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Llanes Farewell Pau ... - Why not?

Pau Who is watching you Llanes, my ideal portrait. I read my last words while looking at my eyes watching you away ... one hundred and four days ago I wrote a poem, was the heart of the first text I wrote for Arterapia Sentimental its axis, its pillars, its Aleph. It reads:

POEM OF A TRAVELER

Paul Morand says the world is a book which
have not read anything but the first page
if you have not ever left the place where born. Travel
read the book in the world. Life is a journey. Travel
rather than a pleasure, is a must ...

Discovery a new city
surprise at an unknown landscape that moves us undoubtedly
modify the perception of the place before we come from.
Traveler
seems to only enjoy in the absence and distance ... remembering.

As in love ...
Like when you write a love poem ...

one hundred and four days have passed since then I have given one hundred and four invisible to imagine landscapes in which we find to share our respective reflections with us as loyal as our shadows ... I'll read, you read me, we wrote, we we read, we reflect on our words ... we want even absent and distance remind us even blind and intact ... - How generous ours, my love, as wasteful as spendthrifts with our time! - ... I hope I have been to you as promised in my frontispiece, homeopathic medicine, my pictures, my words curare-effective balm to ease your (our common) melancholy composition that sacred brew inviting you to take in front of my window to poison enough ... After you read this leave can go (when you can, whenever you want) to read my last story in the previous post . It is the second chapter of a Tuareg existential stories ... What begins with love, love must end ...

I know I have to say goodbye ... I had announced without saying-saying "in my text esoteric suicide Chronicle announced ..." a tale for bloggers ... (April 30). Yes, I confess: I was calling your attention, as the bomber as with its future. It is to invite you to save, you can not save the other from its destination, even himself from his own though I try, I just wanted you started to make sense of our immediate and safe separation, our enjoyment we these last days together to prepare your farewell breaking leisurely (though I'm the one who leaves and fade) ... I always wanted to say goodbye to my dead, or those who were once all or part of my life and probably never again to reconnect to share our stuff. I could never do, because they almost never know when death comes so jealous of their duties, or absence for good, it all seems limitless and possible ... If I could not do so far, at least today I say goodbye as God intended, because I know that delivery and it breaks my heart ...

The February 6 he wrote: " The mystery of the encounter between a man and a woman -or any of the possible pairs, of course (you know that I am heterosexual and politically incorrect, I speak as is) - is unsurpassed power of desire. A man and a woman love each other despite their circumstances, others, the threat of oblivion. A man and a woman are separated despite the narcotic power of their memories ... And although we know that a match is never forever, everything ends sooner or later ... do not stop wishing that this time last longer, perhaps forever If fate wants or so it was written "... It was not possible, and make sure you and wanted to try a duet, and was written and dictated my fate, so generous in life and relentless at the end of the game ... Only I ask you to remember to Pau Llanes till you drop, forget me when you play, either before or after I reread and remember when nostalgia climb down your throat and not stand in your eyes, no more no less ... no mourning for me, I love reading, or dispose of ashes on your head ... smile, laugh out loud if the body demands it, make love or fuck or fucking any literature behind me, that I have great, they are strong bring both beauty of a place to another ... "at your pleasure to read (me) found (confused) my pleasure to write (I) ... never know

Marco Antonio Montes de Oca, Mexican poet I admired how much they owe my life and my writing to that poem of his - The journey of the dying - which I first read when she was almost a child. All my life was like the story of the dying man who invented, it learned to live at close range, to enjoy the little things and make them great, to transform their values \u200b\u200bto the word, the magic of imagination, the breath of the sacred in a spirit of beauty, love ... it is fair to end this trip with his words, I owe a memorable life (hopefully you are also my creatures, my own creative work, which I tried following your example and that of many others as I enjoyed it inspired me): ... "Life is already mysteriously transplanted in the word, / another life awaits me, / A thousand times life filtered through the sieve rotten tombs. / And when the five thousand years dead / I'm swept away by gophers / and turn my remains in the carousel worm / pit and my brothers, convinced that they will never come back / change each other letters in their epitaphs, / I know get up, die again, / again expose the truth of my kingdom "... Time will tell if reborn like a phoenix from my ashes or salt my grave if I die by not dying or alive and buried in your memories, if you die forever transformed at the peak of a peregrine falcon or a dorsal fin tuna in the Mediterranean, or will be the eighth color of your rainbow or eyebrow ñ tickles you while you read me ... - FILI TEMPORIS VERITAS (Truth is the daughter of time.)

do not know if you noticed, love my city-architecture is a mausoleum, a huge archipelago lakeside museum where memory lies (sweet and moist)-there are so many memories that rush, so dense and contiguous, the City breathes mist is sailing and reveals indolent, happily shrouded (I, it) between your lashes ... Like every museum has its motto "as an emblem of mine has the opening words of Finnegans Wake " riverrum, past Eve and Adam's "... - everything mausoleum should display his epitaph. A life led me to compose my own: " YES ... WHY NOT? "..." I hope you understand what it represents and contains the Aleph ... I confess that before writing this sentence, I was tempted to appropriate epitaph for all of that Marcel Duchamp wrote to his grave - D'ailleurs, c'est toujours les autres qui meurent (They are always the others who die) - which in turn "stole" his lover Maria Martins, perhaps to share with her after the death the same words, yes it is to love forever ... Everything is sea in the sea of \u200b\u200byour eyes and your name ...

wills:

Come when you want to visit my grave. I do not need to give away great thoughts and eloquent speeches. A single word I shall be healed ... Apréndeme little by little, give me time, please do not read me in passing ... I have so much to tell ...

If you want to remember my words or my original images in your house, make it known before my chelas, who transferred the rights to my children. They will tell you what to do ... Do not worry, they are of my kind, generous Tuaregs seeking travelers, children all of Tin-Hinan

... If you read my last words listening Traumerei (dream) by Schumann, played by Vladimir Horowitz or Martha Argerich, please, I hear where you are.

Never forget that Arterapia Sentimental is a biographical diptych hundred and four days, a diptych of mirrors facing each other, of course ... something like the invisible city of Valdrada of which I wrote near the beginning of this blog - do go to reread later, there are "goodies" of Zacatecas for your eyes. Pau Llanes was his character as narrator, the hinge that goes away here and now murmur ...

Drawing: Portrait Venetian ideal of Pau Llanes, Evelyn Castro, 2008

On Virtue Ethics Rosalind Hursthouse

STORIES OF EXISTENTIAL TUAREG (II) ... Pau-past history of Llanes

The first text I wrote for Arterapia Sentimental now just over three months was STORIES OF AN EXISTENTIAL TUAREG (I) ... I do not think it have read all of you and what the first chapter - they say always makes sense to a story ... I do I read the first texts and entries to your blogs. At worst I'm wrong and are not as significant as I think, but in my case, yes ... My first text was a statement of my intentions but did not appear, you know how I like to encrypt and hide my intentions ... Well, today I conclude the story (true) with which I started my blog: the story of William & Florence Morden and book The Garden of Kama (The Garden of Love) that years ago I found and bought in New York, right next to where lived then, inside which was a exlibris that somehow is my motto and epitaph Side The world is a book which is not read nothing but the first page if you have not ever left the place where born ... I invite you to reread that first text and then continue with the latter ... In the following paragraphs I will relate my research , confess my intuitions, and all that was discovered in the Morden for a few days last January just opened Arterapia Sentimental . On many occasions in these months I was tempted to publish this post-is-this output, but I preferred to keep better time, what better or worse day today ...

