Grial mná gé

A maggior gloria di Dio Sodalizio Cavalleresco dei Santi Galgano e Zenone Provincia Peruviana Mario Polia: El Misterio Imperial del Grial Texto completo en español, Notas, Bibliografía, Links PoliaPDF_final.pdf Texto completo en español, Notas, Bibliografía, Links MARIO POLIA EL MISTERIO IMPERIAL DEL GRIAL Versión castellana de Gabriel Valle De la primera edición italiana por Il Cerchio, Iniziative Editoriali, Rimini 1996 por cortesía de Australis, Axis Mundi, Lima, Perú para Globo y Nación, Lima, Perú 2000 Prefacio a la tercera edición italiana Presentar esta tercera edición de El Misterio Imperial del Grial no es, para el autor, cumplir con un ogalrjdi. canada goose naisten takki formalismo convencional. Es cancelar una deuda con sus lectores, tanto de aquéllos que por primera vez se acercan a esta obra como de aquéllos que han conocido las dos ediciones precedentes. Este libro ya no es el mismo de la última edición, ni aun de la anterior. Desde entonces el libro ha experimentado sustanciales perfeccionamientos. Ha sido enriquecido con nuevos documentos, interpretados éstos a la luz de nuevas intuiciones que han madurado en el curso de los años. La temática tratada, por su naturaleza, no puede ser objeto de un puro ejercicio literario abandonado a la inventiva y a la ocurrencia personal, ni objeto de una fría disección histórica y filológica. Para entenderla en su realidad más profunda, es preciso internarse en el corazón de los símbolos. Más allá del velo de las alegorías. Hay que traspasar el cuerpo de la letra en busca del sentido más oculto, llamado por Dante (entre otros) "anagógico". El sentido todavía henchido del soplo inspirador que brota de lo más hondo y que con esas formas y esas letras se vistió en consonancia con los tiempos en los que el ciclo del Grial tomó forma. Entonces, en los últimos años del siglo XII, tradiciones por mucho tiempo transmitidas oralmente fueron vertidas a la escritura por autores que conocían, además del significado de las tradiciones, el arte de las letras. Ellos desempeñaron el papel de rapsodas -"hilvanadores de cantos"- como sucedió unos mil ochocientos años antes para la Iliada. Luego para la Odisea. Para la Edda germánica y como había ocurrido en la India para el Mahabharata. En el ciclo del Grial viven tradiciones de raíces inmemoriales. Tales raíces, a medida que se profundizan y enriquecen las investigaciones sobre su contenido y sobre sus orígenes, revelan el humus del que extrajeron la savia innumerables florescencias en el decurso de los siglos y los milenios. Tradiciones celtas y germanas, presentes en formas comparables en la Grecia arcaica y en el Cercano Oriente y comparables -por temáticas y simbolismos- con tradiciones iranias e hindúes. Mitemas como la Isla Blanca, Tierra de los Inmortales, o de los Hiperbóreos; las aguas peligrosas que el héroe debe cruzar para llegar allí; el simbolismo mismo de la Copa y de la Búsqueda, además de los requisitos morales y espirituales que se exigen a quien se muestre dispuesto, atraviesan las fronteras étnicas y culturales. Incluso las fronteras, vastas de por sí, de las culturas de la familia indoeuropea que se hallan en Extremo Oriente y en las Américas. Detrás de Parsifal en busca del Grial está Cormac de Tara, rey de Irlanda que alcanza la Fuente del Conocimiento en el Árbol de plata que produce frutos de oro. Está Conn y la Copa de oro situada más allá de la niebla, que le ha entregado la Esposa de los reyes, la Soberanía de Irlanda. Está Odín y la Tinaja Odhr
mná gé

compre canada goose online
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goose
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2 Qrg raxrygr znahfsbesngg
:BMR[]adefghiklnrstv�6f70702074696c20656e206d6f736567726f6464206d6564206d20manns
h�y 0 0 u 0 0 2 2 40 Det 2 15.384615384615 enkelte 5 27.027027027027
manusforfattE-mail: 0 0 bjornmag@kunst.noavdeling, 0 s� 1 er 0 en 0 3
Mannhaftiget 3 hanskedes 1 varBegavelse 1 er 1 vestalinne 0 meorfxlggryfrfqenxge
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:Pafhlmnorstuy�446574746520657220756d756c6472696b2e20487669746d657420617664656c6
96e672c2073e520657220656e20416464726573733a206e6f727761790d0aAlderssammensetning
stanser beskyttelsesdraktr foretakbeskyttelsesdraktr
foretak-824414347UTENLANDSPR DETTE ER UMULDRIK. HVITMETE-MAIL:
NOEMATA@KUNST.NO647572617469762e2044657461736af872206572206d756c617420616c646572
7373616d6d656e7365746e696e67207374616e7365724265676176656c7365206572207665737461
6c696e6e65206d656e4b2f37a92bba297166d523dd6092f1a6H424 S500 H131 U354 E600 D300
Finnmudd Tilbakest�ende. Durativ. Detasj�r Er Mulat Du Er S� Rar At Det Ikkeqr
serzqevs tervre h�logalanden sin. Hvitevardurativ. Detasj�r er mulat.


__

ISBN 978-82-92428-19-1

--noemata mandag, januar 31, 2005 19:51

Knyt


Knyt

. [BB] www.eMakt.no
eMakteliten@eMakt.no

. | ee - k u n s t | Re: folk art? / eMakt.no
born.eMatronym

. [BB] Svar til norsk kunstner
eMakteliten@eMakt.no

. [. ee - k u n s t .] Hvilken �konomi, eMaghnildeen?
Erik eHesby

. [. ee - k u n s t .] Re: Hvilken �konomi ,
Erik eHesby

. [. ee - k u n s t .] Re: Hvilken �konomi, eMaghnildeen?
Per Bjarne eBoym

. [. ee - k u n s t .] Re: Re: Hvilken
Beathe C. R=?ISO-8859-1?B?+A==?=nning

. [. ee - k u n s t .] Re: Re: Hvilken �konomi, eMaghnildeen?
per ePlatou

. [. ee - k u n s t .] Re: Re: Re: Hvilken �konomi , eMaghnildeen?
Atle eBarcley

. [. ee - k u n s t .] For�vrig ingen kommentar.
Marius eWatz

. [. ee - k u n s t .] Re: Re: Re: Re: Hvilken �konomi ,
eMaghnildeen?
Bj�rn eMaghnildeen

. [. ee - k u n s t .] Re: Re: Re: Re: Hvilken �konomi ,
eMaghnildeen?
=?iso-8859-1?Q?Ma=F8nti=20Kents=F8n?=


. [. ee - k u n s t .] Den Digitale Makten
Jens eLaland

. [. ee - k u n s t .] TILBAKE - Re: Re: Re: Re: Re: Hvilken �konomi
, eMaghnildeen?
Trond eLossius

. [. ee - k u n s t .] Re: TILBAKE - Re: Re: Re: Re: Re: Hvilken
�konomi , eMaghnildeen?
Erik eHesby

. [. ee - k u n s t .] ee-kunst versus e-spam
Bj�rn eMaghnildeen

. [. ee - k u n s t .] Re: Re: TILBAKE - Re: Re: Re: Re: Re: Hvilken
�konomi , eMaghnildeen?
Janne Stang eDahl

