c p cavafy – ithaka

As you set out for Ithaka
hope your road is a long one,
full of adventure, full of discovery.
Laistrygonians, Cyclops,
angry Poseidon – don’t be afraid of them:
you’ll never find things like that on your way
as long as you keep your thoughts raised high,
as long as a rare excitement
stirs your spirit and your body.
Laistrygonians, Cyclops,
wild Poseidon – you won’t encounter them
unless you bring them along inside your soul,
unless your soul sets them up in front of you.

Hope your road is a long one.
May there be many summer mornings when,
with what pleasure, what joy,
you enter harbours you’re seeing for the first time;
may you stop at Phoenician trading stations
to buy fine things,
mother of pearl and coral, amber and ebony,
sensual perfume of every kind –
as many sensual perfumes as you can;
and may you visit many Egyptian cities
to learn and go on learning from their scholars.

Keep Ithaka always in your mind.
Arriving there is what you’re destined for.
But don’t hurry the journey at all.
Better if it lasts for years,
so you’re old by the time you reach the island,
wealthy with all you’ve gained on the way,
not expecting Ithaka to make you rich.

Ithaka gave you the marvellous journey.
Without her you wouldn’t have set out.
She has nothing left to give you now.

And if you find her poor, Ithaka won’t have fooled you.
Wise as you will have become, so full of experience,
you’ll have understood by then what these Ithakas mean.


from C.P. Cavafy’s Collected Poems, trs. Edmund Keeley
and Philip Sherrard (Hogarth Press, 1975)

einstürzende neubauten – interview for japanese tv (1980s)

“The main theme [of what we do] is expanding musical structures to a point where you can’t tell the difference anymore between music and not-music, or expanded to a point where it doesn’t make any difference anymore to you if it is music or not… It’s not going to be simplified into something like simple “destruction”. We don’t want anyone to come to the concerts just to see us destroying something. If we feel an attitude like that coming up we just get in a bad mood!”

Ah, Blixa, you lovely creature!

camus on desire

What distinguishes consciousness of self from the world of nature is not the simple act of contemplation by which it identifies itself with the exterior world and finds oblivion, but the desire it can feel with regard to the world. This desire re-establishes its identity when it demonstrates that the exterior world is something apart. In its desire, the exterior world consists of what it does not possess, but which nevertheless exists, and of what it would like to exist but which no longer does. Consciousness of self is therefore, of necessity, desire. But in order to exist it must be satisfied, and it can only be satisfied by the gratification of its desire. It therefore acts in order to gratify itself and, in so doing, it denies and suppresses its means of gratification. It is the epitome of negation.

from The Rebel

nietzsche on the hard

“Why so hard?” the kitchen coal once said to the diamond. “After all, are we not close kin?” Why so soft? O my brothers, thus I ask you: are you not after all my brothers? Why so soft, so pliant and yielding? Why is there so much denial, self-denial, in your hearts? So little destiny in your eyes? And if you do not want to be destinies and inexorable ones, how can you one day triumph with me? And if your hardness does not wish to flash and cut through, how can you one day create with me? For all creators are hard. And it must seem blessedness to you to impress your hand on millennia as on wax. Blessedness to write on the will of millennia as on bronze — harder than bronze, nobler than bronze. Only the noblest is altogether hard. This new tablet, O my brothers, I place over you: Become hard!

Zarathustra, III: On Old and New Tablets, 29.

process: immaterial proposal by christine eyene

process: immaterial proposal is a curatorial research project focusing on artists creative concepts, studies and works-in-progress.
This project consists of an evolving assembling of images, texts (in English and French), and sound pieces initially presented in a virtual form on art lab. Envisaging sensory experience beyond the physical space, process seeks to explore terrains beyond narrative and representation, be they culturally or geographically-oriented.
Underlying this research is the intention to favour the unexpected and the unknown, over predetermined modes of selection, in an attempt to map out fragments of creative landscapes in current art practice.
First intended as a curatorial proposal for the 10th Dak’Art Biennale, this unrealised (or immaterialised) project partakes of the idea that African biennials have the potential to extend beyond space and time, and adopt a more inclusive approach to contemporary art.
process: immaterial proposal is an open platform. Artists, curators, critics and creative writers wishing to engage in this conversation can contact eyonartmail@gmail.com indicating process in the subject field.
Check out Christene´s blog

anaïs nin on writing

I had always believed in Andre Breton’s freedom, to write as one thinks, in the order and disorder in which one feels, to follow sensations and absurd correlations of events and images, to trust to the new realms they lead one into. “The cult of the marvelous.” Also the cult of the unconscious leadership, the cult of mystery, the evasion of false logic. The cult of the unconscious as proclaimed by Rimbaud. It is not madness. It is an effort to transcend the rigidities and the patterns made by the rational mind.

Winter, 1931-1932, from The Diary of Anaïs Nin , Volume One 1931-1934

martha graham – frontier

”I took the puppet, which was myself, and I flung it against the sky. Because light is such a magical, magical thing. See, a bird never flies into the dark, who is built for the light.”

From the Nonesuch Dance Collection.
1976 recording
Introduction by Martha Graham.
Choreography by Martha Graham.
Performed by The Martha Graham Dance Company.