Wednesday, February 08, 2006

Patricia Ferrel

Pertes

Blessé à ma fenêtre
Comment te sauver? Un toucher humain pourrait
T'éclater le coeur. Dis-moi ce que tu manges-tu m'es
Si spécial car tu as survécu deux mois sur rien que
Des insectes

Je suis comme un animal sans talent
Dans une piéce éclairée. Que se passe-t-il quand l'aptitude
Se détériore? Quel son pour les déchetsóaucun,
Sur la musique. La tragédie qui m'aurait faite chérie
N'est pas venue.

The nouveau coeur n'a pas pris.
Ne me montre pas le visage! Ne me laisse pas
Voir le visageógarde-le impersonnel. Les btes qui sont
Mon seul confort, je vais devoir manger. Personne ne m'a dit que la guerre était finie.
Peut-être, probablement,

Oui. je me souviens
Le réveil à la saturation avec ambiance.
Je me souviens d'une fatigue dans les arbres. Quelquechose de noir vola près
Sur nos têtes tenant les cÙtes entiËres díun hommeóquand tu ne
tíoccupes pas à comforter

Tu tues. Le mince chat argent
Poursuit un pouls díoiseau. La neige est aveugle
Et oubliera la tache. Nous sommes pris dans ce
Paysage occlus, nos pouls liés a un soleil vacillant.
J'ai besoin d'aller

Là où je peux fixer
Le feuóquelquechose d'une guerre,
D'un train. Que font les morts pour un encore?
Quand devrais-je utiliser ce corps que je sauvegardais
Comme bouclier humain?

...................................................................

Accident

Cela prendra un accident pour amener
Tout ce que j'aime. Une main invisible
Devra faire
Caprice.

Une nuit nous allons toi et moi
Nous percuter, étoiles, trompette,
BD et
Commotion

Nos corps verrouillés d'injures, complices
Par le sang comme des jumeaux nés
Incapables de distinguer
A qui la faute, de qui le pied

Qui accélère encore le moteur rauque
Vantant notre venue, distribuant des
Cigares dans un monde
D'oreilles.

...................................................................

Quelle résurrection

Le vin a un goût de Christ et produit
La transformation nécessaire.

Le pays d'Aime et Sois Aimé en Retour
engorge comme une éponge.

Des couples courrent les champs ensoleillés, des abeilles
géantes bourrent des fleurs monstres.

Tant que le vin coule, je suis amoureuse.
Tant que je suis aimée,

J'avale. Mais vivre un éternel été
Est-ce vraiment si drôle?

Je n'arrêterai jamais de demander, bouche ininterrompue,
de listes des désirs je ne voudrais

Plus si j'en recevais un.
Sacristi! Je ne suis pas morte

En croix à seule fin de revenir à la vie
Et me faire traîter comme ça.

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Sunday, September 25, 2005

Sylvain Courtoux

“We live in editing societies.
It’s not enough to deconstruct their forms
to change them —
we must reach those levels where they produce
themselves by engendering that play of form.”

Jean-Pierre Faye.

“The only way to escape the generalized carnage would be to become its authors.”
Pere Ubu.

“Let me simplify the rhyme
Just to amplify the noise.”

Eminem.