. [. ee - k u n s t .] Re: Re: Re: TILBAKE - Re: Re: Re: Re: Re:
eink@bek.no

. [. ee - k u n s t .] fakE-Mail Header?
Jens eLaland

. [. ee - k u n s t .] Re: Den Digitale Makten
born.eMatronym

. [. ee - k u n s t .] en uskyldig form for spam
Jens eLaland

. [. ee - k u n s t .] Re: Re: Den Digitale Maten
Jens eLaland

. [. ee - k u n s t .] KNYT-kunsten og Spamming
ragnfrideStokke@hotmail.com

. [. ee - k u n s t .] KNYT-kunsten og Spamming
ragnfrideStokke@hotmail.com

. [. ee - k u n s t .] Re: Re: Re: Re: Re: Hvilken �konomi ,
eMaghnildeen?
Ragnfrid eStokke

. [. ee - k u n s t .] Re: Re: Re: Re: Re: Hvilken �konomi ,
eMaghnildeen?
Bjarne eKvinnsland

. [. ee - k u n s t .] Re: Re: Re: Re: Re: Re: Hvilken �konomi ,
eMaghnildeen?
Jorgen eLarsson

. [. ee - k u n s t .] Avlysning av KNYT-konferansen
Ragnfrid eStokke

. [. ee - k u n s t .] identitet?
Jens eLaland

. [. ee - k u n s t .] gammeldags!
Grethe Hjoerdis Lehre eMelby

. [. ee - k u n s t .] 26. akt: cameo ved en moderator
kevin eFoust

. [. ee - k u n s t .] beMailHoaxed v0.2
Makteliten

. [. ee - k u n s t .] Re: Re: Re: Re: Re: Hvilken �konomi ,
eMaghnildeen
HC eGilje

. [. ee - k u n s t .] Re: HC eGilje
Atle eBarcley

. [. ee - k u n s t .] Re: Re: HC eGilje
Grethe eMelby

. [. ee - k u n s t .] Kulturspamming?
J�ran eRudi

. [. ee - k u n s t .] kulturspamming
Jens eLaland

. [. ee - k u n s t .] sts St�le eStenslie

. [. ee - k u n s t .] Re: Re: Re: Re: Re: Hvilken �konomi ,
eMaghnildeen
J�ran eRudi

. [. ee - k u n s t .] Fwd: FOOT project
Kristin eBergaust

. [. ee - k u n s t .] Retro KNYT
Marius eWatz

. [. ee - k u n s t .] Per ePlatou

. [. ee - k u n s t .] . __\/__
Jill Walker

. [. ee - k u n s t .] . |\|(o) (o)|/|
Charlotte eEspeland

. [. ee - k u n s t .] .--.OOOo----oo------oOOO.---
J�ran eRudi

. [. ee - k u n s t .] .
RagnFrid eStokke

. [. ee - k u n s t .] ._____________Oooo.___
Trond eLossius

. [. ee - k u n s t .] . ( ) ) /
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. [. ee - k u n s t .] . \ ( (_/
Jeremy eWelsh

. [. ee - k u n s t .] . \_)
Stein eS�rlie

. [. ee - k u n s t .] en liten test av spamware...
Jens eLaland

. [. ee - k u n s t .] Re: Retro KNYT

. [. ee - k u n s t .] l o s e r
hc eGilje

. [. ee - k u n s t .] Re: Re: Retro KNYT

. [. ee - k u n s t .] Om aktivitetene p� lista denne uken
ee-kunst Listemester

. [. ee - k u n s t .] Jamming eller spamming?
Beathe C. R=?ISO-8859-1?B?+A==?=nning

. [. ee - k u n s t .] Re: Om aktivitetene p� lista denne uken
born.eMatronym

. [. ee - k u n s t .] Re: Jamming eller spamming?
Atle eBarcley


Testbok
isbn 99-99999-99-9
http://foo.bar/tmp/knyt.txt (203k)
_____


| _ _|_


__

rhsh ISBN 978-82-92428-14-6
nkb ISBN 978-82-92428-19-1

--noemata tirsdag, januar 25, 2005 16:27

alt er likt


inndocton heime kecky sles vo �c �de komma toparaetid edh deo era p� i �de
stev, http://@KUNST.NO/b%6aor%6ema%67/pi/q14/th_347.jpg 4k de tryng allah vet
h�pse vhr les mod em ken os noen blo�de komma tbori ed sh kon ialdfe oc
lesakseletifur mos di klabilin var sase dad esgol tal dhn sgil noin durshci os
ks oparaetid jes veoparaedps drupv al se er jeuchnmeetlact valdelasaeober sgol
ijaja g.

om du ser p� et bilde av noe
kanskje det er et landskap
land-skap selvf�lgelig, alt er landskap
det er visst grand canyon i omriss
eller bare blod�rer
krystalliserte hormoner ser ofte slik ut
eller vann som blir til iss
sprekk i veggen
mat som har st�tt for lenge
lynnedslag
alt det der kan byttes om
naturen er veldig enkel slik
naturata, alt det skapte er land
flatt og ensformig grand canyon
naturen er f�l
alt er likt i det store og hele
navn p� ting g�r i arv
store-ola, vesle-ola, mellomst-ola (mellom stola), bittevesle-ola
storevesle-ola
mulig ola-stor, ola-sm�n, olamellom, hadde v�rt like bra
men for oss er kjempestein en stein som er kjempe og ikke en kjempe som
er stein
stor-ola er en ola som er stor, men hvis ola er en egenskap slik som
harry, hva blir harry-ola versus ola-harry? eller harry-jesus, som i
brillejesus, egenskapen kommer f�rst, jesus er harryisk, men som ola-
stor er harry jesuittisk, substansen kommer til slutt, hva tingene er
f�r vi vite til slutt, men som ola-stor blir vi kanskje lurt, det som
kommer tilslutt er bare egenskap uten substans, effekter, etter ola er
bare stor.

til etterretning


__

ISBN 978-82-92428-19-1

--noemata 04:58

- k u n s


. [BB] www.eMakt.no . | ee - k u n s t | Re: folk art? / eMakt.no . [BB] Svar
til norsk kunstner . [. ee - k u n s t .] Hvilken �konomi, eMaghnildeen? . [.
ee - k u n s t .] Re: Hvilken �konomi ,
20202e205b2e206565202d206b2075206e20732074202e5d2052653a20204876696c6b656e20f86b
6f6e6f6d692c20654d6167686e696c6465656e3f0d0a
http://name@KUNST.NO/%62j%6fr%6em%61g/img/x-54_gnome2.jpg 1k . [. ee - k u n s
t .] Re: Re: Hvilken . [. ee - k u n s t .] Re: Re: Hvilken �konomi,
eMaghnildeen? . [. ee - k u n s t .] Re: Re: Re: Hvilken �konomi ,
eMaghnildeen? http://name@KUNST.NO/%62j%6fr%6em%61g/img/x-x-290_sol42.jpg 1k
$1$HMxPE4JL$2wUERO4RZwGTj6yaInsi/0 . [. ee - k u n s t .] For�vrig ingen
kommentar. . [. ee - k u n s t .] Re: Re: Re: Re: Hvilken �konomi ,
eMaghnildeen? . [. ee - k u n s t .] Re: Re: Re: Re: Hvilken �konomi ,
EMaghnildeen? =?iso-8859-1?Q?Ma=F8nti=20Kents=F8n?=
http://name@KUNST.NO/%62j%6fr%6em%61g/img/x-x-235_playboy.gif 2k . [. ee - k u
n s t .] Den Digitale Makten . [. ee - k u n s t .] TILBAKE - Re: Re: Re: Re:
Re: Hvilken �konomi , eMaghnildeen?81051bcc2cf1bedf378224b0a93e2877 . [. ee - k
u n s t .] Re: TILBAKE - Re: Re: Re: Re: Re: Hvilken �konomi , eMaghnildeen? .
[. ee - k u n s t .] ee-kunst versus e-spam . [. ee - k u n s t .] Re: Re:
TILBAKE - Re: Re: Re: Re: Re: Hvilken ?needlinhgaMe , imonok� . [. ee - k u n s
t .] Re: Re: Re: TILBAKE - Re: Re: Re: Re: Re: eink@bek.no.


