tu mettras pas tout le monde en prison !
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Le monde ou rien !
Tiens tes aggios
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I want to break free
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Il faut avoir des choses à se reprocher pour se cacher comme ça !
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Il avait avalé ma carte !
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Grève générale le 28/4/16
Bisous
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Agir en primitif / Prévoir en stratège
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Nous sommes un peuple de casseur-cueilleurs !
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Demain est annulé
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Il est l’heure de destituer le gouvernement



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Panama Papers pour tous !
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Il n’y aura pas de présidentielle !
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Ce tag est démocratique : il a été voté en AG
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1789, les casseurs prennent la Bastille !
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ACABADABRA NOUS REVOILA
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Une pensée aux familles des vitrines ...
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Bonjour, de la part des assignéEs !
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Atelier lacrymo n°361
Atelier caillassage n°1312
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Ca pue ->
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Nos casseurs ont du talent !
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Pour un catéchisme révolutionnaire
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Il faut avoir des choses à se reprocher pour se cacher comme ça !
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CRS=FDP
La vie est belle !
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C’est pas la manif qui déborde, c’est le débordement qui manifeste !
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Nos éboueurs ont du talent
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émeute ici
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En cendres tout devient possible !
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Nique les Porsches on veut des Faucons Millenium.
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La France, son pinard, ses révolutions
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L’Euro de Flashball a commencé !
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Moins de cowboys, plus d’apaches !
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On révise juste la philo.
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C’est comme ça qu’on écrit sur un mur
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Elle est où la Porsche ?
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Les CRS sont pas nos fils !!!
Signé : les putes
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Monde de merde
ACAB
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Deux émeutes par semaines, oh mon dieu qu’elles sont belles !
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Dans saboter il y a beauté.
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Sminozad Partout
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Une autre fin du monde est possible
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Enfin une manif qui se passe bien
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Valls, wesh alors ?!
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Nous sommes de celles qui s’organisent : on ne repassera plus jamais vos chemises























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Les amis de Julien Coupat t’emmerdent ! :)
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Cassez les banques
Lisez lundi.am

PS : et pour plus (toujours plus !) de tags aperçus durant le mouvement contre la Loi Travail, allez voir le bon boulot de http://larueourien.tumblr.com

15:43 21/06/2016 | Lien permanent | Tags : poly-tiques, place net |  Facebook

10
mar

TRANSPORT - On y va.

"TRANSPORT: e-Festival de poésie édition 0.0 Lille, Marseille, Montréal, Littérature etc., la revue Muscle et Cousins de personne s’allient pour rapprocher les bords de l’Atlantique lors d’un événement poétique inédit.

Le samedi 19 mars 2016, le temps d’une soirée ou d’un après-midi, nous naviguerons d’une performance à l’autre entre Montréal, Lille et Marseille.

En fonction d’où il se trouve, le public découvrira tour à tour une performance en chair et en os et la retransmission en direct sur grand écran d’une performance venue de l’une puis de l’autre ville. Ce carrousel poétique et numérique rassemblera les voix fortes de la poésie contemporaine pour des lectures qui sauront renverser leurs publics.

Parmi elles, celles de Simon Allonneau, Antoine Boute, Cécile Richard et Eugène Savitzkaya à Lille, Maxime Hortense Pascal, Nat Yot, Annabelle Varaeghe, Arno Calleja et Noémie Lefebvre à Marseille ainsi qu’Hervé Bouchard, Renée Gagnon, Sébastien Dulude, Gabrielle Giasson-Dulude et Shawn Cotton à Montréal. Nous vous invitons à découvrir la programmation de l'événement en détail ici et à en suivre attentivement les préparatifs plutôt là.

Le rendez-vous est donné à 18h30 en France et à 13h30 au Québec (décalage horaire compris)

Lieu de l’événement :

Lille Mutualab 19 Rue Nicolas Leblanc
Marseille Centre de la Vieille Charité 2 rue de la Charité
Montréal Médiathèque Gaëtan Dostie 1214 rue de la Montagne "

 

J'aurais l'honneur-plaisir d'animer la section lilloise... Vous v'nez? (à l'un ou l'autre lieu?)

