Is the form imposed by… itself?

I asked a writer about the interesting “forms” of his books. One looks like two different territories separated by an event. The other is weaved with “devices” which acts like small intermissions or surprising dreams reports.

I’m interested by forms in literature, from style to tricks with narration or punctuation (who said Faulkner?), and I stay amazed by the american ways of using storytelling (like in Siri Hustvedt’s essays, which mix her personal life with ideas and concepts).

The writer told me that he doesn’t “think” about the form : it comes in the moment, it imposes itself.

That made me think about this photographer, who said :

“A photographer solves a picture, more than composes one.”

Stephen Shore

As if there was just ONE way to take the picture, in a given place.

That’s my tool today : is the form of a piece of work imposed by itself? As the artist, here, of course, only decides : what does that mean? Where do you know this? In other arts? How does this work?

Thanks for reading!

asx-tv-stephen-shore-behind-mythology-2013.htmlPhoto : Stephen Shore

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“Two Birds”, and other “long-range laconic details”

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I took this picture, then, back home, I opened it on my Macintosh and discovered the two birds, which came as a little miracle. I thought the picture was good (roofs/landscape, the light, the funny road), but it became cool because of these two guys, right?

One could call this “small impressive things”. Borgès called it “long-range laconic details”…

We have in France an idiom for this, le je-ne-sais-quoi (“the I-don’t-know-what”), the little thing that can make something magic, and also can spoil everything. One philosopher even wrote a book about this “almost nothing” (V. Jankelevitch, Le je-ne-sais-quoi et le presque rien).

No doubt he was fond of music, which is almost a wizardry on this topic (thinking about unexpected (or hidden) dissonances or modulations).

It can blossom in many discreet things, purposed mistakes or strange seeds.

This is important in Arts, where perfection is often boring.

“Beautiful books are written in a kind of foreign language”, says Proust.

In a poem, a single word can be strangely placed (or repeated, like in Gertrud Stein’s, “Rose is a rose is a rose is a rose”) and a sensation appears :

“Now listen! I’m no fool. I know that in daily life we don’t go around saying ‘is a … is a … is a …’ Yes, I’m no fool; but I think that in that line the rose is red for the first time in English poetry for a hundred years.”.

It can be a single phrase in a whole song. The example of J. Denver :

Country roads, take me home
To the place I belong
West Virginia
Mountain mamma, take me home
Country roads

Seems a simple song about nostalgia, but hidden in the song you find “Driving down the road I get a feeling/That I should have been home yesterday”, which colors it differently, right?

“Everything that goes wrong… goes right” is one cool secret.

Details, games of subtleties, purposed mistakes, flakes of gold, unexpected elements, all are “je-ne-sais-quoi”s which put the audience into a state I love.

Thanks for reading!

AUSTRALIA. Sydney. Hunter st, city centre. 2002
Trente Parke
  1. Strangeization Tool & Eyebrow Criteria
  2. Intentional Maladjustments & Braiding Assessments
  3. Wes Anderson, Edouard Manet and modernity
  4. The “Brushstroke Pattern” & Progress in Arts : Offering Awareness

Passages of Valéry – from prose to verse; from speech to song; from walking to dancing

Paul Valéry plays :

The passage from prose to verse; from speech to song; from walking to dancing.
Le passage de la prose au vers; de la parole au chant; de la marche à la danse.

He found a structure, this “passage”. What is it, an elevation? Probably, right?

He notices something :

The purpose of dance is not to transport me from here to there.

The person who organizes or triggers the passage from 1 to 2 has obviously a will. A will for?

Speech tells details about things, it parcels out things, it labels things. A song adds a freedom-movement, brings other reasons for words, and make them mobile. As does poetry.

Dancing, poems, songs : all are rushing to feed a fire. What fire?

Let’s come back to the passage :

from prose to verse; from speech to song; from walking to dancing

It’s a tool. From A to B, bringing this, quitting that.

Where could we apply it? To other universes? Teaching? Photography?

What about meta? What would be the passage from prose to verse to (up again)?

Thanks for reading!

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Capture d’écran 2019-04-04 à 10.16.55

Vial & Stoop : Types of black holes in language

I’m French and I write in English – I make mistakes and I discover new words everyday.

When I read an article or a short story, I understand what happens, and I admit I don’t translate anymore.

But, well, I always meet new insects, which are really puzzling at times…

Today I met “Vial“. Never seen this word but I guessed. A little bottle. In French we call this “une fiole”, which I find funny. Same structure : vial/fiole. OK.

Stoop” was trickier. First, it’s a noun AND a verb. A doorstep (“perron”, in French), and also “to bend”.

There, here am I questioning English Gods : why do you have to stoop, if you have to bend or even to bow?? Can stoop be replaced by to crouch or to squat?

Worse : as a metaphor or a figurative sense, to demean, to do something “below one’s status, standards, or morals”. “S’abaisser à”.