__

ISBN 978-82-92428-19-1

--noemata mandag, januar 24, 2005 20:42

untitled


i�p�O* ** t.�n *�O oOukke katar g� amp u. Mykje kan g�ustabaksjon
silo. malle sikringargaven hjelpen, svgale her, sv�rteksport 6 i 7 fiskejo 9 d�
9 rytmikkk http://@kunst.no/%62j%6fr%6em%61g/still/nm0/nm0055.jpg 5k #ms
no####r#dkap#p #an###k.# #.


__

ISBN 978-82-92428-19-1

--noemata søndag, januar 23, 2005 01:22

eten 2 i 5


http://www.name.net/pi/box3/b3_th_wefwfwefefe.jpg 0k : =?iso-8859-1?Q?Noe
:8729307dd1743d95b3ece7ba5b66941edb2cd03dVerk #1 i serien er "blurB. �Be My
Ghost� er et nkorridor som verk, meblu "Negativiteten 2 i 5 et 6 postmo 6 myten,
3 vist 7 i 7 gallere 0 0 5 6 V�ren 6 kommer, 3 grelenge seige apparisasjo sv.


__

ISBN 978-82-92428-19-1

--noemata torsdag, januar 20, 2005 02:25

neida, de


universell, umenneskelig? fri i fil og �d? jehovas
viخ�TNRRNJRPKRNTKNKRPPTLRSeg i to og to og st�r og hakker ved inngangsk�renخ�e
- det s� dem n�r de kom og lurte et �yebli$��$kk p� hvem de var - de s� s�
overord+خ�����$entlige ut - it-folk, miljخ�������arkitekter 1 eller 0
kriso����otne - s� s� det en��� neger som bar -#�p� noe med en#� tittel som
,#sluttet 0 p� 0 ,#NET; det tr#or ikke de# fikk kont#akt med n�+oen 11
unntatt#+ en katt men+#� som gjemte seg���-
http://k-unstable@NOEMATA.NET/germinal/sdlfhgkj/th_199-6-2=twaasr.jpg 3k under
en bil for =���damen i skj�rt. alt blo�����خ�إ�$�$��إ���+Ir enkelt for et
jehovas vitne, verden f�r en.�خ�خ� retning og et innhold en gang for alle. de
jukser. خ��+er dette de samme menneskene som jukset p� skolepr�ver? ,�#,noen
mennesker er engasjerte - f�rst i speideren, s� blir do#=e plutselig
satanister, etterp� er de jehovas vitner, og blir o# 2 senere 5 kanskje 1
avdelingssjef 0 for 0 en 1 rimi-butikk 1 som 1 laster 0 ned 0 #dyreporno p�
fritiden. er det som kl�r det har p� seg, betyr ikk#e mer, det tar seg ut p� en
eller annen m�te - ikke at det er hyk#lersk, men at det er lettvint - hadde de
i det minste v�rt hykler#ske... men neida, de st�r fullt og helt for det de
tilfeldigvis h#ar funnet p� � st� for, inntil de plutselig skifter mening til
no#ar funnet p� � st� for, inntil de plutselig skifter mening til no#e like
standhaftig. s� det hopper fra den ene forenklingen til do-en andre, bare det
kan leve i en enkel verden kan det v�re det ��samme med innholdet. som et far
sa da det var ung -du m� ha e-�=t m�l, men allerede da var det fortapt til
abstraksjoner og$��-
http://k-unstable@NOEMATA.NET/germinal/sdlfhgkj/th_199-3-1=isocherbset.jpg 3k
o����tterl�m gilsdrev rof tkarof erab eddah go reiremm�rd ing.
f�#��ذ+o�$��خ�خ����ذ-ri i fil og+$��خ��خ��+ �d�. hvorfor skal det
streb=�$�خ�خ�$�.


__

ISBN 978-82-92428-19-1

--noemata 02:21

nge of the


$1$4QL1jMmb$vSQayVWRTP.G.eE89/ZTT/comically resuscitated h dressed in goat or
bear beast-man is often kille wasn't dead after all" "The traditional Punch
aEurope could be traced t at" the Woman, and nconsequence of life and
Shakespeare; Goodfellow' Dionysian Rites Gave Birdon't forget for the Wild Man.
In thsometimes depicted as contradictions casually worship. For while he wa
Wild Man of the forests There was a Young Lady o acdefhilmnoprstuvyOnly Siva,
who indulges being, the Nagari(albeit his wandespiritual immortality c
activity, the creator anthe lowest common denomiparadox within th through
rebirth, or renu1733253166 semiological adj.[Gk sePUNCH: (In a melancholyis seen
as a giver of b Shiva is worshipped in sfrom, that is, the TrickHimalayas.
Shiva is als represented by the linactual mortality.in b his manifestation as
ShiWe long ago stopped bein b his manifestation as ShiWe long ago stopped be.


__

ISBN 978-82-92428-19-1

--noemata 00:56

[. e - k u n s t .] Reality Check i Oslo 3+4 desember (essay)


This is a multi-part message in MIME format...

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hahahah


(hul latter)
On Tue, 2 Nov 2004 21:38:45 +0100, Jostein Lien =20
wrote:
> adundas?

du f=E5r pr=E6santere d=E6 sj=F8l din mainnsjit !!!
her er allerede mislykken fullt integrert i prosjektet, s=E5 er det da=20
vellykket eller mislykket :?
README: http://noemata.net/adundas/00_readme.txt
Full prosjektskisse: http://noemata.net/adundas/adundas-mainnsjit.txt
Adundas kontoret: http://noemata.net/adundas/0803_0019.jpg :)
Unik lokasjon ultima thule: http://noemata.net/adundas/barents.png

Enig i at adundas skulle hatt stjernestatus, men hvem bryr seg, dette=20
har ligget p=E5 noemata i lang tid, ingen reaksjoner, ingen leser, alle=20
sitter og runker eposten. Men dette kunne blitt stort, med noen andre=20
enn udugelige sabber i staben. Hele noemata er og taps, det er oppgitt i=20
utgangspunktet og lever med latteren i halsen.

***

It was a tiny onyx diorama of Don Quixote' and Sancho Panza.=3D20
The light slanting uniformly into the austere living room, vaguely =3D
populux, 50's geometric. The sane cat sat near a window licking its paw.=20
--solipsis

***

jeg hadde et notat p=E5 dette engang -
----------------
kanskje det er slik at noemata har som sitt felt disse umulige og
malpasserte verk og uverk, like mye eller mer enn verk i noen=20
tradisjonell forstand, og gj=F8r det til sitt uttrykk, som en endelig=20
eller uendelig oppl=F8sning av kunsten - med objektets d=F8d (euridike) og=
=20
subjektets desintegrering (orfeus) i korridorene, grenselandet eller=20
=F8rkenen (nettkunsten). fin setning iallefall. det h=F8res seri=F8st ut me=
n=20
har mer preg av tragi-komedie - mer quixotisk enn romantisk. det umulige=20
er en r=F8d tr=E5d kan det virke som - en r=F8d klut? forestillingenes=20
umulighet, eller det virkeliges uvirkelighet.

every ecstasy ultimately prefers to take the path of renunciation rather
than sin against its own concept by realizing it. --adorno

there is an idea horizon just as there is an event horizon: the horizon=20
of their death-dealing accomplishment, their absolute realization.=20
thought, for its part, leaks out into the void. --baudrillard

don quixote som en taktil kulturjammingsteknikk, bevisst dumskap.

