Friday, October 2, 2015

Tortoise Shout - D.H. Lawrence

Tortoise Shout

BY D. H. LAWRENCE
I thought he was dumb,
I said he was dumb,
Yet I've heard him cry.

First faint scream,
Out of life's unfathomable dawn,
Far off, so far, like a madness, under the horizon's dawning rim,
Far, far off, far scream.

Tortoise in extremis.

Why were we crucified into sex?
Why were we not left rounded off, and finished in ourselves,
As we began,
As he certainly began, so perfectly alone?

A far, was-it-audible scream,
Or did it sound on the plasm direct?

Worse than the cry of the new-born,
A scream,
A yell,
A shout,
A pæan,
A death-agony,
A birth-cry,
A submission,
All tiny, tiny, far away, reptile under the first dawn.

War-cry, triumph, acute-delight, death-scream reptilian,
Why was the veil torn?
The silken shriek of the soul's torn membrane?
The male soul's membrane
Torn with a shriek half music, half horror.

Crucifixion.
Male tortoise, cleaving behind the hovel-wall of that dense female,
Mounted and tense, spread-eagle, out-reaching out of the shell
In tortoise-nakedness,
Long neck, and long vulnerable limbs extruded, spread-eagle over her house-roof,
And the deep, secret, all-penetrating tail curved beneath her walls,
Reaching and gripping tense, more reaching anguish in uttermost tension
Till suddenly, in the spasm of coition, tupping like a jerking leap, and oh!
Opening its clenched face from his outstretched neck
And giving that fragile yell, that scream,
Super-audible,
From his pink, cleft, old-man's mouth,
Giving up the ghost,
Or screaming in Pentecost, receiving the ghost.

His scream, and his moment's subsidence,
The moment of eternal silence,
Yet unreleased, and after the moment, the sudden, startling jerk of coition, and at once
The inexpressible faint yell —
And so on, till the last plasm of my body was melted back
To the primeval rudiments of life, and the secret.

So he tups, and screams
Time after time that frail, torn scream
After each jerk, the longish interval,
The tortoise eternity,
Agelong, reptilian persistence,
Heart-throb, slow heart-throb, persistent for the next spasm.

I remember, when I was a boy,
I heard the scream of a frog, which was caught with his foot in the mouth of an up-starting snake;
I remember when I first heard bull-frogs break into sound in the spring;
I remember hearing a wild goose out of the throat of night
Cry loudly, beyond the lake of waters;
I remember the first time, out of a bush in the darkness, a nightingale's piercing cries and gurgles startled the depths of my soul;
I remember the scream of a rabbit as I went through a wood at midnight;
I remember the heifer in her heat, blorting and blorting through the hours, persistent and irrepressible;
I remember my first terror hearing the howl of weird, amorous cats;
I remember the scream of a terrified, injured horse, the sheet-lightning
And running away from the sound of a woman in labor, something like an owl whooing,
And listening inwardly to the first bleat of a lamb,
The first wail of an infant,
And my mother singing to herself,
And the first tenor singing of the passionate throat of a young collier, who has long since drunk himself to death,
The first elements of foreign speech
On wild dark lips.

And more than all these,
And less than all these,
This last,
Strange, faint coition yell
Of the male tortoise at extremity,
Tiny from under the very edge of the farthest far-off horizon of life.

The cross,
The wheel on which our silence first is broken,
Sex, which breaks up our integrity, our single inviolability, our deep silence
Tearing a cry from us.

Sex, which breaks us into voice, sets us calling across the deeps, calling, calling for the complement,
Singing, and calling, and singing again, being answered, having found.

Torn, to become whole again, after long seeking for what is lost,
The same cry from the tortoise as from Christ, the Osiris-cry of abandonment,
That which is whole, torn asunder,
That which is in part, finding its whole again throughout the universe.




Thursday, October 1, 2015

Blood Curdling, Blood Curdling, Blood Curdling, Anti-Sexual, Violent, Animalistic.....My Goodness She Really Scared The S@#* Out Of Me.









