kagablog

August 31, 2009

intuitive strategies against architecture

Filed under: michael blake, mick raubenheimer — ABRAXAS @ 10:15 pm

0266.jpg

the porous woman

Filed under: kagapoems — ABRAXAS @ 8:29 pm

she’s like a sponge
everything affects her
if she’s given approval she
lights up, elated, and whizzes
around the room like a let-go-of
balloon. if she gets criticized the balloon
deflates, instantly, and she floats down to her
depths in an instant. it’s as if there’s nothing inside
her that’s hers; all her content comes from whatever is
happening around her, from whoever is in her proximity
but she can’t hold on to anything, she can’t remember
names. she doesn’t know where she is - what
neighbourhood is this? - she has too ask
don’t speak to her about politics, that’s
too heavy. she doesn’t like things to
be heavy. she desperately wants
to express herself - that’s the
reason she became an artist
but there’s no self to
express. the art
could be about
anything. she’s
unable to talk about
it. just shrugs, “it’s something
of the moment” very zen, like a koan
she drifts in and out of herself, brushing
her hair from her face, absorbing moods and
then abruptly disrobing herself of them. most of all
she wants to be taken seriously but, paradoxically,
avoids at all costs being serious. just when you
think you’ve got a hold of her she becomes
someone else. the porous woman
she doesn’t have skin. she’s a
sponge. everything affects
her. she drifts in and out
of herself. of who she
thinks she is. who
she wants to
express.

johan thom interviewed by sarah claire picton

Filed under: johan thom, art, sarah claire picton — ABRAXAS @ 3:10 pm

1446.jpg

scp: Who are you?

JT: The guy your mother meant to warn you about but instead pinpointed someone else with a funny hairstyle. Seriously though I am a performance, video and installation artist born in Johannesburg South Africa, 1976. I make things that entertain, poke fun at, question and generally trip apart our society and its history in a constructive manner.

03web.jpg

scp: What are you all about?

JT: Questioning everything: I am merciless in terms of taking things apart and ever-hopeful of discovering something out of the ordinary. The pun is intentional (one often takes ordinary things for granted without realising how ingenious, wonderful and complex they are).

minotaurweb.jpg

scp: What inspires you?

JT: In no specific order: the resillience of ordinary people, our rituals and social customs, philosophy, my wife and family, good films, fine food and traveling.

1q4.jpg

scp: Who do you aspire to?

JT: The list is long and somewhat contradictory so I will only add a few people whose names come to mind immediately: Willem Boshoff, Salman Rushdie, Werner Herzog, Rosa Parks, Tom Waits and Guy du Toit.


scp: What was the biggest challenge you faced/still face as an artist in SA?

JT: The relative insularity of our art-scene and the low opinion most South Africans have of the finer nuances of their culture. I mean really: Wie de hel is nou n kunstenaar? There is so much of real value, depth and insight if we are only willing to look a bit more carefully and a little longer. This also means that we may end up challenging ourselves and the society we live in on a daily basis. But every adventure has its risk and rewards.


scp: What’s your opinion of “Art” in JHB? Or the “artists” in JHB? - Firstly in relation to South Africa and then to international trends. In relation to where JHB art is going? (Try relate this specifically to Architecture)

JT: I honestly believe that South African artists (designers, fine artists, jewellers, architects, authors etc.) are brilliant and rank amongst the best in the world. South Africa is a bit like a global crucible where everything comes together - in the process releasing incredible energy and generating countless new possibilities. Its like a real magick trick happening before your very eyes. Of course, its also painful to see things that we value (our culture, language and so on) slowly melting away but its wonderful to have that momentary realization that they could become just about anything. My only worry here is that South Africans have become very wealth obsessed and often this means that it’s no longer a question of ‘ergonomics’ but purely of ‘economics’.

As regards the field of architecture I sincerely hope that we can break away from the somewhat colonial idea that there is always more land available. We need to repair and transform the cities, existing suburbs and infrastructure without expanding horizontally. My thought here is twofold. First that we think about the long term sustainability of newly designed structures or even old ones that need replacing. A hundred years is too short a time frame. This will cost money but in the long run it will benefit us all. Secondly, we must protect the land. It is our lifeblood and we all fought so damn hard for it!

Globally I believe that contemporary art needs to discover a sense of urgency again. To paraphrase from a talk by designer Paula Scher, this does not mean that art needs to become ‘solemn’ but rather that it is a ‘serious’ activity. Serious art playfully takes things apart and offers new possibilities. Solemn art entrenches the status quo and accepts its limited place in the world (accordingly politicians and all kinds of bureaucrats simply love solemn, monumental art).

Regardless, Johannesburg has the possibility to be a global leader in terms of contemporary architecture as long as it does not become solemn. There is incredible wealth, a vast amount of people in need of architectural expertise (the wealthy and especially the poor), a general sense of optimism and real hope for the future. Certainly things should be ‘made better’ (a higher quality product and a overall social improvement) than they were under apartheid. Ons kan mos.

1319.jpg

SCP: What’s the most insane Architectural design you’ve seen?

JT: Take a look at almost anything Acconci Studio is doing (http://www.acconci.com). Simply fantastic, insane stuff. And then of course the Lost City comes a close second but for totally different reasons.

1232.jpg

SCP: How does one go about globalising him/herself as an architect?

I want to make a blunt but necessary first point here: its not necessary for everyone to strive towards becoming global. We are part of the global picture whether we like it or not. But if one wishes to expand your vision of the world the easiest way to begin is to read. If you have money, travel into the world and go and see it firsthand. Be mindful when you encounter things on your journey (whether you are reading or physically travelling) and trust your instincts. Much of what constitutes global culture is not really interesting or exciting at all.

But there are real exceptions to this rule and knowing what they are can make a real difference to your practice as an artist whether you are a painter, architect, sculptor, designer ceramicist or whatever. Ignorance is not bliss.


SCP: Is there a future for you in SA (JHB)?

JT: Yes of course. The question is not whether one has a future in South Africa or not but rather what you will do about it. I will always carry South Africa in my heart, no matter where I am in the world. In that sense, the future of South Africa or the city Johannesburg for that matter extend way beyond its immediate confines. As I travel I make connections and think of possibilities for South Africa too.

1189.jpg

SCP: The diversity of Africa is, in many instances, informed by traditions, common themes, and of course our history. Does that diversity lend itself to a specific South African style of architecture, or are we using imported architecture?

JT: Contemporary South Africa really is a ‘patchwork’ culture – something like a madcap quilt. This is in fact quite good and liberating. We can take the best from other cultures and incorporate it into our own without feeling cheated. This is a fairly uncommon occurrence in the history of most world cultures where people really get bogged down by grandiose conceptions of their culture and its so-called ‘purity’. Certainly some aesthetic forms are more suited to our socio-cultural and economic context. Our natural environs play an important role too (no-one wants to stay in a typical block of English flats in the middle of the Kalahari). South Africans have always been bothered about their ‘heritage’ and I wish they would realise how conservative and morally prescriptive an idea this is. Heritage is alive, it is happening as we speak! And no, we cannot arrest its development. If you absolutely have to arrest anything make it a politician.

1188.jpg

SCP: What is local? Is local really global?

JT: Local is knowing your neighbor and the shopkeeper around the corners first names. Global is drinking a softdrink that is always the exactly same no matter where you are in the world (same name, same taste, same problem).

1315-1.jpg

SCP: Colour – what does it mean to you?

Every color has a taste and every taste a texture and form. So color is part of a vast interconnected web of sensations that connect us sensibly to the magic of an otherwise chaotic, un-knowable universe.

0521.jpg

SCP: What are the external versus internal influences?

JT: I do not make a distinction between the two and consider them part of a conversation between many entities that comprise our sense of self.

1317.jpg

SCP: What about sustainability? How are ‘green buildings’ and other environmental, cultural, and societal issues influencing South African architecture?