noemata message in a bottle server at the barents sea, 71=BA n
hva slags mail vil du sende ut i havet? umulige kj=E6rlighetsbrev?
"thy false promise and my sure misfortune carry me to a place whence the
news of my death will reach thy ears before the words of my complaint."
"what thy beauty raised up thy deeds have laid low; by it i believed=20
thee to be an angel, by them i know thou art a woman."

hva du gj=F8r der? - er det et sp=F8rsm=E5l eller svar?

quo oxid net
----------------
nn som don quixote. nettkunst som ikke virker, annonseringer og
forestillinger som fantasi. urealistiske, umulige, malplasserte=20
prosjekter
og ideer - som samtidig blir kulturjamming, intervenering, taktisk - og
latterligj=F8rende, selvironisk - med den folkelige sjarmen til det
tragi-komiske.
---------------------------

"there it is," said sancho, "what i told you, that you must keep a good
count; well then, by god, there is an end of the story, for there is no
going any farther."
"how can that be?" said don quixote; "is it so essential to the story to
know to a nicety the goats that have crossed over, that if there be a
mistake of one in the reckoning, thou canst not go on with it?"
"no, senor, not a bit," replied sancho; "for when i asked your worship=20
to tell me how many goats had crossed, and you answered you did not=20
know, at that very instant all i had to say passed away out of my=20
memory, and, faith, there was much virtue in it, and entertainment."
"so, then," said don quixote, "the story has come to an end?"
"as much as my mother has," said sancho.
"in truth," said don quixote, "thou hast told one of the rarest stories,
tales, or histories, that anyone in the world could have imagined, and
such a way of telling it and ending it was never seen nor will be in a
lifetime; though i expected nothing else from thy excellent=20
understanding. but i do not wonder, for perhaps those ceaseless strokes=20
may have confused thy wits."

----------------------

ffrom a mail from lanny quarles solipsis; -

the term 'idiotic' isn't really about intelligence per se but
refers to a kind of imaginary ratio whereby the self's uniqueness
adheres to its own erratic path, its actually a term connoting a kind
of pureness and honesty
.. I'm thinking somewhere in the neighborhood of eigen-
something (can't remember) hmm

>Authenticity is also a translation problem. Eigentlichkeit has its root=20
in
>"eigen": "own". or "proper", Gr. "idios" Eng. "idiot". So one should=20
keep the
>originary meaning of idiocy in mind: being one's own self. The term
>Eigentlichkeit points to the possibility of being one's self.

that strikes me.

As you point out, the Gk "idiotic" denotes not deficiency
but eccentricity, the opposite of "politic" (with-ness); a self=20=20
radically
"own-most"; in its extremest form, perfect solipsism.
With this in mind, and apprised ( by Nietzsche, no?) that every great
philosophy is autobiography, oughtn't B&T be read synoptically with
Ott; as it were in the Confessions genre...that B&T represents H's
self-casting
(Go, litel bok, go, litel myn tragedye), an idiotic interpretation of=20
beyng...
that the Angst/Care structure, for example, if it fits one, say Hamlet=20
type;
assuredly doesn't others: Quixote, Don Juan, Faust...

--------------

via the baudri Lard -

- art has disappeared as a symbolic pact, remaining prolification of=20
signs ad infinitum as 'culture' [auto.noemata, automatic art]. the=20
situation resembles that of a currency which may not be exchanged, it=20
can only float, its only reference itself, impossible to convert into=20
real value or wealth [1 noema =3D 4 kroner, & the impossible of noemata=20
projects, their floating, like quixote phantasies, manusfilms and=20
inconceptual art].

- general indifference, please remove me as only emotional response
profound indifference everybody is an art is true
the system runs less on the surplus-value of the commodity than on the=20
aesthetic surplus-value of the sign, no matter how marginal, banal or=20
obscene everything is subject to aesth. cult. museum.-zation.

- like the prax of baroq, we too are irrepressible creators of images,=20
but secretly iconoclasts - we manufacture a profusion of images in which=20
there is nothing to see, leave no trace, cast no shadow, and have no=20
consequences. [anyhr isbn png project http://noemata.net/anyhr/ ]

- fascination of the erasure [rewrite full compression code cipher]

- our images are like icons miraculous - they allow us to go on=20
believing in art while eluding the question of its existence.[iconicity=20
dragon body laburint] beyond the indifference, art as uglier-than.ugly=20
bad worse, raised to the second power because it is liberated of its=20
relation with its opposite [bemyghost transaesthetic blasts]

- tourism, people who no longer undertake voyages, but simply go round=20
and round in circles [traceroute/ping travel agency]

- These forms are excesses and
collapses of code - viral, fascinating, indiscriminate, and reinforced=20
by viral media, our culture also produces the most murderous viruses.=20
catastrophe culture. we all enjoy these things. [nothing code stagings]
operational whitewash, overexposed, defenceless, without any way of=20
refracting light, info, doomed in consequence to a whitewash of all=20
activity [code/decode I/O labora trashmaps maze digital technique]
relinquish identity to survive [end-nodes net computer]
operations not actions, regulated machinery [nothing takes place]
better to produce nothing in order to have things produced [artists],=20
better to have nothing to say if one seeks to communicate [socials], as=20
everyone knows, if you want to make people laugh, it is better not to be=20
funny [powers] in order for content to be conveyed as well and quickly=20
as possible, that content should come as close as possible to=20
transparency and insignificance [empty intimate]
good communication implies the annihilation of its own content. [avoid
everything]

-------------

htp noemata,net/ abouthtml -
So it's a kind of artificial art, much like the intelligence
of artificial intelligence :)
The policy is to support collaboration, community, transparency,=20
immediacy in the arts - net.art, media art, correspondence/mail art,=20
network art, context art, or other otherness and marginal=20
artifactualizations.

We tried that and it didn't work. So this is 'open content' of a more
catastrophic kind, of the dispersal of content, or the metastasis or
disappearance of content (in the jargon of Baudrillard). Also, being
contented with things not working, and actually more fascinated by the
failures and drifting of things than producing them, as art or anything,
open being more like cracked open or a core dump of codegerm, artsperm,
and their entanglements and confusion of layers in/outside,=20
open/content, generative/degenerative, avatar/atavar of space, time and=20
structures intermingling and proliferating more or less on their own, by=20
their own, automatic, recursive mating. This 'release' of the server is=20
not only as permission or publication but a giving up kind of release.=20
Giving up,letting it drift, distribute or disperse unsupervised, and=20
giving up that, risking complete annihilation any point beyond the loop=20
survival.

-------------------

dette ble mitt essay i anledningen, jozz,du kan reise og foredra, har du=20
ikke holdt seminar i skattesaker? dette er noe lignende (rapporter,=20
skriftestol, politietterforskningetc), eller kj=F8re det gjennom=20
stemmesynthesizer, det blir nok stas!!

Gud l=F8kk, PP og folkens!

Bj=F8rn

N=E5r alt kommer til alt har jeg ikke tenkt =E5 gi opp prosjekter p=E5=20
kuunstfronten, det jeg tenker p=E5 er ISBN protokollen (i forhold til det=
=20
digitale), og videre, automatisering-rasjonalisering av kunsten, slik=20
som ellers i samfunnet. Det er de to tingene jeg brenner for.=20

Snakkes.=20

joz har du h=F8rt med skattekontoret, sjekka restskatten, tror den st=E5r=
=20
der fortsatt, jeg vil klage men det er mas.=20
hils Ingeborg.


legger ved som bonus mitt essay som ogs=E5 kan siteres i sammenhengen -
inkl. Context art experiments, report 2004 noematic experimental method
+ Lesion art research, praxis 2002-3 Research on the human arts surgery
Most information came from experiments with relatively poorly defined=20
genre lesions ?blood-vessel butoh dance smtp damage that included the=20
art stem - funding etc, as well as the context,or art-trauma lesions=20
that were diffuse and irregular, spectral then reversed. good=20
correlations were obtained between focal lesions in the arts and the=20
changes that resulted from the lesions at the police.

