Showing posts with label Übertreibungskunst. Show all posts
Showing posts with label Übertreibungskunst. Show all posts

Wednesday, December 5, 2012

Recent notes

8/18
“Leerheit mit Munterkeit” — attempted un-translation of x quoting Müller quoting Brecht… His comments that the Giacometti room at the Pompidou was a “temple of deep-breathing” where one could escape from the “emptiness with alacrity” of bourgeois society.

Müller:
"What counts is the example, death means nothing."
"Optimismus ist nur ein Mangel an Information"

Brecht’s definition of the special nature of the book-- “Die geheiligte Ware Buch”, a sacred commodity
Beckett quoted by Unseld:”I have the feeling that there is nothing to express, nothing with which one could express it. No force of expression either, no desire to express anything along with the obligation to express it.”

8/19
Where in the world does wisdom reign over vanity?
How is it possible that music and movies have become so, so bad?

8/29
Ponge: Monde muet, ma seule patrie. Silent world, my only fatherland.

“In die Natur hinauszugehen ist das Höchste.”

K. Bayer:
“Meine Damen und Herren, verehrte Anwesende, lieber Herr Präsident.
Rauchen verboten.”

8/30
Kolleritsch’s dissertation: “Eigentlichkeit und Uneigentlichkeit in der Philosophie Martin Heideggers”

9/4
John Ford: “He always had music played on the set and would routinely break for tea (Earl Grey) at mid-afternoon every day during filming. He discouraged chatter and disliked bad language on set; its use—especially in front of a woman—would typically result in the offender being thrown off the production. He rarely drank during the making of a film, but when a production wrapped he would often lock himself in his study, wrapped only in a sheet, and go on a solitary drinking binge for several days, followed by routine contrition and a vow never to drink again.”

“One famous event, witnessed by Ford's friend actor Frank Baker, strikingly illustrates the tension between the public persona and the private man. During the Depression, Ford—by then a very wealthy man—was accosted outside his office by a former Universal actor who was destitute and needed $200 for an operation for his wife. As the man related his misfortunes, Ford appeared to become enraged and then, to the horror of onlookers, he launched himself at the man, knocked him to the floor and shouted "How dare you come here like this? Who do think you are to talk to me this way?" before storming out of the room. However, as the shaken old man left the building, Frank Baker saw Ford's business manager Fred Totman meet him at the door, where he handed the man a cheque for $1,000 and instructed Ford's chauffeur to drive him home. There, an ambulance was waiting to take the man's wife to the hospital where a specialist, flown in from San Francisco at Ford's expense, performed the operation. Some time later, Ford purchased a house for the couple and pensioned them for life. When Baker related the story to Francis Ford, he declared it the key to his brother's personality.”

O. Wiener:
"die welt ein sirup aus der sprache unsrer väter"

9/13 
Proust: “I do my intellectual work within myself, and once with other people, it's more or less irrelevant to me that they're intelligent, as long as they are kind, sincere, etc."

9/17
Debord, Panegyrique:  “It is understood that all this has left me very little time for writing, and that is exactly as it should be: writing should remain a rare thing, since one must have drunk for a long time before finding excellence.”
“‘Beautiful as the trembling of the hands in alcoholism,’ said Lautréamont. There are mornings that are stirring but difficult.”

11/8
Maybe now that I’m thirty everyone will finally leave me the hell alone.
Progression: from demand for true name, to realization that every name is false.
Being successful means being able to not give a damn what anyone else thinks about you.
"Oh, the fault’s in me, yes."

from Pierre Étaix, Le Soupirant (1962)

Thursday, January 12, 2012

Standing in my own way

“This is not a competition”—Words to live by. An unwillingness to compete. Sports are the only real competition. Life is meant to be lived together, a communal effort. I isolate myself from a culture of individualism. The true communal culture will be the one that brings me out of my shell. The communal culture is built on humility. Life is not a competition, except when it is, and usually these moments are preceded by the statement “Get ready for the competition.” There is an ethical function in this.

