____________________________________

 

diary, sketchbook, from mobile snapshots

 

oulipian photo-based mandolin music

____________________________________

 

random days, dirty edits and no edits

 

EP's oulipian diary written by fg

____________________________________

 

"Je dis qu’il faut être voyant, se faire voyant.

Le Poète se fait voyant par un long, immense et raisonné dérèglement de tous les sens. Toutes les formes d’amour, de souffrance, de folie ; il cherche lui-même, il épuise en lui tous les poisons, pour n’en garder que les quintessences. Ineffable torture où il a besoin de toute la foi, de toute la force surhumaine, où il devient entre tous le grand malade, le grand criminel, le grand maudit, — et le suprême Savant — Car il arrive à l’inconnu ! Puisqu’il a cultivé son âme, déjà riche, plus qu’aucun ! Il arrive à l’inconnu, et quand, affolé, il finirait par perdre l’intelligence de ses visions, il les a vues !"

Arthur Rimbaud, Lettre du Voyant (à Paul Demeny)

“It is deeply significant that photography, the medium of immobilization, was first perceived as involving the mortification of the living body. Similarly, the X-ray was perceived as that which renders the 'interior of the body (the skeleton) directly visible. Remember how the media presented Roentgen's discovery of X-rays towards the end of the last century: the idea was that X-rays allow us to see a person who is still alive as if he were already dead, reduced to a mere skeleton (with, of course, the underlying theological notion of vanitas: through the Roentgen apparatus, we see 'what we truly are', in the eyes of eternity ...). What we are dealing with here is the negative link between visibility and movement: in terms of its original phenomenological status, movement equals blindness; it blurs the contours of what we perceive: in order for us to perceive the object clearly, it must be frozen, immobilized - immobility makes a thing visible. This negative link accounts for the fact that the 'invisible man' from Whale's film of the same name becomes visible again at the very moment of his death: 'the person who has stopped being alive exists more fully than when actually alive, moving around before us'. Plato's ontology and the Lacanian notion of the mirror-image which freezes motion like a jammed cinema reel overlap here: it is only immobility that provides a firm visible existence.”

Slavoj Žizek, The Plague of fantasies

“Je n’ai pas d’autre choix que d’évoquer ce que trop longtemps j’ai nommé l’irrévocable: ce qui fut, ce qui s’arrêta, ce qui fut clôturé: ce qui fut, sans doute, pour aujord’hui ne plus être, mais ce qui fut aussi pour que je sois encore"

Georges Perec, W ou le souvenir d'enfance

“Je pense que le propre d’un photographe c’est de trahir le réel”

Raymond Depardon, Errance

"La vie au bout du compte est une

Mauvaise photographie".

Louis Aragon, Les chambres