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
its the most detailed
as broken pieces fit the juxtaposition of the ~
Here are some of the questions he asks us to consider :
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.'
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 .
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
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
_________________________________