12:06 10/03/2016 | Lien permanent | Tags : act-u, agendada, place net |  Facebook

3
nov

Potentia Gaudendi 2.0 à Liège

allez, on le dit

“L'ELECTRO GLAMOUR NIGHT…
ou quand des artistes féminines de la FWB se rencontrent et entremêlent leurs talents, leurs mots, leurs émotions, leurs gestes et leurs sons le temps d'une soirée inédite.

28 novembre 2015

22h00 • STEPH WUNDERBAR Dj set (BE)
22h30 • “POTENTIA GAUDENDI 2.0” : une lecture poétique performée par Milady RENOIR & Christine AVENTIN accompagnées de Vera Narque à la guitare électrique sur un habillage musical de Steph WUNDERBAR
23h30 • STEPH WUNDERBAR Dj set (BE)
01h00 • KARLA - Dj set (BE)

>> Entrée gratuite <<

Steph Wunderbar
https://www.facebook.com/StephWunderbarMusic

Karla
https://soundcloud.com/karla-b-hm

———————————————
Avec le soutien de la Ministre de l'Enseignement de promotion sociale, de la Jeunesse, des Droits des femmes et de l'Egalité des chances.

http://www.lesparlantes.be/
http://www.reflektor.be/

 

*********

 

La première étape de Potentia Gaudendi a eu lieu lors d'une résidence d'autrices (en Gaume). Christine Aventin et moi avons échangé, discuté, écrit à propos des termes et des intentions de Potentia Gaudendi (concept emprunté à Beatriz Preciado). Nicolas Marchant nous a rejoint pour alimenter le processus de restitution de nos écrits. Le blog http://potentiagaudendi.tumblr.com/ a reçu nos hésitations, nos désirs, nos rêves et nos perditions.
La seconde étape a eu lieu lors du FiEstival Maelström #8. Nicolas Marchant, Christine Aventin et moi avons expérimenté avec nos corps, des images, nos gorges, nos contrastes la mise en voix de ces élans.
Christine Aventin et moi sommes invitées à perpétuer l'échange et le désir du duo lors d'une soirée "Electro Glamour" à Liège le 28 novembre. Cette fois, nous serons accompagnées de Vera Narque, guitariste rock et Steph Wunderbar à l'habillage électro.

11:47 03/11/2015 | Lien permanent | Tags : act-u, lis tes ratures, place net |  Facebook

23
oct

FAN DE...

"Les « selfies » de l’artiste et photographe finlandaise Iiu Susiraja, qui met en scène son corps et sa vie privée comme de simples objets. Avec cette série d’autoportraits étranges, ironiques et décalés, l’artiste explique que la vie quotidienne et sa propre personne sont les meilleures sources d’inspirations, et que les nombreuses critiques qu’elle reçoit pour son travail font partie intégrante du processus créatif, et donnent tout son intérêt à sa démarche."

iiu-Susiraja-selfies-14

iiu-Susiraja-selfies-1

iiu-Susiraja-selfies-2

iiu-Susiraja-selfies-3

iiu-Susiraja-selfies-4

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iiu-Susiraja-selfies-6

iiu-Susiraja-selfies-8

iiu-Susiraja-selfies-9

iiu-Susiraja-selfies-15

iiu-Susiraja-selfies-5

iiu-Susiraja-selfies-10

iiu-Susiraja-selfies-11

iiu-Susiraja-selfies-12

iiu-Susiraja-selfies-13

iiu-Susiraja-selfies-16

All images © Iiu Susiraja / via

15:45 23/10/2014 | Lien permanent | Tags : arts, place net |  Facebook

27
sep

Frontière trouble - Itinéraires flous - parcours humain.

Powerful Portraits of Individuals Before and Directly After Their Death

Walter_Schels_Andersen_01

Name: Jan Andersen.
Age: 27
Born: 21st of February 1978
Died: 14th June 2005, at Leuchtfeuer Hospice, Hamburg

Jan Andersen was 19 when he discovered that he was HIV-positive. On his 27th birthday he was told that he didn’t have much time left: cancer, a rare form, triggered by the HIV-infection. He did not complain. He put up a short, fierce fight – then he seemed to accept his destiny. His friends helped him to personalize his room in the hospice. He wanted Iris, his nurse, to tell him precisely what would happen when he died. When the woman in the room next to him died, he went to have a look at her. Seeing her allayed his fears. He said he wasn’t afraid of death. 

“You’re still here?”, he said to his mother, puzzled, the night he died. “You’re not that well,” she replied. “I thought I’d better stay.”

In the final stages, the slightest physical contact had caused him pain. Now he wants her to hold him in her arms, until the very end. “I’m glad that you stayed.”

Walter_Schels_Sangbastian_11

Name: Elmira Sang Bastian
Age: 17 months
Born: 18th October 2002
Died: 23rd March 2004, at her parent’s home

The tumor was probably already present when Elmira was born. Now it takes up almost the entire brain. “We cannot save your daughter”, the doctor told Elmira’s mother. Elmira has a twin sister. She is healthy. Their mother, Fatemeh Hakami, refuses to give up hope: how can God have blessed her with two children, only to take one of them away from her now? Surely God is the only one who decides whether we still breathe or not?

One sunny day, Elmira stops breathing. “At least she lived”, says her mother. She takes a small white dress from the cupboard, Elmira’s shroud. Her parents then read the Ya Sin – the 36th chapter of the Koran which describes the resurrection of the dead.

Photographer Walter Schels was terrified of death, so much so he refused to see his mother after she passed away. Upon entering his 70s, Schels finally decided to overcome his fear through a bold, bizarre project – photographing individuals before and directly after their death. The black and white portraits are a clinical confrontation with the the unknown, the proximity of the lens to subject unflinching and slightly macabre. Images are paired with startlingly frank accounts of the deceased right before their passing, each person dealing with the inevitable in their own way.

Schels and his partner Beat Lakotta began approaching potential individuals at hospices in Berlin and Hamburg, surprised to find few people said no. The pair were on constant alert, at times running out in the middle of the night to shoot before the undertaker would come. Though emotionally draining, Schels recognized that the series became an important epitaph to people before they actually died. With family and friends unable to cope with the looming truth, terminally ill patients often feel completely isolated.

“It’s so good you’re doing this”, Schels quoted a dying man to The Guardian, “No one else is listening to me, no one wants to hear or know what it’s really like.”

Schels is no longer terrified of death and now sees avoidance of the issue as a serious problem in contemporary society, people unable to be truly present for loved ones when they need them most. Life Before Death is an attempt to confront our worst fears and perhaps, to see those nearing the end in a more human light. When facing death, we all stop pretending.

“Everything that’s not real is stripped away,” he told The Guardian, “You’re the most real you’ll ever be, more than you’ve ever been before.”

Walter_Schels_Behrens_03

Name: Klara Behrens
Age: 83
Born: 2nd December 1920
Died: 3rd March 2004, at Sinus-Hospice, Hamburg

Klara Behrens can tell that she hasn’t got much longer. “Sometimes, I do still hope that I’ll get better,” she says. “But then when I’m feeling really nauseous, I don’t want to carry on living. And I’d only just bought myself a new fridge-freezer! If I’d only known…”

It is the last day of February, the sun is shining, the first bluebells are flowering in the courtyard. “What I’d really like to do is to go outside, down to the River Elbe. To sit down on the stony bank and put my feet in the water. That’s what we used to do when we were children, when we went to gather wood down by the river. If I had my life over again, I’d do everything differently. I wouldn’t lug any wood around. But I wonder if it’s possible to have a second chance at life? I don’t think so. After all, you only believe what you see. And you can only see what is there. I’m not afraid of death. I’ll just be one of the million, billion grains of sand in the desert. The only thing that frightens me is the process of dying. You just don’t know what actually happens.”

Walter_Schels_Kotzahn_09

Name: Wolfgang Kotzahn
Age: 57
Born: 19th January 1947
Died: 4th February 2004, at Leuchtfeuer Hospice, Hamburg

There are colorful tulips brightening up the night table. The nurse has prepared a tray with champagne glasses and a cake. It’s Wolfgang Kotzahn’s birthday today. “I’ll be 57 today. I never thought of myself growing old, but nor did I ever think I’d die when I was still so young. But death strikes at any age.”

Six months ago the reclusive accountant had been stunned by the diagnosis: bronchial carcinoma, inoperable. “It came as a real shock. I had never contemplated death at all, only life,” says Herr Kotzahn. “I’m surprised that I have come to terms with it fairly easily. Now I’m lying here waiting to die. But each day that I have I savor, experiencing life to the full. I never paid any attention to clouds before. Now I see everything from a totally different perspective: every cloud outside my window, every flower in the vase. Suddenly, everything matters.”