JT: I honestly believe the whole world is still only in stage one of the green issue – treating the symptoms. The time has come to progress to stage two and really consider how we (the human population) are part of the problem. We can try to make greener vehicles or buildings but that is still just treating the symptom. Heaven help me when I say this but there simply are too many of us and one or two great examples of green architecture is not going to change that. We have to change our conduct and our very understanding of our place within the world as a productive species. We cannot not simply change our products.

presspicweb.jpg

SCP: Do you feel there still exists a somewhat lingering misconception that art in SA/JHB is not as cutting edge/forward thinking/progressive as what is happening overseas? Why? How do we change this?

JT: Its really just our own fears and insecurities playing tricks on us. As stated earlier, I the think South African art is fairly insular (a state of affairs for which its own snobbery is also to blame). In some ways we are ahead of the pack and in other seriously lagging. But I am not certain that we know which is which, and that is a real problem. A bit more critical thinking, honesty and international exposure would do us all good. Paradoxically I think South African artists are quite arrogant and often when our pretense to superior knowledge fails, our broken wing routine prevails. So we walk around proudly strutting our stuff in Johannesburg and the rest of Africa, safe in the knowledge that we are the political, cultural and economic powerhouse in Sub-Saharan Africa. Then, should we go to Paris/ London / New York and be challenged, we can always fall back on the fact that we are still part of the third world (and don’t forget about apartheid!) Its time to grow up and to enjoy the bounty of treasures adulthood has to offer. Fortunately quite a few South Africans have done so already.

SCP: Do you think the lack of resources / funding has limited artistic progression? I.e. things like installation art and land art – will we be seeing more of this in the future?

JT: I certainly hope we will see much more of it in future. Resources are always a problem but one should also remember that both the wealthy and the poor complain about money – we always seem to need a just a bit more. Great art is best viewed as a guerilla warfare style activity. You use what is available and remain mobile, thus also retaining the strategic advantage over the workings of the larger institutions that cannot capitalize on the moment. When art only happens at ‘sanctified’ institutional spaces (including museums or art galleries) then you can be certain that what you are looking at is in fact something fairly innocuous and sanitized. So to say something really contentious: If anything, the availability of public funding through various institutions has really been detrimental to the capacity of art to accurately and insightfully reflect on the here and now. Put in another way, if institutional funds were only ‘supplemental’ and not ‘instrumental’ to the production of art then this problem would not exist. As it stands now, most artist are absolutely dependent on various governmental or corporate funding agencies to continue producting work. Or they become total slette vir geld and then forget about the simple pleasure of making something. I honestly do not know how to resolve this problem. For now, I suggest one just ignore the lure of huge institutional shows and productions that have all the money behind them and rather look towards the smaller independent or off-beat spaces.

SCP: Where do you go from here / What can we expect in the year to come?

JT: At present I am a Commonwealth Scholar busy completing a phd in Fine Arts at the Slade School of Fine Art in London. I continue to make work and participate in exhibitions amongst a variety of other activities around the globe including: ‘Dystopia’ a travelling group exhibition curated by Elfirede Dreyer and Jacob Lebeko (October 8 – November 15, 2009: Museum Africa, Johannesburg; June 10 – August 8, 2010: Oliewenhuis Art Museum, Mangaung; October 17 – November 21, 2010: Jan Colle Galerij, Ghent) ‘The Heart of the African City’, a group exhibition held as part of African Perspectives (24- 28 Sept 2009) held at the University of Pretoria, South Africa. The Britto New Media Arts Festival, a group exhibition of international artists held at the National Art Gallery, Dhaka Bangladesh (October 2009).

Aryan Kaganof: The Presence of the Past

Filed under: 2002 - western4.33 — ABRAXAS @ 2:52 pm

00.jpg

13 May, 14.15 – 17

K3, Beijerskajen 8, Hörsalen

WESTERN 4.33 (2002, 32min)

In terms of the “Houses of memory” theme I think that my film WESTERN 4.33 can be introduced as exhibiting the ruined spaces of the failed colonial experiment. The Lutheran protestant architecture that still stands in the desert, a haunting reminder of how perverse the project really was, to “civilise” the natives by systematically starving them to death!

The film attempts to deal with history in a non explicative way, not reducing the past to a temporally segmented fragment of “then”; but rather dealing with the present as a space informed, or haunted if you will, by the constant presence of the past.

SIGNAL TO NOISE is an earlier attempt to use repetitions in order to understand how materiality informs our “reading” of narratives. I was particularly interested in nostalgia at the time, in how cinematic images shot on super8mm material were inherently nostalgic, a priori.

Finally, because 13 May fits right in with the 40th anniversary of the May 1968 student riots, I would like also to screen a détournement of Alain Robbe-Grillet’s classic high modernist analysis of the workings of memory, L’annee dernier a Marienbad. This screening also serves as a homage to Robbe-Grillet who died on 18 February this year. The work is called MARIENBAD REVISITED.

Aryan Kaganof

아프리카를 배경으로 사(私)적인 사랑의 기억과 20세기 초 아프리카 남비아의 헤로로 원주민 대량학살의 역사에 대한 기억을 영상으로 엮은 실험적 다큐멘터리. 사막같은 황량한 모습을 배경으로 남아프리카의 요하네스버그에서 남비아의 루터리츠까지 여행하는 남비아 트럭 운전수의 기억이 영상으로 흘러나온다. 첫 번째 기억은 잃어버린 사랑에 대한 기억. 젊은 아프리카 여인이 가끔 짤막하게 느린 움직임의 컬러 화면으로 서정적 음악과 함께 등장한다. 이 작은 개인의 역사는 아프리카 남비아의 헤로롤 원주민에 대한 커다란 역사적 사건과 교차되어 나타난다. 영화 중간에 움직이는 자막으로 처리된 이 어두운 역사의 내용은 1905년에서 1908년까지 루더리츠 근처의 사크 아일랜드(상어섬)의 독일 수용소에서 대량학살 당한 헤로로 원주민의 이야기임을 알 수 있다. 이 잔인한 역사의 기억은 거칠고 경사진 프레임과 독특한 카메라 앵글로 촬영된 흑백 영상으로 나타난다. 무겁고 불길한 음악이 영상과 함께 흐르면서 어두운 역사의 기억을 일깨워준다. 트럭이 루더리츠에 접근할수록 아우슈비츠같이 생긴 수용소의 모습이 어두운 음악과 함께 황량한 모습을 드러내며, 아프리카 땅과 역사, 그리고 견디기 어려운 기억을 말해준다. (이기중)

Tsotsi is the end of the South African film wave?

Filed under: south african cinema — ABRAXAS @ 2:50 pm

during 2006 South Africa won the Best Foreign Language Film Oscar for Tsotsi . Gavin Hood’s multi-award winning drama about a township gangster has been the climax of the South African New Wave that started in 2004 and to date resulted in more than 40 international awards for local features, documentaries and shorts. Sadly the non-renewal of a special feature film fund by the Department of Arts and Culture has stifled the South African New Wave and as a result feature film production has declined remarkably. As the most important national institution for the development and promotion of the South African film and video industry, the South African National Film and Video Foundation (NFVF) currently needs about R325 million per year to do a proper job. Unfortunately its annual allocation is a mere R24 million with which it has to cover its administrative expenditure, as well as funding obligations. As a result of limited government funding many exciting new and veteran filmmakers have to rely on themselves to finalise projects.