was Monday 28 January. For two days had finally opened my blog Arterapia Sentimental after having been delayed for months searching for meaning and literary and existential justifications for doing so. Had spent the weekend learning the basics of how to write a blog on Blogger and especially choosing my first text-manifesto ... I titled TUAREG STORIES OF EXISTENTIAL (I) and he declared my condition traveler and not landscapes in the world only, but also existential interior caver, love and do not know what else ... That inaugural text included an extensive reference to the beautiful book The Garden of Kama (The Garden of Love) which for years had found in New York, had my involuntary successive inquiries to find the author of the legend of his bookplates, my failure to know who were their former owners, "William & Florence Morden" ... do not know why but that afternoon of Monday, I started looking again, now obsessed, their real stories. I immediately started to get into Google their names, crossed, looking among the entries that gave me the form ... "meanwhile was imagining a story, perhaps the beginnings of a new novel now dedicate himself to a stranger ...
Guiomar
My researches on the course began Morden Google: "William Morden " ... click ... -840 entries found in 0.19 seconds ... The first hour was frustrating opening page references: dozens and dozens of family trees with no relevant data. One of them gave me at least a small reward, " William Morden, captive of the Mongols "-pointed lines of a travel book: classic stories of travel and adventure from National Geographic ... Of course it could be "my "William Morden, I assumed, was referring to a traveler ..." but there have been many in recent history. What if there was a traveler but simply a travel book reader? ... Obstinate - " Pinghe " - continued opening and closing pages just give them a look ... until finally at the entrance to the first track 127 found effective in my adventure to reconstruct the unknown biography of Morden. The headline read: "Ernest Hemingway Message Boards " ... hopeful and I clicked on the page dedicated to Hemingway, of course, and a great writer, a daring traveler and explorer of exotic landscapes insistent, deep inside, a melancholy also stubborn an alcoholic and suicidal exquisite copy- I found an invaluable reference to a William Morden, was a story about a book written by a passenger by that name - Our African Advent (sic) -, which is narrated their hunting and exploration in Africa alongside the legendary professional hunter Phillip Parsifal, also commented that Morden, next to such a Clark had participated in an expedition to the Pamir Russian and Chinese Turkestan, in addition to citing his other trips to the north of Asia, Turkena district in Kenya, etc ... With just data sensed he was sure that William Morden, was "my" William Morden ... I do not know, are inclined, how you would explain I ... revelations, strange invisible certainties of someone who is accustomed to living on the dictates of their intuitions and hunches, and I knew that was the silver thread that I had to go ... period.

I went back to Google search and entered the title of William Morden, but correcting the erroneous "Advent " wrote correctly " Our African Adventure" and made the hopeful click: 1940 entries in 0.04 seconds ... - What fiasco, but it seems the opposite. It was not easy to find another valid reference for my research with this title. And is that the phrase Our African Adventure (our African Adventure) is very common and handy to all those who write about their experiences in Africa and lay texts on the Internet. So after reading countless travel crap about contemporary tourists rather than from real travelers, I went to give a more consistent references ... For example, an online bookstore in pointing this book as written by "William and Irene Morden, published in 1954-I admit that I was surprised and mosque by the name of Irene who appeared next to him: Is that not called his girlfriend or wife Florence? Finally

information substantial input in 59 ... "I confess that I was about to abandon the search path for the title of his hypothetical travel book. The track was as follows: on page on the library's African ethnography Yale Peabody Museum is said that some of the most precious objects in the collection were collected by William and Irene Morden ... better said: So I hear that William real name was "William J. Morden "clear, almost nothing that was not him, lacked the J! ... Morden note on my data confirmed and extended previous: Colonel William J. Morden, explorer, hunter and collector ...

A new search engine, now of "William J. Morden, "he reported 64 entries in 0'148 seconds, becoming more accurate and rich information. For example, the fourth reference an article in National Geographic in English - In search of Marco Polo argali (December 2003): " In January 1926, William J. Morden and James L. Clark, the American Museum of Natural History, left for Central Asia in order to know the status of the population of argali, Ovis ammon polii de Marco Polo in Russian Turkestan, and the way hunt for museums zoology some examples of this unique wild sheep. Call Morden-Clark Expedition to Asia in nine months crossed 12,700 kilometers from the Indian Ocean to the Yellow Sea, crossing the rugged terrain of the "roof of the world." Upon his return, the expedition recorded his impressions in a report published by the Geographic in October 1927. We leave the reader with an abstract recreation of such extraordinary experiences reported by Morden himself ... Text of William J. Morden, photographs of Morden-Clark Expedition to Asia, published in National Geographic in October 1927 ... This was my Morden!

Eighth entry - " AMNH Special Collections Library" - it was too ... The Special Collections Library American Museum of Natural History Library outlined the visual documentaries, films, made by Morden on the road, no less than 1922 to 1956-I knew that William J. Morden was born in 1886 and died in 1958 at 72 years old ... carefully reading the synopsis of the contents of his films I could write the first script of his life as a traveler, his adventures in dangerous worlds met and explored risk some exceptional circumstances of your trip, etc.. And most crucial: here I first discovered Morden Florence at his side, his first wife with whom he shared life of adventure, travel fascinating, exlibris, the legend about life as a open book and as I made my trip so long ago, and especially his literary gem - The Garden of Kama - years ago I found (why random, out of necessity?) in New York and now belongs to me ...

In one of the movies of his travels preserved in the American Museum of Natural History entitled Beyond the vale of Kashmir , dated 1922-24, contains a dispatch from his first marriage Morden Africa and Asia at that time. The contents of the images outlined by telegraph: "Panoramic views of the Himalayas behind. The expedition on its way to the Kashmir Valley through western Tibet. Herford Tynes Cowling cameraman filmed portraits of Tibetan people and some of its activities. In the village of Mulbik visit a colossal statue of a god of four arms on the wall of the mountain. In Srinagar, in the Jhelum RIIO, William James and Florence H. Morden staying with a British colonel in an elegant mansion full of beautiful floating works of art and furniture "... etc. To know Florence H. Morden took me to open a new window on my screen and test new search for it with Google. So I know her husband William had published at his own expense in 1940 a posthumous book in honor of Florence, died last year: From the Field Notes of Florence Morden , which today is a bibliographic rarity, and I hope to buy soon some of his few examples ... That same Florence H. Morden was also published in Life in the National Geographic : The Oriental Pageantry Of Northern India, with texts by Florence-including an essay, Days House-boat in the Vale of Kashmir , illustrated with color photographs of Francis Price; National Geographic Magazine, October 1929 ... For some references in the bibliographic records the posthumous book of Florence H. Morden know that this was accompanying her husband on many of his expeditions, for example tiger hunt in India in 1924, in other hunts for Eastern Africa in the twenties, in the above-discussed trip to the Valley of Kashmir, and Beijing was even waiting for William James to return the hazardous journey to the Pamirs and Turkestan, after the Mongols temporary captivity ... I recognize the courage of this woman, his loyalty, his most profound and intimate involvement in this project of life enviable common and complicity with her husband William to death.