Walter_Schels_Cao_05

Name: Maria Hai-Anh Tuyet Cao
Age: 52
Born: 26th August 1951
Died: 15th February 2004, at Leuchtfeuer Hospice, Hamburg

Maria Hai-Anh Tuyet Cao’s experience of dying would doubtless have been very different, had she not absorbed the teachings of the Supreme Mistress Ching Hai. The Mistress says: “All that is beyond this world is better than our world. It is better than anything we can or cannot imagine.”

Frau Cao wears the portrait of the Mistress round her neck. Under her guidance, she has already visited the afterlife in meditation. Her call to the next world cannot be far off: her pulmonary alveoli are failing. Yet she appears serene and cheerful. “Death is nothing”, says Frau Cao. “I embrace death. It is not eternal. Afterwards, when we meet God, we become beautiful. We are only called back to earth if we are still attached to another human being in the final seconds.” Hai-Anh Cao prepares for this moment every day. She wants to achieve a sense of total detachment at the moment of death.

Walter_Schels_Schmitz_12

Name: Heiner Schmitz
Age: 52
Born: 26th November 1951
Died: 14th December 2003, at Leuchtfeuer Hospice, Hamburg

Heiner Schmitz saw the affected area on the MRI scan of his brain. He realized immediately that he didn’t have much time left. Schmitz is a fast talker, highly articulate, quick-witted, but not without depth. He works in advertising. Heiner’s friends don’t want him to be sad. They try to take his mind off things. At the hospice, they watch football with him just like they used to do. Beers, cigarettes, a bit of a party in the room. The girls from the agency bring him flowers. Many of them come in twos, because they don’t want to be alone with him. What do you talk about with someone who’s been sentenced to death? Some of them even say ‘get well soon’ as they’re leaving. ‘Hope you’re soon back on track, mate!’

“No one asks me how I feel”, says Heiner Schmitz. “Because they’re all shit scared. I find it really upsetting the way they desperately avoid the subject, talking about all sorts of other things. Don’t they get it? I’m going to die! That’s all I think about, every second when I’m on my own.”

Walter_Schels_Bening_04

Name: Waltraud Bening
Age: 80
Born: 29th May 1922
Died: 26th January 2003, at Ricam Hospice, Berlin

When her time does come, Waltraud Bening seems to have a presentiment that this is the moment: she has to call her husband to come to her bedside immediately, otherwise it will be too late. She had been putting off this encounter till the very last minute. She would rather have died at home, but her husband didn’t feel he could cope with it. She was hurt. She felt that there was no need for him to come to the hospice at all. “He was always such a tyrant,” says Frau Bening, “I never could stand up to him.” She gets upset just thinking about it.

Frau Bening spends three weeks sitting up in the bed, on four down-filled quilts, just like the Princess and the Pea. She drinks champagne miniatures from her feeding cup, and is happy to be entertained by her children and banter with her carers. Then, one day she becomes restless and tearful. “I want my husband to come,” she says. He is sitting by her bedside soon after. After their final conversation, the contents of which remain a mystery, Frau Bening stops drinking; she dies the following day without any apparent distress.

Walter_Schels_Foege_06

Name: Michael Föge
Age: 50
Born: 15th June 1952
Died: 12th February 2003, at Ricam Hospice, Berlin

Michael Föge, tall, athletic and eloquent, was appointed as Berlin’s first Commissioner of Cyclists. He was happy. A hundred guests attended his fiftieth birthday celebration. Soon after, he couldn’t remember his words when he was making a speech. The doctors discovered a brain tumor. Within a matter of months the tumor had destroyed his speech centre, paralyzed his right arm and the right side of his face. In the hospice, day by day Föge is becoming more sleepy. One day he won’t wake up.

Whilst Michael Föge retained the power of speech, he never talked about his feelings or his inner life. Now he is no longer able to do so. “I wonder what is going on inside his head,” his wife asks herself.

Walter_Schels_Genthe_07

Name: Elly Genthe
Age: 83
Born: 4th August 1919
Died: 11th January 2003, at Ricam Hospice, Berlin

Throughout her life Elly Genthe has been a tough, resilient woman. She has always managed on her own. Often she has said she would rather die than not be able to take care of herself. That time has now come and she remains undaunted. Full of praise for the hospice and the quality of the care she is receiving, she hopes death will come quickly.