THE MORE CONFUSION THE MORE PROFIT — Because you are a political minority you are legally at fault—She says you don’t fight the lying stamp of government decision with paper pans—She says nowadays to keep to the ordinary limits of sight condemns us to breathe intellectual insufficiency through our pores—She says transparency begins where real power begins: opacity and secrecy are the lures of their historical tactics— She says the unremitting construction of simulacra is trying to cover it all — Manipulation is the only massive affect — Transparency is where real power begins — Our best hypothesis is this: all form is a relation of forces [WE SHALL DESTROY THE PROGRAM] — Our best hypothesis is this: all relations of forces are power relations [WE SHALL DESTROY THE PROGRAM] — She says the unremitting construction of simulacra is trying to cover it all — Our best hypothesis is this: all relations of forces are a function of the following kind: incite / arouse / combine in the case of Nihil, Inc. let’s say: distribute / serialize / compose / normalize [WE SHALL DESTROY THE PROGRAM] — Our best hypothesis is this: transparency is where real power begins — The unremitting construction of simulacra is trying to cover it all — She says brains are infected and the dead rat stench of the real is spread on each spot of the globe — She says our best hypothesis is this: on this very spot make plans for subterranean destruction — She says our best hypothesis is this: reversion and implosion are the answer to a universe of combinatorial nets and coding flows [WE SHALL DESTROY THE PROGRAM] — The unremitting construction of simulacra is trying to cover it all — She says brains are infected and the dead rat stench of the real is spread on each spot of the globe — Our best hypothesis is this: transparency is where real power begins — She says our best hypothesis is this: wherever the obsession of society appears is the point of error (and soon it shall affect all thought) and we can correct it (WE SHALL DESTROY THE PROGRAM it’s safe if you follow the instructions) — Our best hypothesis is this: whenever the system wins history agonizes [WE SHALL DESTROY THE PROGRAM] — The unremitting construction of simulacra is trying to cover it all — She says brains are infected and the dead rat stench of the real is spread on each spot of the globe — They get to everyone everywhere if you don’t do anything it’ll be your turn — Whenever the system wins history agonizes — She says: orders are to stay put — They don’t forgive such acts of rebellion — Nowadays you can get it like a retrovirus — The more confusion the more profit (with Nihil, Inc., double your income easy) — We aren’t the doctors we’re the sickness — Just forget they’re there outside who knows where ready to pierce our lines of defense ready to kill us ready to destroy us — There’s only one rule in this war: even dogs will eat each other — TOTALITARIANISM IS A REGIME WHERE THE CENTER OF POWER CANNOT BE FOUND — She says this is the harsh law of technocratic tyrannies: power is local because it is never global but it is never local because it’s diffused — She says I get paid to be suspicious even when there is no reason to be — You can loop that “They‘ve got persuasive ways / And you’ll believe what they say” you can loop that — just one extreme sport out of many: spread panic spread folly terror and death quietly reap the dividends (15 % return with minimum investment) she says it’s the (harsh) law of spectacular marketing applied to endemic state terrorism [just one extreme sport out of many] — the television is here the scribblers of the media zone are here just scoop it up put out your hand make it fructify then transfer it directly to the real hush-hush Swiss-bank-account — What’s your minimum investment?— She says this is a much better hypothesis to start with [just one extreme sport out of many] — You’re scared of us scared of change we don’t know the future don’t know the end all we can tell you is the start — She says what we’ll do with the world is up to you — We operate by contagion by contamination by incubation by dissemination by proliferation [just one extreme sport out of many] — You can loop that: “They‘ve got persuasive ways / And you’ll believe what they say” you can loop that — Nihil, Inc. will be absolute control — She says Nihil, Inc. is not just the simulation of some imaginary fear to control our minds till they transform but the height of a new civilization — What is reality? How do you define reality? — She says you wanna talk about what you can touch what you can see and feel reality is just an electric signal your brain interprets for action you have no certainty about things all you know is representation it all happens in your brain and soon our firm will have complete control of it [just one extreme sport out of many] — She says “turn the people into atheists break those you want to subdue if they venerate no other God than you have no other mores than yours you shall be ever sovereign (…) allow incest theft murder prohibit marriage allow sodomy prohibit all worship and your interests will yoke them in” — She says the goal is the complete control of the population [just an extreme sport out of many] Power is everywhere she says takes care of everything up to its own supposed opposition produces everything up to its own negation in trompe-l’oeil — She says “power would be so light so easy to dismantle if all it did was watch spy take by surprise prohibit punish but it incites provokes produces it isn’t simply eye and ear but makes us act and speak’” — [just an extreme sport out of many] we’ll level lightning raids on central nervous systems according to the postures and mimicked traumas we take on — She says the fundamental custom of submission is the last custom expressed here — We have no choice we must continue operations as planned: dispatch sentries immediately to buildings 3 and 4 [the more the system nears perfection the more it nears the accidental]TERROR IS ALWAYS ON THE AGENDA — You can loop that “See mass murder on a scale you’ve never seen / And all the ones who try hard to succeed / This is the way step inside” you can loop that “this is the way step inside” TERROR IS ALWAYS ON THE AGENDA [the more the system nears perfection the more it nears the accidental] She says this is one of the last great phases of conquest — With Black-Mesa we’ll have hundreds of agents to activate and control [this is the way step inside] — She says you must know there are our last operations she says before we gain complete control of earth and set Nihil, Inc. Empire in place [this is the way step inside] — “Information is the controlled system of watchwords” — She says we’ll indoctrinate our new students with this first [this is the way step inside] — Children fear not the dangers of the highways of the future but the pleasure we take when we elaborate your future death’s most elegant parameters — She says this is the first thing we beat into our new students— She says all great human tragedies can be experimentally considered models of mental crises simulated by the angles the steps of a faulty stairway take or the recesses of skin those true rifts of the perceiving mind — As for television and news the latent meaning of the Vietnam war quite differs from its manifest content far from disgusting us it seduces by engendering such complexity of perverse polymorphous acts remember polychopathology is not the exclusive domain of degenerates or perverts Congo Vietnam Biafra are all games we can play such violence and all violence reflects the neutral exploration of sensation that occurs today at at all levels even at the sexual one this violence also explains the precise valuation of perversions as an easily accessible multiplicity of exploratory techniques — we can only speculate as to how it will end: we could use our kids for obscene games for example. She says since we only establish relationships among ourselves through a new alphabet of sensations and violence the death of a child or in a larger sense all war can be seen as a gift to humanity — She says this is the second thing we’ll beat into our future students — [this is the way step inside] —She says we pine for the final fire — All is but in infancy — we pine for the final fire — All is but in infancy [the more the system nears perfection the more it nears the accidental] — All is but in infancy [the more the system nears perfection the more it nears the accidental →_this is the way step inside] we pine for the final fire

