Showing posts with label berlin. Show all posts
Showing posts with label berlin. Show all posts

Sunday, 26 February 2017

reconstruct depth

stop sending me noods


In 'A Berlin Chronicle' (1932) Benjamin describes a lost diagram:

I was struck by the idea of drawing a diagram of my life, and I knew at the same moment exactly how it was to be done. With a very simple question I interrogated my past life, and the answers were inscribed, as if of their own accord, on a sheet of paper that I had with me. A year or two later, when I lost this sheet, I was inconsolable. I have never since been able to restore it as it arose before me then, resembling a series of family trees. Now, however, reconstructing its outline in thought without directly reproducing it, I should, rather, speak of a labyrinth. I am not concerned here with what is installed in the chamber at its enigmatic centre, ego or fate, but all the more with the many entrances leading to the interior. These entrances I call primal acquaintances; each of them is a graphic symbol of my acquaintance with a person whom I met, not through other people, but through neighbourhood, family relationships, school comradeship, mistaken identity, companionship on travels, or other such hardly numerous- situations. So many primal relationships, so many entrances to the maze. But since most of them—at least those that remain in our memory—for their part open up new acquaintances, relations to new people, after some time they branch off these corridors (the male may be drawn to the right, female to the left). Whatever cross connections are finally established between these systems also depends on the inter-twinements of our path through life.

Walter Benjamin, ‘A Berlin Chronicle’, 1932, in One-Way Street: And Other Writings, trans. by Edmund Jephcott and Kingsley Shorter, London: Verso, pp. 293–346

Thursday, 27 November 2014

avebury // stukeley

 Burning the heretic


Just before I visited this place... the inhabitants were fallen into the custom of demolishing the stones, chiefly out of covetousness of the little area of ground, each stood on. First they dug great pits in the earth, and buried them. The expence of digging the grave, was more than 30 years purchase of the spot they possessed, when standing. After this, they found out the kanck of burning them, which has made most miserable havock of this famous temple. One Tom Robinson the Herostratus of Abury,* is particularly eminent for this kind of execution, and he very much glories in it. The method is, to dig a pit by the side of the stone, till it falls down, then to burn many loads of straw under it. They draw lines of water along it when heated, and then with smart strokes of a great sledge hammer, its prodigious bulk is divided into many lesser parts. But this Atto de fe** commonly costs thirty shillings in fire and labour, sometimes twice as much. They own too 'tis excessive hard work, for these stones are often 18 foot long, 13 broad, and 6 thick, that their weight crushes the stones in pieces, which they lay under them to make them lie hollow for burning, and for this purpose they raise them with timbers of 20 foot long, and more, by the help of twenty men, but often the timbers were rent to pieces.
Stukeley goes on to write that a single stone could provide enough pieces to build an ordinary house, but that because of the nature of the stone, such a house "is always moist and dewy in winter, which proves damp and unwholsome, and rots the furniture. The custom of thus destroying them is so late, that I could easily trace the obit of every stone; who did it, for what purpose, and when, and by what method, what house or wall was built out of it, and the like."


*The term "auto da fe" (or auto de fe) means "act of faith" and refers to the Spanish Inquisition's ritual of judging and condemning heretics. The ceremony has generally been thought to include executions by burning at the stake (which is no doubt what Stukeley is alluding to), though some sources claim that the actual executions were held separately.
**Herostratus sought to make a name for himself by setting fire to the Temple of Artemis in Ephesus (Turkey) in 356 BC. He boasted proudly of his act, so the authorities not only executed him but decreed that his name should never be spoken again, on penalty of death. Obviously it didn't work, and the name "Herostratus" subsquently became associated with the idea of seeking glory through acts of destruction or violence.

http://www.avebury-web.co.uk/the_shame.htmlhttp://www.avebury-web.co.uk/the_shame.html
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 Our Lady of Fatima

The Three Secrets

The Sun Miracle

Near the entrance to the sanctuary by the rectory is a Berlin Wall Monument, containing a 5,732-pound chunk of the wall donated by a Portuguese emigrant to Germany after it fell in 1989. He offered it as a memorial of God's intervention in bringing down Communism, as promised at Fatima.

10. Berlin Wall

At the entrance of the Sanctuary, on the south side of the Rectory, one may visit a monument of the Berlin Wall's, consisting of a concrete segment that was part of it. (The Walls construction started during the night between the 12th. and 13th. of August, 1961 and its demolition began the 9th. of November, 1989) This segment was offered by means of Virgilio Casimiro Ferreira, a Portuguese emigrant to Germany and is here placed as a grateful memorial of God's intervention for the fall of Communism as promised at Fatima. The segment weighs 2,600 kilos (5,732 lbs.) and measures 3.60 meters (11 ft. 9 in.) high by 1.20 meters (3 ft. in.) wide. The present monument was designed by the architect J. Carlos Loureiro and was inaugurated on the 13th. of August, 1994.



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Claudio Colaguori in Agon Culture: Competition, Conflict and the Problem of Domination. For Colaguori, "the agon is literally the arena of competition, the scene of contest, and the locus of adversarial conflict. The philosophy of agonism affirms the idea that transcendence, truth, and growth are generated from the outcome of the contest...the concept of agonism is often understood in an affirmative sense as the generative principle of economy, society and even natural ecology and personal growth... The ambivalent character of agonism is that it is often seen as a mode of transcendence, while its instrumental relation to the mode of destruction is rarely acknowledged".

Monday, 17 December 2012

monument mobbed

The equestrian statue of Frederick the Great in Berlin is decorated – and mobbed – in celebration of the German victory over the French at the Battle of Sedan, September 1-2, 1870.




Lost allegorical sculpture /// work of Francois Willeme // l'angleterre venant au secours de la France 


At no point in time, no matter how utopian, will anyone win the masses over to a higher art; they can be won over only to one that is nearer to them. And the difficulty consists precisely in finding a form for that art such that, with the best conscience in the world, one could hold that it is a higher art. This will never happen with most of what is propagated by the avant-garde of the bourgeoisie. … The masses positively require from the work of art … something that is warming. Here the flame most readily kindled is hatred.   WB konvolut K

There is one notable dead tree . . . the inscape markedly holding its most simple and beautiful oneness up from the ground through a graceful swerve below (I think) the spring of the branches up to the tops of the timber. I saw the inscape freshly, as if my mind were still growing, though with a companion the eye and the ear are for the most part shut and instress cannot come.  GMH

 

Monday, 16 May 2011

the gate of ishtar