https://aphormirasu.gq/adult-humor/gogols-wife-and-other-stories.pdf In that district the pavements are clean and dry, there is neither mud nor water in the gutters, grass grows in the chinks of the walls. The most heedless passer-by feels the depressing influences of a place where the sound of wheels creates a sensation; there is a grim look about the houses, a suggestion of a jail about those high garden walls. A Parisian straying into a suburb apparently composed of lodging-houses and public institutions would see poverty and dullness, old age lying down to die, and joyous youth condemned to drudgery.
It is the ugliest quarter of Paris, and, it may be added, the least known. But, before all things, the Rue Nueve-Sainte-Genevieve is like a bronze frame for a picture for which the mind cannot be too well prepared by the contemplation of sad hues and sober images.
Even so, step by step the daylight decreases, and the cicerone's droning voice grows hollower as the traveler descends into the Catacombs. The comparison holds good! Who shall say which is more ghastly, the sight of the bleached skulls or of dried-up human hearts? The front of the lodging-house is at right angles to the road, and looks out upon a little garden, so that you see the side of the house in section, as it were, from the Rue Nueve-Sainte-Genevieve.
Beneath the wall of the house front there lies a channel, a fathom wide, paved with cobble-stones, and beside it runs a graveled walk bordered by geraniums and oleanders and pomegranates set in great blue and white glazed earthenware pots. During the day a glimpse into the garden is easily obtained through a wicket to which a bell is attached. On the opposite wall, at the further end of the graveled walk, a green marble arch was painted once upon a time by a local artist, and in this semblance of a shrine a statue representing Cupid is installed; a Parisian Cupid, so blistered and disfigured that he looks like a candidate for one of the adjacent hospitals, and might suggest an allegory to lovers of symbolism.
The half-obliterated inscription on the pedestal beneath determines the date of this work of art, for it bears witness to the widespread enthusiasm felt for Voltaire on his return to Paris in Zur Nachtzeit wird vor das Gitter noch ein festes Eisentor gelegt. At night the wicket gate is replaced by a solid door.
The little garden is no wider than the front of the house; it is shut in between the wall of the street and the partition wall of the neighboring house. A mantle of ivy conceals the bricks and attracts the eyes of passers-by to an effect which is picturesque in Paris, for each of the walls is covered with trellised vines that yield a scanty dusty crop of fruit, and furnish besides a subject of conversation for Mme. Vauquer and her lodgers; every year the widow trembles for her vintage. Vauquer persists in calling them, in spite of the fact that she was a de Conflans, and regardless of repeated corrections from her lodgers.
The central space between the walls is filled with artichokes and rows of pyramid fruit-trees, and surrounded by a border of lettuce, pot-herbs, and parsley. Under the lime-trees there are a few green-painted garden seats and a wooden table, and hither, during the dog-days, such of the lodgers as are rich enough to indulge in a cup of coffee come to take their pleasure, though it is hot enough to roast eggs even in the shade. The house itself is three stories high, without counting the attics under the roof.
It is built of rough stone, and covered with the yellowish stucco that gives a mean appearance to almost every house in Paris. There are five windows in each story in the front of the house; all the blinds visible through the small square panes are drawn up awry, so that the lines are all at cross purposes. At the side of the house there are but two windows on each floor, and the lowest of all are adorned with a heavy iron grating.
Behind the house a yard extends for some twenty feet, a space inhabited by a happy family of pigs, poultry, and rabbits; the wood-shed is situated on the further side, and on the wall between the wood-shed and the kitchen window hangs the meat-safe, just above the place where the sink discharges its greasy streams.
The cook sweeps all the refuse out through a little door into the Rue Nueve-Sainte-Genevieve, and frequently cleanses the yard with copious supplies of water, under pain of pestilence. Der Flur ist parkettiert und blank gebohnt. Es riecht nach allem, was staubig, dumpfig und ranzig ist. The house might have been built on purpose for its present uses. Access is given by a French window to the first room on the ground floor, a sitting-room which looks out upon the street through the two barred windows already mentioned.