Listen here (from around 5:30 if you don't have 8mins of life to spare)
 
















but the cry makes me blind

"For when we shout, we tear. We tear apart distance; we disallow distance to the object of our anger, or of our ecstasy. When I shout, I am all voice, you are all voice, the space between us is nothing but a delirium tremens of voice"
(Steven Connor, Dumbstruck: A Cultural History of Ventriloquism)

"You will grant me that the one that is introduced by the experience of the unconscious is the one of the split, of the stroke, of rupture"
(Jaques Lacan)


"With the 'scream', at whatever level of intensity, no illusion is possible....Wagner argues...it is possible to pierce these beautiful musical forms through moments of rupture"
(Stephen Downes)



but

"The cry makes me blind, swallowing up the world of visible distances and distinctions." 
(Steven Connor)





(https://meicaa.wordpress.com/tag/mom/)





Max Beckmann, Blind Man's Buff, 1945.


Max Beckmann, Self-Portrait, 1901.

Sunday, September 6, 2015

The Surface of Last Screaming // Dying Star Screams As It Falls Into Black Hole






The Surface of Last Screaming
"Consider an infinite field full of people screaming. The circles are their heads. You are screaming too. (Your head is the black dot.) Now suppose everyone stops screaming at the same time. What will you hear? Sound travels at 330 m/s. One second after everyone stops screaming you will be able to hear the screams from a `surface of last screaming' 330 meters away from you in all directions. After 3 seconds the faint screaming will be coming from 1 km away...etc. No matter how long you wait, faint screaming will always be coming from the surface of last screaming - a surface that is receding from you at the speed of sound (`vsound'). The same can be said of any observer - each is the center of a surface of last screaming. In particular, observers on your surface of last screaming are currently hearing you scream since you are on their surface of last screaming. The screams from the people closer to you than the surface of last screaming have passed you by - you hear nothing from them (gray heads). When we observe the CMB [Cosmic Microwave Background] in every direction we are seeing photons from the surface of last scattering. We are seeing back to a time soon after the big bang when the entire universe was opaque (screaming)."



Dying Star Screams As It Falls Into Black Hole




"As a doomed star spirals closer and closer to a black hole that's about to gobble it up, it lets out periodic bursts of light that scientists liken to dying screams, scientists say.
The star is falling into a gigantic black hole in the center of a distant galaxy that lies 3.9 billion light-years away in the direction of the constellation Draco. As the remains of the star get pulled in, it releases blips of light about every 200 seconds, with occasional lags.
"You can think of it as hearing the star scream as it gets devoured, if you like," Jon Miller, a University of Michigan astronomer, said in a statement. Miller was part of a team that detected the light blips using two orbiting X-ray telescopes: NASA and Japan's Suzaku, and Europe's XMM-Newton..... "In order for the black hole to feed from a star that its gravity has broken apart, the remains of the star must form an accretion disk surrounding the black hole," said the study's leader, University of Michigan astronomer Rubens Reis. "The disk gets heated up and we can see emissions from the disk very close to the black hole in X-rays. As this matter is falling in, it gives a quasiperiodic wobble and that's the signal we detected.
Though the dying star's signal comes to us in the form of light, the researchers liken it to sound because it comes at a characteristic frequency that, if converted to sound, would make an ultra-low D-sharp.
Never before have such screams been heard from a star falling prey to a black hole so distant, or one that had been thought to be dormant, like this one."

I shall sit on the ground and scream

"Lucile: Everything's astir: clocks tick, bells ring, folk pass, water flows, everything continues just as before, for ever and for ever.
--But no! It mustn't happen, no! I shall sit on the ground and scream, so everything stops, shocked into stillness, not a flicker of movement. [She sits down, covers her eyes, and screams. After a pause, she stands up] It makes no difference. Things are just as they were. The houses, the street. The wind blows, the clouds drift. -- Perhaps we just have to bear it" 

- Georg Büchner, Danton's Death [Dantons Tod]


“Sounds rush forward.../ Cold light reigns everywhere/Everything Stops”

- Antonin Artaud, There Is No More Firmament

Monday, April 27, 2015

The Faceless and the Screaming



"Returning now for one last moment to Munch’s painting, it seems evident that The Scream subtly but elaborately disconnects its own aesthetic of expression, all the while remaining imprisoned within it. Its gestural content already underscores its own failure, since the realm of the sonorous, the cry, the raw vibrations of the human throat, are incompatible with its medium (something underscored within the work by the homunculus’s lack of ears). Yet the absent scream returns, as it were, in a dialectic of loops and spirals, circling ever more closely toward that even more absent experience of atrocious solitude and anxiety which the scream was itself to "express." Such loops inscribe themselves on the painted surface in the form of those great concentric circles in which sonorous vibration becomes ultimately visible, as on the surface of a sheet of water, in an infinite regress which fans out from the sufferer to become the very geography of a universe in which pain itself now speaks and vibrates through the material sunset and landscape. The visible world now becomes the wall of the monad on which this "scream running through nature" (Munch’s words) is recorded and transcribed: one thinks of that character of Lautreamont who, growing up inside a sealed and silent membrane, ruptures it with his own scream on catching sight of the monstrousness of the deity and thereby rejoins the world of sound and suffering."

