Aiglemont 2009

“Up until now, history has accorded the classification and illustration to George Shaw and his Naturalist’s Miscellany (1799). A naturalist of some standing with experience in classifying the other Monotreme, the echidna, he classified the ‘water mole’ as Platypus anatinus—the duck billed platypus. The two splendid coloured plates by Frederick Nodder together with their English and Latin descriptions gave the animal important authenticity in a society where clever hoaxes were well known. It sparked a debate between the creationists and evolutionists about how the animal fitted into the various classification schemes of the day. Enter Sir Joseph Banks and Johann Blumenbach. It would seem that Banks gave his German colleague, a distinguished naturalist and comparative anatomist, a specimen in 1799. The following year Blumenbach published in his Abbildungen naturhistorischer Gegenstande (v. 5, no. 41) a description and plate of the platypus naming it—Ornithorhynchus paradoxus or Das Schnabelthier. From here the taxonomic and bibliographic plots thicken. In 1798 the Verlag des Landes-Industrie Comptoirs began a lavish publication—a children’s illustrated encyclopedia essentially of natural history, in 237 parts. It was to include 1186 handcoloured engraved plates of high quality with short descriptions in German and French, eventually bound into 12 volumes. It was one of the first and finest German picture books for children following in the tradition of Comenius’s Orbis pictis. There in 1798, specifically no.80, v.3, appeared two illustrations and a description of Das Schnabelthier (Ornithorhynchus paradoxus)—exactly the same classification which was puzzling the world and as issued by Blumenbach a couple of years later. Harry Burrell in his definitive work The Platypus (1927) gives a tantalising clue. Banks sent a platypus specimen to Blumenbach as early as 1796. With Blumenbach working in Germany it wouldn’t have been difficult for him to give Bertuch in Weimar information about this strange creature if he had received a specimen that early. But why publish it in a children’s magazine?” (V. Horky – Platypus Paradoxes)

Cendrars 2009

E se descobrirmos a liberdade, igualdade e a fraternidade, não como um fim mas como uma possibilidade negociável com o quotidiano-máquina, como experiências realizadas em fragmentos generosos e que se fundem num todo imaginário? E se pensar a História do mundo como um corpo ou corpos de estados múltiplos subjugados ao inferos das pulsões sexuais? Isolado e colectivo; presa do egoísmo de quem é só e revoltado no destino dos irmãos. Nego aqui uma estrutura predeterminada para reivindicar o que a filosofia do século XVII me prometeu a mim, quando a descobri; que prometeu a quem pensou e não pensou: - O direito neste lugar, aqui, à felicidade.

Arendt 2009

Caliban: Be not afeard; the isle is full of noises,
Sounds, and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears; and sometime voices
That, if I then had waked after long sleep,
Will make me sleep again; and then in dreaming,
The clouds methought would open, and show riches
Ready to drop upon me, that when I waked
I cried to dream again. (Shakespeare - The Tempest)

Siedmark 2009

“Encontro-me numa capital germânica e resido num hotel da moda, provido de todas as engenhosidades do conforto. Porém, este hotel tem como nome Zum Wildermann; e, como insígnia, um monstro hirsuto, coberto de bravia folhagem, com uma grande pedra na mão, e na outra uma moca ou albarda” (Eugénio d’Ors – O “Wildermann”)