for the content of your movies stored on the American Museum of Natural History , I could follow some of the first William James Morden travel from the twenties until his death in 1958. Between 1922 and 1924, first visited East Africa, Kenya, Uganda and Sudan, and India, Burma, Kashmir, Tibet, Sikkim, Ceylon, Java, Sumatra, Indochina, the temples of Angkor Wat in Cambodia today, Japan and China ... Incredible! ... Along with Herford Tynes Cowling will hunt alpine ibex and visit monasteries in northern Pakistan and India ... through western Tibet and Kashmir, as I have said ... In 1926, with James Lippitt Clark begins his expedition to Asia central to the Russian territory of Pamir and Chinese Turkestan in search of strange goats fine wool-argali (Ovis ammon polii ) - of which Marco Polo spoke with admiration of his stories. The explorers crossed the Himalayas and Karakoram mountains to the restricted areas of the Russian Pamir Plateau and the region of Turfan in Chinese Turkestan, foiled a planned meeting with a third expedition, Roy Chapman Andrews, Morden and Clark recklessly enters Mongolia without permits or credentials ... Clark and Morden are captured by the Mongol soldiers and tortured in the belief that they are actually spies ... Rescued by Russian soldiers, cross Atlas Mountains and the Siberian are taken to the Far East, and arrived at China, to Beijing, where they hoped to Florence ... Certainly it is a modern epic, one of the most fascinating and heroic expeditions that a traveler could do convulsive those times, even today. Result of that experience, William J. Morden wrote and published a lengthy article in the chronicle of that trip for National Geographic Magazine - Caravan across Central Asia; v. 52, no. 4, Oct. 1927 - and a beautiful monograph: Across Asia's Snows and Deserts , New York, ed. Putnam, 1927.

In 1928 we find Morden in Russia was gathering permits and establishing alliances with the Soviet Academy of Sciences for further expedition to Siberia, visiting Leningrad and Moscow, Russian recording monuments and celebrations of the anniversary of the Bolshevik Revolution. Months later, in 1929, William traveled to Central Asia again, this time to Soviet Russia and Eastern Siberia. In the corresponding film preserved in AMNH see images of the cities of Samarkand and Bukhara, the steppes of Kazakhstan, the peoples of Eastern Siberia, the Siberian taiga landscapes appear in this profusely ... William James, at age forty three years, perhaps too old-looking for the rigors of your trip, with full beard and a beautiful look that looks into the distance and from afar.

After that time I found no other reference to Morden to 1939-date of death of Florence, and 1940, when William posthumously published field notes from his wife. I assume that during that time would review the notes and memories of his travels at his home in New York or around, enjoy your home and also his books, The Garden of Kama , of \u200b\u200bcourse (book I bought in Calcutta in one trip) - and look after my children, I do not know if they had them or not. Would be happy ... It seems

William Morden participated in the Second World War, I do not know in what capacity, probably as a consultant or intelligence, their age, and was graduated with the honor of Colonel. In 1947, when William is now 61, emerges again leading a major expedition, this time to Africa, funded by the AMNH . New York travel to Cape Town, South Africa, appears for the first time his second wife, Irene Morden ... It is now time to describe in detail the issue of William and Irene Morden, one point they crossed from south to north all Africa, whose most evocative stages include: Transkei Reserve, Southern Rhodesia, the Hill Matape Zimbabwe, Nairobi, Lodwar the desolate region in search of the Turkana people, the "trip" to Lake Rudolf, several pathways for Kenya, an exotic "trip" to Zanzibar, visit Poth Farm, the farm of his friend Phillip Parcival famous professional hunter, the encounter with the Kikuyus in Kenya's northern border, while indigenous objects buy, collect visual records of the tribes who know, hunt and capture all kinds of animals, etc ... Follow her journey Uganda, Rwanda, Burundi, the then Belgian Congo (now Zaire)-where known-Pygmies, and then climb from its origins in Lake Victoria, on the lower reaches of the Nile by following its path directly or weaving: Murchison Falls and Lake Albert, Juba, Khartoum ... then go by train to Wadi Halfa, searching the desert culture of Nubia, and beyond to the north, crossing the Libyan desert, come to El Adem, his last leg in Africa ... The expedition returns home through the Mediterranean, Malta, Marseille, Cannes, and from there to Paris, and finally England the point of departure back to New York aboard the ocean liner Queen Mary ... Phew ... what a wonderful crazy ...

De Irene Morden have not no news found prior to this trip with her husband William. It seems that Irene was younger than him, but not an inexperienced young woman, even in a note I infer that older childless ... The truth is that Irene rejuvenated and renewed the hopes of sesentañero William and, like his former wife, our Florence H., was his inseparable companion, his partner in travel arrangements, your photographer camera at the ready or filming documentaries, his accomplice writing stories and articles from his travels. In 1953 we find the Morden marriage in Africa, this time accompanied by the collectors Walter and Lili Moesch Braun, addressing the Etosha Park in Namibia today. After a lengthy journey through the lands of Namibia, then went to the current Botswana, Rhodesia (Zimbabwe between current and Zambia), Angola and Elisabethville (now Lubumbashi), etc ... In 1954 comes out the fantastic book that I mentioned earlier, written in common - Our African Adventure, London: Seeley Service, 1954 - profusely illustrated with maps of his travels during the 1947 expedition, bullets and photos ...

The latest issue of William J. Morden to Africa in 1956 returns to be documented visually in the American Museum of Natural History : was a trip organized by the Peabody Museum of Natural History Yale University to collect ethnographic and zoological specimens. The journey began again in Namibia, land of the Owambo, returning later to the Etosha Park, then the issue continued in the region of Natal, South Africa ... to later make a leap to Kenya and Tanganyika region, then and hunting, visiting Nairobi, the northern border district of Isiolo, Marsabit Reserve , Ambesoli, Arusha, Ngorongoro and the Serengeti Plains ... hiking to Mount Kenya, Lake Paradise, Lake Magadi and Kilimanjaro, maximum height of Africa ... In the documentary can be seen in the same Irene hunting and claiming the black fur of a lion, leopard and even a rhinoceros, being honored by Masai women for his exploits as an expert hunter ... Shortly after his return to New York, William James Morden died at the age of 72 years ... A life memorable, no doubt ... that deserves to be remembered with admiration as I now do in this text as a tribute.

Finally, I can find a brief biography of William J. Morden completing reference data and so far I've collected in my research on the Internet: Who was born on January 3, 1886 in Chicago, the son of a wealthy family dedicated the manufacture of railroad materials ... who studied and graduated from the Sheffield Scientific School Yale University ... that after graduation he worked as an engineer in the Bag and Paper Corporation (1908-1922) and that after that first labor stage, probably boring and conventional, he devoted the rest of your life to your travel dreams and his dangerous adventures in Asia and Africa ... It seems that their first exploratory trip was made in the Northern Territory Yukon American in 1921, which certainly encouraged him to devote himself to this activity ... William James Morden was director of Explorers Club and honorary member and partner in field work American Museum of Natural History ; was travel writer and contributed regularly to National Geographic Magazine ... William James Morden died in Chappaqua, Long Island on January 23, 1958 ... His second wife and companion, Irene, survived him until 1972-but for now know the relevant facts and circumstances of her widowhood and death, and since then I have no idea of \u200b\u200bthe subsequent vicissitudes of the common heritage of all this ... I only know that the spring of 1998, Broome St. , right next to the house where I lived then in New York, I was fortunate to buy from a vendor beautiful illustrated copy of The Garden of Kama his edition of 1920 ... and inside I found a telltale exlibris a previous ownership of this book, William & Florence Morden, of which now finally we know some fragments significant of his biography ... The legend is printed on the bookplates that phrase Morand attributed to the beginning of my poem and then reinstating St. Augustine: "The world is great book of buying a sandwich at Who They stay at home read only a page "..." The world is a book that is not read nothing but the first page if you have not ever left the place where born.