In an interview with the academic Mayke Vermeren acclaimed film maker Darrell Roodt made the following pessimistic statement about the current state of South African cinema: “ Tsotsi is the end of the wave. I think South African film is finished now. It will sleep for the next ten years”. The reality is that some of the most significant films during the past year or more have been made without NFVF support. Winner of Best South African feature at the 2006 Apollo Film Festival Faith’s Corner is one example. The film follows the life of Faith, a homeless beggar and a single mother of two young sons. They live in an abandoned car in an alleyway of central Johannesburg. Faith spends her days begging for money from disinterested commuters on the streets. Darrell Roodt’s experimentation with film form is remarkable: Shot in the style of the silent cinema, complete with intertitles to capture the dialogue, the film sensitively confronts social issues of poverty and joblessness in South Africa. It is a vivid combination of social concern and formal experimentation. By using the silent format it almost makes a statement that social conditions for the poor haven’t changed over the decades. Several other award-winning features also received no NFVF funding: Khalo Matabane’s innovative blending of documentary and fiction in Conversations on a Sunday Afternoon deals with refugees and xenophobia. Gustav Kuhn’s Ouma se Slim Kind examines relationships during the 1940s and how the dominant Afrikaner culture at the time destroyed any hope of non-racialism. Winner of Best Feature at the 2007 Apollo Film Festival Son of Man is a refreshing retelling of the Gospels within the setting of a South African township. Zulfah Otto-Sallies explores conflict in a Muslim family in the neo-realist Don’t Touch . Darrell Roodt’s Meisie (Girl) is a slice of life about a girl in a rural community that is prevented to school by her dad who believes that she should spend her days tending goats instead. Shot in the style of neorealism the film features wonderful natural performances by non-professional actors from the remote community of Riemvasmaak, on the edge of the Kalahari. Sadly, the funding crisis impacts on our most acclaimed directors. Ross Devenish, who received international awards for The Guest and Marigolds in August , has been in a constant struggle since his return to South Africa in 2002 to finalise new film projects. His script based on a novel by Zakes Mda, Ways of Dying , has been rejected twice by the NFVF. Devenish’s second project, Nothing but the Truth , based on actor John Kani’s play, has thus far met with even more problems. The film deals with the relationship between those black South Africans who stayed behind during the apartheid struggle and those who went into exile. After many problems regarding funding the film has been completed – but Devenish has removed his name from the film’s credits.

In the current financial climate auteur directors such as Dumisani Phakati (Waiting for Valdez ), Tebogo Mahlatsi, Aryan Kaganof (Western 4.33) and Garth Meyer (Bitter Water ) are struggling to create innovative work. Sadly the talent among young film makers is there, but financial constraints are a major challenge. If Devenish struggles one could imagine the challenges faced by a new generation of young voices. In last year’s NFVF report the former chair of the Council, Mfundi Vundla, stated that the institution has failed a new generation of filmmakers. He admit to “Failing outstanding directing talent such as Tebogo Mahlatsi, Thabang Moleya, Zola Maseko, Catherine Stewart, Dumisani Phakathi, Revel Fox, and Khalo Matabane and many others in not granting them maximum opportunities to sharpen their skills and thereby position our country as a film producing and exporting country.” Some of these voices such as Tebogo Mahlatsi and Garth Meyer have brilliantly explored oral narrative structures in their recent short films. They are following in the tradition of great African masters such as Ousmane Sembene and Med Hondo, who rejected the classical narrative structure. For decades South African filmmakers and scriptwriters were isolated from the developments in cinemas elsewhere on the African continent. While we are celebrating the genius of Sembene this year one hopes that scriptwriting training programmes such as SEDIBA and the various funding agencies will be flexible to allow orality in narrative structures by our South African storytellers.. For decades the South African film industry existed in isolation while, especially from the 1950s to the 1980s, world cinema enjoyed a revival, with innovative films made in Africa, Latin America, Europe and the Asian countries. The revival continues, with world cinema probably being at its most exciting at present, a creative flux from which we’re excluded because of the nature of our commercial distribution patterns and an overemphasis on Hollywood films in our multiplexes. It seems that among local distributors and some funders, the Hollywood-style, commercial film is preferred. Since the advent of democracy in 1994, the industry has seen much change and development. The newly elected government recognised the potential role that cinema could play in democratic transformation and decided to set up a number of economic incentives and government bodies to foster the growth of the local industry. The success of a number of South African productions on the international market has encouraged the signing of a number of international co-production treaties. However, despite governmental and international support, the majority of South African filmmakers are still struggling to cover basic production costs and many films fail to reach their intended audience. The reasons behind these economic / distribution difficulties are highly complex and the resultant impact on the creative self-expression of filmmakers is most significant. It is a fragile industry, especially in the face of globalisation.

this article first appeared here

who was sinclair beiles?

Filed under: literature, poetry, dye hard press — ABRAXAS @ 12:17 pm

0265.jpg

eventually one has to love gary cummiskey. he does not give up. he’s the kind of irascible soul that always draws trouble. something about his pugnacious nature attracts difficulties. if it can go wrong at a printer it will. twice. gary’s often stuck in traffic. the waiter dusts more flies into his soup. but unlike most people you’ve ever met who share this streak of disaster-attraction - cummiskey hasn’t got it in him to throw in the towel. you would have thought after years of publishing small press editions to little or no acclaim from the precarious south african literature “establishment” that gary would see the light and stop bothering. thank the gods he’s not that sort of bloke. gary persists. his persistency is the stuff of local literary legend. green dragon 6 is the best edition of his literary journal to date. and this volume about the late yeoville beat poet sinclair beiles is worth its weight in genetically modified stem cells. it keeps beiles alive. a collection of essays by the likes of alan finlay, fred devries, co-editor eva kowalska and gary himself, the book sheds shards of splintered, diffused and hazy light on the figure of beiles whose reputation is based largely on memories of his surly frame sitting truculently outside coffee society in rockey street, chain smoking irritably - has anyone ever read any of his poems?

in yeoville in 1994 to film “nice to meet you, please don’t rape me” i was introduced to beiles by my co-screenwriter peter j. morris, himself an equally taciturn, sour-bellied type. the two of them found things to grumble about. it was impossible for me to talk to beiles. he just seemed too far gone in a vinegary disposition exacerbated by the brutal disappointment of never having ‘made it’ (whatever that means to a poet). but this volume opens the man up. dawie malan’s exquisite essay “the trouble with sinclair beiles” resuscitates the poet, gives him a fragile, vulnerable soul - and reveals librarian dawie to be one of our most sensitive writers.

this book is essential. one day somebody will be collating a set of essays asking the question “who is gary cummiskey?”. he deserves better. he deserves to be lionised now.

aryan kaganof

ISBN: 978-0-620-42792-0
available from http://dyehard-press.blogspot.com

carice van houten casting tape

Filed under: new media pollitics (k3) — ABRAXAS @ 11:38 am


People You May Know | PYMK

Filed under: art, hester scheurwater — ABRAXAS @ 11:30 am

29 augustus 2009 - 17 oktober 2009 —> Opening: 29 augustus 2009 - 16.00 uur

Overal in de wereldwijde virtuele wereld van het internet zijn mensen met elkaar verbonden in diverse netwerkstructuren. People You May Know | PYMK is een event dat gebruikt maakt van de sociale structuur van het populairste van een van die vriendennetwerken, namelijk Facebook. Door de tool People You May Know introduceert Facebook vrienden van vrienden aan elkaar, uitgaande van het idee dat iedereen ter wereld uiteindelijk slechts maximaal zes handdrukken van elkaar verwijderd is.

network.jpg

Een prachtige gedachte. Maar ook een nachtmerrie. De utopie van mensen die dwars door tijd en ruimte heen met elkaar verbonden zijn, is tegelijkertijd de vloek van de informatiemaatschappij en de natte droom van iedere geheime dienst. Dus wat betekent dat eigenlijk: People You May Know?

Die gedachte ligt ook ten grondslag aan de expositie/event People You May Know | PYMK. Initiatiefnemer Hester Scheurwater nodigde Facebook-vrienden uit die op hun manier weer anderen inviteerden. Met als doel: een tentoonstelling te maken die net als Facebook ademt en leeft. People You May Know | PYMK is een tentoonstelling die niet alleen kunstenaars bijeenbrengt, maar juist ook recensenten, curatoren, muzikanten, galeries, musea, schrijvers en grafisch ontwerpers. Net als Facebook is People You May Know | PYMK een voortdurend work in progress.