Chateaubriand 2009

« Jamais l’homme, dans aucune des compositions de Piero ne sera représenté dans une attitude admirable ou même sympathique – le combat que se livrent les Lapithes et les Centaures pourrait bien se terminer à l’avantage de ces derniers – et, s’il est victorieux, une seule fois (la Forêt en Feu), c’est au prix d’une lutte déloyale, à la faveur de ruses assez méprisables comme l’incendie d’une forêt afin de terrifier les animaux ; souvent aussi, il est parfaitement ridicule : lorsqu’un des chasseurs (La Chasse) attrape par la queue le roi des bêtes, je ne crois pas que cette position soit singulièrement héroïque. (…) Les monstres de Piero di Cosimo, j’entends les satyres et les centaures, ne peuvent à aucun prix être considérés comme des sujets de circonstance. Lorsqu’aucune scène mythologique ne peut en justifier l’emploi, Piero les emprunte encore pour illustrer des compositions parfaitement originales (La Chasse, Le Retour de la Chasse, La Forêt en Feu). Et, étroitement mêles aux hommes, ces monstres, faisant preuve d’une grande séduction (il n’est pas rare de voir une femme donner à un centaure les témoignages d’un amour violent (Retour de la Chasse), ou Hylonome, la plus belle fille des Centaures, étreindre et embrasser avec désespoir un Lapithe mourant), inventés pour des fins particulières, au même titre que ces bêtes à têtes humaines (qui devaient exister par exception, comme des écarts de la nature : c’est pourquoi dans La Forêt de Feu, deux seulement surgissent parmi les autres animaux qui cherchent à s’enfuir), apparaissent alors comme le témoignage, chez Piero di Cosimo, d’un phénomène de participation ou d’un esprit de révolte. (…) Révolte qui se manifestera dans la première œuvre de Piero di Cosimo sous une forme scandaleuse. Comme s’il avait voulu donner un sens négatif au tableau de La Vierge entourée de plusieurs Saints qu’on lui commande, Piero représente sur la prédelle la scéne étonnante de Sainte- Marguerite sortant du ventre d’un dragon. Par les trois épisodes de la vie de l’homme primitif (La Chasse, Le Retour de la Chasse, La Forêt en Feu) Piero, dont on connaît déjà le goût pour le monstrueux, révèle cette fois sa préférence pour les créatures sauvages, pour l’époque où la civilisation ne signifiait rien, sinon les rapports magiques de l’homme avec la nature ; et, à la fin de sa vie, para la mise en scène du Triomphe de la Mort, il tourne en ridicule l’état que, par terreur, les hommes n’osent pas ne pas respecter : la Mort. Dans ce défilé grotesque, où les morts font figure de victimes, éclate la manifestation de sa révolte non seulement contre la vie, la civilisation et l’au-delà, mais contre tout ce qui constitue les mouvements essentiels, mais dérisoires de l’homme. » (Georgette Camille – Piero di Cosimo)

Brandão 2006

“Outrora, nos dias de trovoada, as criadas de minha casa, gritavam por São Jerónimo, ao fuzilar de cada relâmpago. Aqueles gritos desenhavam-me a figura do Santo, num instantâneo clarão vermelho, em fundo negro de ribombo cavernoso. Essa figura lívida ficou-me, na memória, com uma nuvem que pairou, sinistra e cor de bronze, nos fraguedos do Marão; a serra das trovoadas e de São Jerónimo e de outros santos e santas da tempestade. Já decorreram mais de cinquenta anos, um número que, acrescentado de dois zeros, atiraria comigo para lá dos reis da babilónia e dos Faraós do Egipto. Viajo através do tempo.” (Teixeira de Pascoaes – S. Jerónimo e a Trovoada)

Arp 2005

« Le sujet de la pièce est très simple : le paquebot Lyncée fait naufrage sur les côtes de l’Afrique tropicale ; accueillis généreusement par le souverain du pays, alors en lutte contre une tribu ennemie, les passagers, parmi lesquels se trouvent les membres d’une grande troupe de phénomènes genre Barnum, préparent une série d’attractions pour les fêtes du couronnement, qui aura lieu lorsque l’empereur du Ponukélé, leur hôte, aura annexé le royaume du Drelschkaff son rival. Au dernier acte on verra ce souverain, Talou VII, revêtu d’un manteau de gala représentant une carte d’Afrique, présider la cérémonie du sacre, qui se deroule sur la grande place de sa capitale, Ejur, entourée pour la circonstance de palissades dont chaque pieu supporte une tête coupée. Auparavant, le spectateur aura assisté aux répétitions de tous les numéros préparés par les passagers, à l’exhibition de tous les phénomènes, ainsi qu’a quelques intrigues de cour et différents supplices, d’une cruauté plus que raffinée, infligés à une poignée de traitres.

Parmi les inventions présentées, figure la fameuse « statue en baleines de corset roulant sur de rails en mou de veau » qui longtemps défraya la chronique et, parmi les tortures, celle qui consiste à graver au fer rouge, sur la plante des pieds d’un faussaire, le exte entier du document incriminé.

