Wolman, Lettrism, Sound Poetry and Beyond
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Beyond the Black Box: the Lettrist Cinema of Disjunction
Beyond the Black Box: The Lettrist Cinema of Disjunction ANDREW V. UROSKIE I was not, in my youth, particularly affected by cine - ma’s “Europeans” . perhaps because I, early on, developed an aversion to Surrealism—finding it an altogether inadequate (highly symbolic) envision - ment of dreaming. What did rivet my attention (and must be particularly distinguished) was Jean- Isidore Isou’s Treatise : as a creative polemic it has no peer in the history of cinema. —Stan Brakhage 1 As Caroline Jones has demonstrated, midcentury aesthetics was dominated by a rhetoric of isolated and purified opticality. 2 But another aesthetics, one dramatically opposed to it, was in motion at the time. Operating at a subterranean level, it began, as early as 1951, to articulate a vision of intermedia assemblage. Rather than cohering into the synaesthetic unity of the Wagnerian Gesamtkunstwerk , works in this vein sought to juxtapose multiple registers of sensory experience—the spatial and the temporal, the textual and the imagistic—into pieces that were intentionally disjunc - tive and lacking in unity. Within them, we can already observe questions that would come to haunt the topos of avant-garde film and performance in the coming decades: questions regarding the nature and specificity of cinema, its place within artistic modernism and mass culture, the institutions through which it is presented, and the possible modes of its spectatorial engagement. Crucially associated with 1. “Inspirations,” in The Essential Brakhage , ed. Bruce McPherson (New York: McPherson & Co., 2001), pp. 208 –9. Mentioned briefly across his various writings, Isou’s Treatise was the subject of a 1993 letter from Brakhage to Frédérique Devaux on the occasion of her research for Traité de bave et d’eternite de Isidore Isou (Paris: Editions Yellow Now, 1994). -
The Interventions of the Situationist International and Gordon Matta-Clark
UNIVERSITY OF CALIFORNIA, SAN DIEGO Potential of the City: The Interventions of The Situationist International and Gordon Matta-Clark A Thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in Art History, Theory, and Criticism by Brian James Schumacher Committee in charge: Professor Norman Bryson, Chair Professor Teddy Cruz Professor Grant Kester Professor John Welchman Professor Marcel Henaff 2008 The Thesis of Brian James Schumacher is approved and it is acceptable in quality and form for publication on microfilm: __________________________________________________________ __________________________________________________________ __________________________________________________________ __________________________________________________________ __________________________________________________________ Chair University of California, San Diego 2008 iii EPIGRAPH The situation is made to be lived by its constructors. Guy Debord Each building generates its own unique situation. Gordon Matta-Clark iv TABLE OF CONTENTS Signature Page…………………………………………………………… iii Epigraph…………………………………………………………………. iv Table of Contents………………………………………………………... v Abstract………………………………………………………………….. vi Chapter 1: Conditions of the City……………………………………….. 1 Chapter 2: Tactics of Resistance………………………………………… 15 Conclusion………………………………………………………………. 31 Notes…………………………………………………………………….. 33 Bibliography…………………………………………………………….. 39 v ABSTRACT OF THE THESIS Potential of the City: The Interventions of The Situationist International and -
Letterism 1947-2014 Vol. 1