Dana Linssen (filmcriticus NRC Handelsblad en hoofdredacteur de Filmkrant)

People you may know | pymk

Hester Scheurwater nodigde uit…
Joke Ballintijn (medewerker collectie en distributie nimk) -> Su Tomesen (beeldend kunstenaar)
Renate Boere (grafisch vormgever) -> werkproject willem de kooning studenten
Roald de Boer (filmmaker, uitgever zine)
Charlie Dronkers (beeldend kunstenaar)
Kurt d’ Haeseleer (beeldend kunstenaar)
Cyrus Frisch (regisseur) -> studenten rietveld academie
Risk Hazenkamp (beeldend kunstenaar)
Gerard Holthuis (filmmaker)
Aryan Kaganof (filmmaker)
Dana Linssen (filmcriticus nrc handelsblad en hoofdredacteur de filmkrant) -> Carol Linssen (medeoprichter toneelgroep de appel) en -> Miek Zwamborn (dichter/beeldend kunstenaar)
Mu | Angelique Spaninks (kunstgebouw | directeur) -> 5 minuten museum | erwin thomasse |the little king of everything 9pa
Niels Post (kunstenaar) ->vhs festival (festival) en -> Jeroen Kuster (beeldend kunstenaar)
Nicolas Provost (filmmaker)
Hester Scheurwater (filmmaker/beeldend kunstenaar) & workshop wild beamen ->Catrien Schreuder (kunsthistoricus en medewerker bij museum boijmans van beuningen)
Verbeke Foundation (kunstsite) -> Raphael August Opstaele (beeldend kunstenaar)
studenten koninklijke academie van beeldende kunsten den haag
Frans Zwartjes (filmmaker/beeldend kunstenaar)

met onder meer werk in de galerie, de openbare ruimte, video projecties, voordrachten, studenten projecten en meer… in de periode 29 augustus – 17 oktober.

Opening

opening 29 augustus om 16.00 uur

16u00 opening erwin thomasse met parade van gekostumeerde en gemaskerde fantasiewezens

19u00 voordrachten van carol linssen, dana linssen en miek zwamborn

food & drinks & dj charlie dronkers

Locatie
Schuitvlotstraat 13 - 4503 AK Groede - Nederland —> routebeschrijving

E-mail
hester.scheurwater@gmail.com

Participanten
Joke Ballintijn | Renate Boere | Roald de boer | Charlie Dronkers | Cyrus Frisch | Kurt d’ Haeseleer | Risk Hazekamp |
Gerard Holthuis | Aryan Kaganof | Jeroen Kuster | Carol Linsen | Dana Linssen | Mu | Raphael August Opstaele | Niels Post |
Nicolas Provost | Hester Scheurwater | Catrien Schreuder | Angelique Spaninks | Erwin Thomassen | Su Tomesen |
Verbeke Foundation | Mieke Zwamborn | Frans Zwartjes | friends & friends

more info here

blacks can’t be racist?

0264.jpg

nothing revealed

Filed under: kagapoems — ABRAXAS @ 10:22 am

eventually she went back to nothing
not even black. nothing. she
always knew she was
nothing. i didn’t
know it. i
thought
she
was a
princess
that’s how
she knew i was
mad. that was the
imbalance. i tried to
hold it all together. to juggle
between my projection. and the
empty reality. of course it couldn’t
work. if you hold nothing up to the light
the rays pass through
she knew that
that’s why
she was
always
running
away. the
intensity of
the drama of
the running away
seemed like something
it deflected me from her
lack of substance. the last
time i saw her it was years after
the events that led to my breakdown
and subsequent incarceration in the nuthouse
she sat down opposite me
late as usual
and the
same
stream
of nothing
came tumbling
out of her juicy lips
but the lips weren’t so
juicy anymore. years of that
incessant cigarette smoking had
dried them up and this time when all
the same old inanities and platitudes rained
down on me i finally got it.
i looked at a shadow
and saw that it
was nothing

she put
her hand
out to console
me and when i jerked
back with a shudder she
got the message and ran out
back into the night
back into
nothing

ian kerkhof looking up

Filed under: ian kerkhof — ABRAXAS @ 9:41 am

0262.jpg

Filed under: photography, sex — ABRAXAS @ 9:35 am

0261.jpg

Filed under: mary jane oliver — ABRAXAS @ 9:32 am

0260.jpg

from the book of disquiet

Filed under: literature, paradoxism, philosophy, fernando pessoa — ABRAXAS @ 9:25 am

401-402

If I were a musician, I would compose my own funeral march, and with such good reason!

I’m losing my taste for everything, including even my taste for finding everything tasteless.

a theatrical evening, durban, 1983

Filed under: helge janssen, sarah hills — ABRAXAS @ 9:09 am

0259.jpg0257.jpg
0258.jpg

the latrine

Filed under: jimmy "wordsworth" rage — ABRAXAS @ 9:02 am

so i”m running through the bush with my head high up in the air
and i fall into this stink hole.turns out that someone had taken a shit
and camouflaged it with leaves.my brother looks at me and says,

” see … you even fall back inna you own shit.. days afta shitting.. inna
bush.. pickni you hopeless.”

he sucks his teeth, spits sucks his teeth again, this time
menacingly staring and then a spit..

the spittle falls,wetting the face of a bush lizard, like a rain dropped splatter.
i curl my mouth up, pull my leg out, and wipe it on the dew dropped leaves
of grass and weeds in the adjacent field.

it was a nice day. the woodpeckers were pecking away on an old breadfruit tree.
birds were singing and feeding. the dogs were chasing mongoose in out of an old dead tree trunk.

my brother sat fanning flies and the halo of mosquitoes around his head.
his field lay yonder..full of yams an tings as he says.

” lawd why so stupid.. don’t you know sey you haf fi mark where you shit, so
you dont walk there again”..

i said nothing,smelling fresh dew dropped grass and shit up my nostrils.
it was hard enough that i found myself yesterday needing to go so bad
and no one said what i should do save.. “go ova deso”.. and use “dis”..

dis was a big sharp cutlass.i was not allowed to have a cutlass,
reasons of my own making found me with my own going around
imitating errol flyn from the sword wielding pirate films,
chopping the sucking plants of banana trees and sugar canes..

my granfather found me once carving my initials in the trunk of a coconut tree
and gave me a beating i will never forget and took my cutlass from me saying..
bwoy, you wha meck you so bad..

off i went dragging it behind me. when i arrived at the place,there was no toilet..
as i thought.. just plants and earth.. i stood still squeezing my legs together
and pushing up my ass..
then i heard him shout ..”dig a hole and den stan ova it.”

i chuckled and struggled with the cutlass and began digging a hole .
when i was down, i bent low in the under bush of plants .

i didn’t know at that moment, that i was standing on an ant hill.
they crawled and crawled over my bare feet and crawled up
and down my legs my thighs and my ass.
then they began to bit hard.

on the other side of the field my brother was busying himself with digging for yam..
the dogs had caught the mongoose and the woodpecker was pecking loud.

the ants bit me so hard that i jumped up and ran for the open field
completely naked. my brother at first didn’t see me, but when he looked up
from his yam hole, he saw me slipping and sliding on the weeds and grass.

he didn’t try to help, instead he just pointed and laughed and laughed..
i can still hear him laughing.. seemed that the whole gully laughed and
laughed and laughed.

that evening after a hot bath,my brother rubbed me down with bay rum.
it stung into my skin and made me feel chilly.

he quietly told me that he had covered up the hole with leaves
and that i should try to learn to do things in the bush another way.

i didn’t really say anything. i was too embarassed to speak.
his hands were big and rough and they pushed and pulled
at my back and my arms.

he rarely was so kind and gentle with me as all big brother are, i guess,when
he was, i was grateful and so did not want to talk back.

when he was done, he turned me around and rubbed my shoulders and said that
i should do the rest. the night time noises echoed in my head, as my hands
slowly moved up and over my stomach.

he was standing by now in the lamp light, tomorrow we go fi shoot bird.. i
nodded yes, he turned and walked out into the night to wash his feet..