Outre ce qu’il y a d’absolument génial dans de telles constructions poétiques, l’œuvre de Raymond Roussel – sans que l’auteur l’ait sciemment cherché – offre le double intérêt de présenter : d’une part une Afrique telle, à peu de chose prés, que nous pouvions la concevoir dans notre imagination d’enfants blancs, d’autre part, une Europe de phénomènes et d’inventions abracadabrantes telle que peut-être elle se trouve figurée dans l’esprit de ceux que nous nommons avec dédain des « primitifs » (M. Leiris – L’Œil de l’Ethnographe – A propos de la Mission Dakar-Djibouti)

Thiers 2009

« Si le pirate Blanc apprend qu’une Cléopâtre noire vient d’avaler une perle, il fait venir la reine et, bien qu’il ait interdit aux religions les sacrifices sanglantes, il lui ouvre le ventre pour retirer l’objet précieux de ses entrailles fumantes » (Georges Limbour – Eschyle, le Carnaval et les Civilisés)

Bataille 2009

A Rainha de Saba visita Salomão em Jerusalém. (Ver a lenda incluindo a Serpente-Rei e Agabos) A Rainha de Sabá ao visitar o esqueleto da serpente que o seu pai (Agabos) matou é picada no pé por um osso. Um servo limpa-lhe a ferida.

A rainha durante a viagem é protegida por um dai vermelho (baldaquino) símbolo de autoridade suprema. O Copo de Água.

Kathleen Ferrier 2006

« Six carrosses couvertes de drap rouge, occupés chacun par un porc vivant, sont placées sur le sommet de la montagne. Derrière les chars sont attachés les treize taureaux. Les divertissements finis, la foule se presse haletante, attend, s’impatiente.

Tout finit en un instant. Les carrosses dégringolent la montagne « se précipitent avec un tel ravage qu’il semble que le monde entier le subit » (li sei carozzi erano lassate andare giù del monte con tanta ruina che pareva ch’el mondo subissasse).

En même temps s’élancent les taureaux, excités par la colleur rouge des carrosses. Aveuglés de fureur, ils bondissent derrière, se jettent dans le vide, puis s’écrasent sur un rocher, en se mêlant aux débris des porcs et des carrosses qui les ont précédés. En un clin d’œil mille lances s’enfoncent dans cette masse saignante, «dans une montagne de jambes en l’air». (un monte con le gambe alla roverse). (Zdenko Reich – Le Massacre des Porcs)

Reynaud 2004

A TOUS LES FRANÇAIS

« La France a perdu une bataille !

Mais la France n’a pas perdu la guerre !

Des gouvernements de rencontre ont pu capituler, cédant à la panique, oubliant l’honneur, livrant le pays à la servitude. Cependant, rien n’est perdu !

Rien n’est perdu, parce que cette guerre est une guerre mondiale. Dans l’univers libre, des forces immenses n’ont pas encore donné. Un jour ces forces écraseront l’ennemi. Il faut que la France, ce jour-la, soit présente à la victoire. Alors, elle retrouvera sa liberté et sa grandeur. Tel est mon but, mon seul but !

Voila pourquoi je convie tous les Français, où qu’ils se trouvent, à s’unir à moi dans l’action, dans le sacrifice et dans l’espérance.

Notre patrie est en peril de mort.

Luttons tous pour la sauver !

VIVE LA FRANCE

(De Gaulle)

Enkidu 2008

'I used to pretend I was someone quite mysterious and fascinating. Then I grew up and realized I was mysterious and fascinating' --Sally Bowles (in Cabaret)

Walser 2009

26. Great is the power of memory. It is a true marvel, O my God, a profound and infinite multiplicity! And this is the mind, and this I myself am. What, then, am I, O my God? Of what nature am I? A life various, and manifold, and exceedingly vast. Behold in the numberless halls and caves, in the innumerable fields and dens and caverns of my memory, full without measure of numberless kinds of things--present there either through images as all bodies are; or present in the things themselves as are our thoughts; or by some notion or observation as our emotions are, which the memory retains even though the mind feels them no longer, as long as whatever is in the memory is also in the mind--through all these I run and fly to and fro. I penetrate into them on this side and that as far as I can and yet there is nowhere any end.

