For me the lament is a kind of collective catharsis, as the mourning
itself. I has been in Palestine several times and see and listened to
the collective mourning of the women when some of their relatives or
friends are killed or buried, a kind of powerful roaring, not the
claiming not the whinning but the power of a repressed cry or

On Thu, Oct 4, 2012 at 3:14 PM, Johannes Birringer
<> wrote:
> which "Lamentations" are you refering to?
> (not Martha Graham's Lamentation?) The lament of nation-building
> I'd be interested in this idea of the critique of the ritual and the 
> community self-restitution,
> and also in a review how lament becomes a gesture (in performance and 
> film/filmed performance/then in stilled photograph)
> of witnessing and what Monika describes as "witnessing and enunciation .... 
> sequenced to non-linear time....[with] compose[d] sound from testimonies, 
> recitations, laments, the environment..."
> I was interested in the staging of lament, Monika, and how it loses all aura 
> (in Benjamin's writing on something that may have been originary or original) 
> thereby, or retains some?, and how people today,
> perhaps, are divesting themselves of having to witness ageing, decrepitude, 
> decay, catatonia, living absence, death.
> Not sure, i know many folks, in the old village, who are care takers and who 
> are
> witnessing the disappearance of loved ones, the sliding away, in pain or 
> tranced, stilled pain (medicated), but Yoko Ishiguro, a Japanese performance 
> artist who studied at my school, recently staged
> her symbolic passing outside the library, had herself placed and buried in a 
> coffin and transmitted all that action through the network to test whether 
> the net would be a kind or tomb archive for later generations to look back to 
> Yoko's death at the foot of the library and how would the data be preserved? 
> Yoko told me she was reacting to the crass commodification of death she 
> observed, with funeral trade shows and, for example, the Japanese 
> cyber-burial companies which invite the dead to be "buried" on the website so 
> that you can visit there online.........She saw this commodification in the 
> Benjamin sense of raising questions about "work: (art) in the era of 
> technical reproducibility.
> So my question (this is before Alan and Sandy's dense textdialiogue about the 
> signifier of pain arrived, which i have not been able to translate) was still 
> to Monika to try to describe how she sees her work function, and what effect 
> is produced, and how the audience is drawn into the long circle or not. And 
> can there ever be audience in lamentation/mourning?
> (PS.  i personally have no problems with weeds (as weeds), i love them in my 
> garden and tend to them, and they are migrants too, some weeds have travel 
> from far but i didn't know there were weeds, some one has to point out. that 
> must be the signifier. I had never thought of them in the sense of homo 
> sacer. This astonished me, Monika, that you mention Agamben,  after 
> "Nowoczesność i Zaglada".   thank you for responding to my query, and in 
> think Alan's answer is not quite responding to Bauman's critical analysis of 
> the garden society, and what the writing may also have to tell us about 
> politics of integration or assimilation of impairment, otherness.
> respectfully
> Johannes Birringer
> 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


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