teksty trzecie


„New Literary History”, Vol. 28, No. 1, Cultural Studies: China and the West (Winter, 1997) pdf

[..] despite postcolonialism’s indebtedness to postmodernism, it is dangerous to regard postcolonialism as a mere figure of postmodernism. For this position represents a general tendency to turn postcolonialism into a West-centered discourse against West-centered universalism and rationalism. True, postcolonialism owes much of its sophisticated conceptual language to postmodernism, but it emerges as a distinct discourse with a set of problematics different from those of postmodernism. Postcolonialism is first of all a counterdiscourse of the formerly colonized Others against the cultural hegemony of the modern West with all its imperial structures of feeling and knowledge, whereas postmodernism is primarily a counterdiscourse against modernism that emerges within modernism itself. Postmodernism, while rigorously challenging the fundamental assumptions of Truth, Order, sign, and subjectivity institutionalized since Plato and sublimated by modernism, tends to universalize its own problematics. Postcolonialism historicizes postmodern thematics, deploying postmodern arguments in the service of decentering world history as well as vindicating and asserting the identities of the formerly colonized.


O Die Angst des Tormanns beim ElfmeterAlice in den StädtenFalsche Bewegung, Im Lauf der Zeit Der amerikanische Freund. „Film Quarterly”, Vol. 31, No. 2 (Winter, 1977-1978) pdf

Wenders’s films seem almost frivolous, off-the- cuff, alongside those of his compatriot Fassbinder, whose enormous energy and prolific output, along with his furiously conscious embracing of melodrama and his more obvious political stands, have won him wider critical attention. Wenders has gone the other way, just about eliminating drama altogether (except in Alice in the Cities). And alongside Werner Herzog’s major films, where the starting points themselves almost always seem to be weighty – a child is locked in a closet for 16 years; an off-shoot group from Pizarro’s conquistadors explores the Amazon – Wender’s subject matter seems slight: a few days in the life of a disgruntled goalie, a cross-country journey by two young men in a van. But Wenders shapes his trivial stories into something far more affecting than what they’re ostensibly about. His films are slow, yet not so slow in that purposeful, painful way that Antonioni’s and Resnais’s films are slow. There is none of that ponderous sense of deliberation that somehow makes you feel that here must be a rewarding experience.


„Poetics Today”, Vol. 3, No. 3, Poetics of the Avant-Garde (Summer, 1982) pdf

The fundamental dilemma of concrete poetry has arisen through its attempt since World War II to revive developments in art and literature from V. Chlebnikov to M. Duchamp, and from the Dadaists to the Surrealists, with certain modifications. This dilemma could be described as its „pre-progammed paradox,” originating from two peculiarities of the artistic medium of language: (1) its elements, whether graphic or acoustic, are connected with conventional, stereotyped meanings; and (2) language is normally used instrumentally, to fulfill primarily practical functions (such as establishing contact, transferring information, instruction, etc.). Theoretically, there are two possibilities for using language as an artistic medium (according to the classical concretist concept of Piet Mondrian and Theo van Doesburg which calls for a non-narrative, non-mimetic, but constitutive and presentative art): (1) the complex artistic „language” (consisting of phonemes, graphemes, syntax and meaning) is reduced to phonemes and graphemes as materials to be used graphically or musically (formal manipulation of a partially reduced language); and (2) language is used as a complex entity, with an invented semantics whose sole field of reference is the language itself. The concrete poetry produced so far has realized only the first possibility. It seems to me that the second is impossible to realize in its strictest sense, because language is learned as an instrument of mutual instruction and orientation in socializing individuals in society; something can be effected through it which necessarily goes beyond language. The practice of concrete semantics is realizable, in full or in part, only if it is treated in such a manner that a general semiotic mechanism is revealed and used to advantage. […]

In the following illustrations I will point out some further developments of the classical program of concrete poetry. These are part of a reaction by concrete poets to the problems sketched above. The examples are restricted to the European scene and reflect personal preferences – they do not pretend to representativity.


„Design Issues”, Vol. 12, No. 3 (Autumn, 1996) pdf

Theo van Doesburg spotyka Kurta Schwittersa

Emphasizing typographic formal and contextual relationships, van Doesburg’s and Schwitters’s early experiments in typography mainly followed De Stijl and Dada philosophies. At first, Van Doesburg’s typeface designs were based on the geometric principles of the De Stijl artists, and were more symmet- rical and plane filling. His later designs from the early 1920s still filled the plane, but became more asymmetrical and still stressed functional principles. Van Doesburg’s early type designs are comparable to Mondrian’s theories about music, in that they adhere strictly to De Stijl concepts. However, Van Doesburg also believed that letter forms should be infinitely malleable. He maintained that one could arbitrarily distort the basic shape of a letter horizontally or vertically. This was absolutely contrary to classical typography, in which the proportions of the basic shape are inviolate, and wherein the letter can only be scaled up or down without distortion.