Filed under: photography, sarah hills — ABRAXAS @ 9:00 am

084b.jpg

michael blake - let us run out of the rain

Filed under: michael blake, music — ABRAXAS @ 12:50 am


Davide and Daniele Trivella
Cape Classic
Vergelegen
South Africa
February 2006

from the book of disquiet

Filed under: literature, philosophy, fernando pessoa — ABRAXAS @ 12:42 am

389

‘Creator of indifferences’ is the motto I want for my spirit today. I’d like my life’s activity to consist, above all, in educating others to feel more and more for themselves, and less and less according to the dynamic law of collectiveness. To educate people in that spiritual antisepsis which precludes contamination by commonness and vulgarity is the loftiest destiny I can imagine for the pedagogue of inner discipline that I aspire to be. If all who read me would learn - slowly, of course, as the subject matter requires - to be completely insensitive to other people’s opinions and even their glances, that would be enough of a garland to make up for my life’s scholastic stagnation.

My inability to act has always been an ailment with a metaphysical aetiology. I’ve always felt that to perform a gesture implied a disturbance, a repercussion, in the outer universe; I’ve always had the impression that any movement I might make would unsettle the stars and rock the skies. And so the tiniest gesture assumed for me early on a metaphysical significance of astonishing proportions. I developed an attitude of transcendental honesty with respect to all action, and ever since this attitude took firm hold in my consciousness, it has prevented me from having intense relations with the tangible world.

from the ukraine

Filed under: photography, irina — ABRAXAS @ 12:20 am

0256.jpg

August 30, 2009

Filed under: sex — ABRAXAS @ 6:10 pm

0252.jpg

The structure of the strange attractor for the chaotic mode of the Beloussov-Zhabotinsky reaction, compared with a typical attractor for a periodic system.

Filed under: kagagallery — ABRAXAS @ 5:13 pm

0251.jpg

Martin Heidegger: Building Dwelling Thinking

Filed under: philosophy, kerstin ergenzinger — ABRAXAS @ 5:06 pm

2675941913_4934f2ea69_m.jpg

In what follows we shall try to think about dwelling and building. This thinking about building does not presume to discover architectural ideas, let alone to give rules for building. This venture in thought does not view building as an art or as a technique of construction; rather it traces building back into that domain to which everything that is belongs. We ask:
1. What is it to dwell?
2. How does building belong to dwelling?

0253.jpg

I

We attain to dwelling, so it seems, only by means of building. The latter, building, has the former, dwelling, as its goal. Still, not every building is a dwelling. Bridges and hangars, stadiums and power stations are buildings but not dwellings; railway stations and highways, dams and market halls are built, but they are not dwelling places. Even so, these buildings are in the domain of our dwelling. That domain extends over these buildings and yet is not limited to the dwelling place. The truck driver is at home on the highway, but he does not have his shelter there; the working woman is at home in the spinning mill, but does not have her dwelling place there; the chief engineer is at home in the power station, but he does not dwell there. These buildings house man. He inhabits them and yet does not dwell in them, when to dwell means merely that we take shelter in them. In today’s housing shortage even this much is reassuring and to the good; residential buildings do indeed provide shelter; today’s houses may even be well planned, easy to keep, attractively cheap, open to air, light, and sun, but-do the houses in themselves hold any guarantee that dwelling occurs in them? Yet those buildings that are not dwelling places remain in turn determined by dwelling insofar as they serve man’s dwelling. Thus dwelling would in any case be the end that presides over all building. Dwelling and building are related as end and means. However, as long as this is all we have in mind, we take dwelling and building as two separate activities, an idea that has something correct in it. Yet at the same time by the means-end schema we block our view of the essential relations. For building is not merely a means and a way toward dwelling -to build is in itself already to dwell. Who tells us this? Who gives us a standard at all by which we can take the measure of the nature of dwelling and building?

It is language that tells us about the nature of a thing, provided that we respect language’s own nature. In the meantime, to be sure, there rages round the earth an unbridled yet clever talking, writing, and broadcasting of spoken words. Man acts as though he were the shaper and master of language, while in fact language remains the master of man. Perhaps it is before all else man’s subversion of this relation of dominance that drives his nature into alienation. That we retain a concern for care in speaking is all to the good, but it is of no help to us as long as language still serves us even then only as a means of expression. Among all the appeals that we human beings, on our part, can help to be voiced, language is the highest and everywhere the first.

What, then, does Bauen, building, mean? The Old English and High German word for building, buan, means to dwell. This signifies: to remain, to stay in a place. The real meaning of the verb bauen, namely, to dwell, has been lost to us. But a covert trace of it has been preserved in the German word Nachbar, neighbor. The neighbor is in Old English the neahgehur; neah, near, and gebur, dweller. The Nachbar is the Nachgebur, the Nachgebauer, the near-dweller, he who dwells nearby. The verbs buri, büren, beuren, beuron, all signify dwelling, the abode, the place of dwelling. Now to be sure the old word buan not only tells us that bauen, to build, is really to dwell; it also gives us a clue as to how we have to think about the dwelling it signifies. When we speak of dwelling we usually think of an activity that man performs alongside many other activities. We work here and dwell there. We do not merely dwell-that would be virtual inactivity-we practice a profession, we do business, we travel and lodge on the way, now here, now there. Bauen originally means to dwell. Where the word bauen still speaks in its original sense it also says how far the nature of dwelling reaches. That is, bauen, buan. bhu, beo are our word bin in the versions: ich bin, I am, du bist, you are, the imperative form bis, be. What then does ich bin mean? The old word bauen, to which the bin belongs, answers: ich bin, du bist mean: I dwell, you dwell. The way in which you are and I am, the manner in which we humans are on the earth, is Buan, dwelling. To be a human being means to be on the earth as a mortal. it means to dwell. The old word bauen, which says that man is insofar as he dwells, this word barren however also means at the same time to cherish and protect, to preserve and care for, specifically to till the soil, to cultivate the vine. Such building only takes care-it tends the growth that ripens into its fruit of its own accord. Building in the sense of preserving and nurturing is not making anything. Shipbuilding and temple-building, on the other hand, do in a certain way make their own works. Here building, in contrast with cultivating, is a constructing. Both modes of building-building as cultivating, Latin colere, cultura, and building as the raising up of edifices, aedificare -are comprised within genuine building, that is, dwelling. Building as dwelling, that is, as being on the earth, however, remains for man’s everyday experience that which is from the outset “habitual”-we inhabit it, as our language says so beautifully: it is the Gewohnte. For this reason it recedes behind the manifold ways in which dwelling is accomplished, the activities of cultivation and construction. These activities later claim the name of bauen, building, and with it the fact of building, exclusively for themselves. The real sense of bauen, namely dwelling, falls into oblivion.

technischesehnsucht2.jpg

At first sight this event looks as though it were no more than a change of meaning of mere terms. In truth, however, something decisive is concealed in it, namely, dwelling is not experienced as man’s being; dwelling is never thought of as the basic character of human being.

That language in a way retracts the real meaning of the word bauen, which is dwelling, is evidence of the primal nature of these meanings; for with the essential words of language, their true meaning easily falls into oblivion in favor of foreground meanings. Man has hardly yet pondered the mystery of this process. Language withdraws from man its simple and high speech. But its primal call does not thereby become incapable of speech; it merely falls silent. Man, though, fails to heed this silence.

But if we listen to what language says in the word bauen we hear three things:
1. Building is really dwelling.
2. Dwelling is the manner in which mortals are on the earth.
3. Building as dwelling unfolds into the buildingthat cultivates growing things and the building that erects buildings.