A few days later she senses her strength is ebbing away. Suddenly she clutches her granddaughter’s hand: “Don’t go! I’m suffocating!” She begs the nurses: “Please, breathe for me!” Elly Genthe needs morphine – a drug secreted by the kidneys – but because her kidneys have been consumed by cancer, her morphine levels fluctuate: sometimes she sleeps all day; and there are moments when she sees little men crawling out of the flower pots – they’ve come to kill her. “Get me out of here”, she whispers as soon as anyone holds her hand. “My heart will stop beating if I stay here. This is an emergency! I don’t want to die!”

Walter_Schels_Lauermann_10

Name: Michael Lauermann
Age: 56
Born: 19th August 1946
Died: 14th January 2003, at Ricam Hospice, Berlin

Michael Lauermann was a manager. A workaholic. One day he just keeled over. At the hospital they said: “Brain tumour, inoperable.” That was six weeks ago.

Lauermann doesn’t want to talk about death, he’d rather talk about his life. How he managed to escape the narrow confines of his native Swabia and go to Paris. Studies at the Sorbonne. Baudelaire, street riots, revolution, women. “I really loved life,” says Lauermann. “Now it’s over. I’m not afraid of what’s coming.” There is no one by his side, that’s his choice. That’s not the way his life was. But he has no regrets. He even derives a certain enjoyment from this advanced stage of the illness. Free and easy, a kind of weightlessness. He feels as if his body were fading away. He is not in pain. “I will soon die”, Lauermann says.

Three days later there is a candle burning outside the door of his room. It indicates he has passed away.

All images © Walter Schels

14:59 27/09/2014 | Lien permanent | Tags : place net, arts, humoeurs |  Facebook

10
aoû

Feminist Science Fiction

Feminist Science Fiction Is the Best Thing Ever

Written by

Claire L. Evans

Futures Editor

Hello, ladies. Are you into science fiction? 

Consider The Female Man, a 1970 science fiction novel by the late Joanna Russ, which takes place in four worlds inhabited by four different women who share the same genotype and whose names all start with the letter J. There’s Jeannine Dadier, who lives in 1969 in an America that never recovered from the Great Depression; Joanna, also in 1969, but in an America like ours; Janet Evason, an Amazonian beast who lives in an all-female world called Whileaway; and Alice Reasoner, or “Jael,” a warlord from a future where women and men have been launching nukes at each other for decades.

The first time I read The Female Man, I felt like the hotel room carpeting had been ripped out from beneath my feet, revealing a glittering intergalactic parquet that had somehow been there all along. After all, I considered myself to be a sci-fi buff of the highest order, but I had come to it, like many young readers, through the space operas and adventure tales of Isaac Asimov, Arthur C. Clarke, and Ray Bradbury. I still love these writers, of course, but the idea that science fiction—my genre of choice—could actually be written to me, about me, was unknown.

Those were boy stories. The Female Man is not a boy story.

Instead, The Female Man is one of the many wonderful, provocative, and maddeningly nonlinear science fiction novels which emerged alongside second-wave feminism in the 1960s and 70s. It might seem outré, but few mediums are as effective at articulating the aspirations of feminism. Science fiction is, after all, defined by its capacity to construct believable alternate realities: among these, why not worlds free of sexism, or utopias beyond gender? Such fabulations can be as exotic as lunar colonies and cities populated by androids. And, of course, women are aliens—who better to write alien stories?

Two classics of the feminist science fiction canon. 

Science fiction tells us more about the present than the future; any Trekkie will attest to the truth of this statement. For all its forays where nobody has gone before, the primary conflicts of the original Star Trek series were the conflicts of the 1960s: race relations, imperialism, and the Cold War. The same goes for feminist science fiction. Novels by Joanna Russ, Marge Piercy, Ursula K. Le Guin, and Octavia Butler were the literature of a movement, speaking to the fears and desires of women in the final decades of the 20th century. 

Science fiction has long been a boy’s club. Consider what endures from its first major appearance in popular culture, as lurid genre fiction printed in pulp magazines and paperbacks: zap guns, rockets, virile space colonists, and abducted women, caught in the writhing tentacles of some interchangeable extraterrestrial foe. The derring-do of Buck Rogers and the steely resolve of John Carter were sold to young men reading Popular Mechanics and pulp comics—not to their sisters or mothers. For the feminist science fiction writers of the early 1970s, the temptation to break in and subvert this playground, to tweak its phallic rockets and intergalactic imperialism, proved irresistible.   