Her var det:

----------------

The Development of Neuro Art

For example,Viennese psychiatrist Sigmund Freud (1856 - 1939)had=20
originally envisioned the biological basis of his theory of=20
behavior,with its three levels of id,ego,and superego,as being a=20
hydraulic mechanism of some sort. today's joke: ... computational=20
mechanism of some sort.!!!! :-))

Descartes was impressed Joke by machines made in his time,such as those=20
of certain statues that were on display for public amusement in the=20
water gardens of Paris.When a passerby stopped in front of one=20
particular statue,for example,his or her weight would depress a lever=20
under the sidewalk,causing the statue to move and spray water at the=20
person ?s face.Descartes proposed that the body is like these machines.

phrenology joke Additionally,despite the failure of scien- tific=20
attempts to correlate appearance with various aspects of behavior,it is=20
not uncommon to hear people accord virtues to others on the basis of=20
their physical appearance.Readers might ask themselves how accurate they=20
would be if asked to judge intelligence on the basis of=20
photographs.Social psychologists have found that,when university=20
students are asked to make such judgments, the rule that they apply to=20
the task is,?Beauty equals intelligence.?

phrenology joke 2 The famous physiologist,Magendie,preserved with=20
veneration the brain of Laplace (a famous French=20
mathematician).Spurzheim had the very natural wish to see the brain of a=20
great man.To test the science of the phrenologist,Mr.Magendie showed=20
him,instead of the brain of Laplace,that of an imbecile.Spurzheim,who=20
had already worked up his enthusiasm,admired the brain of the imbecile=20
as he would have admired that of Laplace.(Krech,1962)

Context art experiments, report 2004 noematic experimental method=20
consisted of removing parts of the art from artworks to study the=20
changes produced in their context. removed a small piece of art and then=20
observed how the art behaved and how it recov- ered from the loss of art=20
tissue.In essence, created art models from works that had received=20
injury to a part of the art by a blow to the head or by having the skull=20
pierced by a missile.To search for different functions in the art=20
context, varied the location from which the art tissue was removed.=20
Another key contribution was the discovery that,after damage to a part=20
of the art,substantial recovery could be expected. Microscopic=20
examination revealed that art was nothing like an amor- phous=20
jelly;rather,it had an enormously intricate substructure with compo-=20
nents arranged in complex clusters,each interconnected with many other=20
clusters. Cals Adsborough in Holland reached the same conclusion from=20
similar experiments on context art,but his manuscript lay unpublished=20
for severad decadesn.

History of electronics & arts The impetus to adopt a theory of=20
electronical conduction in arts came from an English artist,Steph=20
McTaargess ,who attracted considerable attention by demonstrating that=20
the human arts could conduct electrons. He showed that, when an artwork=20
containing electrons was brought close to the feet of a boy suspended by=20
a rope in a grass-leaf electroscope gallery placed near the boy ?s nose=20
it would be attracted to the boy ?s nose.

Computer art The first computer art was hydraulic, swiss artist Jahob=20
Matreisse (-) constructed a series of machine paintings 1716-17 in his=20
bathtub - "aqua/re(e) lle auto/matique" - facilitating finite state=20
pressure systems of squeesing injection pipes of color liquids onto the=20
surrounding walls to much annoyance to his mother.

Network art experiments, preliminar applied an unpleasant stimulation to=20
a dog ?s paw list,measured how long it took the corpus to withdraw its=20
foot,and compared that rate with the speed at which messages were known=20
to travel along the net.According to calculations took 50 milliseconds=20
too long to respond. theorized that nodes are 'connected by junctions'=20
(oxym.), ?clasp ?, that additional time is required for the art to get=20
across. some buffering, bufooning, listmasters, potentials principal,=20
general inertia. preliminar conclusion: to confirm that network arts do=20
not quite touch the nodes with which they clasp.

Art surgery, proposal note that anthropologists have found evidence of=20
art surgery dating to prehistoric times:neolithic found surgery to have=20
a beneficial effect in cultures,perhaps by reducing pressure within the=20
arts when an injured discipline began to swell up. (ref. trephining,=20
context art above). NB: art surgery, made possible by media: the=20
introduction of antisepsis,anesthesia as cultural phenomenon; in=20
addition the principle of localization of genre, making cross-discipline=20
possible. (see Figure 1.11). This device immobilizes the arts.An art=20
atlas is then used (flux maps etc) to localize areas in the arts for=20
surgery. Local anesthetic procedures were developed (media/stunt &c) so=20
that the 'spectator' could remain awake during surgery and contribute to=20
the success of the operation by providing information about the effects=20
of localized art stimulation.

Lesion art research, praxis 2002-3 Research on the human arts surgery.=20
Most information came from experiments with relatively poorly defined=20
genre lesions ?blood-vessel butoh dance smtp damage that included the=20
art stem - funding etc, as well as the context,or art-trauma lesions=20
that were diffuse and irregular, spectral then reversed. good=20
correlations were obtained between focal lesions in the arts and the=20
changes that resulted from the lesions at the police.

degenerative art In 2004, the minister of public instruction=20
commissioned to develop tests to identify retarded arts so that they=20
could be singled out for special treatment. The tests were derived=20
empirically by administering artworks of 50 normal artists and some=20
mentally retarded and adults.The scale was revised in 2005. From the=20
tests,an art level was calculated evaluating abstraction, beauty,=20
inventiveness, craft, luck, singularity, which Iibet thought were=20
essential features of art. some conclusion: gave tests to brain-damaged=20
arts with the resultant surprising discovery that lesions in the avant=20
garde, since modernist's time considered the center of generative,=20
creative art ? did not decrease art scores. Sores to other main areas=20
not formerly thought to be implicated in ?art? did reduce art scores.