The Future is Unwritten: Letterism 1947-2014 Vol. 1 Catalog 17 Division Leap 6635 N. Baltimore Ave. Ste. 111 Portland, OR 97203 www.divisionleap.com [email protected] 503 206 7291 “Radically anticipating Herbert Marcuse, Paul Goodman, and their Letterism is a movement whose influence is as widespread as it is unacknowledged. From punk to concrete poetry to experimental film, from the development of youth culture to the student uprisings of 1968 and epigones in the 1960s new left, Isou the formation of the Situationist International, most postwar avant-garde movements owe a debt to it’s rev- produced an analysis of youth as olutionary theories, yet it remains largely overlooked in studies of the period (some notable exceptions are listed in the bibliography that follows the text). an inevitably revolutionary social sector - revolutionary on its own This catalog contains over one hundred items devoted to Letterism and Inismo. To the best of our knowl- edge it is the first devoted to either of these movements in the US. It contains a number of publications terms, which meant that the terms which have little or no institutional representation on these shores, and represents a valuable opportunity for of revolution had to be seen in a future research. new way.” A number of the items in this catalog were collected by the anarchist scholar Pietro Ferrua, who was closely associated with members of both Letterism and Inismo and who has written a great deal about both move- ments. Ferrua organized the first international conference on Letterism here in Portland in 1979 [see #62]. -
Guy Debord and the Situationist International: Texts and Documents, Edited by Tom Mcdonough G D S I
G D S I OCTOBER BOOKS Rosalind E. Krauss, Annette Michelson, Yve-Alain Bois, Benjamin H. D. Buchloh, Hal Foster, Denis Hollier, and Mignon Nixon, editors Broodthaers, edited by Benjamin H. D. Buchloh AIDS: Cultural Analysis/Cultural Activism, edited by Douglas Crimp Aberrations, by Jurgis Baltrusˇaitis Against Architecture: The Writings of Georges Bataille, by Denis Hollier Painting as Model, by Yve-Alain Bois The Destruction of Tilted Arc: Documents, edited by Clara Weyergraf-Serra and Martha Buskirk The Woman in Question, edited by Parveen Adams and Elizabeth Cowie Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, by Jonathan Crary The Subjectivity Effect in Western Literary Tradition: Essays toward the Release of Shakespeare’s Will, by Joel Fineman Looking Awry: An Introduction to Jacques Lacan through Popular Culture, by Slavoj Zˇizˇek Cinema, Censorship, and the State: The Writings of Nagisa Oshima, by Nagisa Oshima The Optical Unconscious, by Rosalind E. Krauss Gesture and Speech, by André Leroi-Gourhan Compulsive Beauty, by Hal Foster Continuous Project Altered Daily: The Writings of Robert Morris, by Robert Morris Read My Desire: Lacan against the Historicists, by Joan Copjec Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture, by Kristin Ross Kant after Duchamp, by Thierry de Duve The Duchamp Effect, edited by Martha Buskirk and Mignon Nixon The Return of the Real: The Avant-Garde at the End of the Century, by Hal Foster October: The Second Decade, 1986–1996, edited by Rosalind Krauss, Yve-Alain Bois, Benjamin H. D. Buchloh, Hal Foster, Denis Hollier, and Silvia Kolbowski Infinite Regress: Marcel Duchamp 1910–1941, by David Joselit Caravaggio’s Secrets, by Leo Bersani and Ulysse Dutoit Scenes in a Library: Reading the Photograph in the Book, 1843–1875, by Carol Armstrong Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975, by Benjamin H. -
Bernard Heidsieck Poésie Action Villa Arson Nice Villa Sie Action Po É Bernard Heidsieck
BERNARD HEIDSIECK POÉSIE ACTION VILLA ARSON NICE VILLA SIE ACTION SIE ACTION É PO HEIDSIECK BERNARD école nationale supérieure d’art centre national d’art contemporain médiathèque d’art contemporain résidences d’artistes EXPOSITION 18 FÉVRIER - 22 MAI 2011 GALERIES DU paTIO ET DES CYPRÈS BERNARD HEIDSIECK POÉSIE ACTION Commissariat : Éric Mangion, directeur du Centre national d’art contemporain de la Villa Arson. Chargés de production de l’exposition : Pascal Broccolichi et Arnaud Maguet, artistes et enseignants à la Villa Arson. « Ce que je cherche toujours, c’est d’offrir la possibilité à l’auditeur/spectateur de trouver un point de focalisation et de fixation visuelle. Cela me parait essentiel. Sans aller jusqu’au happening loin de là, je propose toujours un minimum d’action pour que le