It wasn’t without precedent, incidentally. Frankenstein, which according to many critics is the first true science fiction novel, was written by a 21-year-old woman named Mary Shelley. Women penning utopian literature in the nineteenth and early twentieth century often addressed the issues relevant to first-wave feminism; in the 1905 novel Herland, a single-sex utopia is described as the ideal social order, free from war.

Which is to say that there’s nothing objectively masculine about science fiction. There’s nothing objectively anything about it; science fiction is a blank slate. It often takes place in the future, after all, a place to which no gender, nation, doctrine, or technology can stake a true claim. 

Sure, there have always been women in science fiction, but they were frequently of the "damsel in distress" persuasion. Image via Pulp Covers.

Back to The Female Man. Although some of the book takes place in the future, no single woman’s reality is “our” past or “our” future. Rather, they’re all manifestations of the same woman, spread out over time. They are potentialities, the multitudes contained in every woman. As Russ writes, “to resolve contrarieties, unite them in your own person.” It’s a good metaphor for what literature does, too, which is give us access to the manifold strangeness of the world and its possibilities, to say nothing of the possibilities of a world without constraints determined by gender. 

Science fiction in particular offers us worlds so different from our own that we, as readers, can feel suddenly nauseous and disoriented; genre critics call this sensation “cognitive estrangement.” And yet it always crashes back down to confront the problems of the present in a specifically cognitive way.

That is its function. Its strangeness clarifies our normal—and makes it, too, seem strange. By giving us glimpses into alternate worlds, places where the cultural physics we take for granted are skewed 180 degrees, science fiction helps us to see our actual position without bias. “Feminist science fiction is a key,” writes the critic Marleen S. Barr, “for unlocking the patriarchy’s often hidden agendas.”

Alice B. Sheldon, a female science fiction writer who wrote under the male pseudonym James Tiptree, Jr. for decades. A literary prize is now given in her name for books that explore gender through science fiction and fantasy. Photo via NPR.

One particularly effective way to unlock those hidden agendas—or simply to worldbuild outside of the constraints of male-dominated society—is to imagine single-sex worlds. Beginning with the Amazons of Classical antiquity, there is a long tradition of female-only places in literature and mythology, and many canonical books from the slim but robust canon of mid-70s feminist SF take place in such worlds: 

The Female Man, of course, Marge Piercy’s Woman on the Edge of Time, Jayge Carr’s Leviathan’s Deep, where men are hapless concubines and errand boys, Sally Gearhart’s The Wanderground, where women have fled male-dominated cities for the wilderness, and the oeuvre of Suzy McKee Charnas. Other novels from the period, like Ursula K. Le Guin’s transformative The Left Hand of Darkness, about a planet of sexless androgynes, take a more fluid approach to gender. 

In all of these cases, the question is the same: what happens when men are removed from the equation? Perhaps there is world peace. Perhaps lesbian relationships become the norm. Perhaps dense matrilineal rituals replace our existing societal customs. Perhaps the reproduction of the species is achieved in a different manner, sexlessly—or through a new kind of sex. Perhaps it’s a dystopia.

There’s no way of knowing for sure, but the simple speculation forces us to reconsider the things we take for granted about our world. For example, imagine living in an all-female colony your whole life, raising only female children, accustomed to a government and an economy run by women, and seeing a man for the very first time. He would appear to be an alien, as in this description from Joanna Russ' iconic story When It Changed:

They are bigger than we are. They are bigger and broader...They are obviously of our species but off, indescribably off, and as my eyes could not and still cannot quite comprehend the lines of those alien bodies, I could not, then, bring myself to touch them...I can only say they were apes with human faces.

Talk about cognitive estrangement! It’s not surprising that science fiction has been variably discovered, in wave after wave, by communities seeking a creative tool for cultural critique. Its boundaries lie wherever the last person left them. Before the feminists, there were the New-Wavers, who ported literary techniques and the psychedelic insights of the early 60s over to the genre, in the hopes of refracting some light around the uptight establishment.

After them, the deluge: Afrofuturistscyberpunks, countless subgenre writers tinkering with the tropes of alienness to make a point. Regardless of the agenda, however, science fiction writers always use the same mechanism: change the world in some significant way, tip it on its side. What tumble loose are our preconceptions. Where they land, the ground is never quite so solid again.

