What moves forward continuously/by stages

What moves forward continuously or by stages : a structure to watch for a moment.

  • Does it move continuously or by stages all the time, continually?
  • Do we find interruptions in the movement?
  • Or plateaux?
  • What about crescendoes & decrescendoes?
  • What about accelerations in the movement? What types?
  • Are stages announced by a sign?
  • Do we have to prepare for each?
  • Is the movement propelled, or does the movement energy comes from the inside?
  • Is the movement linked with a blossom, a sheaf? Division?
  • What about a combination of movements, like moving forward AND climbing?
  • What about competition between two movements, side by side?
  • Are stages just a growing, or a change of nature?

 

Where do we follow this? Music structures? Growing of plants, or animals? Geology? Revolutions, or other social movements? Love or lost of love? What kind of becomings do we find? Adulthood?

Thanks for reading!

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Coming back, enriched

This is not much of an article, but you know me : when I have a pattern in mind, a little tool or the piece of a map, I have to write about it.

My pattern here is about someone who comes back, enriched.

Enriched with experience, of course…

  1. You have a restaurant and your cook partner goes to France for a YEAR. He learned things, because when he comes back he’s different. He knows more things. He shows you. He has different ways…
  2. You lover quits you, it’s a real break-up. She met someone else… But it doesn’t really work, thus she’s back in your arms… with new caresses and techniques. You notice. Does she notice you noticed?
  3. A midwife quits your country to improve her skills in… India. What happens when she’s back?
  4. You’re a painting teacher, and you… etc…
  5. A son comes back home after he…
  6. In a company, a manager comes back with team after a month with the CEO…

See my pattern? You can draw overthinking mind-maps about this :

  • Do you have to go away to “come back”, of can you do it innerly? You’d have “enriched” by your researches, and “enriched” by the fact of being elsewhere…
  • Is it dangerous and where is it?
  • What about the noticement? You are suddenly and mysteriously enriched therefore others know something happened… somewhere else.
  • Can enrichment be disguised, hidden into a false impoverishment?
  • What is “resistance to change”, here, for both parts?
  • The change is always happening because we grow up, so is this article about a disruption? Like : Not “more” or “more intense”, but “more complex”, or “different”?
  • Why is this weaving comeback/enriched interesting? Why come back, after all? Enrichment elsewhere as steam to stay out and not coming back, ever. Enlightenment?
  • What’s the difference between this and “move forward/enriched”?
  • What are the risks and ways of failure, here?
  • Is the comeback a way to compare? To triumph?
  • What if the comebacker doesn’t realize how much it’s a big deal for whom discovers these squirting “new knowledge”?
  • Do you know other stories?
  • How to link this with “the return of the prodigal son” pattern?
  • What the fuck do we do with returners? Admire them? Be jealous? Kill them? Smack’em go away where you come from, idiot, them? Unnoticing politely their progress?

Thanks for reading!

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Intense Rarity

In the bookstore I talked with a man looking for an out of order book about cancer, which I found second handed for him for hundreds of Euros.

He said this book must be a very big best seller.

Which is NOT.

So we talked. The book (about alternative cares for cancers) is rare, therefore expensive, but this does not mean it would be a best seller.

So I named it : “Displacement of Intensity” and we laughed.

You can make a good car and you’ll sell millions of it. Or you can buy a rare unique Italian car from the fifties… in auction, for millions of dollars.

Well, you see : I don’t know what to do with this concept…

Can you help me?

Therefore I chose a picture I’d like to show to my colleague who wears a cowy nose ring – which I find ridiculous but it’s a free country. Feathers. Aren’t they gorgeous?

Quantity or Quality? Mass or rarity? How do we equation that? Where?

Thanks for reading!

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After / Other / Anti

This is a little triple-branched structure I propose you, as a set of leverages or as a dial. Weapon of choice.

Take progress, change, movement. I give you three roads :

  1. AFTER
  2. OTHER
  3. ANTI

 

Well that’s easy :

  1. You move forward on the same road.
  2. Or you change what you’re doing (or the way you move).
  3. Or you attack the ancient road.

 

Mmmhh. It’s something any artist thought about. Knowing the old masters, he can :

  1. Start from where they are and go further.
  2. Do something else (disruption?).
  3. Do the contrary.

 

It’s a funny toolset, right? My pencil case…

Where will I put it? What’s the ground here? Changes? Choices? Decisions? Movement? Avant-Garde? Invention?

Then, where to apply? Marketing? Art? Poetry? Teaching? Management? Science?

Thanks for reading!

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Movements in a line (and amounts of possibles)

A Red Dress and other desires : Dispositif ou Agencement?

Well this is a conversation subject for drunk overthinking friends, let’s go :

Deleuze says that a woman doesn’t desire a red dress, but the whole arrangement she makes of it in her mind : a date, the dress, a man, a summer evening, a dance maybe, a dinner…

A little boy desires a baseball bat, but also a system of what could be around : friends, summer afternoons, running, winning…

The French word he uses for that is “agencement“, which I find translated as “arrangement“. But there’s a problem : “arrangement” is also a French word, therefore I feel a bit disappointed here. It’s colored : un arrangement is a way things are placed, but it’s also a deal.

Our “agencement” means arrangement, but more in a layout process.

A red dress for a date/a baseball bat can dance in an arrangement, a system made of many things (dancing, eating, man’s eyes, walking in a summer night street…), maybe we can consider it’s a layout, a deal? What about a new splendid bat?

