l'apocalypse des animaux

depthless eyes

"Here, the (again unnamed) female character – searching for her lost father in the Canadian bush – reaches an identification with Nature itself: ‘I am not an animal or a tree, I am the thing in which the trees and animals move and grow, I am a place.’ It is clear, though, that the cost of such an identification is total schizophrenic breakdown (which for Atwood does not necessarily carry all the positive libidinal charge that it can for Gilles Deleuze); and Nature does not reciprocate her character’s embrace. At the very end of the novel, the character has a vision of something that might be the ghost of her father, an animal, or perhaps the spirit of Nature itself: ‘I’m not frightened, it’s too dangerous for me to be frightened of it; it gazes at me for a time with its yellow eyes, wolf’s eyes, depthless but lambent as the eyes of animals seen at night in the car headlight. Reflectors. It does not approve or disapprove of me, it tells me that it has nothing to tell me, only the fact of itself […] I do not interest it, I am part of the landscape, I could be anything, a tree, a deer skeleton, a rock.’ "
(from frieze.com, on margaret atwood´s novel "surfacing")

devouring and unifying

"…the idea of discovery, of revelation, includes an idea of appropriative enjoyment.
What is seen is possessed; to see is to deflower…
More than this, knowledge is a hunt Bacon called it the hunt of Pan. The scientist is the hunter who surprises a white nudity and who violates by looking at it. Thus the totality of these images reveals something which we shall call the Acteon complex…
A person hunts for the sake of eating.
Curiosity in an animal is either sexual or alimentary.
To know is to devour with the eyes." (Sartre, L'Etre et le Néant p. 578)

"With the growing social acknowledgment of genitalia, the repression of special drives and their representatives increases in genital relations. What remains is cultivated as socialized voyeurism or anticipation. It exchanges the unification with one person for the observation of all, and thus it expresses sexuality's tendency to socialization, in itself an aspect of its deadly integration." (Adorno, pp. 105-105)

under a cover of tenderness

by falk gernegroß

kharkov 1942

paris texas

streetwise

titles

leaving a trace: the art of transforming a life into stories
traces of lost civilizations
traces, faces and empty places
antique gods
drifters
strangers
un coup de dés jamais n'abolira le hasard
the hidden writer
finding hidden patterns in a life
even traces will die
a stranger´s life
traces of the last days
last days
the sky is dead
nyc ghosts and flowers
à la recherche du temps perdu
les statues meurent aussi
traces and birds
to a stranger
das unbehagen in der kultur
gestures
brazil
residues of time lost
le tombeau de charles baudelaire 
granny´s gravy gravestone
das ich und das es
signs and birds
madness and civilization
critique et clinique
the order of things
death and the labyrinth
archaeology of faces
the wolf child
the wolf girl
totem and taboo
sadness and melancholia
les tristes tropiques
ending and endless analysis
why look at animals?

bill

words by whitman

Passing stranger! you do not know
How longingly I look upon you,
You must be he I was seeking
- - -
And as to you, Life,
I reckon you are the leavings of many deaths,
No doubt I have died myself ten thousand times before
- - -
Stranger, if you passing meet me and desire to speak to me,
why should you not speak to me?
And why should I not speak to you?