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Tuesday, May 24, 2005

cover.TO

You're dying for reading the bilingual poetry magazine TO? Don't die! Go straight to the FNAC online store!

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Friday, May 20, 2005

Gilles Toog

Where is the simple man?
Simply absent, quite simply.
Effaced
Yes.
That is his character, his fate.
That is his art.
The art of simplicity is effacement.
The simple man tells the truth; that is why we think him dangerous.
It’s dangerous to tell the truth through simplicity.
For he says it so, effortlessly.
To say it simply.
We don’t like simplicity for it points to shortcuts.
Because of it, check-points, baksheeshs are lost.
They tell you: you’ve got to cross the river here, or you will drown.
You’ve got to take the ferry.
This is the only place you can cross.
But first, you must buy a ticket.
Yet the simple man, being of a curious nature, looks a bit upstream.
Discovers another ford.
There, he can cross without danger, barely getting his calves wet.
The ferry people hate the simple man for he discovered the rip-off.
He crosses without them.
Without buying a ticket.
Without sucking up.
And announces his discovery to the other simple men.
The frightened ones still take the ferry.
Not because they’re scared of the ford.
They are scared of judgment on the other side.
They were told only ferry people live there.
And that is a great lie.

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Gilles Toog lives in Paris.

Wednesday, May 04, 2005

Blonde Le Carré

05



Léon Chassagnard and Nadia El Abany are fashion designers (Blonde Le Carré).