So great is the power of memory, so great the power of life in man whose life is mortal! What, then, shall I do, O thou my true life, my God? I will pass even beyond this power of mine that is called memory--I will pass beyond it, that I may come to thee, O lovely Light. And what art thou saying to me? See, I soar by my mind toward thee, who remainest above me. I will also pass beyond this power of mine that is called memory, desiring to reach thee where thou canst be reached, and wishing to cleave to thee where it is possible to cleave to thee. For even beasts and birds possess memory, or else they could never find their lairs and nests again, nor display many other things they know and do by habit. Indeed, they could not even form their habits except by their memories. I will therefore pass even beyond memory that I may reach Him who has differentiated me from the four-footed beasts and the fowls of the air by making me a wiser creature. Thus I will pass beyond memory; but where shall I find thee, who art the true Good and the steadfast Sweetness? But where shall I find thee? If I find thee without memory, then I shall have no memory of thee; and how could I find thee at all, if I do not remember thee? - Saint Augustine Confessions

Baffin 2007

6th.—Have been beset all day by natives. They pull the blossoms of the red gum tree (now in flower), steep them in water, and drink the water, which acquires a taste like sugar and water by this process. Some came here, bringing a young kangaroo dog of a fine breed. I had often (in my own mind) contemplated poisoning him. To my surprise, the natives called my attention suddenly to the dog, when I saw that some one had been beforehand with me. I told them all manner of stories about our dogs going mad, and that their bite was then fatal. They were greatly alarmed. I put my hand cautiously over his mouth, put him into the boat, and carried him to the other side of the river, where he soon died. They thought a snake had bit him. In the evening, there was a crying of natives at a distance. I ran with Weeip and some others to see. A number of strangers had arrived; the child of one had died, and they must have some spearing match about it. I begged them not to throw spears, but it appeared to be a very friendly or ceremonious transaction—some spears having been thrown harmlessly. After a little, it was mentioned to the owner of the dog that it had died—that his dog was dead by the bite of a snake. He had not been at my place before during the day, and had not heard of it till then. Instantly, there was a change of scene—he and his brother seized their spears, and seemed about to commence in good earnest, when others threw their arms round them and held them with difficulty. Angry feeling seemed to spread among them: the vengeance of these two seemed directed against a woman, whose husband was held also. When I left them, one of the natives was walking round and round this woman, while two had placed themselves on either side of her, and walked round in a circle, so as to keep one still between his spear and her. It was a strange sight. I asked Weeip what it meant. He said the owner was a little angry, and he would only spear her a little on the lower part of the leg. I have heard their voices very loud ever since. They will have troubled rest. All parties seemed to look upon me as a friend—though I confess I felt a little afraid at one time when they began to pronounce my name with great vehemence; it was in asserting that I had seen the dog die of snake bite. I held Mauli for a while, when he first snatched his spear, till another came to the rescue. One part of the scene was singular—the mother of the child that had died clung to the knees of one old man and uttered a long weeping recitative, while he stood apparently unmoved; at other times she threw herself on the bosom of another and wept out the same sort of droning song, which, from some detached words I caught, reminds me of the Irish keen, as a sort of address to the departed. It is ringing in my ears even now, while I write, at the distance of half a mile from them. - Diary of ten years eventful life of an early settler in Western Australia by George Fletcher Moore

Lash 2008

I've been out walking
I don't do too much talking
These days, these days.
These days I seem to think a lot
About the things that I forgot to do
And all the times I had the chance to (Nico)

Auerbach 2008

Ein echter deutscher Mann mag keinen Franzen leiden,
Doch ihre Weine trinkt er gern. - Mephisto (Goethe Faust I. Teil)

Rousseau 2008

Villard de Honnecourt, in his 1230s sketchbook, show plans for animal automata and an angel that perpetually turns to face the sun.

Klossowski 2006

“il est delicieux, dans une infinite solitude au bord de la mer, sous un ciel brouillé, de porter son regard dans un désert d’eau sans limites. Encore faut-il être là-bas, et être devenu, alors que l’on voudrait passer de l’autre côté et qu’on ne ele peut pás, que lón est depourvu de tout pour vivre et que l’on perçoit neanmois la voix de cette vie dans les grondements des flots, le souffle de l’air, le passage dês nuages, le cri solitaire des oiseaux. Mais il faut pour cela une exigence de coeur, et cette dechirure, au plus profond de soi, que provoque la nature (…) Oui, si l’on peignait ce paysage avec se propre craie, avec sa propre eau, on pourrait, je crois, par la, pousser les renards et les loups à hurler.” Kleist, sur Caspar David Friedrich

Dias Loureiro 2008

"Não tenho culpa de ter nascido em Portugal, e exijo uma Pátria que me mereça" - Almada

Klopstock 2008

It is quite untrue that British people don't appreciate music. They may not understand it but they absolutely love the noise it makes. - Sir Thomas Beecham