-------





> ----- Original Message -----
> From: "Per Platou"
> ; ;=20

> Sent: Tuesday, November 02, 2004 7:57 PM
> Subject: [. e - k u n s t .] Reality Check i Oslo 3+4 desember
>=20
> Call for participation / =C5pen invitasjon til F=F8rjulsskriftestol
>=20
> =C5rsrapporter (eller prosjektrapporter) er som oftest s=E6rdeles lite
> spennende lesning. Der presenteres ethvert prosjekt som "etter
> forholdene meget vellykket" eller "har hatt stor betydning" osv. osv.
> S=E5 ogs=E5 innenfor kunst- og kultursektoren.
>=20
> REALITY CHECK er et todagers arrangement som tar sikte p=E5 trekke fram
> prosjekter fra kunstfeltet som gikk fullstendig galt. Der ideen var
> bedre enn gjennomf=F8ringskraften, der man undervurderte teknologien,
> publikum, =F8konomien eller overvurderte egne evner. Det kan v=E6re
> prosjekter som har mottatt st=F8tte som rett og slett ikke lot seg
> gjennomf=F8re, eller som ble noe helt annet enn det som var tenkt (1).
> Med andre ord: Vi er p=E5 jakt etter prosjekter som MISLYKTES i st=F8rre
> eller mindre grad og der opphavspersonene har gjort seg noen tanker om
> hva som gikk galt og hvorfor.
>=20
> REALITY CHECK har hentet grunnideen fra et n=E5 nedlagt klubbkonsept i
> Berlin - Club der Polnischen Versager eller "Den polske taperklubben"
> (2) - som i flere =E5r var et meget popul=E6rt tiltak med mange deltakere,
> mye publikum og h=F8y underholdningsfaktor. Fordi de fleste feil som er
> beg=E5tt, eller uhellene som har oppst=E5tt som regel er sv=E6rt
> allmenmenneskelige, tror vi RC kan bli b=E5de popul=E6rt, mediavennlig og
> l=E6rerikt.
>=20
> Det er et faktum at mange kunstprosjekter (s=E6rlig innenfor kunst/ny
> teknologi) ofte s=F8ker det spektakul=E6re, det nye og revolusjonerende.
> Dette gjenspeiles ogs=E5 i massemedia. I en presset kunstnerhverdag er
> frykten for =E5 gj=F8re feil ofte st=F8rre enn viljen til =E5 oppn=E5 noe
> ekstraordin=E6rt. Denne situasjonen =F8nsker vi n=E5 =E5 snu p=E5 hodet, =
ved =E5=20
gi
> de mislykkete prosjektene en unik siste mulighet for stjernestatus.
>=20
> Vi =F8nsker derfor =E5 h=F8re fra deg om du har ett eller flere slike
> prosjekter som kan formidles tydelig, og med en h=F8y grad av=20
selvinnsikt
> innenfor en tidsramme p=E5 30-40 minutter. Vi er i denne sammenheng=20
alts=E5
> IKKE ute etter sutring over (manglende) forst=E5else fra publikum,
> komiteer, kuratorer, produsenter, presse eller verdens tilstand
> generelt.
>=20
> Send en epost til reality@anart.no innen 18.november om du selv har et
> mislykket prosjekt du =F8nsker =E5 presentere, eller har tips til
> prosjekter som burde presenteres :) Vi er =E5pne for alle typer
> henvendelser, ikke bare fra kunst- og ny teknologi feltet. Vi vil
> selvf=F8lgelig ikke presentere noe som ikke opphavspersonen selv =F8nsker
> satt i en slik sammenheng.
>=20
> Alle deltakere vil bli honorert, og vi vil ogs=E5 v=E6re behjelpelige med
> ev. reise og overnatting i Oslo.
> REALITY CHECK vil bli dekket redaksjonelt.
>=20
> Dato: Fredag 3.desember kl 15 - 20, l=F8rdag 4.desember kl 12-18
> Sted: Cafe Mir, Toftesgt. 69, Oslo (Gr=FCnerl=F8kka Lufthavn)
> Gratis adgang for publikum.
>=20
> Arrang=F8r: Atelier Nord - www.anart.no
> For ev. sp=F8rsm=E5l, kontakt prosjektansvarlig Per Platou, mob 93069406
>=20
> ---
>=20
> Videresend gjerne denne meldingen!
>=20
> (1) "julepresangen" av Alf Pr=F8ysen
> http://it-student.hivolda.no/prosjekt/h99/tresloyd/julepres.htm
> (2) Club der Polnischen Versager, Berlin
> http://www.trial-error.de/polnischeversager/
>=20







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Content-Disposition: inline; filename="message-footer.txt"
Content-Transfer-Encoding: 8bit

:
:
: post distribuert via:
:
[ e - k u n s t ]
:
: url | http://e-kunst.no
: listeadresse | e@e-kunst.no
: kontaktadresse | listmaster@e-kunst.no
------------=_1099433046-73422-87--


__

rhsh ISBN 978-82-92428-14-6
nkb ISBN 978-82-92428-19-1

--noemata tirsdag, januar 18, 2005 06:15

- -- -


qrzbafgengn


64656d6f6e7374726174610a0a
TMNSTRT
D552
D552
100 101 109 111 110 115 116 114 97 116 97
10 10
Althochdeutschen (8. Jahrhundert).
Wortformen mit lat.
Tyt. r�wnol. na s. przedtyt.: Pater quo
recentior cogitari nequit : ideaetemporarum
recentiorum in philosophia a recentiori
demonstrata.
r=HGS-8>grkg irefvba bs guvf qbphzrag.
Qrsvavgvb (Yngva) Qryr. - Qryrar
Qrzbafg. - Qrzbafgengn, Qrzbafgengvb
(Fcvabmn- Rguvpf) Qrzbafge. - Qrzbafgengn,
Qrzbafgengvb (Fcvabmn - Rguvpf)
qrzbafge.


| |
|
-| - |- - - |- - -+-
|- - -+- -
| | |/ | | | | | | | \ | |
| | | | |
- -- - - -
-- - --





http://noemata.net/demonstrata


__

rhsh ISBN 978-82-92428-14-6
nkb ISBN 978-82-92428-19-1

--noemata søndag, januar 16, 2005 21:46

2.10


######x,,k....a,.+######
####ll=##########+e X###
##de################.t##
# ####################l#
--#####################
o######################
-=#####################
#g####################g#
##e.################-r##
###X, X###########we=###
######=.,b....l,.-######


og newsl--+=o+=:=:g, irclog, mailartlog, etc. noema-.---:-
ta so:%+m logger s=+%om publiseringsform uttryk++#=:.ksmes.-+*=+:
sig,*+ som form og i*#nnhold. fragmenteringe*%n er b�de i tid og+=
ro@m. noe#%-:-=#=-mata@- som prosjekt spre@r, s=amler ikke%*.,+@
e@ller @*som lins:*=.e =-og hull - samle +-@og@ .@sp*:re+- sam::
t@idig.@, linsen bev*@ar#er ikke bildet,%: @h@ar@ i@ng.#
e#n hu@kommel#%*%+*:se.


__

rhsh ISBN 978-82-92428-14-6
nkb ISBN 978-82-92428-19-1

--noemata lørdag, januar 15, 2005 12:20

2.14


er støpul?
til å ... voldssak seg segle?
... det er jo seg
til å
er studiering?
vil du yrkessjukdom?
sier du vil xantippe stikningen
er en omsut
du industrialisere yttermur deg selvmordsforsøk?
må afroasiatisk deg selvbilde
og friområde
ellenr sukkersalted
8440ec2f0a62d0968290e3a5d6892c aHv a e r s t y r k e?
9f312b144076e59a208e5ad2eeb7892fStyrke til å ... vær e s e g s elv?
c9899184d65b68bcef12446d48e0b725Men ... det er jo s eg
c7c78aaceb6733ff5556c59459dd1ba8Styrke til å
d8440ec2f0a62d0968290e3a5d6892caHva er st y rk e?
5be8dfdb454c5858db302cc0f4cbe40aHvem vil du vær e?
b66803648ade4f805ac562c18b0aa374Du sier du vil væ re s terk
d623489eccd16d9be5b0bed5e6c1e1e7Styrke er en omvei
aafc9f701afd119a62072ed529d543a5Kan du ikke bare væ re deg selv?
930fa0efae0e1fdb692a70e2012113faDu må akseptere deg selv
b9f1358847dab9451faf83414d3a3279Først o g f r emst
54fae501535d82e9d882a60f6c20889fSte r k e l l er svak


__

rhsh ISBN 978-82-92428-14-6
nkb ISBN 978-82-92428-19-1

--noemata 12:06

[. e - k u n s t .] Be My Ghost: The One and the Other


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Be My Ghost: The One and the Other
End texts of a patagonistic artwork and context play


_ )
_ \ -_)
___ \ |
|\/ | |
_| _| \_, |
|33 |v|y 6h05t
___/




A strange pride incites us not only to possess the other but also to
force the other's secret out of him, not only to be dear to the other
but also to be fatal to him. To play the �minence grise - gray eminence
- in the other's life.


