/tagged/quote/page/2

Glenn Gould as Karlheinz Klopweisser (left) and as Sir Nigel Twitt-Thornwaite (right), 1980 -by Robert C. Ragsdale   [+]

Gould loved hamming and enjoyed assuming the parts of a fictitious “dean of British conductors”, Sir Nigel Twitt-Thornwaite; a German critic, Dr. Herbert von Hochmeister; and a New York cab driver, Theodore Slutz of Brooklyn Heights. Other alter egos were Dr. Karlheinz Klopweisser, a German composer and critic; Sir Humphrey Price-Davies, a “BBC-type pedagogue”; Duncan Haig-Guinness, a Canadian radio producer; and two psychiatrists, S.F. Lemming, M.D., and Wolfgang von Krankmeister. Gould enjoyed these creations, making tapes for which he spoke “in character”, writing fictitious interviews, and even publishing certain articles under the name “Herbert von Hochmeister”. These affectations permitted him to combine “his enthusiasm for the literary craft, the musician’s ear for intricate cadences; and the ham’s desire for a good laugh.”
— Richard Kostelanetz, ‘Glenn Gould: Bach in the Electronic Age’ - in John McGreevey (ed.), ‘Glenn Gould Variations’ (Doubleday, Toronto, 1983)

from The Glenn Gould Archive

2 days ago  11 notes

Important works of art are active. They provoke different reactions depending on the viewer and they elude answers. On a practical level the work is an answer to a question that the artist has posed to himself, but it will only be a relevant answer if, on a fundamental level, the answer becomes a new question.
–

Jan Svenungsson : ‘The Writing Artist’, in ‘Art & Research - A Journal of Ideas, Contexts and Methods’, Vol.2 No.2, Spring 2009

Thanks to yama-bato

4 days ago  74 notes

Alejandra Pizarnik at her parents’ home, Buenos Aires, nd -by Sara Facio  [+] She came to my studio to get acquainted. She wanted me to take photographs of her, but she wished at first to know how I was… rather unusual, but I had already been warned that she was a different person. She spoke with a Russian accent, pronouncing the words very slowly.After a few minutes of conversation, the doorbell rang, and here was Silvina Ocampo. It was not necessary to make the presentations. Immediately, Alejandra was transformed; leaving the character she was impersonating so far.She told me afterwards that to know her [Ocampo] was what she had wished the most in the world.Of course, we did not make any photos that evening. We postponed the session for the following week. We met at her parents’ home, located in a very modest district, where she lived temporarily.— Sara Facio, in ‘Foto De Escritor 1963/1973’ (Art Books International, 1998) [my poor translation, see the original text and more here…] from Sara Facio

Alejandra Pizarnik at her parents’ home, Buenos Aires, nd -by Sara Facio  [+]

She came to my studio to get acquainted. She wanted me to take photographs of her, but she wished at first to know how I was… rather unusual, but I had already been warned that she was a different person. She spoke with a Russian accent, pronouncing the words very slowly.
After a few minutes of conversation, the doorbell rang, and here was Silvina Ocampo. It was not necessary to make the presentations. Immediately, Alejandra was transformed; leaving the character she was impersonating so far.
She told me afterwards that to know her [Ocampo] was what she had wished the most in the world.
Of course, we did not make any photos that evening. We postponed the session for the following week. We met at her parents’ home, located in a very modest district, where she lived temporarily.
— Sara Facio, in ‘Foto De Escritor 1963/1973’ (Art Books International, 1998) [my poor translation, see the original text and more here…]

from Sara Facio

4 days ago  17 notes View high resolution

Cada uno crea
de las astillas que recibe
la lengua a su manera
con las reglas de su pasión
- y de eso, ni Emanuel Kant estaba exento.
–

Juan José Saer, in ‘El arte de narrar: poemas, 1960/1975’ (1977)
[Trad.: ‘L’art de raconter. Tome 1, Poèmes 1960-1975’, transl. Laure Guille-Bataillon (Arcane 17, 1990) - Translation in English ?]