My boss tells me “Sie stehen sich selbst im Weg,” which translates to “you are standing in your own way.” My instantaneous response: that’s a great saying, “Ich fühle mich, dass ich mein Leben lang so gelebt habe,” I feel like I have stood in my own way for my entire life, whereupon she answers, “Das kann ich wohl glauben,” I can believe it. She says this frowning, whereas my response was said through a smile, reflecting a bliss which relates to the joy of Emil Cioran when he remembers what he already knows:
‘Tout est démuni d’assise et de substance’, je ne me le redis jamais sans ressentir quelque chose qui ressemble au bonheur. L’ennui est qu’il y a quantité de moments où je ne parviens pas à me le redire. [‘Everything is without firm basis, without substance’: I never repeat it to myself without feeling something resembling happiness. The trouble is that there are many moments when I do not repeat it to myself.] (Œuvres 1314)
Later, on the bus home, I glance at my reflection (I am wearing a hat with a brim and grasping a canvas strap to maintain my balance) and think of a response (too late, as is often the case): “Aber das ist ja la condition humaine, sich selbst im Weg zu stehen,” but that is indeed the human condition, to stand in one’s own way (and it should not be any other way).
We stand in our own ways on two different levels: the physical and the spiritual (understood in the broadest sense). When our bodies stand in our ways we are reaching the limit of our agency, the limits of our own control over our various body parts. To cross this line condemns us to injury or death. It is inhuman to cross the line set before us by our own body. Spiritually the situation is similar: when our spirits stand in our ways we are reaching the limit of our aspiration, the limits of our own ambitious strivings. To cross this line condemns us to cynicism or sin. It is unethical to cross the line set before us by our own spirit.

Tuesday, January 10, 2012

TB Wave / Kleiner Österreichischer Staatspreis

Es ist nichts zu loben, nichts zu verdammen, nichts anzuklagen, aber es ist vieles lächerlich; es ist alles lächerlich, wenn man an den Tod denkt. [...] Die Zeitalter sind schwachsinnig, das Dämonische in uns ein immerwährender vaterländischer Kerker, in dem die Elemente der Dummheit und der Rücksichtslosigkeit zur tagtäglichen Notdurft geworden sind. Der Staat ist ein Gebilde, das fortwährend zum Scheitern, das Volk ein solches, das ununterbrochen zur Infamie und zur Geistesschwäche verurteilt ist. Das Leben Hoffnungslosigkeit, an die sich die Philosophien anlehnen, in welcher alles letzten Endes verrückt werden muß. Wir sind Österreicher, wir sind apathisch; wir sind das Leben als das gemeine Desinteresse am Leben. [...] Wir haben nichts zu berichten, als daß wir erbärmlich sind, durch Einbildungskraft einer philosophisch-ökonomisch-mechanischen Monotonie verfallen. Mittel zum Zwecke des Niedergangs, Geschöpfe der Agonie, erklärt sich uns alles, verstehen wir nichts. Wir bevölkern ein Trauma, wir fürchten uns, wir haben ein Recht, uns zu fürchten, wir sehen schon, wenn auch undeutlich im Hintergrund: die Riesen der Angst. Was wir denken, ist nachgedacht, was wir empfinden, ist chaotisch, was wir sind, ist unklar. Wir brauchen uns nicht zu schämen, aber wir sind auch nichts und wir verdienen nichts als das Chaos. 
____________ 
There is nothing to praise, nothing to damn, nothing to accuse, but much that is ridiculous; everything is ridiculous, when one thinks about death. [...] Our era is feeble-minded, the demonic within us a perpetual national prison, in which the elements of stupidity and carelessness have become a daily need. The state is a construct which is forever condemned to miscarriage, the people one that is endlessly condemned to infamy and feeblemindedness. Life is a hopelessness, on which the philosophies are dependent, in which all must finally become insane. We are Austrians, we are apathetic; we are life as the general disinterest in life. [...] We have nothing to report, except that we are pitiful, brought down by the imaginative powers of a philosophical-economic-mechanical monotony. Means to a destructive end, creatures of agony, everything is explained to us and we understand nothing.  We populate a trauma, we are frightened, we have a right to be frightened, we see already, if only as dim shapes in the background: the giants of fear. What we think is already thought, what we feel is chaotic, what we are is unclear. We don't need to be ashamed, but we are nothing and we deserve nothing other than chaos.
Excerpted from the acceptance speech for the Österreichischer Staatspreis, 1968.
Translation altered from that of Carol Brown Janeaway in My Prizes.