Los Morden —William, Florence, Irene— leyeron todas las páginas del libro que les regaló el Destino. Yo las mías propias y las de otros viajeros tan melancólicos como yo… También leo de vez en cuando poemas de “su” (mi) The Garden of Kama :

This passion is but an ember
Of a Sun, of a Fire, long set,
I could not live and remember,
And so I love and forget.

You say, and the tone is fretful,
That my mourning days were few,
You call me over forgetful —
My God, if you only knew!

Recuerdo que fue San Agustín quien dijo: “ Ama, and do what you want "... obey, obey ...

Photos:" My garden of love in Essaouira (of dawn) ", May 2007.

" Home Broome St., NY ", New York, January 2005, before the door of the loft where I lived in NY great seasons, from 1997-2000, bought from a vendor my copy of The Garden of Kama . Years later, walking on a Sunday morning, I ended up at "my house" by mistake ... Loft on the facade of a young naif painter had installed a temporary exhibit of small works ... I remembered all those years my life happy in this house ... I thought the jokes that makes life in its paradoxes ... That girl did not know who was the owner of this loft that served as a makeshift gallery on the street, who inhabited the place, its colorful characters. Never know that behind that wall of glass paneled created some of the most memorable works of art and contemporary music ... And why do not you know something will not you come? She was happy in his own way ... I bought a box thanked me with an unforgettable smile ...

covers and inside pages of The Garden of Kama

Should Ice Skates Hurt Your Feet?

MATRI ... All Power to Women!

has long interested me for a word-concept that represent certain complex cultural realities of distinct uncertainty-such as the landlocked, European, symbiosis east / west, feminine / masculine, neo nationalism in the era of "globalization", etc. Yes, I am referring to these ambiguous feelings and beliefs belong to any particular gender, culture or nation beyond the vague boundaries of our physical bodies, political boundaries or traditional patriotism ... It's "Matria" antagonistic or complementary antonym, you need as you see, "Homeland", a fascinating concept-word used very rarely, usually only by poets and writers concerned with issues of identity from unconventional positions, decidedly romantic. We also found the notion "Matria" more recent philosophers and anthropologists of postmodernism, especially in feminist thinkers, including the English highlight Victoria Sendón - Matria: the horizon of the possible .

Matria is a term used by writers like Virginia Woolf, Isabel Allende and Krista Wolf. In Classical Antiquity was used to refer to their own land of birth and feeling. Throughout the time kept by literary and poetic tradition, mainly in Galician and Portuguese. Edgar Morin used to refer to the motherland Europe, while Miguel de Unamuno was referring to the Basque motherland. Julia Kristeva identifies this term with " another space" that has nothing to do with the land of birth, nor the legitimacy of any state, but with an inner place in which to create a " own room." Also this term is frequently used by Native Americans, as the Mapuche, Aymara or Quechua. The anthropologist Andrés Ortiz-Osés opposed the English homeland motherland the Basque to try to explain the origin of ETA violence, " We have identified the nation as motherland (Basque), the state and country (English) and the community as phratry (European) . " Victoria philosopher Sendón from a feminist perspective proposes it as a new reading of concepts such as identity, race, language, religion, tradition or sex (from Wikipedia). Victoria

Sendón lucidly leads what has been called "difference feminism." Understand feminism as a radical proposal that attempts to subvert traditional assumptions of sexuality, family, employment modes, the relationship with nature, etc.., in a self-determined commitment, investment and redefinition of myth and direct action. Sendón Victoria is a look at other new concepts confluent with the notion of Matria, for example the "Ginandria" as signifier of a mythical symbol of the feminine: " Through the term" ginandria "I want to connect with deeper roots subversive, esoteric and heretical able to answer to a culture radically radical crispadamente "... In his book More Ithaca beyond Sendón Victoria also reflects on the collapse of cultural monotheism, the end of metaphysics. Through a feminist philosopher mythical background is female track both the concept of Matria, compared to our Nation, and the idea of \u200b\u200bfuture-women that opens the postmodern crisis ...

Victoria Sendón open regularly writes interesting articles and stories on his blog under the name of Cassandra , your avatar surfer. Commenting on his book Beyond Ithaca on complicity and conspiracies, the author confesses that his interest in Crete and in general by the Mediterranean culture had original starting point of documentation work to prepare a seminar on the witch: " Investigating the roots of the subject was clearing roads to Crete and the Minoan culture, the Mother Goddess of the Neolithic, the horned god of hunters and Mother Earth from the cave. Archaeological and classical texts, which are the original songs of lost cultures, were giving me some clues to solve the riddle before I had raised. But there was more. The end of metaphysics in the western world with its swan song in Heidegger, Nietzsche's prophetic vision and his followers in the so-called postmodernism, urging me deeper the new symbolic order that this change meant in the sense of a collapse of our cultural monotheism, a loss of certainties, a final farewell to the Truth, Identity, Security and, therefore, a being returned from the naive belief in "progress" God is dead. Goddess Returns "? We are on the threshold. Terrible things have happened yet, but I have no doubt that the key to the solution lies in women. They, the powerful, have not yet fallen into the account, but the need for a new symbolic order that will surprise them all has happened so fast. We will have to give new meaning to progress, a new meaning to life, survival of the species on this planet, the human dimension "... I totally agree with Victoria Sendón: the keys to the interpretation of our present and near future, perhaps also their solutions, and women go through a new feminine symbolic order (of course made up of new attributes of the feminine and renewed figures represent him).

In another of its magnificent Victoria Sendón sobering texts on their ideas of "difference feminism", resistant to any temptation to "egalitarian feminism": " The difference feminism part of the philosophy of the same name, whose logic is not a logic of the subjects, predicates, because life is not about being but becoming. With these assumptions it is not surprising that the concept of subject is raised differently. Deleuze uses this new concept of subject to charge an analysis for which the subject's history is built on the family tree. It's like our adventure of life is reduced to acting in the theater of the unconscious, a domestic small theater that always represents the same work: Oedipus. Dad, Mom and me. Explore the roots the family past to rise to the branches of a default subject boredom is a real plus unreal, because fortunately our connections, desires or experiences with many people, objects and aspects of the subject does not refer to a tree, but rhizomatic. The rhizome is a much more joyous, vital and open to the unexpected, the unknown. Its multiple rootlets, which extend horizontally with multiple lines of flight, allow us to create a perfect subject for exploring the life rather than submit to the dictates of family complexes. This real nomadic subject has nothing to do with the pipe dreams of the cogito and illustrated the "principle of individuation" in search of its shape. The new subject is of flesh and blood, desires and pursuits, joyful failures and pyrrhic victories. This subject is the subject of life and not of metaphysics "- The failure of feminism (2002)," Women network. The feminist newspaper "Victoria Sendón