El arte de narrar - audiotexto - More in Ignoria

1 week ago  6 notes

Juan José Saer, ndFoto: Cortesía Familia Saer Yo trato de hacer una literatura más o menos original, pero en última instancia toda obra se nutre de sus antecesores, es como una cadena. Uno escribe y trata de hacer algo con lo que leyó, cree en la escritura porque los libros que ha leído son un estímulo para hacerlo.— Juan José Saer, Int. by Florencia Abbate (ca 1997) - via lanacion entregulistanybostan: Juan José SaerFoto: Cortesía Familia SaerFuente y nota

Juan José Saer, nd
Foto: Cortesía Familia Saer

Yo trato de hacer una literatura más o menos original, pero en última instancia toda obra se nutre de sus antecesores, es como una cadena. Uno escribe y trata de hacer algo con lo que leyó, cree en la escritura porque los libros que ha leído son un estímulo para hacerlo.
— Juan José Saer, Int. by Florencia Abbate (ca 1997) - via lanacion

entregulistanybostan:

Juan José Saer
Foto: Cortesía Familia Saer
Fuente y nota

1 week ago  22 notes View high resolution

This is what the things can teach us: to fall, patiently to trust our heaviness. Even a bird has to do that before he can fly.”
― Rainer Maria Rilke
– (via journalofanobody)

(via yama-bato)

1 week ago  106 notes

Pierre Reverdy, ca 1960 -by Gisèle Freund   [+] On ne fait pas de poésie. On écrit des poèmes en risquant sa chance; on peint des tableaux, on compose une musique et il s’en dégage de la poésie ou il ne s’en dégage pas, c’est-à-dire qu’on a écrit, peint ou composé absolument pour rien, ou bien…— Pierre Reverdy, in ‘En vrac’ (Flammarion, 1989) from damienleclere

Pierre Reverdy, ca 1960 -by Gisèle Freund   [+]

On ne fait pas de poésie. On écrit des poèmes en risquant sa chance; on peint des tableaux, on compose une musique et il s’en dégage de la poésie ou il ne s’en dégage pas, c’est-à-dire qu’on a écrit, peint ou composé absolument pour rien, ou bien…
— Pierre Reverdy, in ‘En vrac’ (Flammarion, 1989)

from damienleclere

1 week ago  13 notes

Things outlast us, they know more about us than we know about them: they carry the experience they have had with us inside them and are—in fact—the book of our history opened before us.
– W.G. Sebald (via awritersruminations)

1 week ago  110 notes

Solitude is the profoundest fact of the human condition. Man is the only being who knows he is alone.
– Octavio Paz, The Labyrinth of Solitude (via liquidnight)

1 week ago  476 notes

James Joyce, Dublin 1904 -by Constantine P. Curran schadenfreudist: Dublin, 1904. The summer Joyce met Nora, friend and fellow University College student Constantine P. Curran took this photograph of James sporting the same yachting cap he was wearing when he met his future wife on 10 June 1904. She thought the handsome young James might be a “sailor.” When later asked what James was thinking about while being photographed, he replied, “I was wondering would he lend me five shillings.” (From the University College Dublin Library, C.P. Curran papers.) (via James Joyce)

James Joyce, Dublin 1904 -by Constantine P. Curran

schadenfreudist:

Dublin, 1904. The summer Joyce met Nora, friend and fellow University College student Constantine P. Curran took this photograph of James sporting the same yachting cap he was wearing when he met his future wife on 10 June 1904. She thought the handsome young James might be a “sailor.” When later asked what James was thinking about while being photographed, he replied, “I was wondering would he lend me five shillings.”

(From the University College Dublin Library, C.P. Curran papers.)

