While aware of some of the lamentations explored by artists such as Martha Graham (who is not my favorite although I have a great respect for her) -- what I am working towards is a connection with the older, before now, before any specific time, lamentation. My dancer actually took me to Wender's film about Pina Baush last Spring, and while aware of her name I never really knew of this work until quite recently (maybe even Alan mentioned her to me a long time ago) but it took a person whose body literally inhabited my work 'Sustenazo (Lament II)' to "discover" this work and a feeling of connection.
Monika On Oct 4, 2012, at 4:05 PM, Alan Sondheim wrote: > >> which "Lamentations" are you refering to? (not Martha Graham's Lamentation?) > > Book of Lamentations in English > > All Sandy and I are/were on about, I think, is the silence and the obdurate > that occurs in relaton to severe pain; I'm thinking for example of my mother > shortly before her death, when she had been anesthetized to alleviate her > suffering in the hospice. The silence is also the silence at the heart of the > signifier; the signifier is both suture and broken suture, covering and > dis/covering pain, naming it for those who are suffering, who can no longer > hear the name, who are no longer with us, coffin or not - when my father > died, there were issues at the cemetary about the burial of ashes. > > - Alan > > > > >> >> Alan schreibt: >> >> >> public lament and gardening >> >> On Thu, 4 Oct 2012, Maria Damon wrote: >> >>> Is there then (I'm sort of assuming the answer is yes, but asking anyway in >>> order to make it part of the fabric of the conversation) a way in which >>> lamentation is also critique as well as community self-constitution, as in >>> Lamentations? >>> >> >> Maria, I wonder what sort of critique would be possible? Lamentations >> seems to bridge the political and the obdurate. When pain becomes >> overwhelming, silence is at the core and the signifier dissolves; I think >> this is also the core of anguish. One is left speechless. On the other >> hand, how much clarity is necessary for political or 'rational' thought? >> In an odd way this also brings up mathematical thinking - which, from an >> outsider point-of-view, seems based on the manipulation of symbols, but >> from within is much more of clouded movements with indeterminate focus >> (see Jacques Hadamard). Thinking itself, in other words, may well have >> less content than its representations, and certainly its representations >> in virtual worlds, where everything, one way or another, is determinate >> and rationalized on a pixel-by-pixel level. >> >> _______________________________________________ >> empyre forum >> empyre@lists.cofa.unsw.edu.au >> http://www.subtle.net/empyre > > _______________________________________________ > empyre forum > empyre@lists.cofa.unsw.edu.au > http://www.subtle.net/empyre M o n i k a W e i s s S t u d i o 456 Broome Street, 4 New York, NY 10013 Phone: 212-226-6736 Mobile: 646-660-2809 www.monika-weiss.com gnie...@monika-weiss.com M o n i k a W e i s s Assistant Professor Graduate School of Art & Hybrid Media Sam Fox School of Design & Visual Arts Washington University in St. Louis Campus Box 1031 One Brookings Drive St. Louis, MO 63130 mwe...@samfox.wustl.edu http://samfoxschool.wustl.edu/portfolios/faculty/monika_weiss
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