Wednesday, April 20, 2005

Eric Arlix

/////////////////
Here I am. No more fucking around. Everyone freezes. Taipei is hanging in the balance. I’m on the other side of the city but we see each other. We both know this is for real. I show off a little, do a little dance. Fake speeding up. Fancy footwork. Flaunt what I’ve got. No doubt, it’s on top. Here and everywhere. Ain’t even scared. Most people are impressed by capitalism, they shouldn’t be. It’s nothing but commerce. An exchange of symbols. Basic. I stop the dancing footwork, can’t do it twice in a row. I head straight up Sinyi Rd right in the middle of the avenue I look at it right in the stories, I don’t blink the scooters, the cars, the people calling don’t distract me, I don’t swagger, keep my shoulders and my ass in line, I walk alone, as straight as possible, towards it, this is too much, the duel is on. Two policemen come near, a menace to my advance, I throw two pages of Empire right at them and they vanish from sight. Traffic gets heavier the number of possible arrests rises and so does the rate of uniforms. I use some Nietzsche, some Foucault, some Deleuze, some Agamben, some Tiqqun to get rid of them, who cares about the number of pages. Plus a few jabs. It takes less than five minutes for a good amount of rapidly moving clouds to modify the light layout of the duel and give it a different, more enigmatic note. I take advantage of this light change, bifurcate down an alley and become invisible again. Intriguing the enemy anew. We show off even more since we’re invisible but the respite is short, thirty policemen try to snare me with their unkitted Nissans I floor them with some good fiction (Delaume, Jallon, Massera, Quintane) and they pile up with their scooters into a ridiculous, shaking pyramid rattling with cries. I reposition myself smack in the middle of Sinyi avenue It sees me immediately, for the last ten minutes it’s been scanning for wherever I could possibly appear. Its damper shivers. I readjust my collar on the right side and don’t bother to wipe off the thin silver powder dusting my jeans on the right leg. The progression continues.
I’m only 550 meters from it I mean if it ever toppled in my direction it wouldn’t even touch me. You talkin’ to me? This time I have no qualms about undoing another button on my shirt some chest hair juts out that impress some girls admiring the hero taking on the tower in the middle of the street. Pretty naively, from this distance, I try flipping some Hakim Bey on the Mall just to see what defense system is in place. Impressive. I speed up as I shower Tapei101 with an Uzi type blast of a personal selection of historical texts (Queneau, Pérec, Schmidt, Schull), the rate of attacks/counter-attacks increases. I take out the Contemporary artillery with Stiegler, Sloterdijk, Sassen, but it counters each blow and taxis explode in the air around me. You talkin’ to me? Less than two hundred meters away now I attempt a hit of Communist texts (from all periods) but the effect is practically null, I reiterate the attack with more incisive, more poetic, more unexpected prose and smile at the effect. Several unfortunately short-lived disturbances occur. You talkin’ to me? My texts barely graze it. When I’m at the foot of the Mall it tries to annihilate me by blowing up all the first floor windows in my direction and I dodge the glass with Industrial society and its future then I run up the escalators four at a time as all the Gucci, Boss, Cerruti, Kenzo, Sonia Rykiel windows explode as I pass by. On the dominant central platform I see anti-fire robots swerve on their rails and direct their high-powered water hoses at me. I zigzag between the 875 chairs and despite my retorts with Situationist pamphlets a jet plasters me against the 100-euro menu Sushi-bar. Now it’s getting to be too much.
I wrap one of the pillars of the Mall with the complete works of Nietzsche translated into 48 languages in a sum total of 2029 volumes then I use all my strength to cross a field of 1000 guards scrutinizing me from the footbridge. It’s just low-level personnel and I progress fast using only a few barely sketched-out texts. Once I’m in the middle of the footbridge, it vibrates and unhooks from the tower, flinging me to the ground. I bounce back with ease and rush through the principal entrance. I throw Rebecca Hom’s installation (852kg of real heavy duty institutional contemporary art) towards one of the principal pillars of the building I don’t want to destroy it so much as make the entire 101 stories vibrate. You talkin’ to me?

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Eric Arlix lives in Paris.

Friday, April 01, 2005

MU

revuemu

Revue MU - numéro 1
Edouard Levé / Frédéric Dumond / Patrick Bouvet / Victor Okil / Jérôme Mauche / PNA Handschin /Alex Pou
01/2005 / Yann Poncelet / revuemu@yahoo.fr