(via James Joyce)

2 weeks ago  37 notes

Ergy Landau, Autoportrait, Paris, 1932  [+] What is particularly striking about this photograph is that the photographer not only quite literally puts herself on the same level as the female model but also turns her face away from the camera. Unlike her male counterparts in this traditionally male genre of photography, the nude model in this photograph is not a passive object that subjects itself to the active, determining male gaze but rather a partner who not only enters into a visual dialogue with the photographer but also takes an active and determining part in the mise en scène.— Herbert Molderings & Barbara Mülhens-Molderings, in ‘Mirrors, Masks and Spaces. Self-portraits by Women Photographers in the twenties and thirties.’, 2011 Although I agree with this statement in its generality (“active/passive” - “male/female photographer”), I am looking for significant exceptions. I am thinking for instance to the well known Self-Portrait of Josef Breitenbach with J. Greno.Any other suggestion? photo and quote from lejeudepaume

Ergy Landau, Autoportrait, Paris, 1932  [+]

What is particularly striking about this photograph is that the photographer not only quite literally puts herself on the same level as the female model but also turns her face away from the camera. Unlike her male counterparts in this traditionally male genre of photography, the nude model in this photograph is not a passive object that subjects itself to the active, determining male gaze but rather a partner who not only enters into a visual dialogue with the photographer but also takes an active and determining part in the mise en scène.
— Herbert Molderings & Barbara Mülhens-Molderings, in ‘Mirrors, Masks and Spaces. Self-portraits by Women Photographers in the twenties and thirties.’, 2011

Although I agree with this statement in its generality (“active/passive” - “male/female photographer”), I am looking for significant exceptions. I am thinking for instance to the well known Self-Portrait of Josef Breitenbach with J. Greno.
Any other suggestion?

photo and quote from lejeudepaume

2 weeks ago  11 notes View high resolution

Statement of Being -by Ezra Pound

I am a grave poetic hen
That lays poetic eggs
And to enhance my temperament
A little quiet begs.

We make the yolk philosophy,
True beauty the albumen.
And then gum on a shell of form
To make the screed sound human.

2 weeks ago  13 notes

Glenn Gould as Karlheinz Klopweisser (left) and as Sir Nigel Twitt-Thornwaite (right), 1980 -by Robert C. Ragsdale   [+]

Gould loved hamming and enjoyed assuming the parts of a fictitious “dean of British conductors”, Sir Nigel Twitt-Thornwaite; a German critic, Dr. Herbert von Hochmeister; and a New York cab driver, Theodore Slutz of Brooklyn Heights. Other alter egos were Dr. Karlheinz Klopweisser, a German composer and critic; Sir Humphrey Price-Davies, a “BBC-type pedagogue”; Duncan Haig-Guinness, a Canadian radio producer; and two psychiatrists, S.F. Lemming, M.D., and Wolfgang von Krankmeister. Gould enjoyed these creations, making tapes for which he spoke “in character”, writing fictitious interviews, and even publishing certain articles under the name “Herbert von Hochmeister”. These affectations permitted him to combine “his enthusiasm for the literary craft, the musician’s ear for intricate cadences; and the ham’s desire for a good laugh.”
— Richard Kostelanetz, ‘Glenn Gould: Bach in the Electronic Age’ - in John McGreevey (ed.), ‘Glenn Gould Variations’ (Doubleday, Toronto, 1983)

from The Glenn Gould Archive

Important works of art are active. They provoke different reactions depending on the viewer and they elude answers. On a practical level the work is an answer to a question that the artist has posed to himself, but it will only be a relevant answer if, on a fundamental level, the answer becomes a new question.
–

Jan Svenungsson : ‘The Writing Artist’, in ‘Art & Research - A Journal of Ideas, Contexts and Methods’, Vol.2 No.2, Spring 2009

Thanks to yama-bato

Alejandra Pizarnik at her parents’ home, Buenos Aires, nd -by Sara Facio  [+] She came to my studio to get acquainted. She wanted me to take photographs of her, but she wished at first to know how I was… rather unusual, but I had already been warned that she was a different person. She spoke with a Russian accent, pronouncing the words very slowly.After a few minutes of conversation, the doorbell rang, and here was Silvina Ocampo. It was not necessary to make the presentations. Immediately, Alejandra was transformed; leaving the character she was impersonating so far.She told me afterwards that to know her [Ocampo] was what she had wished the most in the world.Of course, we did not make any photos that evening. We postponed the session for the following week. We met at her parents’ home, located in a very modest district, where she lived temporarily.— Sara Facio, in ‘Foto De Escritor 1963/1973’ (Art Books International, 1998) [my poor translation, see the original text and more here…] from Sara Facio