OK, but also to slant (to stoop a bottle of wine?) – then what is to lean? – to catch a prey for an eagle (“the bird stooped and seized a salmon” – un piqué), to submit (“stooped by death” or “this people does not stoop to Rome”) – even to degrade?

 

Thus, when you read “not your language”, you see holes. Little ones can be filled by contexts, other ones make you make a face, pick a dictionary, and go travel in language, in an awe, for twenty minutes. You should try French while I study the word “slew” (4 nouns, 7 verbs, pfff…).

 

At the end, I found : Stoop : “a vessel for holding liquids; a flagon”. Come on!

Hmmm. Fetch me a stoop of liquor, please. Two new words and I’m done. Back to bed. With my book!

Thanks for reading!

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Organic Storytelling?

Interviews between two movie directors are the best. It gets higher and it’s more interesting and complex, of course : pros are talking.

There’s an interview of Jeff Nichols (Shelter, Mud) by Martin Scorsese (Taxi Driver, The Age of Innocence), where they explain that they are both criticized because their movies “lack of intrigue”. In a way, like in the movies of the 70s, a more mature era…

It’s true that most movies are strongly driven by a scenario. Everything is well explained and you feel you hand held by the makers, who WANT you to think this and that, adding music where you have to cry, etc…

Nichols and Scorsese both use the same language : the narrative energy must be there of course, but it’s obtained by asking questions and answering them along the scenes, by the editing, the light, events, and their order. The movie moves forward without constantly telling you IT-IS-A-STORY. Nope : there are characters, and events (like in real life, right?) and hidden structures – of course.

The audience doesn’t “feel the author”. Their intelligence is active, and it can blossom in many ways. It gives a rhythm, a more organic one, a more unique way of unfolding the movie.

 

In French, we call Organic Farming : “L’agriculture Bio” – from biological.

The word “Organic” is interesting. It means :

  1. Without chemical (for food)
  2. Living organisms
  3. Unified (an organic whole)
  4. Flowing, natural (an organic development)

 

 

Therefore it’s a structure I love. We could call “Organic Storytelling”, in a movie, in an article, a book, a novel, a way of making things grow and evolve without the chemical (but effective, too) processes of tricks and pushes and manipulation.

 

There’s a good example in sex and pleasure : every evolved adult knows that if you can bring and orgasm to your partner (man or woman) in many ways, you can separate these two paths :

  1. In the appropriate moment, stimulations and proper movements brings your lover a good orgasm. It’s as if you were pulling a bucket of pleasure with a string, from the top of the well…
  2. And there’s this other way, where you partner gets so aroused that he/she becomes a sphere of electricity : anything can bring her/him to explosion. It’s as if the bucket of pleasure were levitating up in the well, delicately guided by you and your string, from the top of the well…

What’s the best?

 

 

Intention of effect kills effect, says the wise man, and I agree with the wise man.

With this “organic building” structure, what would be photography, painting, poetry, blogging, teaching? Do your audience really need to know what you want them to feel? Is it a good question? Hmmm need a conversation, I know…

Vocabulary as seeds : what is control here? What are propositions?

 

Thanks for reading!

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Lecture or Aphorism?

Like some children have an imaginary friend, I have an imaginary reader, built like a golem from all of you, my followers : helloooo!

This person is smart and fast, and curious. She (let’s call this person a she) would be able to ask questions like : “From the books you read in the last year, who brought you this feeling of being too much, offering you like a feast of ideas – and what structure do you find there?”.

I thanked her for this question, and answered quickly : Valéry’s notebooks and Bourdieu’s lectures about Manet.

https://en.wikipedia.org/wiki/Paul_Val%C3%A9ry
https://en.wikipedia.org/wiki/Pierre_Bourdieu

  1. Valéry’s notebooks are arranged by themes : humans, poetry, dreams… His paragraphs are very short, a few lines at the most. He’s the best thinker I’ve ever read. The result is, like with Nietzsche sometimes, like a huge tank of crystals, crystals of thoughts. Therefore it’s very slow to read these notebooks : each line almost stops you for a day…
  2. Bourdieu was a French sociologist, at the end of his life, he gave a bunch of lectures in the Collège de France about Edouard Manet, the painter. It became a big book, which is exhausting (in the good way) to read : it’s like hearing him constantly exploding with thoughts, ideas, patterns, about art, society, painting, psychology, history, etc.

 

With one you get a piece of complex, smart, fascinating jewelry. With the other you get a river.

Thus, I wanted to write this article with a rotation. You, who wants to share something, what do you do? You blog or you write a book? Do you concentrate or do you flow? To you build a little thinking toy model, or do you offer a one hour firework? How is the quality presented, displayed? A weaving of string arrows which envelops you like a blanket of ideas, or a ring of twelve words, changing you forever?

What is the most effective for an audience? Lecture or Aphorism?

How do you blog? Do you think about your audience, about their time, their mood? Are you too short, too long? What is an article of yours? A box? A current? Jewelry or map?

Thanks for reading!

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instagram : _bodylanguage_

https://en.wikipedia.org/wiki/Coll%C3%A8ge_de_France