Monday, January 9, 2012

Berlin nach Bamberg, 14. Juli 2011



[English translation follows below]

Ich fühlte mich schlechter als erwartet nach 5 Biere und 5 Stunden Schlaf. Vielleicht war das kanadische Pizza daran schuld. Das Wasser mit Kohlensäure war mir übel. Die Karbonisation brachte nicht das gewöhnliche Gefühl der Erleichterung. Nur Caspars afrikanische Disko half. Ich könnte gar nicht essen. Der Birnesaft war aber gut.
Ich war sehr überrascht, dass ich pünktlich am Nikolassee angekommen war. Ich kaufte ein Ciabatta-Brötchen, obwohl das Essen noch völlig undenkbar war. Herr Kajawski und die zwei Mitfahrer waren da. Wir stiegen in das alte Mercedes hinein und ging los.
Endlich: Erleichterung, wie es mit jeder Abfahrt gibt. Besonders mit Zug oder Bus, ein unsinniges Glück, nur weil man sich in eine geplante Richtung bewegt. Es ist ja gerade in diesem Augenblick, dass man sich glaubt, ein “Mann der Welt” zu sein. Dieses Behagen mit dem endlichen Abfahrt dauert aber immer nur kurz.
So dachte ich, als wir die A9 entlang, weg von Berlin fuhren. Und natürlich, ging es mir bald wieder übel. Das Gefühl der erleichternden Bewegung war wegen der im Wagen wachsenden Hitze durchaus ausgelöscht. Ich trank kleine Schlückchen Wasser, und schaute auf den unbeweglichen Horizont. Meine Lust auf Bewegung war mit einer Lust auf Unbeweglichkeit ersetzt.
Mein Körper war heiß. Ich saß neben mir. Ich versuchte, nichts zu denken, aber fehlte. Ich schloss die Augen. Eine ganze Reihe von Bilder kam mir vor meinem inneren Auge vor, ohne dass ein einziges Bild mir gefiel. Ich versuchte, etwas Musik anzuhörzen, aber war ebenso enttäuscht. So wie die inneren Bilder, passte eine Reihe von Lieder, ohne dass ein einziges Lied mir gefiel. Das einzige Vergnügen, das ich da im heißen Auto kriegte, war von einem Lied dem nächsten Lied zu springen. Anstatt an etwas Vergnügen zu finden, war es für mich nur möglich, eine Möglichkeit des Vergnügens zu entdecken, und gerade an dieser Entdeckung eine Art Vergnügen zu finden, noch wenn das ursprüngliche Vergnügen nie verwirklicht wurde. Wenn man neben sich steht, wie ich auf diesem Morgen, versteht man nicht das Vergnügen, sondern nur die Möglichkeit des Vergnügens. Plötzlich sagte der Kajawski, dass wir 200 km gefahren seien, welche die Hälfte der Reise sein soll. Ich antwortete rasch, dass ich das Fenster aufmachen wollte.
Der frische Luft tat mir endlich gut. Die Landschaft war bayrisch geworden, und das heisst, dass es hübsche, grüne Hügeln gab, welche sehr erfrischend nach brandenburgischer Flachheit waren. Ich hatte dann ein plötzliches Gefühl der Südlichkeit, das für mich eine Erleichterung war, obwohl es noch heiß im Wagen war. Ich atmete tief, aber sehnte noch nach Stillsein. Ich aß ein Hüstenbonbon, das Caspar mir früher gegeben hat, und schaute wieder auf den wellenförmigen Horizont.
Als die Kräuter des Bonbons zu wirken begann, und als ich danach endlich ein bisschen Hunger kriegte, kamen wir plötzlich zum absoluten Halt. Wegen eines Unfalls gab es unbeweglichen Stau. Die andere machten ihre Fenster auf, und ein kühles Lüftchen strömte durch den Wagen. Ich fühlte mich endlich in Ordnung, und aß mein Ciabatta-Brötchen mit erneute Energie. Mein Verlangen nach Stillsein und Kühlsein, welche mich für 2 Stunden ununterbrochen gequält hat, war endlich befriedigt. Mit den offenen Fenstern fühlt es sich wie ein Picknick.
Um den Stau zu vermeiden, stiegen wir am nächster Ausfahrt aus, und fuhren durch kleine bayrische Landstraßen. Es kamen mir im Kopf wunderschönen Gedanken. […] Alles, was ich dachte, gefiel mir, noch wenn es später als Unsinn vorkamen. Ich wurde glücklich. Glücklich werden heisst Unsinn wieder Bedeutungsvoll zu finden.
Glücklich sein heisst unsinnig sein. Wenn es einem übel geht, kommt einem alles als Unsinn vor. Unglücklich sein heisst nüchtern sein. Wenn man wieder unsinnig wird, kommt einem alles wieder als sinnvoll vor.
Man entkommt diese Nüchternheit nicht nur mit Alkohol, sondern auch mit Kultur, und das heisst auch mit der Vernunft. Die Vernunft setzt man wieder in die Welt des Unsinns ein. Philosophie war nie ein Versuch, nüchtern zu werden, sondern das Versuch, den Unsinn gesetzlich zu ordnen. Die Philosophie hat den Unsinn zum Gesetz erhoben. Sie hat das mit der Sprache gemacht.
Glücklich werden—und das heisst die Nüchternheit zu entkommen—heisst in die Sprache wieder einzutreten. So trat ich auf den bayrischen Landstraßen wieder in die Sprache ein. In der Sprache kommt der Unsinn als sinnvoll vor. Nüchtern werden heisst aus der Sprache hinaus zu treten, und dann wird es einem übel.
Nur in der Sprache geht es einem besser. Wir stürzen in die Sprache hinein, aus der Nüchternheit hinaus, und alles kommt es wieder sinnvoll vor. Nur im Betrug entkommen wir den Unsinn.

