Dada's Phenomenal Machinery

 at Pirates 
 Corry Shores has written a long and detailed  text


  


which gets to the several hearts of the matters about dada machinery and the delinking and non associative connections of the whole and part the part whole  

of dada its .
 its there to here its over there and the wealth of illustration to its action acting

it's by far the most detailed energetic informed reading that I have come across. by far recent. recent informed far detailed ... as   as    as  da    As a dada tailor I'd say I Corry Shores' cutting the cloth
perfectly cut perfectly cloth 


 word coinage thought connecting cohere incohere







                                    its the most detailed
 as broken pieces fit the juxtaposition of the    ~



Here are some  of the  questions he asks us to consider :






'What do Dadaist machinical  (check out the new coinage)

phenomena got to do with you?


What means the most to us in our lives are the things that really stand-out.

We might carry them to our grave, even after so much is forgotten in our later aging; what still stands-out the most in our minds and memories will continue to have their affect on us.

 Should we not care, then, about what makes something stand-out?'

___________And we do(care) and Shores goes further to answer stating:


'Dadaism is a form of art that can be understood as being based on non-associative relations. So we might make use of Dadaist art to illustrate one of the factors that makes things stand-out and be significant for us.'


                                    And prepared then to launch into the discours dada he offers a sign post along the way


A                                                           'Brief Summary'
                                                                 (the title of which acts a  narrative
 ontos a n ontroduction/introducing 
more to go prepare to   ~
Deleuze (and Deleuze & Guattari) articulate a non-associative sort of mechanics by making use of Dadaist references. We might use these concepts to differentiate Deleuze and Merleau-Ponty's theories of phenomenal organization and motivation. Merleau-Ponty's phenomena are integrated by means of associate relations that provide the motive for when we turn our awareness from one thing to another. Deleuze's phenomena appear only because non-associative relations cause them to stand-out, and it is also for this reason that we turn our attention toward them.

_____________________________________________  Slowly but surely we are going tor realize that the non associative construction of the world is the


    beauty of daily life our bodies and loves.




___             See for yourself reader .

Go read and enjoy the spirit of learning and joy pervadin that text.




 fast notice  to  sample


take 'Kurt Schwitters. Blauer Vogel / Blue Bird, (1922)'
its flattend breakage/ juxtaposed and figure frame


       compare(d) to 
                                   
 surrealist smooth machinery of
Magritte. Empire of Light, (1953-1954)


____________________ whilst reading and as re-reading
and going to re-read again to read


is that parallel things were happening  in writing   ~


Compare say the Prose Poems of Tristan Tzara

to the prose poetry of Andre Breton and  Phillipe Soupault

in the latter's works it 's the content that's changed whereas the format remains more or less concerned to remain conventional as its frame

 in Tzara's writing  (both the great prose poems and the poems 'proper')

 the language is fractured around the areas and surfaces of sound and rhythm syntax's become a 'servant' 'savant' a schizo parlor to the tuning fork of Tzara's ear
      the ear does not order things in the same but always along  lines of difference



meaning ('content')  is juxtapos(t)ed outside of its regulative frames . the epistles  (literally the letters ) the epistemes
of the knowings as it were as it was of language writing its no longer forced
into the long confinement 

______ Hence ______it is 'free' to wander of its accords .to bust syntax
and enriching  its denotative and connotative senses



Syntax is no longer policed nor taxed by the Boss master Signifier instead
                  its a becoming run round its devenirs and lines of flight

oscilloscoped/ rendering charges and landscapes of luminous new senses 

and the body
breathing


 Fracture contingency and necessity are what calls the poetry out (of)
      its hidden bound place of  the long during domination of the Platonic binary of real/ideal
d ream/real

becoming is the place between
where language rides

 In the work of Artaud this pitch of fracture and intensity will move to yet another plateau of screaming intensity and glaring beauty 

___________'I' thus remain fractured by the language
.
Delivery of gods and their thwarted knights.

the daze of the djellaba of juxtaposition

 and love's sure fire

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Hesiod's Theogony

From the Heliconian Muses let us begin to sing, who hold the great and holy mount of Helicon, and dance on soft feet about the deep-blue spring and the altar of the almighty son of Cronos, [5] and, when they have washed their tender bodies in Permessus or in the Horse's Spring or Olmeius, make their fair, lovely dances upon highest Helicon and move with vigorous feet. 

Thence they arise and go abroad by night, [10] veiled in thick mist, and utter their song with lovely voice, praising Zeus the aegis-holder, and queenly Hera of Argos who walks on golden sandals, and the daughter of Zeus the aegis-holder bright-eyed Athena, and Phoebus Apollo, and Artemis who delights in arrows, [15] and Poseidon the earth holder who shakes the earth, and revered Themis, and quick-glancing1Aphrodite, and Hebe with the crown of gold, and fair Dione, Leto, Iapetus, and Cronos the crafty counsellor, Eos, and great Helius, and bright Selene, [20] Earth, too, and great Oceanus, and dark Night, and the holy race of all the other deathless ones that are for ever.

And one day they taught Hesiod glorious song while he was shepherding his lambs under holy Helicon, and this word first the goddesses said to me— [25] the Muses of Olympus, daughters of Zeus who holds the aegis:


 “Shepherds of the wilderness, wretched things of shame, mere bellies, we know how to speak many false things as though they were true; but we know, when we will, to utter true things.”




'So said the ready-voiced daughters of great Zeus, and they plucked and gave [30] me a rod, a shoot of sturdy laurel, a marvellous thing, and breathed into me a divine voice to celebrate things that shall be and things that were aforetime; and they bade me sing of the race of the blessed gods that are eternally, but ever to sing of themselves both first and last. [35]


 But why all this about oak or stone? Come you, let us begin with the Muses who gladden the great spirit of their father Zeus in Olympus with their songs, telling of things that are and that shall be and that were aforetime with consenting voice. 




Unwearying flows the sweet sound [40] from their lips, and the house of their father Zeus the loud-thunderer is glad at the lily-like voice of the goddesses as it spreads abroad, and the peaks of snowy Olympus resound, and the homes of the immortals.


 And they, uttering their immortal voice, celebrate in song first of all the revered race of the gods [45] from the beginning, those whom Earth and wide Heaven begot, and the gods sprung of these, givers of good things. 


Then next, the goddesses sing of Zeus, the father of gods and men, as they begin and end their strain, how much he is the most excellent among the gods and supreme in power. [50]


 And again, they chant the race of men and strong giants, and gladden the heart of Zeus within Olympus,—the Olympian Muses, daughters of Zeus the aegis-holder.


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'Incolita'

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ncoltita de cuvinte







de
Mihaela Brumar


 Romanian artist

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