My problem is the radioactivity of words. They are like bees here…

If a French arrangement is an English arrangement…
if a French agencement is also an English arrangement…

…how do I explain agencement to you? It’s an arrangement but it’s not a deal. It’s something you find already placed (by destiny, or another person?). We say that an appartment is perfectly “agencé” : it’s not about the furniture, but about the map, the drawing. This big window is on the sunny side, waow, great!

Agencement is about space. Things oriented and placed in space.

The red dress, and the bat, they are all imagined moving in a special space… This is desire!

It’s colored : things in space, how they are placed, a layout. Passive voice, maybe.

If we want to talk about something prepared, it’s more an arrangement (under the form of a deal), we call this un dispositif.

Dang! A new word! Dispositif is often translated by Apparatus, but it’s wrong. I think an apparatus, in English, is a thing, a device, a machine. It is, in French, but it’s also “the name we could make from the verb to dispose”. A metaphorical apparatus, in a way. Effectiveness is coloring it.

It’s not a disposal (which means a destruction, an elimination), though we say une disposition, in French (I’m sure it makes sense, right?). It’s a positioning, voilà : a placement.

Here we are : Agencement means Arrangement, but also a Positioning.

Not positioning each little part of the agencement : it’s clearly about positioning the whole system. Things “linked” (how) to each other.

Agencement is more like that : a map of how things are and play together. The purpose is to say “It’s there, it’s like that, it’s what we have, what was prepared”.

Dispositif is the same, but it sounds more like something decided, wanted. The purpose is to say “This is what we placed and how, to be effective”.

 

Mhh where’s the red dress, here?

Thanks for following & reading!

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Movements in a line (and amounts of possibles)

Just a little pattern to play with :

Valéry writes about what came, in literature, after Romanticism – example : Baudelaire after Hugo.

That’s this : Movement B comes after Movement A. It comes :

  1. To distort it
  2. To bring corrections to it
  3. To bring contradictions to it
  4. In the end, to stand in, to take his place

 

…what we are, what we can, what we want

Amounts of possibles?

  1. Unexplored domains
  2. Paths to trace
  3. Fields to exploit
  4. Cities to build
  5. Relations to establish
  6. Processes to spread

 

Can B bring exact responses to B? Is B a retaliation to A? Is this answer a energy source in order to gather? What are the desires in play? To be more solid, more clever, more… pure? What is the adolescence of newness? Why is it an advantage? Where are the imprudences, vulnerable spots, the impurities? Wisdom, move, perfection : when (after) do they come? What and where is the loss, when B crystallizes? How do audiences move around these?

Where do we see that? Between personalities? In Art only (fashion, architecture, etc)?

 

Have a nice day!

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Paul Valéry with Stendhal : Shunning the poetic style & Unreached cruxes

Let’s listen and daydream with Paul Valéry‘s seeds (sorry for my English, it’s pretty hard to translate this sharp spirit)…

ooo

“Mais la vérité et la vie sont désordre; les filiations et les parentés qui ne sont pas surprenantes ne sont pas réelles”.

“But the truth and the life are messy; the filiations and the kinships which are not surprising are not real”.

ooo

List of what Stendhal hated the most in his life :

…pettiness, absence of all whims, terror of opinion, terror of loving what we love, traditions, the little city, the local vanity, inflicted mediocrity…

ooo

“Spéculation sur le lecteur futur” : Speculation on the future reader

…is maybe what bloggers do, hmm? I’m not really read now but one day I will…

Something in the way we write (dry, fast, casual) implying an unknown person who will read it one day…

Paul Valéry about “writing for someone”?

ooo

About Stendhal’s style :

  1. Negligences, the willpower of negligence, disdain of all formal qualities of style.
  2. Diverse pillagings and quantities of plagiarisms : the essential for the accused is to become infinitely more interesting than his victims – “from other’s bleak possessions, he rebuilds work one can read, because it’s weaved with a certain tone.”

Oohhh that’s baaaad, right?

ooo

  • “Fuir le style poetique, et faire sentir qu’on le fuit”
  • “To shun the poetic style, and make feel that we shun it”

ooo

“Nous savons bien qu’on ne se dévoile que pour quelque effet”

“We know well that we unveil ourselves only for some effect”

ooo

There are two ways to falsify : to embellish, and the application to sound true.

ooo

“La confidence songe toujours à la gloire, au scandale, à l’excuse, à la propagande”

“A confidence always dreams for glory, scandal, excuse, or propaganda”

ooo

Fears : fictional and wished

ooo

The “worse” is the food of critical temperaments

ooo

Those who want to detect, define and administer the whole social filth

“Toutes les fois que nous accusons et que nous jugeons, le fond n’est pas atteint”

“Each time we accuse and judge, the crux is not reached”

ooo

To live. To appeal. To be loved. To love. To write. Not to be duped. To be myself. To achieve…

ooo

Hmm : pick one, write an article, OK?

Have a nice day!

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The Cahiers/Notebooks of Paul Valéry are a unique form of writing. They reveal Valéry as one of the most radical and creative minds of the twentieth century, encompassing a wide range of investigation into all spheres of human activity. His work explores the arts, the sciences, philosophy, history and politics, investigating linguistic, psychological and social issues, all linked to the central questions, relentlessly posed: ‘what is the human mind and how does it work?’, ‘what is the potential of thought and what are its limits?’