also criticizes some egalitarian feminism that feeds on the principles of the Enlightenment and" waiver of entry, for reasons of that equality, freedom of action and creating a paradigm conducive to accommodate a feminist thought with their own alternatives "..." This equality feminism is concerned with advancing in the march of the world, institutional politics and society enlightened principles, but including them women. As if history had stopped two centuries, it tries to restart what began with a fundamental flaw. So his main topic is the subject, which produces fear the crisis will spray its foundations argument (...) and hopes that this approval of women in that category liberates us from the oppressive hierarchy of genres, giving us greater autonomy rather than heteronomy of the role assigned. Which is fine except for the small detail that female subjects end up being mere ghosts, free at last! of their own sex "... Victoria Sendón comes to tell us that feminism leads inexorably egalitarian a new Cartesian essentialism based on reason, which only differs from the previous to which he was subjected female and had served for centuries to justify its submission under a patriarchal male order. If this essentialism "enlightened" modern egalitarian and based on the universality of human rationality of women will have been further "undifferentiated"-that is, within the human ... Sendón reveals the face of this perverse ignorance of the feminine differentiated: "We fled an essence to fall into another, but of course, universal ... Now, women are universalized and just reason, a species of beings ghostly disembodied "... The Sendón woman claimed her body, biology, her female instinct, feelings, ways of being in the world ..." I do differently from my masculinity, heterosexual, too assertive and critical of any tyranny that is not strictly equal legal ... Stop using the Cartesian mind-body dualism to inform the thinking mind the equal rights of women and men, women and men without a body without organs, Deleuze would say ... Victoria
Sendón
regard quoted French feminist philosopher Luce Irigaray, " Probably the sexual difference is the more universal issue that we face (...) This means that women must build an objective model of identity that allows them to position themselves as women, not merely as mothers or as equals in relationships with men, men . " With these words Irigaray does not refer here to an identity as an essential, but a willingness to recognize what they are, women with a body that sets them apart, but in no event can justify the stigma of inequality ... "Any emancipation movement control from its "differential fact" rather than deny it. Why would women I? "concludes Sendón Victoria. From its position of women, Luce Irigaray criticizes ruthless against traditional psychoanalysis, for Irigaray, women have lost their own identity to have forgotten his matriarchal genealogy, his own original relation to the mother. It should also be aware that our traditional symbolic order, even modern, is patriarchal, which has caused women to live and are represented as beings neutral or negative, as non-male "because to some extent symbols that have no link with reality are only effective symbols to represent women in antiquity in the beginning, when perhaps the Mediterranean world was a huge reservoir of meaning female, matriarchal realities of different women articulating their own order, without complexes or humiliating treaties. For Victoria Sendón

feminism theory can not be a more reformist or revolutionary, "as it is all calling into question: the Patriarchate, which covers the ways political, economic, cultural and even religious, but above all , modes of thought. Moreover, feminism, without being a naturalist, should come from the culture of women, namely, our experience over the course of history. But what culture? How the culture of submission, oppression, marginalization, colonization? Of course. From this hollow is where they draw their strength all the liberation movements, as from a dominant position does not change anything. So the Master is always identical to itself, is petrified by it. But neither is a crippling victimhood, but a unique position to change, that is what is "... But women also have the experience, as rightly defends Sendón feminist position" is that our most profound experience is the one we have been and are economists, educators, doctors, teachers, psychologists and managers in the domestic sphere. In this task, we could see that things do not work according to the logic of domination, but according to a logic much more supple, subtle and vital. We can only move all that baggage to the public, but only through parity, which we are socialized into the political colonialism. Make the jump to public can be made many ways. We would to solve the private sphere, which would begin by recognizing our authority, that what is currently lacking any body, institution or government running the world "...

I am convinced that this is a historic moment for women, no other motion calls into question the entire system, but some of its aspects in a global society that is fundamental. Besides the contradictions of patriarchal predatory system has become so untenable, so dangerous for men and women to natural life on the planet, that can not be disguised or hidden ... Surely the picture of his collapse and death announced the find in the collapse of the twin towers of World Trade Center in New York ... In my opinion, the collapse of the "great truths and totally" modern and postmodern Western, patriarchal and sexist, corresponds specularly point by point with the suicide of another world also sexist and patriarchal, traditional and premodern, eastern Muslim fanatic ... What a terrible show and suicide death struggle between these two orders patriarchal and sexist than before, barely had coexisted under the fallacy of multiculturalism and international economic globalization. The figures of patriarchal power and male, their symbolic phalluses, were shattered, worse still, dust and smoke, impossible to rebuild, collages, their fragments exist ... However, I doubt that will be fully aware of this transcendental event-past even the simple and conventional interpretations geopolitical-military, cultural and economic criteria, or cruel clash of civilizations as opposed and warring ... I think it was much more than an earthquake, perhaps an apocalyptic earthquake in the minds and spirits on a universal scale, the first shock after the collision of two massive tectonic plates drift patriarchal and chauvinistic instincts of death and fanaticism. See even more terrible disasters, unimaginable, if not avoid women ... It is time for women, mothers, who create life in the emptiness of their stomachs and have the power of alchemy to create the future where there is only despair. The world Matria will have to call sooner rather than later. Hopefully there is still time and women do not entertain too with stupid macho-digital games and playing ridiculous roles of little men in drag ... So be it, so be ... Amen.

Photos: " There are days that I am not at all in this world " (direct the body scanner and digital retouching), Gabriela Galindo, 2002; " Montsegur, in the Pays d'Oc "August 2005

Will Varicose Veins On The Labia Go Away

Paint, quantum mechanics and mirrors to penetrate ... A speculative theory about art and love ...

last Sunday discussed with Mark, Eva, Irene and Victoria Antonina about painting, art, and the role of critics and theorists on collective reflection on the fact of creation. Irene Marcos and reproached me the inconsistency of our arguments, our subjectivity, when judging a work of art. How odd that artists are just pure subjectivity, those who complain of the alleged subjectivity of his critics, claiming they scientific interpretations, opinions of 'objective' ... So these days I have been preparing this response text (do not know if also justification) ... Would you like science, Mark? As science and quantum mechanics takes a tube ... Hopefully a little better and understand what my position and what is yours in this triangle that compose artistic lovemaking you, me and our mutual lover, art, painting ... Art, Science, Love ... "what a beautiful triangle without feet or head ...

A painting is only " painting" to the painter before being seen by someone other than their creator ... When we see, observe and contemplate, it is still painting but with our eyes adjust; we call it a " box" has certain limits from our point of view. The boundaries of a painter to paint and the observer are different, do not match. All this has to do with the teachings of quantum mechanics and complex theories and hypotheses that are doing their damage "embedded" in their authority. Topically it has been considered that the Heisenberg Uncertainty Principle -one of the pillars of quantum mechanics would mathematically that the very fact of observing disrupt the reality, that is instant and the state of the thing. Therefore we can not know the exact position of a particle-physics main theme, "only its likely trajectory. The nature of our gaze, strictly visual, modify to some degree the observed object, its space-time.