 "Faceless masters continue to inflect the economic strategies which constrain our existences, but they no longer need to impose their speech (or are henceforth unable to); and the postliteracy of the late capitalist world reflects not only the absence of any great collective project but also the unavailability of the older national language itself"


from Fredric Jameson's Postmodernism, or, The Cultural Logic of Late Capitalism. Duke UP, 1991.





 Franciszek Starowieyski (Poland) , Poster for Alban Berg's Lulu in Bonn, 1980





Jan Lenica (Poland), Poster for Alban Berg's Wozzeck, Austrian Opera, 1964.





 Pet Halmen, Poster for Alban Berg's Lulu, Bayerische Staatsoper Printed in Munich, 1980s



Poster for Alban Berg's Lulu, Hamburg, 1980s


Roslaw Szaybo (Poland), poster for Alban Berg's Wozzeck,1990s



Friday, March 20, 2015

Sound Comes To The Rescue Of Thought



"Sound comes to the rescue of thought, rather than the inverse, forcing it to vibrate, loosening up its organized or petrified body"

- Steve Goodman, Sonic Warfare.



Are You Scared To Die? (Wait For It)





The Scream - Sebastian Cosor - Safe-Frame.com from Sebastian Cosor on Vimeo.


"I was walking down the road with two friends when the sun set; suddenly, the sky turned as red as blood. I stopped and leaned against the fence, feeling unspeakably tired. Tongues of fire and blood stretched over the bluish black fjord. My friends went on walking, while I lagged behind, shivering with fear. Then I heard the enormous, infinite scream of nature." - Edvard Munch


"Innocent X screams, but he screams behind the curtain, not only as someone who can no longer be seen, but as someone who cannot see, who has nothing left to see, whose only remaining function is to render visible those invisible forces that are making him scream, these powers of the future. This is what is expressed in the phrase "to scream at" -- not to scream before or about but to scream at death -- which suggests this coupling of forces, the perceptible force of the scream and the imperceptible force that makes us scream."  

- Deleuze and Guattari on Bacon's Study after Velázquez's Portrait of Pope Innocent X in Francis Bacon:The Logic Of Sensation 












Bursting Bodies Of Thought // Goltraí Bog Na nDall









Bursting Bodies of Thought: Artaud and Hijikata, by Michael Hornblow:

"In butoh, the body becomes a kind of topological surface, an interface between what may be expressed and some other hidden realm of infinite potential that is ultimately inexpressible....

....

For Artaud.....everything within that matter and thought is inextricably linked along a continuum marked by the interplay of contrary forces....hidden beneath the surface of fact, glossed over by the banality of every day reality, and so it behoves the visionary artist and the radical metaphysician to reveal the lie-- to harness life's hidden force and unleash its cruelty, and an act of creation...."through dissociation and vibratory action upon the sensibility...."

Through a kind of "affective athleticism", the thinking body attempts to apprehend the infinite speed of thought energy in the grasping of a senile hand. What appears is but a shadow, yet one all the more luminous for feeding upon the depths, What may be seen or felt as stage 'presence is perhaps this tension between the virtual and the actual state of resistance in the body; the haunting of some 'thing' glimpsed in the crack of continual metamorphosis..."



"D'iompaigh sé a cheann,
Is do shín amach an lámh sin oilte ar chuardach,
Gach méar ag snámh go mall
Mar mhéaranna ceoltóra ar a uirlis,
Is bhí an uirlis ann
Do sheinn sé ar an aer táin nótaí ciúnais,
Goltraí bog na ndall"

-- ó 'An Dall Sa Studio' le Seán Ó Ríordáin

[He turned his head/And stretched out that hand trained in searching/Every finger swimming slowly/Like a musician's hands on his instrument/And the instrument was there/He played a wealth of silent notes on the air/The slow, sad music of the blind

my own rough translation (it's been a while)