„Contemporary Literature”, Vol. 42, No. 1 (Spring, 2001) pdf

While Black  Skin, White  Masks  is often, quite literally, a listening  device, it is, of course, only metaphorically  a radio. But by the time Fanon came to write the  essays  that make up A  Dying Colonialism,  hle  had become more than a little interested in the  ways  in which  literal acts of  radio-listening  could contribute  to a collective  politics  of  anti-imperial  nationalism.  Proleptically present as a sort of  figure  for the book  in Black  Skin, White Masks,  the radio was  to  emerge  for Fanon as a crucial instrument of  struggle  and as an organizing  metaphor  in his  solidarity poetics.  But  if Fanon was one of the first  critics of  imperialism to identify  the  politics  and the narratives of  anticolonial or  postcolonial resistance with  the  workings of the radio, he has not been  the  only  person  to do  so. The novels,  films,  plays,  and histories of the  postcolonial  are littered with radios. And it is the  repeated reappearance  of the radio in such works, together  with the  radiophonic quality of Black  Skin, White  Masks  and Fanon’s  own  eventual  analysis  of  radio-listening – an  analysis which  indicates not  only  that his  earlier work  may  be  typified  as a  sort of  listening device, but that the „device” of  listening  is central  to the  collective  politics  of the  postcolonial  and the  diasporic-which  can  help  us  understand  what  Fanon  achieves  by  constructing  Black  Skin, White  Masks  as he does.


O mieście, architekturze i społeczeństwie nowoczesnym w filmach Jacquesa Tati. Opublikowane w „The French Review”, Vol. 76, No. 2 (Dec., 2002) pdf

Tati does not permit the characters to err alone, though, and solicits the viewer’s attention early in the film, which opens in the large, quiet hall- way of a hospital where we see and hear, among other things, nuns walk- ing, an orderly, and a woman pushing a wheelchair. No; the first case of mistaken identity and necessary revision occurs when a loudspeaker announcement indicates that this is actually an airport while the wheel-chair is revealed to be a baggage cart and the orderly a cleaning man. Tati continues to play with the viewer’s perception of space and identity in the next sequence when Hulot, as if he has remained unemployed since Mon oncle, goes to see Giffard about a job. Hulot has trouble finding him in an area full of identical office cubicles, however, while both Giffard and the spectator are taken in by two false Hulots. As the two try to make contact, the simultaneously reflective and transparent glass induces errors of spa- tial perception in viewer and character alike, as people seem be in the same plane and space as others when they are not, and in different places when they are in reality in the same space. Tati wryly comments on these perceptual conundrums in the Royal Garden sequence of the film when the restaurant’s glass door is shattered and the doorman continues to open it as if it were still in place; illusory perception is the norm and no one questions whether the door is there or not.


Cóż, nie idzie tak jak miało. Za mało siły, przekonania albo za dużo wątpliwości. Ale żeby coś tu się działo – wykpię się repostem. Przypuszczam, że większość odwiedzających tę stronę zna fantastyczny Monoskop Log i regularnie z niego korzysta. Mim to pozwolę sobie zwrócić szczególną uwagą, na antologię pod redakcją Craiga Dworkina i Kennetha Goldsmitha, która w ostatnim czasie dostarcza mi wielu odkryć i inspiracji. Wymienienie zebranych tutaj autorów przerodziłoby się w bezużyteczną litanię, bo naprawdę – kogo tu nie ma. Poza oczywistościami (czy mogło zabraknąć Cage’a?), kilku wybranych prawie przypadkowo: Banner, Migone, Reznikoff, Coolidge, Yeats, Abish.


Co to ja chciałem…No właśnie, zmiany – koniec z seriami tematycznymi. Zamiast tego pojedyncze strzały w różnych kierunkach (które pewnie i tak złożą się w jakąś konstelację).

Dlaczego by nie zacząć salw od Michela Serresa, jednego z najbardziej fascynujących żyjących myślicieli i jego tekstu „Noise”. Odwołuje się w nim do opowiadania Balzaca Nieznane arcydziełoDo niego nawiązywał też Jacques Rivette w filmie La Belle Noiseusewięc dla poszerzenia horyzontu można się z tym obrazem zapoznać. Można, choć może nie być to łatwe – dla mnie to najmniej ulubiony Rivette.

Michel Serres, Noise, przełożył Lawrence R. Schehr, „SubStance”, Vol. 12, No. 3, Issue 40: Determinism (1983) pdf

Noise and nausea, noise and nautical, noise and navy have the same etymology. We shouldn’t be astonished for we never hear white noise [bruit de fond] better than when at sea. This noise, be it calm or vehement, seems to have been established for all time. On a strict horizontal plane, stable or unstable flows of water constantly exchange places. Space is completely invaded by noise; we are completely occupied by the same noise. The agitation is everywhere to be heard, beside the signals, beside the silence. The silent sea is misnamed. Perhaps white noise [bruit de fond] is at the heart [fond] of being itself. Perhaps being is not at rest, perhaps it is not in motion, perhaps it is agitated. White noise never stops, it is limitless, continuous, perpetual, unchangeable. It has no grounding [fond] itself, no opposite. How much noise has to be made to still the noise?


Idą zmiany tutaj, już niedługo. Tymczasem polecam mój nowy *projekt* .

A w nim ostatnio: François-Bernard Mâche Surrealizm a muzyka, przełożyła Barbara Wojnar, Literatura na Świecie 5/1978 (85) tutaj


Rozważam powrót do tego bloga, tymczasem mam pytanie do jego użytkowników: czy ktoś ma i ew. mógłby wrzucić rzeczy, które udostępniałem przez Megaupload? Najbardziej zależy mi na książeczce do boxu Luca Ferrariego.

[edit: książeczka do boxu już jest – dziękujemy Rafałowi]