Uncertainty Principle comes from the need to measure any phenomenon to objectify their phenomenological reality. To see something, an electron, for example, requires that a photon colliding with him, which is changing its position and velocity. By the very fact of the "measure" the experimenter-observer adjust the data, introduces an error can not be reduced to zero, however small their displacement. And yet for all we must see to size measure-physical reality. The physics does not study the "reality" in the abstract but observable phenomena. In the words of physicist Niels Bohr, one of the fathers of quantum " Nothing exists until it is measured " ... The reality is that each observer measures ... I mean that our thinking that a painting exists only as a reality "picture" when viewed observed, provided ... the reality is that each observer sees "the reality of a painting" view "is that of the observer, which is very different course to that of his creator, and there are many other realities as onlookers observers have ... What a somersault interpretation would mean that each painting is for each one tailored to your questions, or answers specific, differentiated / as and different / as. View a painting, interrogated, an oracle without universal validity.

also not possible to observe simultaneously the velocity and position of a particle, something like that is not possible to "measure" the material reality of the thing and feeling, or one or the other, and alter or pollute more if possible our perception already subjective ... We must therefore give up our pretense of looking at the universe in a painting, the universe itself as an image? I think not ... - " insist, therefore I am " - Einstein also seemed absurd because there are separate realities the observer. For example the reality of a painting for a painter is a reality independent of the observer who does not see as you create it, we might even venture the possibility that there are realities fragmented moments, stadiums, in which the artist herself does not see what paints but is carried away by a kind of external stimulus and / or interior paint makes unknowingly, abandoned to their fate or what do I know ...

esoteric back to the viewer-voyeur: the Principle of Complementarity as Bohr says it is not possible to see something " to view as particle and wave" at a time. If we do a visual experiment: to see something, its complementary is hidden behind ... According to the uncertainty relation of one thing, the more you look at one more thing the other becomes blurred, the complementary ... The universe would therefore be a blur, the closer you are more dispensable its contours - as that happens to a painting. From Greek scientists and philosophers believed that we could understand the universe, look, observe, think about it, their laws and exemptions, to understand its operation (mechanics). But this does not hold water with Quantum, we can not know what it is one thing, where it is, how fast it moves, etc.. It seems that the Maybe we can see, with the evolution of our physical and mental prosthesis-worst observe "the other" ... The universe is hidden from us? A painting is hidden, hides, falls back, as our eyes are presumably more accurate? Is this the entropy of an art critic: the more and deeper look at the painting, it falls back and see nothing but blurry? The critic is one who judges with discretion ... which means that is provided with adequate methods and tools to analyze complex the complexity of a work of art ... But I can not "measure that" it is called art and also "Restless, disturbing" their reality by simply trying, what to do ...

That is the question ... To describe it is pointless, and serves very little since my data would necessarily be wrong. Criticize-gossip its interlinings no sense, has nothing to do with the painting itself but with its creator, and that is the preserve of Lacanian psychoanalysis and become a beast made when someone gets in their forbidden (or confuse them with verbiage ) ... I only have two operations on the other hand I think that at face value: "seismography" Castilian, which phonetically resembles "chismografo" but it's another thing: detect state changes, "catastrophes, earthquakes and especially concern-WRITE-which is my particular way of creating specularly in dialogue with the artwork object of my curiosity and wonder ... That's what critics do-writers-creators : think and write our reflections in the hope that the unstoppable creative mechanics of the universe, art, painting, maintaining their constant movements, beyond the inertia of your first impulse, and ensure their indefinite existence ... Everything is mirror boundaries and inside, everything is reflected, because everything is and surfing ever crosses on our eyes ... "And I want to speak here and now of the Gorgon Medusa, that it has more to do with the representation and the figure with the indeterminate abstract painting. Luckily

-back to quantum mechanics and mathematics definitions and principles have been more accurately reread and reinterpreted away from his first radical: for example say "Uncertainty Principle occurs because the measuring position of an electron changes its state "is incomplete, so false ... The more accurate interpretation of the uncertainty relations would be there" a fixed limit for accuracy joint measurements of position and momentum of the electron "... Something like that displacement of the center of our gaze is minimal (if different), but yes, this displacement is passing for different dimensions, the work and its observer - the sole reconciliation occurs in the experience of the mirror ... Things are not identical, nor of course the reality and its mirror image. Say you need each other, eye contact, but not "love" can not merge into one thing identical "to themselves." Just one thing, a painting, is identical to itself, the other is an experience to the mirror like, similar to a degree sufficient for our needs, clonic or interchangeable, plagiarism, symbols, linguistic signs that represent them ... "all that, but not identical ... As each observer is only identical to itself, each painting is only identical to itself ... and each one tells it differently regardless of what you mean ... In painting, and especially of abstract, it is not important and substantial "which means" the work, but "how you say" ...

Well, there are the painters who created them and say they have wanted I do not know what to say ... But they / as they have had their time, their opportunity. Now is another time and another place other than their creation. There have been expropriated, of course, they are moral rights, the materials, the right of first refusal ... But when the artist chooses to display his creature must understand and accept that opens a new fatal triangle "amatory" artistic ", which requires setting a new status of "love / belonging" and Coexistence: a) the wife / husband operator / a; b) the "work" seductive (which attracts the eye); c) lover observer, whether whatever their gender and sexual status ... In the "home" of the artist's studio is inviolable status of partner, you are the creator and his work. Outside this territory marriage, is a paradise for lovers who look and reflect, point by point, symmetric, but not identical, inverted, ie, they need to penetrate and complement to form an all-least-a black hole in the center of the universe that appeals to the light that would escape its gravity ... Love is all that "black spot" that create, penetrated, two blind and invisible beings. More or less what happens when you have two mirrors face to face, surface area, nothing is reflected, nothing is seen, nothing is said ...
Write
know love is like writing ... A Taoist aphorism says: " can not see the color of the pitcher because we're in it " ... these metaphors-what disconcerting Taoists. Similarly, we can not continue, "know what's inside the jar if we looked ..." even at risk of dying in the attempt drowned in the well-pot, something like the myth of Narcissus. But the most common account, but in the version of Pausanias, the Greek geographer and writer, who relates that Narcissus had a twin sister who died young, leaving his heartbroken brother. One day Narcissus thought see his sister at her own reflection (were twins) and not knowing of this experience specular mirror image fell into the well trying to get his sister is an act of love, compassion and melancholy ... Life is that no more no less: to love, remember, enjoy and / or suffer alone and / or with ... While I recognize in the mirror you're alive ... To live is to look in your eyes every morning when you wake ... "a" miracle ". Where else will remember only your thoughts and your pictures written've reflected long dead ... Death is transformed into a "miroir " ...

(This text is dedicated to the Porteña Malena and students that I know I read and discussed in their classes, to Pauline, who participates in an exhibition which opens next Thursday in Lima and all that ... have made the art and writing about art its particular way of being and being in the world ... Oh, I forgot ... and Mark and Irene who married in July).

Photos: Rome Mirall ", May 2007. " Tokyo Night Mirror," June 2004

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Two poems: one without words (you invent them) and another only with words (Imagine me) ...

If you ask what word I like to say first
waking in the morning I'll tell you
"sea" ...

If you ask me what sentence
doubt eternity
first I confess that it was this epitaph:
"The unknown is at the end of life and
beginning of death "... If you ask

what was
remember what I did today
were these words: "Forgetting fruitful" ...

Images: "Chicago Plensa " January 2005 " Figueras Dali Museum," September 2005 Series "Tokyo Streets " June 2004 " Carroussel in Carcassonne," August 2005 "Sunset Bar Manaos," April 2006 "Essaouira Spices " December 2006 " Wall Marcos Vidal, Marcos Vidal installation, Dubrovnik, August 2001, "Souvenirs Mallorca Boat" August 2004 "Paper Prato, "May 1993" dawn Serifos, "September 2006" sunset Mallorca, April 2008

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Lou Reed, Berlin and we bore Melancholy ...