Alejandra Pizarnik at her parents’ home, Buenos Aires, nd -by Sara Facio  [+]

She came to my studio to get acquainted. She wanted me to take photographs of her, but she wished at first to know how I was… rather unusual, but I had already been warned that she was a different person. She spoke with a Russian accent, pronouncing the words very slowly.
After a few minutes of conversation, the doorbell rang, and here was Silvina Ocampo. It was not necessary to make the presentations. Immediately, Alejandra was transformed; leaving the character she was impersonating so far.
She told me afterwards that to know her [Ocampo] was what she had wished the most in the world.
Of course, we did not make any photos that evening. We postponed the session for the following week. We met at her parents’ home, located in a very modest district, where she lived temporarily.
— Sara Facio, in ‘Foto De Escritor 1963/1973’ (Art Books International, 1998) [my poor translation, see the original text and more here…]

from Sara Facio

Cada uno crea
de las astillas que recibe
la lengua a su manera
con las reglas de su pasión
- y de eso, ni Emanuel Kant estaba exento.
–

Juan José Saer, in ‘El arte de narrar: poemas, 1960/1975’ (1977)
[Trad.: ‘L’art de raconter. Tome 1, Poèmes 1960-1975’, transl. Laure Guille-Bataillon (Arcane 17, 1990) - Translation in English ?]

El arte de narrar - audiotexto - More in Ignoria

Juan José Saer, ndFoto: Cortesía Familia Saer Yo trato de hacer una literatura más o menos original, pero en última instancia toda obra se nutre de sus antecesores, es como una cadena. Uno escribe y trata de hacer algo con lo que leyó, cree en la escritura porque los libros que ha leído son un estímulo para hacerlo.— Juan José Saer, Int. by Florencia Abbate (ca 1997) - via lanacion entregulistanybostan: Juan José SaerFoto: Cortesía Familia SaerFuente y nota

Juan José Saer, nd
Foto: Cortesía Familia Saer

Yo trato de hacer una literatura más o menos original, pero en última instancia toda obra se nutre de sus antecesores, es como una cadena. Uno escribe y trata de hacer algo con lo que leyó, cree en la escritura porque los libros que ha leído son un estímulo para hacerlo.
— Juan José Saer, Int. by Florencia Abbate (ca 1997) - via lanacion

entregulistanybostan:

Juan José Saer
Foto: Cortesía Familia Saer
Fuente y nota

This is what the things can teach us: to fall, patiently to trust our heaviness. Even a bird has to do that before he can fly.”
― Rainer Maria Rilke
– (via journalofanobody)

(via yama-bato)

Pierre Reverdy, ca 1960 -by Gisèle Freund   [+] On ne fait pas de poésie. On écrit des poèmes en risquant sa chance; on peint des tableaux, on compose une musique et il s’en dégage de la poésie ou il ne s’en dégage pas, c’est-à-dire qu’on a écrit, peint ou composé absolument pour rien, ou bien…— Pierre Reverdy, in ‘En vrac’ (Flammarion, 1989) from damienleclere

Pierre Reverdy, ca 1960 -by Gisèle Freund   [+]