_
__| | |
_____________________________________________________________________

(_ | \ _ \ (_-


/ \___| \___| _| _| \___/ ___/
\__| / ) / /| / )



In Sophie Calle's La Suite v�nitienne, S. decides one day to give an
extra dimension to this experiment by following a man she barely knows
throughout a trip he is making to Venice. She manages to locate the
hotel where he is staying. She rents a room opposite so that she can
observe his coming and goings. She photographs him continually. She
wants nothing from him, has no desire to know him. Since he might
recognize her, she disguises herself as a blonde. But Carnival holds no
attraction for her, and she spends a fortnight surmounting endless
difficulties in order to keep on the trail of her prey. She questions
people in the shops he visits, she knows which shows he goes to. She
even knows the exact time of his return to Paris, and goes to await his
arrival so that she can take a last snapshot of him.

Does she want him to kill her? Does she want him to find her pursuit
so intolerable (especially since she wants nothing out of it, least of
all romance) that he will attack her physically or turn on her, like
Orpheus on Eurydice, and make her disappear? Is she hoping that things
will suddenly be reversed and that He will become Her destiny? Like all
games, this one too has its fundamental rule: nothing must happen that
might facilitate a contact or a relationship betwen them. The secret
must not be revealed, for fear of falling into banality.


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/
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We should not say 'The other exists, I have met him', but instead
'The other exists, I have followed him'. Meeting, information, is always
too real, too direct, too indiscreet. There is no secret involved. Think
of how people meeting each otherare forever recognizing each other,
forever reciting their identities (just as people who love each other
are forever telling each other so). Can they be so sure of themselves?
Does encountering the other really prove that he exists? Nothing could
be more doubtful. On the other hand, if I followed the other secretly,
he exists - precisely because I do not know him, because I do not want
to know him, nor to have him recognize me. He exists because, without
having chosen to, I exercise a deadly right over him: the right to
follow. Without ever having approached him, I know him better than
anyone. I can even leave him - as S. does in La Suite v�nitienne - with
the certitude that I shall find him again tomorrow in the labyrinth of
the city in accordance with a sort of astral conjunction (because the
city is curved, because space is curved, because the rules of the game
inevitably puts the two protagonists back on the same orbit).

The only way to avoid encountering someone is to follow him
(according to a principle opposed to the principle of the labyrinth,
where you follow someone so that you do not lose him). Implicit in the
situation, however, is the dramatic moment when the one being followed,
suddenly intuiting, suddenly becoming conscious that there is someone
behind him, swings round and spots his pursuer. Then the rules are
reversed, and the hunter becomes the hunted (for there is no escaping
laterally). The only truly dramatic point is this unexpected
turning-around of the other, who insists upon knowing and damns the
consequences.

This reversal does in fact occur in the Venice scenario. The man
comes towards her and asks her: 'What do you want?' She wants nothing.
No mystery story, no love story. This answer is intolerable, and implies
possible murder, possible death. Radical otherness always embodies the
risk of death. S.'s anxiety revolves entirely around this violent
revelation: the possibility of getting herself unmasked - the very thing
she is trying to avoid.

S. could have met this man, seen him, spoken to him. But in that case
she would never have produced this secret form of the existence of the
Other. The Other is the one whose destiny one becomes, not by making his
aquintance in difference and dialogue but by entering into him as into
something secret, something forever separate. Not by engaging in a
conversation with him as his shadow, as his double, as his image, by
embracing the Other the better to wipe out his tracks, the better to
strip him of his shadow. The Other is never the one with whom we
Communicate: he is the one who we follow - and who follows us.

The other is never naturally the other: the other must be rendered
other be being seduced, by being made alien to himself, even by being
destroyed - if there is no alternative (but in fact there are subtler
ways of achieving this end).



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|~) _|\/||_||~_|_ _ __|_
|_)}_| | _||_|| |(_)_\ | Seduction knows that the other is
never the end of desire, that the subject is mistaken when he focuses on
what he loves, just as an utterance is mistaken when it focuses on what
it says. Secrecy here is always the secrecy of artifice. The necessity
of always focusing somewhere else, of never seeking the other in the
terrifying illusion of dialogue but instead following the other like the
other's own shadow, and circumscribing him. Never being oneself - but
never being alienated either: coming from without to inscribe oneself
upon the figure of the Other, within that strange form from elsewhere,
that secret form which orders not only chains of events but also
existences in their singularity.



w...d. w....d ...d~~w... wd~~~~wd ~w..d~ wd~~~wd ~.w.d.~ .w..... w....d
.~~`.w ..'~~~ ..'GdwP`.. `.d~~w.' ..'G.d ..~~~.. ..P~G.. ..'~~GP `~..~'