If we give thought to this threefold fact, we obtain a clue and note the following: as long as we do not bear in mind that all building is in itself a dwelling, we cannot even adequately ask, let alone properly decide, what the building of buildings might be in its nature. We do not dwell because we have built, but we build and have built because we dwell, that is, because we are dwellers. But in what does the nature of dwelling consist? Let us listen once more to what language says to us. The Old Saxon wuon, the Gothic wunian like the old word bauen, mean to remain, to stay in a place. But the Gothic wunian says more distinctly how this remaining is experienced. Wunian means: to be at peace, to be brought to peace, to remain in peace. The word for peace, Friede, means the free, das Frye, and fry means: preserved from harm and danger, preserved from something, safeguarded. To free really means to spare. The sparing itself consists not only in the fact that we do not harm the one whom we spare. Real sparing is something positive and takes place when we leave something beforehand in its own nature, when we return it specifically to its being, when we “free” it in the real sense of the word into a preserve of peace. To dwell, to be set at peace, means to remain at peace within the free sphere that safeguards each thing in its nature. The fundamental character of dwelling is this sparing and preserving. It pervades dwelling in its whole range. That range reveals itself to us as soon as we reflect that human being consists in dwelling and, indeed, dwelling in the sense of the stay of mortals on the earth.

But “on the earth” already means “under the sky.” Both of these also mean “remaining before the divinities” and include a “belonging to men’s being with one another.” By a primal oneness the four-earth and sky, divinities and mortals-belong together in one.

Earth is the serving bearer, blossoming and fruiting, spreading out in rock and water, rising up into plant and animal. When we say earth, we are already thinking of the other three along with it, but we give no thought to the simple oneness of the four.

pittsburgh.jpg

The sky is the vaulting path of the sun, the course of the changing, moon, the wandering glitter of the stars, the year’s seasons and their changes, the light and dusk of day, the gloom and glow of night, the clemency and inclemency of the weather, the drifting clouds and blue depth of the ether. When we say sky, we are already thinking of the other three along with it, but we give no thought to the simple oneness of the four.

The divinities are the beckoning messengers of the godhead. 0ut of the holy sway of the godhead, the god appears in his presence or withdraws into his concealment. When we speak of the divinities, we are already thinking of the other three along with them, but we give no thought to the simple oneness of the four.

The mortals are the human beings. They are called mortals because they can die. To die means to be capable of death as death. Only man dies, and indeed continually, as long as remains on earth, under the sky, before the divinities. When we speak of mortals, we are already thinking of the other three along with them, but we give no thought to the simple oneness of the four.

This simple oneness of the four we call the fourfold. Mortals are in the fourfold by dwelling. But the basic character of dwelling is to spare, to preserve. Mortals dwell in the way they preserve the fourfold in its essential being, its presencing. Accordingly, the preserving that dwells is fourfold.

Mortals dwell in that they save the earth-taking the word in the old sense still known to Lessing. Saving does not only snatch something from a danger. To save really means to set something free into its own presencing. To save the earth is more than to exploit it or even wear it out. Saving the earth does not master the earth and does not subjugate it, which is merely one step from spoliation.

Mortals dwell in that they receive the sky as sky. They leave to the sun and the moon their journey, to the stars their courses, to the seasons their blessing and their inclemency; they do not turn night into day nor day into a harassed unrest.

Mortals dwell in that they await the divinities as divinities. In hope they hold up to the divinities what is unhoped for. They wait for intimations of their coming and do not mistake the signs of their absence. They do not make their gods for themselves and do not worship idols. In the very depth of misfortune they wait for the weal that has been withdrawn.

Mortals dwell in that they initiate their own nature-their being capable of death as death-into the use and practice of this capacity, so that there may be a good death. To initiate mortals into the nature of death in no way means to make death, as empty Nothing, the goal. Nor does it mean to darken dwelling by blindly staring toward the end.

In saving the earth, in receiving the sky, in awaiting the divinities, in initiating mortals, dwelling occurs as the fourfold preservation of the fourfold. To spare and preserve means: to take under our care, to look after the fourfold in its presencing. What we take under our care must be kept safe. But if dwelling preserves the fourfold, where does it keep the fourfold’s nature? How do mortals make their dwelling such a preserving? Mortals would never be capable of it if dwelling were merely a staying on earth under the sky, before the divinities, among mortals. Rather, dwelling itself is always a staying with things. Dwelling, as preserving, keeps the fourfold in that with which mortals stay: in things.

Staying with things, however, is not merely something attached to this fourfold preserving as a fifth something. On the contrary: staying with things is the only way in which the fourfold stay within the fourfold is accomplished at any time in simple unity. Dwelling preserves the fourfold by bringing the presencing of the fourfold into things. But things themselves secure the fourfold only when they themselves as things are let be in their presencing. How is this done? In this way, that mortals nurse and nurture the things that grow, and specially construct things that do not grow. Cultivating and construction are building in the narrower sense. Dwelling, insofar as it keeps or secures the fourfold in things, is, as this keeping, a building. With this, we are on our way to the second question.

0254.jpg

II

In what way does building belong to dwelling?

The answer to this question will clarify for us what building, understood by way of the nature of dwelling, really is. We limit ourselves to building in the sense of constructing things and inquire: what is a built thing? A bridge may serve as an example for our reflections.

The bridge swings over the stream “with case and power. It does not just connect banks that are already there. The banks emerge as banks only as the bridge crosses the stream. The bridge designedly causes them to lie across from each other. One side is set off against the other by the bridge. Nor do the banks stretch along the stream as indifferent border strips of the dry land. With the banks, the bridge brings to the stream the one and the other expanse of the landscape lying behind them. It brings stream and bank and land into each other’s neighborhood. The bridge gathers the earth as landscape around the stream. Thus it guides and attends the stream through the meadows. Resting upright in the stream’s bed, the bridge-piers bear the swing of the arches that leave the stream’s waters to run their course. The waters may wander on quiet and gay, the sky’s floods from storm or thaw may shoot past the piers in torrential waves-the bridge is ready for the sky’s weather and its fickle nature. Even where the bridge covers the stream, it holds its flow up to the sky by taking it for a moment under the vaulted gateway and then setting it free once more.

The bridge lets the stream run its course and at the same time grants their way to mortals so that they may come and go from shore to shore. Bridges lead in many ways. The city bridge leads from the precincts of the castle to the cathedral square; the river bridge near the country town brings wagons and horse teams to the surrounding villages. The old stone bridge’s humble brook crossing gives to the harvest wagon its passage from the fields into the village and carries the lumber cart from the field path to the road. The highway bridge is tied into the network of long-distance traffic, paced as calculated for maximum yield. Always and ever differently the bridge escorts the lingering and hastening ways of men to and from, so that they may get to other banks and in the end, as mortals, to the other side. Now in a high arch, now in a low, the bridge vaults over glen and stream-whether mortals keep in mind this vaulting of the bridge’s course or forget that they, always themselves on their way to the last bridge, are actually striving to surmount all that is common and unsound in them in order to bring themselves before the haleness of the divinities. The bridge gathers, as a passage that crosses, before the divinities-whether we explicitly think of, and visibly give thanks for, their presence, as in the figure of the saint of the bridge, or whether that divine presence is obstructed or even pushed wholly aside.

The bridge gathers to itself in its own way earth and sky, divinities and mortals.

Gathering or assembly, by an ancient word of our language, is called “thing.” The bridge is a thing-and, indeed, it is such as the gathering of the fourfold which we have described. To be sure, people think of the bridge as primarily and really merely a bridge; after that, and occasionally, it might possibly express much else besides; and as such an expression it would then become a symbol, for instance ,t symbol of those things we mentioned before. But the bridge, if it is a true bridge, is never first of all a mere bridge and then afterward a symbol. And just as little is the bridge in the first place exclusively a symbol, in the sense that it expresses something that strictly speaking does not belong to it. If we take the bridge strictly as such, it never appears as an expression. The bridge is a thing and only that. Only? As this thing it gathers the fourfold.

Our thinking has of course long been accustomed to understate the nature of the thing. The consequence, in the course of Western thought, has been that the thing is represented as an unknown X to which perceptible properties are attached. From this point of view, everything that already belongs to the gathering nature of this thing does, of course, appear as something that is afterward read into it. Yet the bridge would never be a mere bridge if it were not a thing.

