we had a fabulous feast at Sarlat

After all, there's the political context in France, and there are also personal relations, very complicated stories. The most complicated story arose when [the Situationists] came to my place in the Pyrenees. And we took a wonderful trip: we left Paris in a car and stopped at the Lascaux caves, which were closed not long after that. We were very taken up with the problem of the Lascaux caves. They are buried very deep, with even a well that was inaccessible -- and all this was filled with paintings. How were these paintings made, who were they made for, since they weren't painted in order to see seen? The idea was that painting started as a critique. All the more so in that all the churches in the region have crypts. We stopped at Saint-Savin, where there are frescoes on the church's vaulted dome and a crypt full of paintings, a crypt whose depths are difficult to reach because it is so dark. What are paintings that were not destined to be seen? And how were they made? So, we made our way south; we had a fabulous feast at Sarlat, and I could hardly drive -- I was the one driving. I got a ticket; we were almost arrested because I crossed a village going 120 kilometers per hour. They stayed several days at my place, and, working together, we wrote a programmatic text. At the end of the week they spent at Navarrenx, they kept the text. I said to them, "You type it" (it was handwritten), and afterward they accused me of plagiarism. In reality, it was complete bad faith. The text that was used in writing the book about the [Paris] Commune was a joint text, by them and by me, and only one small part of the Commune book was taken from the joint text.

http://www.notbored.org/lefebvre-interview.html

Henri Lefebvre on the Situationist International

Interview conducted and translated 1983 by Kristin Ross

Printed in October 79, Winter 1997

comms

That's it; one goes along in any direction and recounts what one sees.

places for the reception of messages

subterranean homesick blues

Antiquity's representations of space have collapsed: the firmament, the celestial spheres...Its representational spaces however have survived, the realm of the dead, chthonian and telluric forces, the depths and the heights.

january 2017

epic space

the space of the romanceros, which straddled dream and reality, the space of cavalcades, tourneys, where the distinction between war and festival becomes unclear. Lefevbre [231]

electricity

...Bataille left his mark everywhere between real, infra-real and supra-real. His way was Nietzsche's - eruptive and disruptive. He accentuates divisions and widens gulfs rather than filling them, until that moment when the lightning flash of intuition/intention leaps from one side to the other, from earth to sun, from night to day... Lefevbre The Production of Space

Zizek also uses the notion of the short circuit in discussion of the 'parallax gap' - points between which no synthesis or mediation is possible.

The faulty connection, cross wiring, is like Freud's Fehleistung... misperformance, faulty action...parapraxis.

function RecurseBad()

HERE MEN FROM THE PLANET EARTH, FIRST SET FOOT UPON THE MOON

ENVOI

Imprisoned by four walls
(to the North, the crystal of non-knowledge
a landscape to be invented
to the South, reflective memory
to the East, the mirror
to the West, stone and the song of silence)
I wrote messages, but received no reply.

Octavio Paz
preface to Henri Lefebvre's The Production of Space