7.5.12
CUTLER: At times it seems like a horror film. What are the specific immigration laws that the film refers to?
KLOTZ: I can give a precise example for the character of Julio (Winson Calixte). We worked in Lyon with a lawyer who is helping immigrants without papers, and she said that since Sarkozy became president, with the politics that they have been doing, the laws, asking the police to get quotas, everything has been accelerated and it is getting much more difficult for immigrant families. And they discovered new sicknesses through the children of these families, and one of these sicknesses that arrived with Sarkozy is narcolepsy. Children falling asleep because of their fear. And that was something that she was very anguished about. It is not something that was in the books or newspapers, it was something she heard many times in the families she was helping. Something in today’s air in France provokes it. Julio was arrested. He is a minor, he is 15, and he was arrested in the Metro. The police ask him his papers, so he gives his paper that specify that he is a minor, but they don’t believe that. If they can prove that he is 17, they can expel him. So they bring him to the hospital and they make bone tests with X-rays, and they look at his teeth and at his genitals. Which are the same things they were doing in the 30s. And they said that he was 17 and not 15. So from this moment he starts falling asleep. And it’s like, he said, as if the machines in the hospital went into his body and put a spell on him. That’s one of the many reasons for the voodoo that moves around the film. Getting the spell out of his papers. Julio takes the spell out of his papers by burning his papers. This is to tell you how very concrete laws and police methods make very concrete things happen in the fiction, generating form.
6.5.12
Walter Benjamin prepared and delivered some 30 broadcasts for German
Radio between 1929-1932 specifically for children, maybe 7-14 or so,
each consisting of a 20 minute talk or monologue.
A main emphasis was on introducing the youth to various, some of them classical, natural catastrophes, for instance the Lisbon earthquake of the 1750's that so shook the optimism of Voltaire and the century, a flood of the Mississippi of 1927, the Pompeii disaster as came through the famous letter of Pliny the Younger; another subject was various episodes of lawlessness fraud and deceit, much of it recent, for instance bootlegger's boats that were bringing rum or whatever to America through the prohibition blockade. "Aufklärung für Kinder" ("Enlightenment for Children") was the name of the series.
A main emphasis was on introducing the youth to various, some of them classical, natural catastrophes, for instance the Lisbon earthquake of the 1750's that so shook the optimism of Voltaire and the century, a flood of the Mississippi of 1927, the Pompeii disaster as came through the famous letter of Pliny the Younger; another subject was various episodes of lawlessness fraud and deceit, much of it recent, for instance bootlegger's boats that were bringing rum or whatever to America through the prohibition blockade. "Aufklärung für Kinder" ("Enlightenment for Children") was the name of the series.
26.4.12
A arte –– em relação à vida –– é sempre um "apesar de tudo"; a criação de formas é a mais profunda confirmação que se pode pensar da existência da dissonância. (L, TdR, 72)
Quando algo tornou-se problemático [...], a salvação só pode brotar do agravamento extremo da controvérsia, do ir radicalmente até o fim em toda a problemática. (TdR, 180)
Quando algo tornou-se problemático [...], a salvação só pode brotar do agravamento extremo da controvérsia, do ir radicalmente até o fim em toda a problemática. (TdR, 180)
"estagnação caótica"
22.4.12
14.4.12
8.4.12
Peça guardada no coração:
Merecerá um estudo futuro.
GALILEO:
Truth is the child of time, not of authority. Our ignorance is infinite, so let us diminish it by a fraction. Why try to be so clever now, when at last we can become a little less stupid? I have had the unbelievable good fortune to lay my hands on a new instrument by means of which one can see one tiny corner of the universe a little clearer. Not much –– but a little. Make use of it!
(The life of Galileo, Bertolt Brecht)
Merecerá um estudo futuro.
o poema épico "descreve-nos apenas a existência e o atuar tranquilos das coisas segundo suas naturezas, seu fim repousa desde logo em cada ponto do seu movimento; por isso não corremos impacientes para um alvo, mas demoramo-nos com amor a cada passo..."
A ação dramática move-se diante de mim, mas sou eu que me movimento em torno da ação épica que parece estar em repouso.
(Schiller)
A marca histórica das imagens não indica apenas que elas pertencem a uma época determinada, indica sobretudo que elas só chegam à legibilidade numa época determinada. E o fato de chegar "à legibilidade" representa certamente um ponto crítico determinado no movimento que as anima. Cada presente é determinado pelas imagens que são síncronas com ele; cada Agora é o Agora de uma recognoscibilidade determinada. Com ele, a verdade é carregada de tempo até explodir. (Essa explosão, e nada mais, é a morte da intentio, que coincide com o nascimento do verdadeiro tempo histórico, do tempo da verdade.) Não cabe dizer que o passado ilumina o presente ou o presente ilumina o passado. Uma imagem, ao contrário, é aquilo no qual o Pretérito encontra o Agora num relâmpago para formar uma constelação. Em outras palavras: a imagem é a dialética em suspensão. Pois, enquanto a relação do presente com o passado é puramente temporal, a relação do Pretérito com o Agora é dialética: não é de natureza temporal, mas de natureza imagética. Somente as imagens dialéticas são imagens autenticamente históricas, isto é, não arcaicas. A imagem que é lida –– quero dizer, a imagem no Agora da recognoscibilidade –– traz no mais alto grau a marca do momento crítico, perigoso, que subjaz a toda leitura.
(WB)
23.3.12
18.3.12
Quando uma obra consegue reconhecer o elemento mítico e memorativo do qual procede para ultrapassá-lo, quando consegue reconhecer o elemento presente do qual participa para ultapassá-lo, então ela se torna uma "imagem autêntica" no sentido de Benjamin.
(Didi-Huberman, O que vemos, o que nos olha, p. 193)
1.3.12
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