dansons avec jacques lacan :: cette vidéo a été réalisée par comité central  







http://www.comitecentral.com http://comitecentral.free.fr/images/visuelssitecc/jardin.jpg _ Comité central est un collectif individuel _ Comité central s'inspire de la philosophie politique médiévale, de la sociologie bourdieusienne et des névroses des années 90. _ Comité central rejette la société de consommation mais s'en inspire et s'y vautre. _ Comité central souligne que le djaying est un positionnement géographique. _ Comité central croit en (et milite pour) le retour de la cassette 2 titres. _ Jamais rien n'arrive.
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that's what i name

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 thats what I call smudged text! '      (not serious!!)
  thats what I call smudged text! '      (not serious!!)
 thats what I call smudged text! '      (not serious!!)
 thats what I call smudged text! '      (not serious!!)


 thats what I call smudged text! '      (not serious!!)
  thats what I call smudged text! '      (not serious!!)
 thats what I call smudged text! '      (not serious!!)
 thats what I call smudged text! '      (not serious!!)




 thats what I call smudged text! '      (not serious!!)
  thats what I call smudged text! '      (not serious!!)
 thats what I call smudged text! '      (not serious!!)
 thats what I call smudged text! '      (not serious!!)





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1968 a few months before his death Macel Duchamp interview














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968, just months before his death. Bakewell asks the artist about his life and relationship to retinal art and Dada, as well as his thoughts on more contemporary works by Happenings artists such aDADADADADADADA   DADADAAD  DADADADADA   dadadadadas Allan Kaprow. Duchamp speaks about individualism in face of the  group think that occurs in self-defined movements such as Dada. Some of Bakewell and Duchamp's conversation seems still very relevant--at 12:00 Duchamp  talks about stylistic repetition and its relationship to value creation and the market, and at 20:00 the BBC interviewee speaks with Duchamp about commodity  _____________________________________________________________________________________________________________________________________________________________________________________________________________________________________ ___________________________________________________________________________________________________

ed Marcel Duchamp in June 1968, just months before his death. Bakewell asks the artist about his life and relationship to retinal art and Dada, as well as his thoughts on more contemporary works by Happenings artists such as Allan Kaprow. Duchamp speaks about individualism in face of the  group think that occurs in self-defined movements such as Dada. Some of Bakewell and Duchamp's conversation seems still very relevant--at 12:00 Duchamp  talks about stylistic repetition and its relationship to value creation and the market, and at 20:00 the BBC interviewee speaks with Duchamp about commodity  status of art and how selling his work seems antithetical to his purported mission to desacralize the art object. They talk about his prices a bit--she's astonished his  works sell for upwards of 2,000 GBP (ha!)--and Duchamp admits he is in a lower price bracket than say, Matisse or Cezanne, who could sell for 2 million. She then presses him about why he wouldn't simply mass produce his work, selling for a more accessible price such as two shillings, and he indignantly responds that,  like any classical sculpture, you have to sign readymades and sell them in small editions. They close with speaking about whether art could shock a public  anymore. Duchamp adamantly disagrees with the idea that art as it exists in 1968 could shock a public, and that the context of art would have to change for it to be truly shocking. ____________________________________ |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||

status of art and how selling his work seems antithetical to his purported mission to desacralize the art object. They talk about his prices a bit--she's astonished his  works sell for upwards of 2,000 GBP (ha!)--and Duchis in a lower price bracket than say, Matisse or Cezanne, who could sell for 2 million. She then presses him about why he wouldn't simply mass produr a more accessible price such as two shillings, and he indignantly responds that,  like any classical sculpture, you have to sign readymades and sell them in small  speaking about whether art could shock a public  anymore. Duchamp adamantly disagrees with the idea that art as it exists in 1968 could shock a public, and thtext of art would have to change for it to be truly shocking. ____________________________________ ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| thanks to the wonderful Archive living ongoing Ubu Film & Video where this video is curated ____________
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TAZ(s) en Nuit Blanche

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the secret relations of Tzara and Joyce, TT & JJ,

behind everyone's backJJ was writing Finnegans Wake whilst reading the prose poem of TT,

 

none of the English readers were aware of what it was he was pulling while do so..

 

 

 tthe Wake with its hundreds of pusn and anagrams, permutation s of hundred lettered wordsk

 

Its Optophone of the Optophane,

 

 takes the principles of Dadaism in poetry to a systematic  level systematic and continous  level of creation,

 

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Now the great prose poetry of Tzara does

this but no English ear heard them,

 

Certainly JJ would not trnasalte them

he barely deigned to read them!

 

or acknowledge they existed!

but these secrets 

 

are known to me and others

 

TT was JJ

 

and likewise

 

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Joyce reading from the Aeolus Episode of Ulysses recorded 1924





the story of the recording and Joyce's arrival at the studio is told in the Ellmann biography officially yet rumors abound regarding the superstitious Joyce entering the studio nervous and anxious at the thought of of thunder (or worse yet lightening) looming outdoors; in spite of all the recording went off without a hitch; judging by the results, which are fine, just refined, but alas, too rare! Aside from the two excerpts of Finnegans Wake and this there are no others, More's the pit



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  it turns out turn table records are few far between as


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 And when JJoyce was arrested by the Gestapo for publication of Finnegans Wake which they read a s a code book for the allies he became Tristan Tzara to escape, go underground, joined the Resistance and continued publishing under the name of Tristan Tzara, who was as I remarked above his other true self which is not as unusual as it seems everyone has an other true self, or even their better self, as Bethune's described himself to the doctor. In China.  Even Henry Miller was in the action, on the lobby, on the line with her and I. with writing it's never one thing, person,place or time but many multiple numerous personalities and loves, personages, and fictive recreations of production, 


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