i particularly liked this one, so the Cathedral now has an expanding scroll of scrwtng and all of your splendour just got garbaged to it's first entry: http://www.vilt.net/nkdee/scrwtng.jsp greetings, dv @ Neue Kathedrale des erotischen Elends http://www.vilt.net/nkdee
> -----Oorspronkelijk bericht----- > Van: WRYTING-L : Writing and Theory across Disciplines > [mailto:[EMAIL PROTECTED] Namens phanero > Verzonden: dinsdag 7 februari 2006 14:58 > Aan: [email protected] > Onderwerp: Sir Penhead Fortunakooky of Alphabeast Haus (some > notes on caesaropoupaism and inconsistent capitalization) > > some notes on > caesaropoupaism > (ie, some awkward methods of jocularity, or there's a > poupée-pupa in my salad..) > > the scene opens on > the 'noble roman throat' just > finished speaking, the 'adamant > apple' sliding, to a deliciously > wobbly 'halting state.' > > [notes: > It is not easy to describe what is meant by 'scene' in the > context of the given lines. One way would be to describe an > application of the fictional hybrid, 'grande > presepio-commedia dell'arte genetico,' to another fictional > hybrid, the 'dadandroidal- theatrodioramasphere.' In other > words, the stage set would 'sculpturally' perform an analogue > to the trope of the cinematic close-up using an elaborate > colonial 'organism' whose 'life-structure' was designed as > the contents of the scene. The 'noble roman throat,' would > most likely be a synthetic colonial metazoan, or "flesh > tree," whose actual life-cyle is designed with the scene's > "narr.ative" in mind. In language/literary terms, this throat > would represent as part of a subtextual conceit, a > sculptural-technical analogue to 'high language' (and all > that 'might' mean/s), and would form one half of an intended > dyad represented in texts like G.C. Cortese's _Viaggio di > Parnasso_ (1621) in which he defends poetry written in > dialect against the Tuscan, which was a posture Goethe found > somewhat careless, lazy, and humorless, but nonetheless was > consistent with the concept of the 'precepi popolari' echoed > in the Neapolitan maschera of Pulcinella which formed part of > the 'boundary complexity' of presepi as figura straodinaria > as well as Cortese's "Viaggio."] > > now the chorus of > 'typhonic scribes' must > enter, carrying their > styluses like daggers, > jabbing with a vile and lovely > tironian shorthand at > the exposed throat of > caesaropoupaism > which begins to bellow, > "Eat at Arcadia Egos.." > > [notes: > The chorus of typhonic scribes > is unself-evidently, not a chorus, > but a pair of twins, and enacts not a singing but a writing > as a form of cutting, the principle conceit of the scene now > being revealed as a synecdoche of the murder of Caesar, who > in this case is only a 'noble roman throat.' The typhonic > scribe is also a play on 'type-phonic,' but primarily > respresents a paradoxical convergence of the old greco > 'monster hephaestus' with the freed slave Marcus Tullius > Tiro's shorthand system. The greek reference also relates to > the monstrous parody of democratos evinced by the > "republicans" in enacting such a murder, or in more fuzzy > terms, a ritual assault on "transitional fascism" > by automatons of a grotesque chimerical > hybridity of greek/roman, and democrat/republican but as > servants of a primordial vulcanism of the accident, ie the > producto-catastrophic immanence of mixture somehow vaguely > represented by the appearance of the typhonic scribes whose > skulls are not much more than hollow bowls full of writhing > (write-thing) snakes, and whose scalar differand in the > tableaux vivant represents a kind of objectification of their > provincial meanderthrall rancor, but also paradoxically of a > kind of exaltation of the freedom of Zoe to "fill in" with > the baroque excess of its protean joyeuse. There is some > evidence that Caesar was stabbed at least once by a writing > stylus used to produce Tironian shorthand to record notes > during the Roman Senate. > The "Eat at Arcadia Egos" is a kind of talismanic attempt to > ward off the lo-brau (read "no-mind" > or "no-brow" alluding to a kind of rustic "barbary zen") > scribes by using one the vulgarisations of the high latin > using the letterally adapted english monster language. > > finally the typhonites fall > on the quivering and adamantine > apple-womb and tear it > open cutting such illuminated > and cultured phrases in highly > truncated glyphics as "What a > pretty throat-pupa, mate.." or > "What's all this then, a lickle baby > stuck in yer craw," "Suck on these > Ides, Beotch.." As the lo-brau > Typhoni-democratic monster scribes > release the turquoise fluid of the > adamantine-apple throat-womb-apple, > a fully formed, fully hybrid, Minervan > 'boon-child' emerges, an avatar of > the immortal trickster god of languaged > conflict, the Autoprogrammatic > Punchinella, whose face is a constantly > changing morphic grid of precious jewelled buttons, hotkeys > to enact spontaneous mutation within the pleroma of semiotic > substance. The Punchinella child leaps upon the scribes and > drives his hands into their snake-bowl skulls as in the old > maschera where pulcinella drives his hands into two bowls of > spaghetti, and taking them up into the air he brandishes them > cruelly intoning the words of the master > bard: > > "Out, idle words, servants to shallow fools! > Unprofitable sounds, weak arbitrators!"* > > The curtain closes, the folds of its drapery redolent with > baroque immanence.. > > [notes: > *(Shakespeare, The Rape of Lucrece, I, 1016) The Punchinella > figure represents the baroque theme that "Language was caught > in a self-defeating predicament; it could correct itself only > through its own mechanism. Montaigne unveiled the paradox: > > Our disputes are purely verbal. I ask what is "nature," > "pleasure," "circle," "substitution." The question is one of > words, and is answered in the same way. "A stone is a body." > -"Substance."- "And what is substance?" > and so on, you would finally drive the respondent to the end > of his lexicon. We exchange one word for another word, often > more unknown. I know better what is man than I know what is > animal, or mortal, or rational. To satisfy one doubt, they > give me three; it is the Hydra's head. > > The figure of Puncinella perhaps relates to a figure > represented in the figure of Donne: "Donne pinned his > paradoxical bent of mind to puns on his own name through > self-denying prose (Donne/Ann Donne/Undone): > > When thou hast done, thou hast not done (A Hymne to God the Father). > > + a poem > > honesty > > nothing > > noble, > > humid bacon > > spread out into webs > > carrying a wealth > > of connotation > > facts < appearances > > seed > > plant > > literal > > metaphorical > > circumstantial meaning > is the nature of transformational reality > > ie > > oligogargicgorgoepiepikaustidentialuxonibblers > > or > > Sir Penhead Fortunakooky of Alphabeast Haus >