To be sure, the bridge is a thing of its own kind; for it gathers the fourfold in such a way that it allows a site for it. But only something that is itself a location can make space for a site. The location is not already there before the bridge is. Before the bridge stands, there are of course many spots along the stream that can be occupied by something. One of them proves to be a location, and does so because of the bridge. Thus the bridge does not first come to a location to stand in it; rather, a location comes into existence only by virtue of the bridge. The bridge is a thing; it gathers the fourfold, but in such a way that it allows a site for the fourfold. By this site are determined the localities and ways by which a space is provided for.

chrystalcoated.jpg

Only things that are locations in this manner allow for spaces. What the word for space, Raum, Rum, designates is said by its ancient meaning. Raum means a place cleared or freed for settlement and lodging. A space is something that has been made room for, something that- namely within a boundary, Greek peras. A boundary is not that at which something stops but, as the Greeks recognized, the boundary is that from which something begins its presencing. That is why the concept is that of horismos, that is, the horizon, the boundary. Space is in essence that for which room has been made, that which is let into its bounds. That for which room is made is always granted and hence is joined, that is, gathered, by virtue of a location, that is, by such a thing as the bridge. Accordingly, spaces receive their being from locations and not from “space.”

Things which, as locations, allow a site we now in anticipation call buildings. They are so called because they are made by a process of building construction. Of what sort this making-building-must be, however, we find out only after we have first given thought to the nature of those things which of themselves require building as the process by which they are made. These things are locations that allow a site for the fourfold, a site that in each case provides for a space. The relation between location and space lies in the nature of these things qua locations, but so does the relation of the location to the man who lives at that location. Therefore we shall now try to clarify the nature of these things that we call buildings by the following brief consideration.

For one thing, what is the relation between location and space? For another, what is the relation between man and space? The bridge is a location. As such a thing, it allows a space into which earth and heaven, divinities and mortals are admitted. The space allowed by the bridge contains many places variously near or far from the bridge. These places, however, may be treated as mere positions between which there lies a measurable distance; a distance, in Greek stadion, always has room made for it, and indeed by bare positions. The space that is thus made by positions is space of a peculiar sort. As distance or “stadion” it is what the same word, stadion, means in Latin, a spatium, an intervening space or interval. Thus nearness and remoteness between men and things can become mere intervals of intervening space. In a space that is represented purely as spatium, the bridge now appears as a mere something at some position, which can be occupied at any time by something else or replaced by a mere marker. What is more, the mere dimensions of height, breadth, and depth can be abstracted from space as intervals. What is so abstracted we represent as the pure manifold of the three dimensions. Yet the room made by this manifold is also no longer determined by distances; it is no longer a spatium, but now no more than extensio- extension. But from a space as extensio a further abstraction can be made, to analytic-algebraic relations. What these relations make room for is the possibility of the construction of manifolds with an arbitrary number of dimensions. The space provided for in this mathematical manner may be called “space,” the “one” space as such. But in this sense “the” space , “space,” contains no spaces and no places. We never find in it any locations, that is, things of the kind the bridge is. As against that, however, in the spaces provided for by locations there is always space as interval, and in this interval in turn there is space as pure extension. Spatium and extensio afford at any time the possibility of measuring things and what they make room for, according to distances, spans, and directions, and of computing these magnitudes. But the fact that they are universally applicable to everything that has extension can in no case make numerical magnitudes the ground of the nature of space and locations that are measurable with the aid of mathematics. How even modern physics was compelled by the facts themselves to represent the spatial medium of cosmic space as a field-unity determined by body as dynamic center, cannot be discussed here.

The spaces through which we go daily are provided for by locations; their nature is grounded in things of the type of buildings. If we pay heed to these relations between locations and spaces, between spaces and space, we get a due to help us in thinking of the relation of man and space.

trolley.jpg

When we speak of man and space, it sounds as though man stood on one side, space on the other. Yet space is not something that faces man. It is neither an external object nor an inner experience. It is not that there are men, and over and above them space; for when I say “a man,” and in saying this word think of a being who exists in a human manner-that is, who dwells-then by the name “man” I already name the stay within the fourfold among things. Even when we relate ourselves to those things that are not in our immediate reach, we are staying with the things themselves. We do not represent distant things merely in our mind-as the textbooks have it-so that only mental representations of distant things run through our minds and heads as substitutes for the things. If all of us now think, from where we are right here, of the old bridge in Heidelberg, this thinking toward that location is not a mere experience inside the persons present here; rather, it belongs to the nature of our thinking of that bridge that in itself thinking gets through, persists through, the distance to that location. From this spot right here, we are there at the bridge-we are by no means at some representational content in our consciousness. From right here we may even be much nearer to that bridge and to what it makes room for than someone who uses it daily as an indifferent river crossing. Spaces, and with them space as such-”space”-are always provided for already within the stay of mortals. Spaces open up by the fact that they are let into the dwelling of man. To say that mortals are is to say that in dwelling they persist through spaces by virtue of their stay among things and locations. And only because mortals pervade, persist through, spaces by their very nature are they able to go through spaces. But in going through spaces we do not give up our standing in them. Rather, we always go through spaces in such a way that we already experience them by staying constantly with near and remote locations and things. When I go toward the door of the lecture hall, I am already there, and I could not go to it at all if I were not such that I am there. I am never here only, as this encapsulated body; rather, I am there, that is, I already pervade the room, and only thus can I go through it.

Even when mortals turn “inward,” taking stock of themselves, they do not leave behind their belonging to the fourfold. When, as we say, we come to our senses and reflect on ourselves, we come back to ourselves from things without ever abandoning our stay among things. Indeed, the loss of rapport with things that occurs in states of depression would be wholly impossible if even such a state were not still what it is as a human state: that is, a staying with things. Only if this stay already characterizes human being can the things among which we are also fail to speak to us, fail to concern us any longer.

Man’s relation to locations, and through locations to spaces, inheres in bis dwelling. The relationship between man and space is none other than dwelling, strictly thought and spoken.

When we think, in the manner just attempted, about the relation between location and space, but also about the relation of man and space, a light falls on the nature of the things that are locations and that we call buildings.

einstieg.jpg

The bridge is a thing of this sort. The location allows the simple onefold of earth and sky, of divinities and mortals, to enter into a site by arranging the site into spaces. The location makes room for the fourfold in a double sense. The location admits the fourfold and it installs the fourfold. The two making room in the sense of admitting and in the sense of installing-belong together. As a double space-making, the location is a shelter for the fourfold or, by the same token, a house. Things like such locations shelter or house men’s lives. Things of this sort are housings, though not necessarily dwelling-houses in the narrower sense.

The making of such things is building. Its nature consists in this, that it corresponds to the character of these things. They are locations that allow spaces. This is why building, by virtue of constructing locations, is a founding and joining of spaces. Because building produces locations, the joining of the spaces of these locations necessarily brings with it space, as spatium and as extension into the thingly structure of buildings. But building never shapes pure “space” as a single entity. Neither directly nor indirectly. Nevertheless, because it produces things as locations, building is closer to the nature of spaces and to the origin of the nature of “space” than any geometry and mathematics. Building puts up locations that mane space and a site for the fourfold. From the simple oneness in which earth and sky, divinities and mortals belong together, building receives the directive for its erecting of locations. Building takes over from the fourfold the standard for all the traversing and measuring of the spaces that in each case are provided for by the locations that have been founded. The edifices guard the fourfold. They are things that in their own way preserve the fourfold. To preserve the fourfold, to save the earth, to receive the sky, to await the divinities, to escort mortals-this fourfold preserving is the simple nature, the presencing, of dwelling. In this way, then, do genuine buildings give form to dwelling in its presencing and house this presence.