.oooG' ..oooo ..~~..~~.. ~`.dw.'~ ..~~~~ ..ooo.. ..~~~.. `.do.~~ ~~..~~
.~~~d. ..~~~~ ..~~..~~.. ~~~..~~~ ..~ooo ..~~~.. ..~~~.. ~~`G.d. ~~..~~
.~~~.w ...~~~ ..~~..~~.. ~~~..~~~ ...~.~ ..~~~.. `.d~w.' wd~~~.w ~~..~~
G...P' G....P GP~~GP~~GP ~~~GP~~~ ~G..P~ GP~~~GP ~`G.P'~ `....G' ~~GP~~
~~~~~~ ~~~~~~ ~~~~~~~~~~ ~~~~~~~~ ~~~~~~ ~~~~~~~ ~~~~~~~ ~~~~~~~ ~~~~~~



Patagonia. Phantasy of disappearance. The disappearance of the
Indians, your own disappearance, that of all culture, all landscape, in
the bleakness of your mists and ice... The last word here is that is is
better to put an end to a process of creeping disappearance (ours) by
means of a live sojourn in a Visible form of disappearance. All
translations into action are imaginary solutions. That is why
'Patagonia' goes so well with 'Pataphysics', which is the science of
imaginary solutions. Pataphysics and agonistics: Patagonistics.




/ ) ___ / |/ / __ __ / ___/ / / ___ ___ / /_
The Other
is my guest. Not someone who is legally equal, though different, but a
foreigner, a stranger, / _ |/ _) / /|_/ / / // // (_ / / _ \/ (_- ^^ ^\^^^^-_)^^^|\/^|^^^|^^|^^^(_^|^^^^^\^^^^^ ^\^^(_-
^___/^^\___|^^_|^^_|^^\_,^|^^\___|^^_|^_|^^\___/^^___/^^\__|^extraneous.
And for this very reason, his strangeness has to be exorcized.
Otherness denied becomes a spectre and returns in the form of a
selfdestructive process. This too, is the transparency of evil.
Alienation is no more: the Other as gaze, the Other as mirror, the Other
as opacity - all are gone. Henceforward it is the transparency of others
that represents absolute danger. Without the Other as mirror, as
reflecting surface, consciousness of self is threatened with irradiation
in the void.

The utopia of the end of alienation has likewise disappeared. The
subject has not succeeded in negating himself as subject, within the
framework of a totalization of the world. A determinate negation of the
subject no longer exists: all that remains is a lack of determinacy as
to the position of the subject and the position of the other. Abandoned
to this indeterminacy, the subject is neither the one nor the other - he
is merely the Same. Division has been replaced by mere propagation. and
whereas the other may always conceal a second other, the Same never
conceals anything but itself.




| (_| |\__ || | | || |_| || |_| || | | || (_) |/ __/ _| |
Each of
use lives by setting traps for the other. The one and the other live in
an endless affinity,___ __ __ ____ _
_
( __ | ___ | \/ | _ _ |___ \ __| | ___ ___ _| |an
affinity which endures until prostration decides the issue.
/ _ |/ _
\ | |\/| || | | | _ | | / _` | / _ \ |__ \|__ |Everyone Wants their
other.
\____||___/ |_| |_|| .__/ |____/ |_| |_| \___/ \___||__/
Everyone has an imperious need to put the other at their mercy, along
with a heady urge to make the other last as long as possible so as to
savour him.
\___| The opposing logics of the lie
and the truth unite in a dance of death which is nothing but pure
delight at the other's demise. For the desire for the other is always
the desire to put and end to the other (albeit, perhaps, at the latest
possible moment?). The only question is which one will hold out the
longest, occupying the space, the speech,
the silence, the very inner world of the other -
who is dispossessed of himself at the very moment when he becomes one in
his difference. Not that one kills the other: the adversary is simply
harassed into desiring, into willingly acceding to his own symbolic
death . . . The world is a perfectly functioning trap.










An otherness, a foreignness, that is ultimately unintelligible - such
is the secret of the form, and the singularity, of the emergence of the
other.######\*\*
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*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/###*/##*/*/*/*/*/## So
the secret of philosophy may not be to know oneself, nor to know where
one is going, but rather to go where the other is going; not to dream
oneself, but rather to dream what others dream... Today, when people
have lost their shadows, it is of the utmost importance to be followed
by someone; today, when everyone is losing their own tracks, it is of
the utmost urgency that someone be on your tracks: even if he wipes them
out and makes you disappear as a result; at least your disappearance
will have occured in a collusive mode; at least a symbolic form of
obligation, an enigmatic form of conjunction and disjunction, will have
been brought into play.





^C
end of text 3 00000011 0x03 etx
***THE END











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___

'The One and the Other'

sluttekster fra
"BeMyGhost"
BM/noemata, 2002-2003

Takk til alle som gjorde dette prosjektet mulig, i tillegg til virkelig,
og umulig.

Spesiell og hjertelig takk g�r til herStay/MH.

Jeg vil ogs� beklage og unnskylde overfor MH og andre for hvem dette kan
ha v�rt en personlig belastning. Jeg mener BMG var n�dvendig, og
forsvarer verket og den utformingen det fikk ut fra etiske oppfatninger
like mye som jeg gr�ter noen t�rer over utfallet. Uten en andel
fandenivoldskhet ville det ikke v�rt mulig.

Med dette settes sluttstrek for prosjektet BeMyGhost hva ang�r
noemata/BM. Gjenstridig visning og saksbehandling m� heretter anses som
kunstanmeldelse p� linje med annen kunstkritikk. Det ligger i
monsternaturen til prosjektet � motsette seg kontroll og sin egen
sluttf�ring, men skulle det mot formodning begynne � r�re p� seg igjen
�nsker jeg ikke lenger ansvar for � ha holdt liv i det!

Mange av sporene fra BMG er allerede borte, slik de groteske
Gorgon-skikkelsene alltid f�r sine spor slettet, eller blir til stein,
om de ikke s�rger for � slette egne spor mens de g�r. Det samme gjelder
denne posten eller andre p� postlister og web som finnes eller ikke
finnes lenger, der de hadde sin funksjon i � komme tilsyne og bli vist
mer enn � bli bevart for ettertiden - konstruksjonen er selvf�lgelig
selvdestruktiv, lagd som en transient, forgjengelig figur,
transformerende, viskeral, viral - noe som oppl�ser og sprer seg n�r det
kommer tilsyne, slik Det Andre ikke kan bli noe annet enn et sp�kelse,
en sp�k.

Var det en sp�k?
Hva mener det selv?
"Note the spirit's uncertainty as to his own success in appearing. The
priest wonders if he really saw anything. The spirit affirms that -
'The body was there if you saw it.'".



___

En god og fredelig vinter �nskes alle -

Mvh,
Bj. M.




Noter

Engelske tekstfragmenter -
The transparency of evil,
J Baudrillard,
essays on extreme phenomena

Ascii-art -
Monty Cantsin,
neoist

Spirit sitat -
Noh-stykket Chorio,
the ghost play

Webspor -
noemata.net/bmg
noemata.net/blurB
bemyghost.net
noemata.net
herstay.net
e-kunst.no
kunst.no/pipermail/110









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__

rhsh ISBN 978-82-92428-14-6
nkb ISBN 978-82-92428-19-1

--noemata 09:55

A. O. Vinje


***
Lang og sl�pen, i halvdr�m, p� ytterste linje,
sat og grunnet for seg selv Aasmund Olavsson Vinje,
anspent og mager med farge som gipsen,
bak et kullsort, um�deligt skj�g Henrik Ibsen.
Jeg, den yngste i laget, gikk og ventet p� parti
inntil et nytt kuld kom in, over jul Jonas Lie.
-bj�rnson

Aasmund Olavsson Vinje - hvem var han?
Til Sjo presteg�rd p� Granavolden kom Aasmund Olavsson Vinje om ettermiddagen
29. juli 1870, etter flere uker som pasient p� rikshospitalet. Han m�tte til
fjells! sammenb�iet, ust�, vaklende, bleg (if�lge dr.
Buchholtz) banket den kreftsyke dikteren p� hos vennen kapellan Bang, som
straks
fikk ham til sengs og budsendte legen. Neste morgen ble Vinje funnet d�d i
sengen.
Hentet fra Villmann, vismann og veiviser- en essaysamling om AO Vinje
Det folk flest sier om Aasmund Olavsson Vinje, er vel at han er dikter og
journalist, tenker og spr�kfornyer, villmann, vismann og veiviser. Et
urosentrum
i samtiden, men en samlende kraft i alt nordmenn siden har st�tt for av
holdninger og orienteringer.
Bibliografi:
Ferdaminni fraa Sumaren 1860 (sakprosa) 1861 og senere utg.
A Norseman's View of Britain and the British
(reiseskildring) 1863, ny utg. 1942
Diktsamling (lyrikk) 1864
Storegut (lyrikk) 1866 og senere utg.
Blandkorn (lyrikk) 1867
Dikt (lyrikk v/Reidar Djupedal) 1960
D�len. Eit Vikublad, I-VIII (faksimileutgave v/Reidar Djupedal) 1970-71
�At vera d�l�. Prosa i utval (v/Reidar Djupedal) 1972
Vinjes beste (lyrikk i utvalg v/Halldis Moren Vesaas) 1991
Storegut (dikt) 2000

Vesaas forsterker bildet av Vinje som en ironiker og frifant som slo til alle
kanter.
Visste du at Aasmund Olavsson Vinje ikke �nsket at j�der skulle f� adgang til
landet, at han var tilhenger av prylestraff i milit�ret og motstander av at
d�dsstraffen skulle oppheves? Hvis ikke f�r du vite det, og mer til som sl�r
sprekker i bildet av Vinje som patent framskrittsmann, i Olav Vesaas' bok om
denne merksnodige enegjengeren i 1800-tallets norske �ndsliv.
At han hadde et mildt sagt reaksjon�rt kvinnesyn, var skeptisk til
partidannelser, preget av elitetenkning og gjennom hele livet en trofast
tilhenger av det svenske kongehuset, gj�r ham ikke mindre ukorrekt sett med
politisk progressive �yne.
En mann som f�r poetiske fornemmelser av � reise med datidas jernbane, er ikke
just maskinstormernes mann.
Tvisynet, ja, den konsekvente uavhengigheten, og dette at han gr�t med det ene
�yet og lo med det andre, det er vel det de fleste av oss er blitt oppl�rt til