__________________


I felt worse than expected after five beers and five hours of sleep. Maybe it was the fault of the Canadian pizza. The mineral water did me no good. The carbonization didn’t bring the normal feeling of relief. Only Caspar’s African disco helped. I couldn’t eat at all. The pear juice, however, was good.
I was extremely surprised that I arrived at Nikolassee on time. I bought a ciabatta roll, even though eating was still out of the question. Herr Kajawski and the other two passengers were there. We stepped into the old Mercedes and took off.
Finally: relief, as accompanies any departure. Especially by bus or train, a nonsensical happiness, just because one is moving in a planned direction. It’s exactly at this moment that one believes oneself to be a real “man of the world.” Yet this satisfaction that one feels when finally departing always lasts only a short time.
These were my thoughts as we headed along the A9, away from Berlin. And of course, I soon started to feel bad again. The feeling of alleviating movement was fully extinguished due to the rising heat in the car. I drank small sips of water, and looked at the unmoving horizon. My joy at movement was replaced by a longing for stillness.
My body was hot. I sat next to myself. I tried to think nothing, but failed. I closed my eyes. A whole series of images flashed before my inner eye, without a single image appealing to me. I tried to listen to some music, but was similarly let down. Like the inner images, a whole series of songs passed by without a single song appealing to me. The only pleasure that I had in the car was skipping from one song to the next. Instead of finding pleasure in something, it was only possible for me to uncover a possibility of pleasure, and thus to find pleasure with this uncovering, even when the originally anticipated pleasure is never realized. When one stands next to oneself, like me on this morning, one doesn’t understand pleasure, rather one understands only the possibility of pleasure. Suddenly, Herr Kajawski tells us that we’ve gone 200 kilometers, which is half of the distance of our journey. I answered abruptly that I wanted to open the window.
The fresh air finally did me good. The landscape had become Bavarian, and that means that there were pretty, green hills, which were very refreshing after the flatness of Brandenburg. I had then a sudden feeling of southernness, which was a relief for me, even though it was still hot inside the car. I breathed deeply, but I yearned for stillness. I ate a cough drop, which Caspar had given me, and looked again at the undulating horizon.
As the herbs of the cough drop began to work, and as I finally got a bit hungry, we came suddenly to a total stop. Due to an accident there was unmoving traffic. The others opened their windows, and a cool breeze streamed through the car. I finally felt alright, and I ate my ciabatta roll with renewed energy. My desires for stillness and coolness, which had tormented me uninterruptedly for two hours, were finally satisfied. With the windows open it felt like a picnic.
In order to avoid the traffic, we took the next exit, and continued along small Bavarian country roads. Wondrous thoughts came to me in my head. […] Everything that I thought appealed to me, even when it later appeared to me as complete nonsense. I became happy. Becoming happy means once again finding nonsense meaningful.
Being happy means being nonsensical. When one feels unwell, nothing seems to make sense. To be unhappy means to be sober. When one becomes nonsensical, everything seems to make sense again.
One escapes this sobriety not only with alcohol, but also with culture, and that means with reason. Reason sets one once again into the world of nonsense. Philosophy was never the attempt to become sober, but rather the attempt to statutorily organize nonsense. Philosophy elevated nonsense to the level of law. It did this using language.
Becoming happy—and that means escaping sobriety—means entering once more into language. In this way I entered once more into language on small Bavarian country roads. In language nonsense appears sensical. Becoming sober means stepping outside of language, and then one feels unwell.
Only in language does one feel better. We plummet into language, out of sobriety, and everything seems to make sense again. Only in delusion do we escape nonsense.