Another door opens out of it into the dining-room, which is separated from the kitchen by the well of the staircase, the steps being constructed partly of wood, partly of tiles, which are colored and beeswaxed. Nothing can be more depressing than the sight of that sitting-room. The furniture is covered with horse hair woven in alternate dull and glossy stripes. There is a round table in the middle, with a purplish-red marble top, on which there stands, by way of ornament, the inevitable white china tea-service, covered with a half-effaced gilt network.
The subject between the two windows is the banquet given by Calypso to the son of Ulysses, displayed thereon for the admiration of the boarders, and has furnished jokes these forty years to the young men who show themselves superior to their position by making fun of the dinners to which poverty condemns them. The hearth is always so clean and neat that it is evident that a fire is only kindled there on great occasions; the stone chimney-piece is adorned by a couple of vases filled with faded artificial flowers imprisoned under glass shades, on either side of a bluish marble clock in the very worst taste.
Auf diesen Hintergrund hat der Schmutz der Jahrzehnte seltsame Gestalten gezeichnet. Kurz, es herrscht hier ein Elend ohne jede Poesie. Sie schlurft in ausgetretenen Pantoffeln daher. The damp atmosphere sends a chill through you as you breathe it; it has a stuffy, musty, and rancid quality; it permeates your clothing; after-dinner scents seem to be mingled in it with smells from the kitchen and scullery and the reek of a hospital. It might be possible to describe it if some one should discover a process by which to distil from the atmosphere all the nauseating elements with which it is charged by the catarrhal exhalations of every individual lodger, young or old.
Yet, in spite of these stale horrors, the sitting-room is as charming and as delicately perfumed as a boudoir, when compared with the adjoining dining-room. The paneled walls of that apartment were once painted some color, now a matter of conjecture, for the surface is incrusted with accumulated layers of grimy deposit, which cover it with fantastic outlines. A collection of dim-ribbed glass decanters, metal discs with a satin sheen on them, and piles of blue-edged earthenware plates of Touraine ware cover the sticky surfaces of the sideboards that line the room.
In a corner stands a box containing a set of numbered pigeon-holes, in which the lodgers' table napkins, more or less soiled and stained with wine, are kept. Here you see that indestructible furniture never met with elsewhere, which finds its way into lodging-houses much as the wrecks of our civilization drift into hospitals for incurables. You expect in such places as these to find the weather-house whence a Capuchin issues on wet days; you look to find the execrable engravings which spoil your appetite, framed every one in a black varnished frame, with a gilt beading round it; you know the sort of tortoise-shell clock-case, inlaid with brass; the green stove, the Argand lamps, covered with oil and dust, have met your eyes before.
The chairs are broken-down invalids; the wretched little hempen mats slip away from under your feet without slipping away for good; and finally, the foot-warmers are miserable wrecks, hingeless, charred, broken away about the holes. It would be impossible to give an idea of the old, rotten, shaky, cranky, worm-eaten, halt, maimed, one-eyed, rickety, and ramshackle condition of the furniture without an exhaustive description, which would delay the progress of the story to an extent that impatient people would not pardon.
The red tiles of the floor are full of depressions brought about by scouring and periodical renewings of color. In short, there is no illusory grace left to the poverty that reigns here; it is dire, parsimonious, concentrated, threadbare poverty; as yet it has not sunk into the mire, it is only splashed by it, and though not in rags as yet, its clothing is ready to drop to pieces.
Was ist Herr Vauquer gewesen? This apartment is in all its glory at seven o'clock in the morning, when Mme. Vauquer's cat appears, announcing the near approach of his mistress, and jumps upon the sideboards to sniff at the milk in the bowls, each protected by a plate, while he purrs his morning greeting to the world. A moment later the widow shows her face; she is tricked out in a net cap attached to a false front set on awry, and shuffles into the room in her slipshod fashion.
She is an oldish woman, with a bloated countenance, and a nose like a parrot's beak set in the middle of it; her fat little hands she is as sleek as a church rat and her shapeless, slouching figure are in keeping with the room that reeks of misfortune, where hope is reduced to speculate for the meanest stakes.