texte se présente comme une chose vivante et immédiate et prenne une texture quasiment physique. Il ne s’agit donc pas de lecture à proprement parler, mais de donner à voir le texte entendu. » B.H. Il peut paraître étonnant qu’un centre d’art contemporain normalement dévolu aux formes plastiques consacre une exposition à un poète. La poésie appartient en principe au livre ou à la lecture et non à l’espace d’exposition. Et pourtant, les arts plastiques et la poésie n’ont cessé depuis le début du XXe siècle d’entretenir des rapports étroits. Dada et le Futurisme sont nés d’une réelle complicité entre les mots et les formes. La poésie s’affranchit de la seule écriture pour devenir une présence, une voix, un corps, une mise en scène au même titre qu’une performance. -
The Letterists
The Letterists The Letterism, founded in 1946 by Gabriel Pomerand (1925-1972) and Isidore Isou (1925-2007), uses letters as “sounds” and then as “images.” Poetry turns into music and writing becomes painting. The letterists extend these changing relationships to film, culture and society. In 1952 the movement divides because of diverging objectives: living art or the art of living. Jean-Louis Brau, Guy Debord and Gil Wolman founded the Letterist International to “transcend art”. Marc’O set up the group “Ex- ternalists” to encourage the uprising of youth. The Isouists asserted that their only doctrine came from a single creator. Letterists, for a long time, would remain “badly known or known to be bad”. gation d’un nom et d’un messie and at- tempted alliances such as Réflexions sur André Breton; group lectures on youth up- rising, which Isou would develop in Traité d’économie nucléaire; lectures by Pomer- and on prostitution, pederasty, rain and fine weather, that he published and had him sent to jail, such as his book Lettres ouvertes à un mythe. Le cri et son arch- ange, which Isou wanted to appropriate, led Pomerand to break with him. Isou pub- lished Isou ou la Mécanique des femmes, which brought him legal troubles, like those of Pomerand. 1949 and the beginning of 1950 marked a move to the production of films and paint- From poetic letterism to political letterists: 1946-1952 ings. The documentary filmed about Saint The letter as sound 1946 / 1949 Germain des Près, on which Jacques Barat- Letterism takes its name from the letter that some young people, of the inter-war gen- ier worked with Pomerand starting in 1947, eration, wanted to use in ways other than words, which they believed had been killed by was finished in 1949. -
Jean-Michel-Mension-Tribe-Translated-Donald-Nicholson-Smith-1.Pdf
JEAN-MICHEL MENSION CONVERSATIONS WITH GERARD BERREB Y AND FRANCESCO MILO TRANSLATED FROM THE FRENCH BY DONALD NICHOLSON-SMITH Contributions to the History of the Situationist International and Its Time, Vol. I CITY LIGHTS BOOKS SAN FRANCISCO © 2001 by Donald Nicholson-Smith for this translation © 1998 by Editions Allia, Paris, for La Tribu by Jean-Michel Mension © by Ed van der Elsken{fhe Netherlands Photo Archives for his photographs All rights reserved 10 98 7 6 5 4 3 2 1 Cover & book design: Stefan Gutermuth/doubleu-gee Editor: James Brook This work, published as part of the program of aid for publication, received support from the French Ministry of Foreign Affairs and the Cultural Service of the French Embassy in the United States. Cet ouvrage publie dans Ie cadre du programme d'aide a la publication beneficie du soutien du Ministere des Affaires Etrangeres et du Service Culture I de l'Ambassade de France represente aux Etats-Unis. Mension, Jean-Michel. [Tribu. English] The tribe / by Jean-Michel Mension ; translated from the French by Donald Nicholson-Smith. p. cm. Interviews with Gerard Berreby and Francesco Milo. ISBN 0-87286-392-1 1. Mension, Jean-Michel-Friends and associates-Interviews. 2. Paris (France)-intellectual life-20th century-Interviews. 3. Radicalism-France-Paris. l. Berreby, Gerard. II. Milo, Francesco. III. Title. DC715 .M39413 2001 944'.36083'092-dc21 2001042129 CITY LIGHTS BOOKS are edited by Lawrence Ferlinghetti and Nancy J. Peters and published at the City Lights Bookstore, 261 Columbus Avenue, San Francisco, CA 94133. Visit us on the Web at www.citylights.com. -