Building thus characterized is a distinctive letting-dwell. Whenever it is such in fact, building already has responded to the summons of the fourfold. All planning remains grounded on this responding, and planning in turn opens up to the designer the precincts suitable for his designs.

fluegelschatten.jpg

As soon as we try to think of the nature of constructive building in terms of a letting-dwell, we come to know more clearly what that process of making consists in by which building is accomplished. Usually we take production to be an activity whose performance has a result, the finished structure, as its consequence. It is possible to conceive of making in that way; we thereby grasp something that is correct, and yet never touch its nature, which is a producing that brings something forth. For building brings the fourfold hither into a thing, the bridge, and brings forth the thing as a location, out into what is already there, room for which is only now made by this location.

The Greek for “to bring forth or to produce” is tikto. The word techne, technique, belongs to the-verb’s root tec. To the Greeks techne means neither art nor handicraft but rather: to make something appear, within what is present, as this or that, in this way or that way. The Greeks conceive of techne, producing, in terms of letting appear. Techne thus conceived has been concealed in the tectonics of architecture since ancient times. Of late it still remains concealed, and more resolutely, in the technology of power machinery. But the nature of the erecting buildings cannot be understood adequately in terms either of architecture or of engineering construction, nor in terms of a mere combination of the two. The erecting of buildings would not be suitably defined even if we were to think of it in the sense of the original Greek techne as solely a letting-appear, which brings something made, as something present, among the things that are already present.

The nature of building is letting dwell. Building accomplishes its nature in the raising of locations by the joining of their spaces. Only if we are capable of dwelling, only then can we build. Let us think for a while of a farmhouse in the Black Forest, which was built some two hundred years ago by the dwelling of peasants. Here the self-sufficiency of the power to let earth and heaven, divinities and mortals enter in simple oneness into things, ordered the house. It placed the farm on the wind-sheltered mountain slope looking south, among the meadows close to the spring. It gave it the wide overhanging shingle roof whose proper slope bears up under the burden of snow, and which, reaching deep down, shields the chambers against the storms of the long winter nights. It did not forget the altar corner behind the community table; it made room in its chamber for the hallowed places of childbed and the “tree of the dead”-for that is what they call a coffin there: the Totenbaum-and in this way it designed for the different generations under one roof the character of their journey through time. A craft which, itself sprung from dwelling, still uses its tools and frames as things, built the farmhouse.

kontrolltor.jpg

Only if we are capable of dwelling, only then can we build. Our reference to the Black Forest farm in no way means that we should or could go back to building such houses; rather, it illustrates by a dwelling that has been how it was able to build.

Dwelling, however, is the basic character of Being in keeping with which mortals exist. Perhaps this attempt to think about dwelling and building will bring out somewhat more clearly that building belongs to dwelling and how it receives its nature from dwelling. Enough will have been gained if dwelling and building have become worthy of questioning and thus have remained worthy of thought.

But that thinking itself belongs to dwelling in the same sense as building, although in a different way, may perhaps be attested to by the course of thought here attempted.

Building and thinking are, each in its own way, inescapable for dwelling. The two, however, are also insufficient for dwelling so long as each busies itself with its own affairs in separation instead of listening to one another. They are able to listen if both-building and thinking-belong to dwelling, if they remain within their limits and realize that the one as much as the other comes from the workshop of long experience and incessant practice.

We are attempting to trace in thought the nature of dwelling. The next step on this path would be the question: what is the state of dwelling in our precarious age? On all sides we hear talk about the housing shortage, and with good reason. Nor is there just talk; there is action too. We try to fill the need by providing houses, by promoting the building of houses, planning the whole architectural enterprise. However hard and bitter, however hampering and threatening the lack of houses remains, the real plight of dwelling does not lie merely in a lack of houses. The real plight of dwelling is indeed older than the world wars with their destruction, older also than the increase of the earth’s population and the condition of the industrial workers. The real dwelling plight lies in this, that mortals ever search anew for the nature of dwelling, that they must ever learn to dwell. What if man’s homelessness consisted in this, that man still does not even think of the real plight of dwelling as the plight? Yet as soon as man gives thought to his homelessness, it is a misery no longer. Rightly considered and kept well in mind, it is the sole summons that calls mortals into their dwelling.

But how else can mortals answer this summons than by trying on their part, on their own, to bring dwelling to the fullness of its nature? This they accomplish when they build out of dwelling, and think for the sake of dwelling.

from Poetry, Language, Thought, translated by Albert Hofstadter, Harper Colophon Books, New York, 1971.

0255.jpg

Joburg Burning

Filed under: derek davey — ABRAXAS @ 4:03 pm

Never tell a cop you are innocent. That one doesn’t work. They’ve heard it so many times before, it’s like the inmates of asylums insisting they are sane, no-one is really interested and frankly, it’s quite boring … irritating even.

This thought comes as a retrospect, but at the time I thought it was worth my while to protest my innocence, as I had just been arrested by cops for public drinking when in fact I had moved on to drinking water by that stage of the evening, and I was merely holding my friend’s drink while he went to look for a missing member of our rather inebriated party. Ja, ja.

The scene is the parking lot opposite Roxy’s in Melville. Saturday 10pm. We are perhaps the most elderly party attending the Joburg Burning event, where about 30 bands play at six venues around Melville and shuttles transport the patrons from venue to venue, presumably to prevent them from being arrested for drunken driving. But the cops, who cannot catch the thousands of rapists and murderers running rampant across our country, are hovering around hoping to catch patrons swapping venues with bottles of grog clutched in their pubescent paws. Well done, guys.

I wave the bottle of water in the cop’s face and tell him I’m not drinking, and come on, show a bit of mercy and all that, which angers the righteous constable so much he slaps cuffs on my wrists and accuses me of resisting arrest. I realize that the charges are adding up too fast and climbed into the police Golf, waving goodbye to my by now slightly anxious friends.

Cop number one takes off my cuffs and tells me that I haven’t even apologized. I apologise to all concerned, which is three cops – two in front and one sissie in the back. What’s going to happen to me? You’re going to spend the night in jail and pay a fine in the morning. Will I be spending the night with criminals? No, just other people bust for drinking in public. I ask what else they want to me to do or say and they tell me its best to shut up now. So I shut up.

We’re driving up Beyers Naude past the graveyard when the cops notice the taxi in front of them has something slightly fishy going on inside it. To me, it looks like someone is smoking crack midway along the taxi windows, but I’m not sure if anyone would be that stupid. The cops pull the taxi over and all three of them get out and search the occupants, who start lining up along the sides of the taxi.

No one is paying me any attention, so I start checking the doors. The one next to me has some sort of childlock on it, but the opposite door is open, so I climb out and start walking back along the way we came. Was I being given a gap? Or were the cops just stupid? Or hoping I would just sit there and wait for them? And why didn’t they search me? I could have had a gun for all they knew, and blown their brains out when they returned to the car.

I start walking away all nice and casual, but lose my nerve after about 30 meters and leap the fence into the graveyard, which cost me quite a few cuts across my palms. I start running through the graveyard, which is pretty dark and scary at this hour of night, and begin phoning my friends to pick me up. No one answers for the first five attempts, but eventually they reply and come to pick me up, whooping with joy as if I have won some kind of major victory.

We head for the next venue in time to catch more of the disgustingly un-original, egotistical, if highly competent young rock bands who seem to make up the event. I am laden with shots for my bravery or foolishness, I am not sure which, does it matter to drunken friends? Short of antiseptics, I splash whiskey across my wounds as you see done in any western worth its salt. We roundly condemn the cops for being useless sods who can’t catch a fly and who have become as corrupt as those they are supposed to put away behind bars. Then we watch the music. Some of the party pass out.

I resolve to never watch rock music again, and realize that my spring-driven desire to get wasted with pals on a night on the town has run its course. I walk back to my car, checking out the fences all the way to see how easy they will be to scale if the same cops happen to drive past and recognize me. I’m getting too old for this shit.

Filed under: art, andrea stuyfersant — ABRAXAS @ 3:22 pm

0250.jpg

Next Page »