I read that Lou Reed will next star in Spain in the summer-Malaga, Madrid, San Sebastian Sant Feliu de Guixols, Benidorm (21-26 July), representing his "magnum opus" Berlin , surely one of the most painful music collections in the history of rock-indeed, a shift 180 ° with respect to its previous record, also mythical, exceptionally glamorous Transformer ... The dark nature of Berlin (1973) by Lou Reed, his bleak and oppressive atmosphere, are sublime, I moved and passion absolutely since I bought this record for the first time in 1975. It's fascinating as a work of such sadness can be so addictive, by the way, melancholia is addictive. Lou develops a musical and textual material extremely complex discloses the darkest of society: suicide, depression, addictions, paranoia and neurotic melancholy ... I totally agree with "smart Batista " when he says that it is "a dark and Gothic portrait of the most stark reality seen through the eyes of a bohemian , and also" the musical equivalent of putting a drug addict, depressed guy in the middle of a candy store narcotics while writing songs of loneliness, death, suicide, depression and abuse "... It is certainly a memorable work ... And I know first hand its meaning, personal and existential conditions that gave birth ... Berlin could only be created in Berlin , melancholic and depressed city like few ... As Last Tango in Paris has only a single stage ideal ... Interestingly, both works, disc and film were published in 1973-always has surprised me this coincidence, their shared melancholy, and I feel so both works (do not know how to say).

Berlin is privileged for art and artistic creation, now and historically, "by writers, philosophers, musicians, actors, visual artists, etc. It was and is a city of art and great artists, ie psychological melancholy that I attribute group is not just a literary license, no, of course, I know Berlin very well have lived with the emotional intensity from my first trip in 1987 - great friends living there that I've confronted my opinion, complicit artists who have thought me about it: we all agree on melancholy

Berlin ... Since antiquity noted the relationship between creativity - or more precisely the genius, where the creative capacity reaches its maximum expression, with some degree of mental disease, but modern writers such as Rudolf and Margot Wittkower - Born under the sign of Saturn - have sufficiently argued otherwise. Aristotle expressed this view in a somewhat tricky question: "Why do all the extraordinary men are melancholy? (...) to such an extent that many of them suffer from pathological symptoms whose origin is in black bile. "Philosophers and writers of ancient Greece meant by" melancholy "the condition of those suffering from mood swings much to the euphoria (or mania) and to depression, what Kraepelin called in modern times "manic depressive", and later, almost at the end of the century, "bipolar disorder". What is interesting in our context is that Plato as Aristotle distinguished within the wide range of melancholy two different forms of euphoria and depression: the first separates the "divine mania" of the pathological-mania of "crazy excited" - while the second separates the melancholy genius of melancholy as a disease, not ignore the fact that there may be individuals in which the great sadness is transformed into illness itself. This distinction of the Greek philosophers was forgotten for centuries, being rescued as recently as 1961, German psychiatrist Hubertus Tellenbach, who based much of his revolutionary theory of depressive illness in these Greek distinctions and as well as in the descriptions made of the personality traits of the melancholic. Tellenbach was first described as the "typus melancholicus ", typical of unipolar forms of depression, and years later the "typus manicus " personality characteristic of bipolar forms.

But Tellenbach not confined only to the world of pathology, but investigated in the field of literature and philosophy to find in geniuses these altered states of mind in no way pathological, statements by the Greek philosophers. Discovered that many great characters in literature -And also many of the creators of the same characters, show significant signs of this kind of "melancholy without depression, as is the case of Hamlet between literary characters, and poets von Kleist, Grillparzer and Baudelaire, and philosophers Kierkegaard and Nietzsche, among other great artists ... For Tellenbach melancholy is the failure of the ability to transcend into the creative work: "Melancholy is be dominated by the agonizing feeling of not being able to release (of a sort of closure) own capacity to . " The difference between sadness and pathological depression seems to lie then the fact that the latter agrees much physicality and vital rhythms that. R. Kay Jamison, in a recent exhaustive study on the subject, says that much of the geniuses of both literature and painting and music have been manic depression or have suffered at least one major depression. Their study is based on the biographies of these geniuses, and in some genetic backgrounds. The cases are studied by Lord Byron, Robert Schumann, Hermann Melville, Vincent van Gogh and Ernest Hemingway. There is no doubt that these characters of universal culture suffered from severe mental illness, most likely a bipolar disorder also had a history all hereditary.

Tellenbech introduces a very interesting concept, the German word " Schwermut " a term that defines a peculiar state of melancholy ... An example of this might be the philosopher Kierkegaard, who describes her depression with these words: "I'm so dejected and devoid of joy that not only I have nothing that can satisfy my soul, but I can not even imagine what might satisfy ", while another of his books and tells the output from these states of melancholy:" I woke up one morning and felt extremely well, this well was increased around noon and just one in the afternoon had reached the top ... every thought is presented festive ... all existence was like in love with me ... . " Nietzsche also uses many times the German term " schwermütig " (melancholy), derived from the adjective "Schewe " which means heavy. It is interesting to link the issue so-called "spirit of gravity" that plagues Zarathustra, the spirit of gravity would be the genius of the values \u200b\u200bof others, while Zarathustra invites "endured" self, "love yourself." German also called melancholia is used the word " melancholie " which is also used by Nietzsche in his work many times. Thus establishing a difference between melancholy - " melancholie " - no more, as a passing mood, and " Schwermut ", meaning that it is almost a religious correspondence ... In the works of Baudelaire, the "spleen " - "Quand le ciel bas et lourd comme un couvercle despite " - will play a central role, and in many ways resembles the " Schwermut " German and Nietzsche: " Spleen" is unwillingness to be vital that affects the inhabitants of large cities, the disease of modernity ... As there

depression as an illness and depression as a particular state of "creative genius", or melancholy, we must also refer to the "anguish" and anxiety ... There distress and anxiety necessary for creativity? How could anyone create such a state? A positive interpretation of the creative angst is pointing M. Heidegger, German philosopher for the emotional distress is a provision essential because, despite the discomfort involved, is capable of putting a man both against nudity in the world (which is what really "anguish anguish") as compared to his loneliness and from there to rescue the possibility of authentic existence. The experience of anxiety, according to Heidegger, is what saves man from his natural tendency to "fall." The Czech poet Rainer Maria Rilke was one of the great "melancholy" art, contemporary poetry ... In his extensive correspondence with Lou Andreas-Salome and the Princess Marie von Thun und Taxis can continue their periodic relapses melancholy, anguish and creative anxiety, his thoughts on the subject. A state in which the most significant was his inability and lack of inspiration, downtime, anxiety is also present during a state of melancholy, but that does not leave when it goes away and time seems to flow again, maybe a melancholy inherited, or "cultural", which accompanied him from childhood until his death.

The poet clearly recognized illness, or at least the permanent state of discomfort, distress and disability that was, but at the same time expected out of it and regain the creative flow, even more admired this strange peculiarity of his nature reborn over and over again from the abyss of anguish and melancholy, "moving of salvation in salvation. " Rilke seemed almost mechanical a relationship between his illness and his creative work, since for him the most important in the artist's life is his work and if so admired his own existence, despite the sufferings she went through- is that the only way, in that state of "spiritual and existential suffering" had been possible to create your work. Following Rilke's reflections, it seems that human beings and especially the artist is not master of his destiny and therefore has no right to arbitrarily change the nature of that nature has given, because that change could jeopardize the work of art, and this shown to have a sense that transcends everything, even the artist himself. Rilke wrote a phrase that comes to represent a necessary conclusion intimate in his thinking about " still seems to me that my own work (creative) is in fact nothing but a self-treatment " ... No other therapy for the artist to stop flow of creativity, the artist needs the polarities and contradictions to his creative work, which the poet expresses brilliantly in his second letter to von Gebsattel: "Perhaps they exaggerated I recently expressed reservations, with respect to psychoanalysis, but as I know it seems certain that if I expel my demons, my angels would also (say) and understand them a little scare you, that is precisely what can not happen "...

