[-empyre-] concerning violence, and more Antigone's bones

[Alicia Migdal]

Los 43 estudiantes mexicanos aparecieron (aparecieron?)ayer como polvo
adentro de bolsas, casi no quedan huesos para examinar. Perdón, pero hoy
estoy muy conmovida para cualquier análisis. Sin embargo la sola
enunciación de esto contiene su propia metáfora.
El 08/11/2014 15:14, "Johannes Birringer" <Johannes.Birringer at brunel.ac.uk>
escribió:

> ----------empyre- soft-skinned space----------------------
>
>
> Several participants have now raised the idea of terror (event,
> representation, or the 'graphe,' the visual scaffold that Jon had implied)
> as cliché, and as kitsch.
>
> Alan however has always insisted here that the abject (experience and
> image) invades and destroys, it causes extreme anguish.
>
> And we have not fully addressed it yet –   "such dissolution, falling
> apart, within and among the abject, that self and other are uncomfortably
> bound, felt as such, repulsive" (Alan) –- when we seek recourse to the
> narratives and theories and philosophies. (Though the notion of the abject
> comes, as well, via Kristeva and an anthropological analysis of dirt,
> impurity, and the repulsed).
>
> A performance, however (and thanks Erik for sharing your cryptic epilogue
> of Woman/Raven,  to 'Mother Courage'), when/where?  how would it respond?
> for whom? And relate to what Alicia names the "orientalized Debord", an
> other spectacle? Plenty of dust from the actions of the porn erotic of the
> masculinity of a populist maleness, vital, organized and lethal, like gangs
> like mass graves,  symmetric rituals?  (I extrapolate from Alicia, and her
> brief account of a more surreal sequence even, one disappearance to another
> finding -  estudientes/federales/narcotraficantes:  <en México, 43
> estudiantes desaparecen como en un pase de magia y se descubre otra fosa
> común con cadáveres NN.>>
>
> Jon -- your question is about performance?  <To ask Reinhold’s question
> differently: How to navigate such genealogical strata while making
> performances that cite and grapple with violence and terror and graphe? >
> Is that not somehow the issue that Olga tried to broach, using approximate
> but "alienated" media strategies to re-site the evidences (say, combatant
> confessions in a night club called "Death Cub")?  And how does verbatim
> theatre grapple? is there any grappling that could answer Alan's statement
> of dissolution?
>
>
> regards
> Johannes Birringer
>
>
> [Jon schreibt]
> From hashassins and anarchist bombings to drone strikes and YouTube
> beheadings, modern terror develops within a global network of increasing
> density and resonance. Terror one sees “over there” suddenly is here,
> collapsing space and time and with them one’s points of reference.....And
> if clichés, images, ghosts preceded the real - what violence would there be
> in that?
>
>
> [Erik schreibt]
> excellent. in the perpetrator, victim, witness triad - the witness is
> shocked/severed out of the equation, specifically in order to collapse
> imaginative and expressive space for the victim. the witness still exists,
> but to demonstrate estrangement. the perpetrators are fine because they
> have space behind them, up in the large house they've stolen.
>
>
> [Ana schreibt]
>
> "Violence is a key ingredient of human storytelling: from our first oral
> tales, violent acts have heightened audience attention and underlined the
> dangers of our world. What happens to a child who goes
> off alone? She is beset by ogres! Djinn! Child-eating witches! As
> different story traditions developed, most were rich in violence, which was
> often focused around a single enemy. This enemy could be
> battled (and tricked or beaten), offering the audience a psychological
> release.
>
>
>
> _______________________________________________
> empyre forum
> empyre at lists.cofa.unsw.edu.au
> http://empyre.library.cornell.edu
>
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