Hartnett Dissertation
SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Recorded Objects: Time-Based Technologically Reproducible Art, 1954-1964 A Dissertation Presented by Gerald Hartnett to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Art History and Criticism Stony Brook University August 2017 Stony Brook University 2017 Copyright by Gerald Hartnett 2017 Stony Brook University The Graduate School Gerald Hartnett We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Andrew V. Uroskie – Dissertation Advisor Associate Professor, Department of Art Jacob Gaboury – Chairperson of Defense Assistant Professor, Department of Art Brooke Belisle – Third Reader Assistant Professor, Department of Art Noam M. Elcott, Outside Reader Associate Professor, Department of Art History, Columbia University This dissertation is accepted by the Graduate School Charles Taber Dean of the Graduate School ii Abstract of the Dissertation Recorded Objects: Time-Based, Technologically Reproducible Art, 1954-1964 by Gerald Hartnett Doctor of Philosophy in Art History and Criticism Stony Brook University 2017 Illuminating experimental, time-based, and technologically reproducible art objects produced between 1954 and 1964 to represent “the real,” this dissertation considers theories of mediation, ascertains vectors of influence between art and the cybernetic and computational sciences, and argues that the key practitioners responded to technological reproducibility in three ways. First of all, writers Guy Debord and William Burroughs reinvented appropriation art practice as a means of critiquing retrograde mass media entertainments and reportage. -
Charles Pennequin. Parole Actée Du Spectacle Troué Philippe Franck
Document generated on 09/28/2021 7:18 p.m. Inter Art actuel Charles Pennequin. Parole actée du spectacle troué Philippe Franck Connectivités Number 125, Winter 2017 URI: https://id.erudit.org/iderudit/84847ac See table of contents Publisher(s) Les Éditions Intervention ISSN 0825-8708 (print) 1923-2764 (digital) Explore this journal Cite this review Franck, P. (2017). Review of [Charles Pennequin. Parole actée du spectacle troué]. Inter, (125), 82–85. Tous droits réservés © Les Éditions Intervention, 2017 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ ché plus. me souviens de rien. me souviens que j’avais pas trop le souvenir d’avoir su. j’ai plus le souvenir que j’aurais su quelque chose, à part que je me souviens plus. me souviens que je devrais au moins me souvenir, mais à part ça je me souviens de rien. Charles Pennequin, premières lignes des Exozomes, 2016. CHARLES PENNEQUIN PAROLE ACTÉE DU SPECTACLE TROUÉ u ENTREVUE PAR PHILIPPE FRANCK trente-huit ans, Charles Pennequin, gendarme dans le Nord-Pas-de-Calais, est devenu « poète debout », sonnant mais non trébuchant, après avoir rencontré les auteurs remueurs de neurones Christian Prigent et Bernard Heidsieck. -
Introduction
Notes Introduction 1. I am using the terms ‘space’ and ‘place’ in Michel de Certeau’s sense, in that ‘space is a practiced place’ (Certeau 1988: 117), and where, as Lefebvre puts it, ‘(Social) space is a (social) product’ (Lefebvre 1991: 26). Evelyn O’Malley has drawn my attention to the anthropocentric dangers of this theorisation, a problematic that I have not been able to deal with fully in this volume, although in Chapters 4 and 6 I begin to suggest a collaboration between human and non- human in the making of space. 2. I am extending the use of the term ‘ extra- daily’, which is more commonly associated with its use by theatre director Eugenio Barba to describe the per- former’s bodily behaviours, which are moved ‘away from daily techniques, creating a tension, a difference in potential, through which energy passes’ and ‘which appear to be based on the reality with which everyone is familiar, but which follow a logic which is not immediately recognisable’ (Barba and Savarese 1991: 18). 