Wednesday, September 28, 2011

Different Prizes pt. 2

Replying to a previous post, Brandon (The Enthusiast) writes:
I've been thinking more and more on those prizes— those "external goods" dangling around here and New York, that seem to keep working their way further and further inward— and it makes me really stick closer to that Internal Good.
I hadn’t considered the issue precisely as Brandon has portrayed it here: for me, I was thinking of Doc in the Boston Aquarium (from Robert Kramer’s Route One USA) musing on the “different prizes” of the culture that strays from the standard ideal of bourgeois America. In Doc’s (and my) original conception, prizes are differentiated between cultural norms, and it is in some sense the burden of those who have devoted their lives to a particular culture that they may only strive towards their culturally-determined prizes. Different pathways lead to different prizes, neither are objectively worth more. Doc’s goal in this little pep-talk is to remind the non-bourgeois individual, whose heart is heavy when he catches a glimpse of the comfortable, domestic life from which he has opted out (I use the masculine, because it seems likely that Doc is directing his talk self-ward, or possibly at director Kramer), that his choice of a different path also brings with it certain opportunities, its own lonely, precarious, yet noble prizes as well.
Brandon’s conception of the “external good” versus the “inner good” considers the situation from within a single cultural milieu, separating the prizes of an endeavor itself (in the university, the love of learning, the φιλοσοφία) from those which stem from the social and economic factors which affect those who partake in said endeavor (the cushy jobs, salaries, stipends, wine and cheese receptions, esteem of peers, cultural capital, etc.).
I’m sure Brandon is thinking also of the art world in NYC, where the actual artworks on the walls are often the least important things at a gallery opening—and are duly ignored by the majority of the socializing crowd. Artworks are sold not for their aesthetic value, but for the current position of the artist/gallery on the market. This position is always determined 90% by pure marketing, 10% by the quality of the artist’s oeuvre as a whole (although there’s no accounting for taste), and 0% by the quality of the work in question. No one would deny this, I think. (And if I sound bitter, it’s because I am: Chelsea is an absolute shit-show these days).
In the academy, the situation is different, and perhaps much more naive (which is not necessarily a bad thing: cynical collaboration is sometimes much worse). It is, in fact, pounded into the heads of incoming students that they are here to learn, to enrich their minds, to become better people. The motto "non scholae sed vitae discimus" (we learn not for school, but for life) provides the cover for what is at heart a training in docility and discipline, picking up enough cultural capital along the way to clear the path towards the highest-paid positions of bourgeois society. The ones who really get fooled return to the fray, and let themselves be trained to do such training, navigating an intricate obstacle course of groveling and pedantic ostentation, ending up with tenure in middle America. The first thing thrown aboard is this ideal of learning for life—the pure encounter between living man and printed word—rather than for school. Unlike the art world insularity, which is openly accepted, the academy never acknowledges the fact that it operates as an enclosed economy, that learning occurs as a stepping stone not towards enlightenment, but towards academic success—the key which (supposedly) unlocks the reservoirs of capital.
All this what I’ve just said is pure Übertreibung (exaggeration), yet to quote Thomas Bernhard, “ohne Übertreibung kann man gar nichts sagen.”
At any rate, I think its important to point out that there are certain ‘prizes’ in the academic world which have naught to do with the “inner good” of the literary experience, and everything to do with the sociological function of the university in present-day capitalistic society. Unlike the art-world, which (for better or for worse) accepts its new role (however ironically), the academy naively presumes idealism where there is only cynicism.