PIERRE GUYOTAT; BODY OF THE TEXT

BODY OF THE TEXT THIS IS NOT WRITTEN. BUT DICTATED. IMPROVISED. NOTEBOOKS IN HAND— NOT FOR A STOCKTAKING OF PAST OR PRESENT JOTTINGS ON WHAT I AM ABOUT TO DESCRIBE: THE RELATIONSHIP BETWEEN MASTURBATION AND WRITING— BUT IN ORDER TO SPEAK TEXT IN HAND AND EXPOSED TO VIEW—; NO USE EXPECTING THEN. A TEXT THAT MIGHT BE DESCRIBED AS “SCHOLARLY” OR “MARGINAL” (NECESSARY TERMS AT AN EPOCH DETERMINED BY POLITICAL ENGAGEMENTS OF AN ADMINISTRATIVE KIND. OR BY A HESITATION TO EXPRESS THE MOST VOCAL SOUNDINGS OF THE MASTURBATORY TEXT). NONETHELESS, THE NEED TO MAKE MY FIRST DECLARATIONS ON THE RELATIONSHIP…

Sylvère Lotringer / Christian Marazzi

The Return of Politics THE IMPOSSIBLE CLASS The workers in Europe should declare that henceforth as a class they are a human im- possibility, and not only, as is customary, a harsh and purposeless establishment. They should introduce an era of vast swarming out from the European beehive, the like of which has never been experienced, and with this act of emigration in the grand manner pro- test against the machine, against capital, and against the choice with which they are now threatened, of becoming of necessity either slaves of the state or slaves of a revolutionary party. Let Europe…

Democracy. Jean-Marie Gleize / Rimbaud / Kristin Ross

Jean-Marie Gleize Democracy There is, in Rimbaud’s Illuminations, a text called “Democracy.” We know little of this text’s composition, as the manuscript is lost. It was published belatedly in a journal (La Vogue, 1889), but we are scarcely surprised to encounter a text of this title from the quill of that democrat Rimbaud, virulently hostile to Napoléon III’s dictatorship, radically aligned with the insurrectionary movement of the Paris Commune — with, one might say, an insurgent, revolutionary democracy. As Bernard Noël has suggested, Rimbaud is a communard “not only in his opinion, but in his being.” Now the particularity of…

Jacques Rancière; Doing or Not Doing: Politics, Aesthetics, Performance

Jacques Rancière re-examines the problem of performance situated at the very heart of the concept of action, turned here to an inquiry into the “activation” so often sought in political movements, and ascribed to politically engaging arts. Considering the imagery of early 20th century film, Rancière connects the issue of action to the distinction of a “natural” and a “mechanical” man or agent: the depiction and dissection of bodies and movements in posters and cinematic sequences. The interruption here focuses on the gap between functionality and play, which is reflected and reshaped in several artistic renditions of dance, movement, and…

Miyó Vestrini

  XII (from NEXT WINTER) for Luis Camilo I get up I do not get up I hate I fuck I hit a motorcyclist with malice aforethought I surrender to the Oedipus complex I wander I carefully study the differences between dysrhythmia – psychosis – schizophrenia – neurosis – depression – syndrome – panic and I’m horny left alone in the house when everyone is asleep I buy a magazine that costs six U.S. dollars they steal my best friend’s wallet they grab me I push him I murder him I remember the umbrella of Amsterdam and the rain And…

Deleuze & Guattari; Capitalism: A Very Special Delirium

Actuel: When you describe capitalism, you say: “There isn’t the slightest operation, the slightest industrial or financial mechanism that does not reveal the dementia of the capitalist machine and the pathological character of its rationality (not at all a false rationality, but a true rationality of this pathology, of this madness, for the machine does work, be sure of it). There is no danger of this machine going mad, it has been mad from the beginning, and that’s where its rationality comes from.“ Does this mean that after this ‘abnormal’ society, or outside of it, there can be a ‘normal’…

Galina Rymbu; Poems

UNTITLED I change at Trubnaya metro and see — fire I get off at the university and see — fire I go down the escalator at Chistye Prudy and see — fire when we fall at Begovaya, at Vykhino, we see — fire, fire, fire boys and girls their eyes filled with blood (to hell with ’68) students in hats with pompons walking silently next to me and suddenly they start to shout: “FIRE! FIRE! FIRE!” suffocating in dark leggings the universities flare up the textbooks of cowardly literature mixed with lusterless works flare up along with me only tonight we became younger and everyone wants to be…