3. Architectural theorist Kenneth Frampton distinguishes between the ‘sceno- graphic’, which he considers ‘essentially representational’, and the ‘architec- tonic’ as the interpretation of the constructed form, in its relationship to place, referring ‘not only to the technical means of supporting the building, but also to the mythic reality of this structural achievement’ (Frampton 2007 [1987]: 375). He argues that postmodern architecture emphasises the scenographic over the architectonic and calls for new attention to the latter. However, in contemporary theatre production, this distinction does not always reflect the work of scenographers, so might prove reductive in this context. -
Bernard Heidsieck : De La Poésie Sonore À La Poésie De La Quotidienneté
Bernard Heidsieck : de la poésie sonore à la poésie de la quotidienneté Atsushi KUMAKI Université Waseda (Japon) Département de Lettres [email protected] Recibido: 30/10/2012 Aceptado: 22/03/2013 Résumé La poésie sonore a exercé un développement assez particulier dans la poésie contemporaine française. Le présent article a pour but de la positionner dans le contexte de la poésie contemporaine –et surtout avant-gardiste– et de savoir quel rôle y joue Bernard Heidsieck, poète central de la poésie sonore. On sait bien que la poésie sonore dérive du mouvement artistique du lettrisme et qu’elle subit une influence du leader de ce mouvement : Isidore Isou. Certes on peut très facilement trouver une ressemblance théorique entre la poésie sonore de François Dufrêne qui participait lui-même au mouvement et la poésie phonétique d’Isou. Mais Bernard Heidsieck, n’ayant rien à voir avec le mouvement, faisait référence à un poète : Antonin Artaud. Le présent article focalise la différence fondamentale entre la poétique de Heidsieck et la poésie sonore précédente, et met en lumière quelle fut l’influence d’Artaud, face à celle d’Isou, sur l’œuvre du poète. Mots clés : poésie contemporaine, poésie sonore, lettrisme, Bernard Heidsieck. Bernard Heidsieck: de la poesía sonora a la poesía de la cotidianeidad Resumen La poesía sonora representa un desarrollo bastante particular en la poesía contemporánea francesa. El presente artículo intenta situarla en el contexto de la poesía contemporánea y entender qué papel desempeña Bernard Heidsieck en ello, poeta central de la poesía sonora. Sabemos que la poesía sonora derivó del movimiento artístico del letrismo y que está bajo la influencia del líder de este movimiento: Isidore Isou. -
“When We Were on the Shenandoah”
“When We Were on the Shenandoah” JACQUES RANCIÈRE TRANSLATED BY JASON E. SMITH What should be done with the cinema? At the beginning of Hurlements en faveur de Sade (Howls for Sade, 1952), a radical solution is evoked: Just as the projection was about to begin, Guy-Ernest Debord was supposed to step onto the stage and make a few introductory remarks. Had he done so, he would simply have said: “There is no film. Cinema is dead. No more films are possible. If you wish, we can move on to a discussion.” 1 This solution was left to the side. The film, which passes from black to white only when the silence is broken by voices, continues even when we see a screen with no images. And the announced howls are in fact phrases that mix, in a surrealist way, the immediate lyricism of adven - ture and love with the explosive force of unexpected connections. In this way a small temporal rift runs furtively between a lyrical phrase and a trivial one: “When we were on the Shenandoah.” 2 This memory of Shenandoah will, in La société du spectacle (The society of the specta - cle, 1973), be put back into context; it refers specifically to the scene from John Ford’s Rio Grande between Colonel York (John Wayne) and his superior, General Sheridan, who had ordered him to set fire to the fields of the valley of the Shenandoah in the fight against the southern - ers and is now ordering him to break federal law by pursuing Indians into Mexican territory.