Vauquer alone can breathe that tainted air without being disheartened by it. Her face is as fresh as a frosty morning in autumn; there are wrinkles about the eyes that vary in their expression from the set smile of a ballet-dancer to the dark, suspicious scowl of a discounter of bills; in short, she is at once the embodiment and interpretation of her lodging-house, as surely as her lodging-house implies the existence of its mistress.
You can no more imagine the one without the other, than you can think of a jail without a turnkey. The unwholesome corpulence of the little woman is produced by the life she leads, just as typhus fever is bred in the tainted air of a hospital. The very knitted woolen petticoat that she wears beneath a skirt made of an old gown, with the wadding protruding through the rents in the material, is a sort of epitome of the sitting-room, the dining-room, and the little garden; it discovers the cook, it foreshadows the lodgers--the picture of the house is completed by the portrait of its mistress.
Vauquer at the age of fifty is like all women who "have seen a deal of trouble. Still, "she is a good woman at bottom," said the lodgers who believed that the widow was wholly dependent upon the money that they paid her, and sympathized when they heard her cough and groan like one of themselves. Im ersten Stock befanden sich die beiden besten Wohnungen des Hauses. What had M. Vauquer been? The lady was never very explicit on this head. How had she lost her money? He had treated her badly, had left her nothing but her eyes to cry over his cruelty, the house she lived in, and the privilege of pitying nobody, because, so she was wont to say, she herself had been through every possible misfortune.
Sylvie, the stout cook, hearing her mistress' shuffling footsteps, hastened to serve the lodgers' breakfasts. Beside those who lived in the house, Mme. At the time when this story begins, the lodging-house contained seven inmates. The best rooms in the house were on the first story, Mme. Vauquer herself occupying the least important, while the rest were let to a Mme. Couture, the widow of a commissary-general in the service of the Republic. With her lived Victorine Taillefer, a schoolgirl, to whom she filled the place of mother.
These two ladies paid eighteen hundred francs a year. The two sets of rooms on the second floor were respectively occupied by an old man named Poiret and a man of forty or thereabouts, the wearer of a black wig and dyed whiskers, who gave out that he was a retired merchant, and was addressed as M.
Two of the four rooms on the third floor were also let--one to an elderly spinster, a Mlle. Michonneau, and the other to a retired manufacturer of vermicelli, Italian paste and starch, who allowed the others to address him as "Father Goriot. Michonneau, could only muster forty-five francs a month to pay for their board and lodging. Vauquer had little desire for lodgers of this sort; they ate too much bread, and she only took them in default of better.
Die beiden Mieter des zweiten Stockwerks bezahlten jeder zweiundsiebzig Franken im Monat. Auch konnte man die ganze Trostlosigkeit der vorhin beschriebenen Einrichtung des Hauses in der ebenso abgenutzten Kleidung seiner Bewohner wiederfinden. At that time one of the rooms was tenanted by a law student, a young man from the neighborhood of Angouleme, one of a large family who pinched and starved themselves to spare twelve hundred francs a year for him. Misfortune had accustomed Eugene de Rastignac, for that was his name, to work.
He belonged to the number of young men who know as children that their parents' hopes are centered on them, and deliberately prepare themselves for a great career, subordinating their studies from the first to this end, carefully watching the indications of the course of events, calculating the probable turn that affairs will take, that they may be the first to profit by them. But for his observant curiosity, and the skill with which he managed to introduce himself into the salons of Paris, this story would not have been colored by the tones of truth which it certainly owes to him, for they are entirely due to his penetrating sagacity and desire to fathom the mysteries of an appalling condition of things, which was concealed as carefully by the victim as by those who had brought it to pass.
Above the third story there was a garret where the linen was hung to dry, and a couple of attics. Christophe, the man-of-all-work, slept in one, and Sylvie, the stout cook, in the other. Beside the seven inmates thus enumerated, taking one year with another, some eight law or medical students dined in the house, as well as two or three regular comers who lived in the neighborhood. There were usually eighteen people at dinner, and there was room, if need be, for twenty at Mme.
Vauquer's table; at breakfast, however, only the seven lodgers appeared. It was almost like a family party. Every one came down in dressing-gown and slippers, and the conversation usually turned on anything that had happened the evening before; comments on the dress or appearance of the dinner contingent were exchanged in friendly confidence. These seven lodgers were Mme.
