BEYOND THE ADVANCED PSYCHIATRIC SOCIETY- A COLLECTIVE RESEARCH/ OLTRE LA SOCIETA' PSICHIATRICA AVANZATA- UNA RICERCA COLLETTIVA


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martedì 19 maggio 2015

For the love of Jean-Jacques Abrahams, the man with the tape recorder, l'homme au magnetophone, l'uomo col magnetofono.



https://www.youtube.com/watch?v=Tr78ZOjc_Es
https://www.youtube.com/watch?v=0DjMh7jhSyI
[part I-II: "Bruxelles 1967, Jean-Jacques Abrahams, jeune théâtreux, décide à 28 ans, après 14 ans d'analyse, de se retourner contre son psychiatre (jean-Louis Van Nypelseer) ; Il sera interné d'office à la suite de cet enregistrement, s'évadera de l'hôpital Brugmann et fuira aux USA d'où il publira en 1976 L'HOMME AU MAGNETOPHONE ed: Sagittaire. Cet enregistrement a été diffusé sur France Culture sous forme d'ACR dès 1972 et rediffusé en 2009 d'où ce "montage" assez piêtre, je vous l'accorde. Il a FORTEMENT inspiré Sartre, Foucault et les Deleuze / Guattari" Jim Delarge, 2010]

SEE: 

Gérard Guégan, "Ascendant Sagittaire: une histoire subjective des années soixante-dix", Editions Parenthèses, 2001 (see pages 164-169; Jj Abrahams's one photograph is on page 169). Large portions are on Google Books.


Jean-Jacques Abrahams, "L'Homme au magnétophone", Contre-attaque (SAGITTAIRE), 1976 (296 pages).



In Italia: "L'uomo col magnetofono. Dramma in un atto con grida d'aiuto di una psicanalista", a c. di Elvio Fachinelli, con note di J.-P. Sartre, J.-B. Pontalis, B. Pingaud e E. Fachinelli, Erba Voglio 1977 (72 pagine).

on-line: "La institucíón del análisis", AA.VV., Editorial Anagrama, Barcelona, 1971, 111 pages (all the texts originally published on TEMPS MODERNES, plus other stuff)    http://biblio3.url.edu.gt/Libros/2012/LYM/la_indeAnali.pdf









lunedì 18 maggio 2015

LINK: S.R. Delany on "Mad Max, Fury Road", George Miller's new Mad Max movie [from his fb page]



I saw Miller's *Mad Max, Fury Road,* yesterday. I enjoyed it. It's a very pretty film; it's amazing what a little blood transfusion from the proper donor can do. There's a thoughtful relationship between the actions and the landscape--and we spend enough time in, on, and speeding over that landscape to experience its stark visual sumptuousness. There is the expected demolition derby that a Mad Max film must deliver. And, deliver it does. I've already read at least one complaint--I made the same one many years ago, in my opening review of the first film in the opening Star Wars trilogy--that there were no black people (or aboriginals; or anything else; or at least here not very visible). True. So it's certainly nothing new. But I will say this for it: there are hundreds of albinos in the film, who do live largely underground (thank you, Mr. Wells), now and again peeking out, or massing in the shape, the VAST majority of whom are male. In short, the deployment of the human bodies in the film has something to do with what it's about. The world has become a parody of the "white male's" fantasy. It's a handful of the upper class women--who have been reduced to artificial scarcity (and there is one off-white woman in the group)--who are rebelling, helped on by Charlise Theron's Furiosa, who get tangled up with Mad Max, who has good reasons, which we have actually seen for the first ten or fifteen minutes of the film, not to be in love with the powers that be. And that world is shown as totally diseased, in terms of its aging leaders, who, with the help prostheses and technology, hide their skin cancers and have their goutish feet moved around by their underlings--and the hell it would actually be. Thus, it's relatively coherent. I noticed that the music track was written by someone who has taken the name Junky XL. Shades of William Boroughs crossed with Dutch architect Rem (*Delirious New York,* *S, M, L XL,* and some buildings that are so conceptual it's arguable whether or not they exist) Koolhaas. It has the staying power of Vangelis's "Chariots of Fire" sound track from another century. I wouldn't be surprised if we heard a lot of it. In the film, with its insistent, on-site drumming, it was highly effective. The movie has its comments to make on disability, starting with Max--who IS mad. One small thing I wondered about was: where did the twitchiness that characterized him for the first few minutes of the film go to, once he starts doing his (get the stunt men in) impossible leaping from car to car and running over speeding truck tops? In the world that is the case, these things tend not to go away under pressure, but rather to get worse. (I don't mean the hallucinations. I mean his initial tendency to quiver. Or was that from what they were pumping into him . . .?) Charlise Theron is, as she is so often, very good. Tom Hardy is, as I've suggested, incoherent on several levels, but I wasn't deeply bothered by it. It's a science fiction fairy tale, but an extremely well done one. Certainly it's a lot more watchable and enjoyable than most films in this genre, since the first one with Mel Gibson hit our shores so many years ago.

http://en.wikipedia.org/wiki/Mad_Max:_Fury_Road

http://en.wikipedia.org/wiki/Samuel_R._Delany





sabato 2 maggio 2015

The More She Burns the More Beautifully She Glows/ ONLY LOVERS LEFT ALIVE (Mechthild von Magdeburg, Tilda Swinton, Jim Jarmusch, Jozef Van Wissem)



The soul is invigorated and completely restored
As he pours the sparkling red wine into her red mouth.
No matter how softly he caresses her, he inflicts immense pain on her poor body.
He caresses her as well as he can on the bed of love,
then she rises to the height of bliss and to the most exquisite pain,
when she becomes truly intimate with him.
In this most dazzling night, she becomes blind in herself.
The more ardent she remains, the more sooner she bursts into flames.
The more she burns, the more beautifully she glows;
the wounds pour forth, the breasts flow.
The deeper her wounds become, the more violently she struggles, the higher she soars.
The more she consumes, the more she has.
She is wounded to death by the beam of his fiery love.
Her spirit, raised aloft all earthly senses.
The longer she is dead, the more blissfully she lives.



https://www.youtube.com/watch?v=flocQmHgcuI&feature=youtu.be

http://en.wikipedia.org/wiki/Only_Lovers_Left_Alive





http://de.wikipedia.org/wiki/Mechthild_von_Magdeburg

http://flowinglightofgodhead.blogspot.it/search?updated-min=2008-01-01T00:00:00-08:00&updated-max=2009-01-01T00:00:00-08:00&max-results=4


venerdì 1 maggio 2015

EXPO/ Exposition Colonial 1931, Paris














SULLA EXPO

a me la EXPO ricorda terribilmente la Esposizione Coloniale di Parigi anni '30: segni di opulento dominio (e sogni di...) con attorno la violenza l'oppressione le guerre in corso e in apprestamento. Goda chi vuole, di questa ricchezza. Come e' stato detto, la figura di questo mondo passa-