Ce qui est appelé le mal désigne une erreur, un aiguillage fatal, le point initial regardé du fond du trou pour ne plus en bouger. Les trous noirs sont un mystère, que quelqu’un existe et les mesure est plus mystérieux encore. D’un pas qui à chaque pas détermine la précision de la mesure du pas sans tenir aucun compte de la distance prise.
I was asked by a professor of psychiatry once if I ever experienced depression. I answered ‘not to the best of my knowledge/experience’.
He replied simply: ‘of course not. You move too much….’
I tell all people I meet but especially those battling depression, loss of meaning and similar states: MORE NON-VERBAL EXPERIENCES DAILY is what the doc prescribes and movement is the best medium.
All roads will eventually lead back to the unspoken thing(s)we corrupt with our words.The path there passes through the body, movement, stillness. It has long been understood by some spiritual paths, processes, methods, religions and various systems but knowing is not enough, cause that is achieved through the same problematic medium we wish to avoid.
“People are always shouting they want to create a better future. It’s not true. The future is an apathetic void of no interest to anyone. The past is full of life, eager to irritate us, provoke and insult us, tempt us to destroy or repaint it. The only reason people want to be masters of the future is to change the past. They are fighting for access to the laboratories where photographs are retouched and biographies and histories rewritten”
Shadows draw light, light draws shadows, flowers wash memories. In the caves the subtracting machines are full, in the sky the colonies of autopilots satellites cross the switching screens of a sleeping robot.
Take long walks in stormy weather or through deep snows in the fields and woods, if you would keep your spirits up. Deal with brute nature. Be cold and hungry and weary…(…) In this lonely glen, with its brook draining the slopes, its creased ice and crystals of all hues, where the spruces and hemlocks stand up on either side, and the rush and sere wild oats in the rivulet itself, our lives are more serene and worthy to contemplate. HenryDavid Thoreau.
When you start tuning in to winter, you realise that we live through a thousand winters in our lives — some big, some small… Some winters creep up on us so slowly that they have infiltrated every part of our lives before we truly feel them. […] To get better at wintering, we need to address our very notion of time. We tend to imagine that our lives are linear, but they are in fact cyclical…(…) This is a brutal untruth. Life meanders like a path through the woods. We have seasons when we flourish and seasons when the leaves fall from us, revealing our bare bones. Given time, they grow again.
“Some people use language as a mask. And some want to create designed language that appears to reveal them but does not.”
“The creation of language is the creation of a fiction. The minute we speak we are in that fiction. It’s a fiction designed, we hope, to reveal a truth. There is no “pure” language. The only “pure language” is the initial sounds of a baby. All of us lose that purity, and as we get more “of” the world, we even lose sometimes the capacity to keep that breath moving in our language…(…) We can learn a lot about a person in the very moment that language fails them. In the very moment that they have to be more creative than they would have imagined in order to communicate. It’s the very moment that they have to dig deeper than the surface to find words, and at the same time, it’s a moment when they want to communicate very badly. They’re digging deep and projecting out at the same time…(…)Speaking calls for risk, speaking calls for a sense of what one has to lose. Not just what one has to gain.”Anna Deavere Smith
”“I’m not comfortable with words. I love images, and I love sounds, and I love feelings. I like the idea of intuition. I think a lot of things in life are understood that way. But you internalize these things; they don’t really pop out. Certain things are built inside – little areas of understanding. I feel that I live in darkness and confusion, and I’m trying, like we all are, to make some sort of sense of it.” ~ David Lynch
On the upper right, a model of an antique Alfa Romeo. To the left of the alpha, John Efron’s ” book about German Jewry, placed on Pinchas Sade’s “Diaries”, placed on a collection of one hundred poems published by Helikon, placed on my Mac. To the left of that, a piece of a face that I tore out from Caravaggio book and next to it an ashtray with touches of gold, inside of it a seashell. Above the ashtray, a small basalt stone that I carried from the Golan Heights and above it, a box containing a cycle of works by the composer and bass player William Parker. Born with a pen name. To his left, a wooden cube by Joseph Beuys, on which are placed three tiny bottles of cognac, in case you notice. Below it, stones I collected. To the left of the stones rests the mass in B by Bach and under it some paperwork, a book by Avraham Halfi and the last Odyssey magazine in the pile, as a solid foundation. In the center of the picture below, lies Begaon. The book of Micah Ullman’s works is open.
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