Vauquer's spoiled children. Among them she distributed, with astronomical precision, the exact proportion of respect and attention due to the varying amounts they paid for their board. One single consideration influenced all these human beings thrown together by chance. The two second-floor lodgers only paid seventy-two francs a month. Such prices as these are confined to the Faubourg Saint-Marcel and the district between La Bourbe and the Salpetriere; and, as might be expected, poverty, more or less apparent, weighed upon them all, Mme.
Couture being the sole exception to the rule. War es das Laster, der Kummer, die Begierde? Hatte sie zuviel geliebt? War sie Putzmacherin gewesen oder Kurtisane? Dieser Greis hatte ihr eine Leibrente von tausend Franken vermacht, die von Zeit zu Zeit von den Erben angefochten wurde. The dreary surroundings were reflected in the costumes of the inmates of the house; all were alike threadbare. The color of the men's coats were problematical; such shoes, in more fashionable quarters, are only to be seen lying in the gutter; the cuffs and collars were worn and frayed at the edges; every limp article of clothing looked like the ghost of its former self.
The women's dresses were faded, old-fashioned, dyed and re-dyed; they wore gloves that were glazed with hard wear, much-mended lace, dingy ruffles, crumpled muslin fichus. So much for their clothing; but, for the most part, their frames were solid enough; their constitutions had weathered the storms of life; their cold, hard faces were worn like coins that have been withdrawn from circulation, but there were greedy teeth behind the withered lips. Dramas brought to a close or still in progress are foreshadowed by the sight of such actors as these, not the dramas that are played before the footlights and against a background of painted canvas, but dumb dramas of life, frost-bound dramas that sere hearts like fire, dramas that do not end with the actors' lives.
Herr Poiret glich mehr einer seltsamen Maschine als einem Menschen. Was war er gewesen? Vielleicht war er Geldeinnehmer beim Schlachthaus oder Unterinspektor beim Gesundheitsamt gewesen? Aber Paris ist ein wahrer Ozean. Werft das Senkblei hinein, ihr werdet seine Tiefe nie ermessen! Das Haus Vauquer ist eine dieser seltsamen Ungeheuerlichkeiten. Michonneau, that elderly young lady, screened her weak eyes from the daylight by a soiled green silk shade with a rim of brass, an object fit to scare away the Angel of Pity himself. Her shawl, with its scanty, draggled fringe, might have covered a skeleton, so meagre and angular was the form beneath it.
Yet she must have been pretty and shapely once. What corrosive had destroyed the feminine outlines? Was it trouble, or vice, or greed? Had she loved too well? Had she been a second-hand clothes dealer, a frequenter of the backstairs of great houses, or had she been merely a courtesan? Was she expiating the flaunting triumphs of a youth overcrowded with pleasures by an old age in which she was shunned by every passer-by? Her vacant gaze sent a chill through you; her shriveled face seemed like a menace. Her voice was like the shrill, thin note of the grasshopper sounding from the thicket when winter is at hand.
She said that she had nursed an old gentleman, ill of catarrh of the bladder, and left to die by his children, who thought that he had nothing left. His bequest to her, a life annuity of a thousand francs, was periodically disputed by his heirs, who mingled slander with their persecutions. In spite of the ravages of conflicting passions, her face retained some traces of its former fairness and fineness of tissue, some vestiges of the physical charms of her youth still survived. Poiret was a sort of automaton. He might be seen any day sailing like a gray shadow along the walks of the Jardin des Plantes, on his head a shabby cap, a cane with an old yellow ivory handle in the tips of his thin fingers; the outspread skirts of his threadbare overcoat failed to conceal his meagre figure; his breeches hung loosely on his shrunken limbs; the thin, blue-stockinged legs trembled like those of a drunken man; there was a notable breach of continuity between the dingy white waistcoat and crumpled shirt frills and the cravat twisted about a throat like a turkey gobbler's; altogether, his appearance set people wondering whether this outlandish ghost belonged to the audacious race of the sons of Japhet who flutter about on the Boulevard Italien.
