[-empyre-] public lament and gardening
Johannes.Birringer at brunel.ac.uk
Fri Oct 5 04:14:51 EST 2012
which "Lamentations" are you refering to?
(not Martha Graham's Lamentation?) The lament of nation-building
I'd be interested in this idea of the critique of the ritual and the community self-restitution,
and also in a review how lament becomes a gesture (in performance and film/filmed performance/then in stilled photograph)
of witnessing and what Monika describes as "witnessing and enunciation .... sequenced to non-linear time....[with] compose[d] sound from testimonies, recitations, laments, the environment..."
I was interested in the staging of lament, Monika, and how it loses all aura (in Benjamin's writing on something that may have been originary or original) thereby, or retains some?, and how people today,
perhaps, are divesting themselves of having to witness ageing, decrepitude, decay, catatonia, living absence, death.
Not sure, i know many folks, in the old village, who are care takers and who are
witnessing the disappearance of loved ones, the sliding away, in pain or tranced, stilled pain (medicated), but Yoko Ishiguro, a Japanese performance artist who studied at my school, recently staged
her symbolic passing outside the library, had herself placed and buried in a coffin and transmitted all that action through the network to test whether the net would be a kind or tomb archive for later generations to look back to Yoko's death at the foot of the library and how would the data be preserved? Yoko told me she was reacting to the crass commodification of death she observed, with funeral trade shows and, for example, the Japanese cyber-burial companies which invite the dead to be “buried” on the website so that you can visit there online.........She saw this commodification in the Benjamin sense of raising questions about "work: (art) in the era of technical reproducibility.
So my question (this is before Alan and Sandy's dense textdialiogue about the signifier of pain arrived, which i have not been able to translate) was still to Monika to try to describe how she sees her work function, and what effect is produced, and how the audience is drawn into the long circle or not. And can there ever be audience in lamentation/mourning?
(PS. i personally have no problems with weeds (as weeds), i love them in my garden and tend to them, and they are migrants too, some weeds have travel from far but i didn't know there were weeds, some one has to point out. that must be the signifier. I had never thought of them in the sense of homo sacer. This astonished me, Monika, that you mention Agamben, after "Nowoczesność i Zaglada". thank you for responding to my query, and in think Alan's answer is not quite responding to Bauman's critical analysis of the garden society, and what the writing may also have to tell us about politics of integration or assimilation of impairment, otherness.
public lament and gardening
On Thu, 4 Oct 2012, Maria Damon wrote:
> Is there then (I'm sort of assuming the answer is yes, but asking anyway in
> order to make it part of the fabric of the conversation) a way in which
> lamentation is also critique as well as community self-constitution, as in
Maria, I wonder what sort of critique would be possible? Lamentations
seems to bridge the political and the obdurate. When pain becomes
overwhelming, silence is at the core and the signifier dissolves; I think
this is also the core of anguish. One is left speechless. On the other
hand, how much clarity is necessary for political or 'rational' thought?
In an odd way this also brings up mathematical thinking - which, from an
outsider point-of-view, seems based on the manipulation of symbols, but
from within is much more of clouded movements with indeterminate focus
(see Jacques Hadamard). Thinking itself, in other words, may well have
less content than its representations, and certainly its representations
in virtual worlds, where everything, one way or another, is determinate
and rationalized on a pixel-by-pixel level.
More information about the empyre