mourning, lament, are acts, they're intended, they're cultural expressions - as long as one can mourn...

but what happens when mourning, lament, end, not through desire
but because the unspeakable becomes manifest - i think this is
where celan comes in for example, or the spaces in jabes' books
with the words themselves removed -



On Thu, 4 Oct 2012, Ana Vald?s wrote:

I think mourning and lament are related to the ceremonies of the
death. When I did my research as anthropologist I travelled to Mexico
and did a fieldwork in Yucatan, the old Maya empire. Their funerary
pyramids, specially in Palenque, were very similar to the Egyptian
pyramids. Many scenes painted in Palenque's walls were about death,
mourning, ceremonies to placate the wrath of the gods. The gods mourn
as well, the Greek gods mourned lost sons, dead sons, lost wives. I
think mourning and the act of mourning is a very healthy state, when
the repressed grief comes ut and is shouted or cried.
Ana

On Thu, Oct 4, 2012 at 9:06 PM, Monika Weiss <gnie...@monika-weiss.com> wrote:
yes, if I understood you correctly Maria, you say that I am not trying to
work with grief over ones own complicity or remorse. I am more invested in
the notion and symbolic power as well as real experience of communal grief
-- this is what oppressive systems fear most -- the symbolic "power" of the
connecting tissue of our emotions but not those on individual level alone

On Oct 4, 2012, at 6:41 PM, Maria Damon wrote:

Yes, when I mentioned Lamentations, I meant the Hebrew Bible. Old. Grieving
for ones city, ones polis, ones people. Also, it seems that this is *not*
where you were going, Monika, a sense of grief over ones own possible
complicity, real or imagined... remorse.

On 10/4/12 5:55 PM, Monika Weiss wrote:

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.


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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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