|
|
Пишет Misha Verbitsky (![[info]](http://lj.rossia.org/img/userinfo.gif){kind=small} tiphareth) |
"Les mots, le langage écrit, deviennent ainsi les éléments principaux du détournement. Très tôt, Debord s'est inspiré de Lautréamont et de l'utilisation du détournement par celui-ci dans ses Poésies (sur la base de la morale de Pascal et Vauvenargues) et dans les Chants de Maldoror (vaste détournement de Buffon et d'ouvrages d'histoire naturelle, entre autres) ; Lautréamont qui ne cachait pas que selon lui le plagiat était nécessaire, que le progrès l'impliquait : un détournement conscient, séditieux. Le détournement de phrases, après le détournement des lettres, puis des mots, fût une pratique lettriste très employée, reprise et approfondie par les situationnistes."
http://library.nothingness.org/arti
The literary and artistic heritage of humanity should be used for partisan propaganda purposes. It is, of course, necessary to go beyond any idea of scandal. Since opposition to the bourgeois notion of art and artistic genius has become pretty much old hat, [Duchamp’s] drawing a mustache on the Mona Lisa is no more interesting than the original version of that painting. We must now push this process to the point of negating the negation. Bertolt Brecht, revealing in a recent interview in the magazine France-Observateur that he made some cuts in the classics of the theater in order to make the performances more educative, is much closer than Duchamp to the revolutionary orientation we are calling for. We must note, however, that in Brecht’s case these salutary alterations are narrowly limited by his unfortunate respect for culture as defined by the ruling class — that same respect, taught in the newspapers of the workers parties as well as in the primary schools of the bourgeoisie, which leads even the reddest worker districts of Paris always to prefer The Cid over [Brecht’s] Mother Courage.
It is in fact necessary to eliminate all remnants of the notion of personal property in this area. The appearance of new necessities outmodes previous “inspired” works. They become obstacles, dangerous habits. The point is not whether we like them or not. We have to go beyond them.
http://www.cddc.vt.edu/sionline/pre
http://library.nothingness.org/arti
The literary and artistic heritage of humanity should be used for partisan propaganda purposes. It is, of course, necessary to go beyond any idea of scandal. Since opposition to the bourgeois notion of art and artistic genius has become pretty much old hat, [Duchamp’s] drawing a mustache on the Mona Lisa is no more interesting than the original version of that painting. We must now push this process to the point of negating the negation. Bertolt Brecht, revealing in a recent interview in the magazine France-Observateur that he made some cuts in the classics of the theater in order to make the performances more educative, is much closer than Duchamp to the revolutionary orientation we are calling for. We must note, however, that in Brecht’s case these salutary alterations are narrowly limited by his unfortunate respect for culture as defined by the ruling class — that same respect, taught in the newspapers of the workers parties as well as in the primary schools of the bourgeoisie, which leads even the reddest worker districts of Paris always to prefer The Cid over [Brecht’s] Mother Courage.
It is in fact necessary to eliminate all remnants of the notion of personal property in this area. The appearance of new necessities outmodes previous “inspired” works. They become obstacles, dangerous habits. The point is not whether we like them or not. We have to go beyond them.
http://www.cddc.vt.edu/sionline/pre
Добавить комментарий:
