rmcrs

traces of paths

oppervlakkig – uit diepte







Wij wetenden, wij weten nu een aantal dingen maar al te goed: wat leren wij voortaan goed te vergeten, goed niet-te-weten, als kunstenaars! En wat onze toekomst aangaat: men zal ons niet gauw weer op de paden aantreffen van die Egyptische jongelieden die ‘s nachts tempels onveilig maken, standbeelden omarmen en koste wat het kost alles wat op goede gronden verborgen houden wordt, willen onthullen, ontsluieren, in een helder daglicht stellen. Nee (…), wij geloven niet langer dat waarheid nog waarheid blijft als je haar de sluier afrukt; wij hebben genoeg geleefd om dit te geloven. Het is nu voor ons een kwestie van fatsoen, niet alles naakt te willen zien, niet overal bij te willen zijn, niet alles te willen begrijpen en ‘weten’. ‘Is het waar, dat Onze Lieve Heer alles ziet?’ vroeg een klein meisje haar moeder: ‘nou, dat vind ik dan niet netjes’ – een wenk voor filosofen! Men zou eens wat meer respect moeten hebben voor de schaamte, waarmee de natuur zich achter raadsels en bonte ongewisheden verborgen houdt. Misschien is de waarheid wel een vrouw, die redenen heeft haar redenen niet prijs te geven. Misschien is haar naam wel, Grieks uitgesproken, Baubo?… O die Grieken! Die wisten te leven: daarom is het zaak, dapper bij de oppervlakte, de plooi, de huid te blijven stilstaan, de schijn te aanbidden, aan vormen, aan klanken, aan woorden, aan de hele Olympus van schijn te geloven! Die Grieken waren oppervlakkig – uit diepte!






(bron: Nietzsche, F ‘Vorrrede’ 2e editie Die fröliche Wissenschaft geciteerd in: Visser, G. (2012). In gesprek met Nietzsche. Nijmegen: Vantilt., p.41)



Written by rmcrs

June 4, 2015 at 14:14

Posted in Uncategorized

doctoraatslandschap

Doctoraatslandschap







Written by rmcrs

May 19, 2015 at 09:55

Posted in Uncategorized

follow and lose track of it







The aim here is simply to test out to what extent it is possible to follow a text and at the same time lose track of it, to be simultaneously the person it understands and the person who understands it, the person who, within a world, speaks of that world as though he or she were outside it; all in all, to take advantage of the strangeness of the dual work and an author split in two – into absolute lucidity and impenetrable darkness, into a consciousness that knows all and yet knows not where it is going – in order to feign the illusion of a commentary solely preoccupied with accounting for all and yet entirely aware of being able to explain nothing.






Maurice Blanchot, quoted in: Doove, E. (1998). Tussenin = in-between: Pierre Bismuth, Ricardo Brey, Peter Buggenhout, Jo Huybrechts, Ann Veronica Janssens, Kurt Ryslavy. Deurle: Museum Dhondt-Dhaenens.



Written by rmcrs

May 14, 2015 at 17:01

Posted in Uncategorized

topsy-turvy







One is an artist at the cost of regarding that which all non-artists call “form” as content, as “the matter itself.” To be sure, then one belongs in a topsy-turvy world: for henceforth content becomes something merely formal – our life included.




(source: Nietzsche, F. (1968). The will to power. (W. Kaufmann, Ed., R. Hollingdale & W. Kaufmann, Trans.) New York: Vintage Books., p.433)





Written by rmcrs

May 10, 2015 at 12:46

Posted in Uncategorized

votive offering

Written by rmcrs

May 2, 2015 at 05:58

Posted in Uncategorized

silence





Unrestrained and indiscriminate talk is morally evil and spiritually dangerous. ‘But I say unto you, That every idle word that men shall speak, they shall give account thereof in the day of judgment.’ This may seem a very hard saying. And yet if we pass in review the words we have given vent to in the course of the average day, we shall find that the greater number of them may be classified under three main heads : words inspired by malice and uncharitableness towards our neighbours; words inspired by greed, sensuality and self love; words inspired by pure imbecility and uttered without rhyme or reason, but merely for the sake of making a distracting noise.



(source: Huxley, A. (1947). The perennial philosophy. London: Chatto & Windus., p.247-248)



Written by rmcrs

May 1, 2015 at 13:53

Posted in Uncategorized

stumblingly trying







It is perfectly clear that walking a-long a river is one thing and writing music is another and being interrupted while writing music is still an-other and a backache too. They all go together and it’s a continuity that is not a continuity that is being clung to or insisted upon. The moment it be-comes a special continuity of I am composing and nothing else should happen, then the rest of life is nothing but a series of interruptions, pleasant or catastrophic as the case may be. The truth, however, is that it is more like Feldman’s music – anything may happen and it all does go together. There is no rest of life. Life is one. Without beginning, without middle, without ending. The concept: beginning middle and meaning comes from a sense of self which separates itself from what it considers to be the rest of life. But this attitude is untenable unless one insists on stopping life and bringing it to an end. That though is in itself an attempt to stop life, for life goes on, indifferent to the deaths that are part of its no beginning, no middle, no meaning. How much better to simply get behind and push! To do the opposite is clownish, that is: clinging or trying to force life into one’s own idea of it, of what it should be, is only absurd. The absurdity comes from the artificiality of it, of not living, but of having to have first an idea about how one should do it and then stumblingly trying.



(source: Cage, J. Lecture on something, in: Cage, J. (1999). Silence: lectures and writings (Repr). London: Marion Boyars., p.134)

Written by rmcrs

April 28, 2015 at 16:01

Posted in Uncategorized