Berlin is for me in many ways these ideas more or less disorderly, impulsive, I have been bringing about the blues, both in its meanings as " melancholie " and, above all, as " Schwermut " ... And not only for its historical and current city a haven for artists and conducive to creativity, but for his consistent and accurate correspondence with many of the conditions I have previously pointed melancholy. City of depression and elation almost seamless successive, a city that looks to the past romantically to recreate and find the thread of hope, phoenix rising from its ashes "and the Sisyphus time allegory - city of ruins and try to fill gaps in history, culture, art, almost archeological restorations, melancholy images ... lazy and not very productive city from the point of view of German industrial tradition, a city of great parks and walks melancholy, charming city, gentle, self-absorbed ... -as I write, walk through the Berlin Mitte anchored to your waist: is my wish, we have no shared memories ...

Photos: Series Berliness ", June 2004

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De Babel birds and their melodious trills ... (Divine palabrrras)

I know you like my articles on" alchemy of the verb " , Rimbaud would say, the confidences I share with you about the old "langue des oiseaux " of the alchemists and teachers of Tarot. Today I want to show some strange analogies, striking matches to test new ways of reading and interpreting the world, life, their languages, which hold unexpected treasures to your eyes ... Our destiny is encryption, encryption, certain words and phrases that one day we found no accident or a stranger gives us without really knowing why ... Read your dreams I do not interpret ... After reading I can see the reality - you réel - that transfigured ...

The great twentieth-century alchemist, Fulcanelli the mysterious anonymous, on his second book - Demeures Philosophales - reveals the meaning of the language of birds: " The old masters, in drafting its treated, mostly used hermetic kabbalah, still called "language of birds" by the gods, gay science or scavo gay. " In this way they could hide from the mob the principles of his science, wrapping with a cabalistic cover. (...) But generally ignored the language of the authors borrowed terms is the archaic Greek, the mother tongue of the plurality of disciples of Hermes. This is the reason why no action was perceived some cabalistic, precisely because the French comes directly from the Greek "..." it seems that Fulcanelli does not have great knowledge of etymology and comparative language, or is it to say that French comes directly Greek is referring to other genealogies? ... We later noted that " the language of birds is a phonetic language based solely on assonance. No account is taken of the spelling, this rigor serves as a brake to the curious (...) The few authors who have spoken the language of birds attribute the first place in the origin of languages. Its antiquity would go back to Adam, who would have used to impose, according to divine order, suitable and proper names to define the characteristics of men and created things (...) Ancient writers called "general Langua" (universal language) and "language court "(the language of court), that is diplomatic language, because it contains a double meaning which corresponds to a double science, a superficial and the other deep. (...) was the secret language of "cabaliers" Kabbalists and gentlemen ... Initiates and intellectuals of antiquity knew it all "... Already in his first book - Le Mystere des Cathedrals - Fulcanelli was referring to this ancient language. According to the rules of phonics and the homophony of the language of birds, the "Gothic" of the cathedrals would be a particular language - " slang" - for those who were interested in expressing their thoughts and knowledge without being recognized or understood by others "naive" ... For Fulcanelli these " argotiers , who spoke an ancient cabal were sealed descendants of the" Argo-naut "that seeking the mythical Golden Fleece " All Initiates are in slang."

years before the appearance mysterious Fulcanelli's books, Henry Boudet, cure of Rennes-les-Bains, had published a famous book - celtique La vrais langue (1886) - in which he stated that English was the language used for giving a double meaning to the French words ... This method is the use we have seen Duchamp in some of his most notable "ready made" language-see: Alchemy Duchampian and language of the birds ... and also For those who read and translate the language of birds, or want to learn other languages \u200b\u200b... forget . Moreover, this "polyglot" esoteric is that we recognize in some of the most disturbing pages of Joyce's books, especially in its Ulysses and Finnegans Wake , and of course, in novels and essays by Umberto Eco especially in the encyclopedic watertight Foucault Pendulum ... Boudet also refers in his book to the popular word games in England, which is called "points to." Boudet it relates to the Punic language (or the people of Kabylie, Berber, North Africa), and interprets "Kabylie " has to do with "Kabbalah" (the cabal of alchemists and hermetic to make games words, etc.). Boudet Punic believes that this language would be a perfect direct derivation of the previous language of Babel, before the pride of the men were punished by the multiplication of their tongues and their confusion ... After the confusion of tongues of Babel, according to Boudreau, " new words did not have the same simplicity, were constructed and expressed their meanings through associations of primitive terms, sometimes with a little figurative statements, or describing a real or historical fact. " That is, after the confusion of languages \u200b\u200bthe words are loaded with double meanings or new meanings, is magnetized with new maps. Boudet

also saw a close proximity between the language " Kabylia (Berber) and the Basque language, intuition is even more surprising given the results today recent research that revealed multiple connections and phonetic language Euskera and Berber dialects ... And even more when, following the thesis of Father Barandiaran, we can locate and interpret the origins of Castilian in the geographical and linguistic borders of indeterminate dates Euskera the early medieval period, implying recognition of a cross between two languages \u200b\u200bradically distant from each other: on one hand the semantics of Vulgar Latin, probably contaminated with residual Celtic words, despite the Roman, from its original folk form, and on the other hand a phonetics course different, Euskera, or perhaps Berber (though certainly distorted and almost unrecognizable as such.) This would explain the different evolution of Castilian and Italian, two languages \u200b\u200bseemingly so close and with a common core, and the different processing of some of its essential language particles such as its diphthongs ...

Although only a hypothesis, it is fascinating to see the amount and "representativeness" of the Castilian words that are composed with the sound "br", in many aspects related to the phonetic transcription of the same word "Berber." To cite just a few examples: man female name, shadow, threshold, sprout, brief, shining, coal, jump, vibrate, verve, angry, rude, gross, flange, Bret, breña, breeze, arm, face down, bregma, roar, Bricomanía, twine, Branca, burnished bronze, shield, copper, bromine, witch, compass, fog joke brisca, fig, anger, rogue, brigade, Brear, tar, brush, clip, divide, beverage, curb, water, gill, struggle, pants, bruno, juniper, heather, breeze, blade, drill, brush, name, gin, snake, word, Hebrew ... and Brahma, Ebro, Brittany ... and many others that contain the phoneme "br" in its syllables, or other similar phoneme, "pr", also bilabial also: turn, learn, profit, private, near this, soon, quickly, testing, pre-... Many of these words was a recognition of ancient origin, sometimes Celtic, other "Ibero" or from "talk Pyrenees, and many others after the catastrophe of Babel, its great tower - what birds nested in the heights they still remember their original language? What do you read me in your philology fit my words?

I'm sure all the concepts, actions, feelings and sensations, the basic material elements of any primary culture, can be expressed with these words that include the phoneme "br", "pr" or similar (which is worst were altering the ebb and flow of words) ... Furthermore, I would say that this has to do with the voice of God, how we heard or performed oral old men ... God's voice is the voice of thunder, its vibration is his word (the old "brrr) ... Name is to deny ... My name is BRUNO LLANES ..." and yours as soon as the RAF which continues ...

Drawing: "Book of Hours ", 1991-92

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