What devouring kind of toil could have so shriveled him? What devouring passions had darkened that bulbous countenance, which would have seemed outrageous as a caricature? What had he been? Well, perhaps he had been part of the machinery of justice, a clerk in the office to which the executioner sends in his accounts,--so much for providing black veils for parricides, so much for sawdust, so much for pulleys and cord for the knife. Or he might have been a receiver at the door of a public slaughter-house, or a sub-inspector of nuisances.
Indeed, the man appeared to have been one of the beasts of burden in our great social mill; one of those Parisian Ratons whom their Bertrands do not even know by sight; a pivot in the obscure machinery that disposes of misery and things unclean; one of those men, in short, at sight of whom we are prompted to remark that, "After all, we cannot do without them. Ihre grau und schwarzen Augen hatten einen sanften Ausdruck und spiegelten christliche Entsagung. Stately Paris ignores the existence of these faces bleached by moral or physical suffering; but, then, Paris is in truth an ocean that no line can plumb.
You may survey its surface and describe it; but no matter how numerous and painstaking the toilers in this sea, there will always be lonely and unexplored regions in its depths, caverns unknown, flowers and pearls and monsters of the deep overlooked or forgotten by the divers of literature. The Maison Vauquer is one of these curious monstrosities. Two, however, of Mme. Vauquer's boarders formed a striking contrast to the rest. There was a sickly pallor, such as is often seen in anaemic girls, in Mlle.
Victorine Taillefer's face; and her unvarying expression of sadness, like her embarrassed manner and pinched look, was in keeping with the general wretchedness of the establishment in the Rue Nueve-Saint-Genevieve, which forms a background to this picture; but her face was young, there was youthfulness in her voice and elasticity in her movements.
This young misfortune was not unlike a shrub, newly planted in an uncongenial soil, where its leaves have already begun to wither. The outlines of her figure, revealed by her dress of the simplest and cheapest materials, were also youthful. There was the same kind of charm about her too slender form, her faintly colored face and light-brown hair, that modern poets find in mediaeval statuettes; and a sweet expression, a look of Christian resignation in the dark gray eyes.
She was pretty by force of contrast; if she had been happy, she would have been charming. Happiness is the poetry of woman, as the toilette is her tinsel. If the delightful excitement of a ball had made the pale face glow with color; if the delights of a luxurious life had brought the color to the wan cheeks that were slightly hollowed already; if love had put light into the sad eyes, then Victorine might have ranked among the fairest; but she lacked the two things which create woman a second time--pretty dresses and love-letters.
In Wuchs und Manieren, in Haltung und Auftreten erkannte man den Sohn aus adligem Hause, wo schon die erste Erziehung auf Tradition des guten Geschmacks aufgebaut wird. A book might have been made of her story. Her father was persuaded that he had sufficient reason for declining to acknowledge her, and allowed her a bare six hundred francs a year; he had further taken measures to disinherit his daughter, and had converted all his real estate into personalty, that he might leave it undivided to his son.
Victorine's mother had died broken-hearted in Mme. Couture's house; and the latter, who was a near relation, had taken charge of the little orphan. Unluckily, the widow of the commissary-general to the armies of the Republic had nothing in the world but her jointure and her widow's pension, and some day she might be obliged to leave the helpless, inexperienced girl to the mercy of the world. The good soul, therefore, took Victorine to mass every Sunday, and to confession once a fortnight, thinking that, in any case, she would bring up her ward to be devout.
She was right; religion offered a solution of the problem of the young girl's future. The poor child loved the father who refused to acknowledge her. Once every year she tried to see him to deliver her mother's message of forgiveness, but every year hitherto she had knocked at that door in vain; her father was inexorable.
Her brother, her only means of communication, had not come to see her for four years, and had sent her no assistance; yet she prayed to God to unseal her father's eyes and to soften her brother's heart, and no accusations mingled with her prayers. Couture and Mme. Vauquer exhausted the vocabulary of abuse, and failed to find words that did justice to the banker's iniquitous conduct; but while they heaped execrations on the millionaire, Victorine's words were as gentle as the moan of the wounded dove, and affection found expression even in the cry drawn from her by pain.