 

00:17 10/08/2014 | Lien permanent | Tags : place net |  Facebook

9
aoû

witch and craft

The Malleus Maleficarum (Latin for “The Hammer of Witches”, or “Hexenhammer” in German) is one of the most famous medieval treatises on witches. It was written in 1486 by Heinrich Kramer and Jacob Sprenger, and was first published in Germany in 1487. Its main purpose was to challenge all arguments against the existence of witchcraft and to instruct magistrates on how to identify, interrogate and convict witches.

Some modern scholars believe that Jacob Sprenger contributed little if anything to the work besides his name, but the evidence to support this is weak. Both men were members of the Dominican Order and Inquisitors for the Catholic Church. They submitted the Malleus Maleficarum to the University of Cologne’s Faculty of Theology on May 9, 1487, seeking its endorsement.

While general consensus is that The Catholic Church banned the book in 1490 by placing it on the Index Librorum Prohibitorum (“List of Prohibited Books”), the first Index was, in fact, produced in 1559 under the direction of Pope Paul IV. Therefore such claims are dubious, at best. I believe people are confusing the fact that the Inquisition reportedly denounced Heinrich Kramer in 1490 as being a ban upon the Malleus Maleficarum. Thus far, I’ve yet to find the Malleus on any Index Librorum Prohibitorum (copies of which are available on the Internet – most notably the 1559 and 1948 editions).

The papal bull, which appeared at the beginning of the book, could rightly be said to be misleading, because it addresses Kramer’s and Sprenger’s authorities as Inquisitors in certain lands, not the creation of the Malleus Maleficarum. The Catholic Encyclopedia states “Innocent’s Bull enacted nothing new. Its direct purport was simply to ratify the powers already conferred upon Henry Institoris and James Sprenger, inquisitors, to deal with persons of every class and with every form of crime (for example, with witchcraft as well as heresy), and it called upon the Bishop of Strasburg to lend the inquisitors all possible support.” So Kramer treated the bull as if it was an endorsement of his book, but it was not. However, the inclusion of the bull certainly gave the impression that the Malleus Maleficarum had been granted approval by Pope Innocent VIII.

Some believe that the Letter of Approbation from The Faculty of Theology of the University of Cologne was a falsified document. General consensus is that Heinrich Kramer brought the Malleus Maleficarum before the University of Cologne requesting an endorsement, but was rebuffed. Tradition has it that Kramer forged the document that he included with his work, that he and James Sprenger parted ways on bad terms, and that Kramer was denounced by the Inquisition in 1490. One would expect, however, that had such a document been forged, Mr. Kramer would not have subsequently been able to conduct very popular lectures in Venice starting in 1495, much less be empowered to proceed against the Waldensians and Picards in 1500.

http://www.malleusmaleficarum.org/

13:27 09/08/2014 | Lien permanent | Tags : lis tes ratures, place net |  Facebook

13
jui

Deux lieux d'à côté

Le blog de la CoUrBE du CUBE est aléatoire.
Il remplit ses fonctions d'agenda, d'archives de ce que j'ai vu et ce que j'aimerais voir.
En greffes, il y a les autres espaces nourris.

y compris Latérite&Trottoir (correspondance avec Perrine Le Querrec)
&
SonAutreOeil (photos d'un oeil oblique peu stratégique).

 

Si jamais.

18:10 13/07/2014 | Lien permanent | Tags : act-u, place net |  Facebook

4
mar

non mais allez quoi

ce blog a plus de dix ans, quand même.

IMG_6558.jpg

16:44 04/03/2014 | Lien permanent | Tags : place net |  Facebook

2
jan

Clifford Ross - pour écrire.

HURRICANE SCROLL I
Archival Pigment Print
36 x 17" (paper) 2001

HURRICANE SCROLL II
Archival Pigment Print
36 x 17" (paper) 2001

HURRICANE SCROLL VI
Archival Pigment Print
36 x 17" (paper) 2001

 

Clifford Ross - Hurricanes, 2009

See more Clifford Ross posts here.

- See more at: http://arpeggia.tumblr.com/tagged/clifford-ross#sthash.k9Ym8wrq.dpuf

11:28 02/01/2014 | Lien permanent | Tags : place net, humoeurs |  Facebook