On ne fait pas de poésie. On écrit des poèmes en risquant sa chance; on peint des tableaux, on compose une musique et il s’en dégage de la poésie ou il ne s’en dégage pas, c’est-à-dire qu’on a écrit, peint ou composé absolument pour rien, ou bien…
— Pierre Reverdy, in ‘En vrac’ (Flammarion, 1989)

from damienleclere

Things outlast us, they know more about us than we know about them: they carry the experience they have had with us inside them and are—in fact—the book of our history opened before us.
– W.G. Sebald (via awritersruminations)
Solitude is the profoundest fact of the human condition. Man is the only being who knows he is alone.
– Octavio Paz, The Labyrinth of Solitude (via liquidnight)
James Joyce, Dublin 1904 -by Constantine P. Curran schadenfreudist: Dublin, 1904. The summer Joyce met Nora, friend and fellow University College student Constantine P. Curran took this photograph of James sporting the same yachting cap he was wearing when he met his future wife on 10 June 1904. She thought the handsome young James might be a “sailor.” When later asked what James was thinking about while being photographed, he replied, “I was wondering would he lend me five shillings.” (From the University College Dublin Library, C.P. Curran papers.) (via James Joyce)

James Joyce, Dublin 1904 -by Constantine P. Curran

schadenfreudist:

Dublin, 1904. The summer Joyce met Nora, friend and fellow University College student Constantine P. Curran took this photograph of James sporting the same yachting cap he was wearing when he met his future wife on 10 June 1904. She thought the handsome young James might be a “sailor.” When later asked what James was thinking about while being photographed, he replied, “I was wondering would he lend me five shillings.”

(From the University College Dublin Library, C.P. Curran papers.)

(via James Joyce)

Ergy Landau, Autoportrait, Paris, 1932  [+] What is particularly striking about this photograph is that the photographer not only quite literally puts herself on the same level as the female model but also turns her face away from the camera. Unlike her male counterparts in this traditionally male genre of photography, the nude model in this photograph is not a passive object that subjects itself to the active, determining male gaze but rather a partner who not only enters into a visual dialogue with the photographer but also takes an active and determining part in the mise en scène.— Herbert Molderings & Barbara Mülhens-Molderings, in ‘Mirrors, Masks and Spaces. Self-portraits by Women Photographers in the twenties and thirties.’, 2011 Although I agree with this statement in its generality (“active/passive” - “male/female photographer”), I am looking for significant exceptions. I am thinking for instance to the well known Self-Portrait of Josef Breitenbach with J. Greno.Any other suggestion? photo and quote from lejeudepaume

Ergy Landau, Autoportrait, Paris, 1932  [+]

What is particularly striking about this photograph is that the photographer not only quite literally puts herself on the same level as the female model but also turns her face away from the camera. Unlike her male counterparts in this traditionally male genre of photography, the nude model in this photograph is not a passive object that subjects itself to the active, determining male gaze but rather a partner who not only enters into a visual dialogue with the photographer but also takes an active and determining part in the mise en scène.
— Herbert Molderings & Barbara Mülhens-Molderings, in ‘Mirrors, Masks and Spaces. Self-portraits by Women Photographers in the twenties and thirties.’, 2011

Although I agree with this statement in its generality (“active/passive” - “male/female photographer”), I am looking for significant exceptions. I am thinking for instance to the well known Self-Portrait of Josef Breitenbach with J. Greno.
Any other suggestion?

photo and quote from lejeudepaume

Statement of Being -by Ezra Pound

I am a grave poetic hen
That lays poetic eggs
And to enhance my temperament
A little quiet begs.

We make the yolk philosophy,
True beauty the albumen.
And then gum on a shell of form
To make the screed sound human.

"Important works of art are active. They provoke different reactions depending on the viewer and they elude answers. On a practical level the work is an answer to a question that the artist has posed to himself, but it will only be a relevant answer if, on a fundamental level, the answer becomes a new question."
"Cada uno crea
de las astillas que recibe
la lengua a su manera
con las reglas de su pasión
- y de eso, ni Emanuel Kant estaba exento."
"This is what the things can teach us: to fall, patiently to trust our heaviness. Even a bird has to do that before he can fly.”
― Rainer Maria Rilke"
"Things outlast us, they know more about us than we know about them: they carry the experience they have had with us inside them and are—in fact—the book of our history opened before us."
"Solitude is the profoundest fact of the human condition. Man is the only being who knows he is alone."
Statement of Being -by Ezra Pound

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