| << ARM POSITIONS, 'PORT DE BRAS' 'Bref Albertine n'etait, come une pierre autour, de la quelle il a neige, que le centre generateur d'une immense construcion qui passait par le plan de moncoeur. Rober por qui etat invisible tourte cette stratificacion de sensations, ne saisissait qu'un residu qu'elle m'empechait au contraire d'apercevoir. Ce qui avait non le saissement des vieillards troyens voyant passer Helene et disant: *Notre mal ne vaut pas un seul de ses regards'. (*Ronsar) (1) Reading the text, Proust's, introduces into the middle, the medial point of the work, from which one practically never exists again, the work commences from the core and is Helen, and is Albretina (existence in distance). The other thing (about which I would like to speak) in relation to the work, (while still remaining in the middle, in the medium), following Albertina: 'Alors la difference d'optique s'etend non seulement a l'aspect phisique, mais au caractere, a l'importance individuelle.' (2) The eye and the machine, two perfectly precise instruments, the intersection of perspectives, does that merely signify the intention of both to issue forth contrary information on the one, that another direction also exists, that perspective - perceptivity can be changed by the difference: 'The starting point is often the binary difference which we later come to realize (conceive) presents the illusion created by the (activity) interaction of the differences which are much more difficult to ascertain.' (3) Finally, what is a thing (the object). 'To understand an object, (obligatory glance) means to comprehend one's obligations towardsviewing that object, one's obligatory orientation, to comprehend it's relation to myself in the oneness of occurrences - existence (bytie-sabytie)*. (4) 'Brass', - isn't it strange that material (bearing the same name) brass instruments are made (joined under the one word, 'Brass'). The quality of that medium obviously extremely corresponds with sound a reference which it acquires by the skill of creating an instrument, judging by experience (of perceived reality), which always seem to precede, adroitly moving between nature and man, improving (the thing) attains perfection, and whether as language determines man, the metal (of the instruments) determines or takes over the metaphor. ('Brass'). The body, -opens up the cannelures (along their length) and listens ('horen' 5) circling after the glance ('Einblick' 6). Miroslav Perković, 24.04.1998 1),2) M.Proust, "A la recherche du temps perdu" VI, ("La Fugitive"),"Albertine disparue", Deuxième partie de Sodome et Gomorrhe III) 3) Barbara Johnson, "The Critical Difference", 1980 4) "K Filosofiji postupka", published in the "Philosophy an Sociology of Science and Technical Sciences Moscow, Nauka 1986 5), 6) Pier Aldo Rovatti: "Heidegger: La declinazione della metafora, (II declino della luce, Sagui su filosofia e metafora); Marietti, Genova 1988 -1988 Raymon Carver, "Where water come together with other water", Poetry, 1985 New York; "The stories of R.Carver ("Cathedral"); "A New Path to the Waterfall", The Atlantic Monty Press 1989, Poetry, "Interview with R. Carver, J.of Cont. writ&Art, 8/9,1987/88, (D.Applefield) -Marcelin Playnet, "REGARDER LÂŽART MODERNE, A RECHERCHE" "Art de voir, Art de decrire" II, Les cahiers du MNAM, ete 88 -Interview with Barbara Johnson, from: "Imre Salusinszky, interviews with Jacques Derrida, Northrop Frye, Harold Bloom, Geoffrey Hartman, Frank -Kermode, Edward Said, Barbara Johnson, Franf Lentricchia, J.Hillis Miler"; Menthuen, new York and London, 1987 -Paul de Man, ("Rethinking Bakhtin, extensions and challenges, G. S. Morson, C.Emmerson; Northwestern university press, Evanston 1989; (koristio: Michael Holquist, "Four Essays by Bakhtin", Austin, University of Texas Press, 1988; Tzvetan Todorov, "Le principe dialogique" sa "Escrits du cerkle de Bakhtine", traduc. G. Philippenko, Paris, Seul, 1981; Leo Strauss, "Persecution and the Art of Writing", Glencoe, free Press 1952) Mathew Roberts, "Bakhtin and Paul de Man", (iz prethodnog zbornika) *"Brass" = "Laton" (metal, soporte, material) *"Brass" = "Cobres" = "Instrumentos de viento", (musicos) *"Instrumentos neumaticos", (music.) *"Instrumentos de metal" -de laton (music.) *"Corps" = Cuerpo *"Cannelurs" = canaladuras "hören" = escuchar, 5,6) "Einblick" = mirada LIGHTNESS 'I have a feeling that the concept of lightness is slowly starting to emerge from all I have thus uttered; I hope, above all, that I have shown that a lightness of earnestness does exist... That I have gone only as far as Cavalcanty has enabled me to clarify better (at least to myself) my comprehension of 'lightness'. For me, lightness is associated with precision and decisiveness, and not with vagueness and chance..' * These works are dedicated to the phenomenon of time, its flow, to observation 'on another level of perception', to posterior consideration which is remembrance, the consequence of remembrance-memories. By extracting a certain fraction of time from the eternal, continual flow we come to an exact location between two points-the beginning and the end, (that is) the moment when, having already passed by the work we come to a halt, having noticed that the parallel lines along their length have their full story (only) noticed in cross-sections of the lines along their length, stressing their monotony. The way in which the works are placed on the wall, we acquire an impression of the linear in motion, parallel with the movements of the viewer, perception wise similar to the illusion of a landscape viewed from a window while traveling, a scene I was able to watch every day while going to the plant and back, 60 km outside of Belgrade, passing through a truly beautiful landscape in the countryside. Milica Lukic, February 1998 (1),(2) Italo Calvino, "Lightness", "Six Memos for the Next Millennium", The Charles Eliot Norton Lectures at Harvard Essays- "Arm positions, Port de bras" by Miroslav Perkovic & "Lightness" by Milica Lukic, From the Catalogue "It Cuts Both Ways", Brass & Lightness, Sartidart project, Show of M.Perkovic & M.Lukic, Circulo de Bellas Artes, Juana Mordo Hall, Madrid 1998, Slides, From the Show of Zvono Gallery, Belgrade 1997 |