Eugene de Rastignac was a thoroughly southern type; he had a fair complexion, blue eyes, black hair. In his figure, manner, and his whole bearing it was easy to see that he had either come of a noble family, or that, from his earliest childhood, he had been gently bred. If he was careful of his wardrobe, only taking last year's clothes into daily wear, still upon occasion he could issue forth as a young man of fashion.
Ordinarily he wore a shabby coat and waistcoat, the limp black cravat, untidily knotted, that students affect, trousers that matched the rest of his costume, and boots that had been resoled. Vautrin the man of forty with the dyed whiskers marked a transition stage between these two young people and the others. He was the kind of man that calls forth the remark: "He looks a jovial sort!
His face was furrowed by premature wrinkles; there was a certain hardness about it in spite of his bland and insinuating manner. His bass voice was by no means unpleasant, and was in keeping with his boisterous laughter. He was always obliging, always in good spirits; if anything went wrong with one of the locks, he would soon unscrew it, take it to pieces, file it, oil and clean and set it in order, and put it back in its place again; "I am an old hand at it," he used to say.
Not only so, he knew all about ships, the sea, France, foreign countries, men, business, law, great houses and prisons, --there was nothing that he did not know. If any one complained rather more than usual, he would offer his services at once. He had several times lent money to Mme. Vauquer, or to the boarders; but, somehow, those whom he obliged felt that they would sooner face death than fail to repay him; a certain resolute look, sometimes seen on his face, inspired fear of him, for all his appearance of easy good-nature.
In the way he spat there was an imperturbable coolness which seemed to indicate that this was a man who would not stick at a crime to extricate himself from a false position. His eyes, like those of a pitiless judge, seemed to go to the very bottom of all questions, to read all natures, all feelings and thoughts. His habit of life was very regular; he usually went out after breakfast, returning in time for dinner, and disappeared for the rest of the evening, letting himself in about midnight with a latch key, a privilege that Mme. Vauquer accorded to no other boarder. But then he was on very good terms with the widow; he used to call her "mamma," and put his arm round her waist, a piece of flattery perhaps not appreciated to the full!
The worthy woman might imagine this to be an easy feat; but, as a matter of fact, no arm but Vautrin's was long enough to encircle her. Gleich alten Eheleuten hatten sie einander nichts mehr zu sagen. It was a characteristic trait of his generously to pay fifteen francs a month for the cup of coffee with a dash of brandy in it, which he took after dinner.
Less superficial observers than young men engulfed by the whirlpool of Parisian life, or old men, who took no interest in anything that did not directly concern them, would not have stopped short at the vaguely unsatisfactory impression that Vautrin made upon them. He knew or guessed the concerns of every one about him; but none of them had been able to penetrate his thoughts, or to discover his occupation. He had deliberately made his apparent good-nature, his unfailing readiness to oblige, and his high spirits into a barrier between himself and the rest of them, but not seldom he gave glimpses of appalling depths of character.
He seemed to delight in scourging the upper classes of society with the lash of his tongue, to take pleasure in convicting it of inconsistency, in mocking at law and order with some grim jest worthy of Juvenal, as if some grudge against the social system rankled in him, as if there were some mystery carefully hidden away in his life.
Taillefer felt attracted, perhaps unconsciously, by the strength of the one man, and the good looks of the other; her stolen glances and secret thoughts were divided between them; but neither of them seemed to take any notice of her, although some day a chance might alter her position, and she would be a wealthy heiress.
For that matter, there was not a soul in the house who took any trouble to investigate the various chronicles of misfortunes, real or imaginary, related by the rest. Each one regarded the others with indifference, tempered by suspicion; it was a natural result of their relative positions. Practical assistance not one could give, this they all knew, and they had long since exhausted their stock of condolence over previous discussions of their grievances.
They were in something the same position as an elderly couple who have nothing left to say to each other. The routine of existence kept them in contact, but they were parts of a mechanism which wanted oil. There was not one of them but would have passed a blind man begging in the street, not one that felt moved to pity by a tale of misfortune, not one who did not see in death the solution of the all-absorbing problem of misery which left them cold to the most terrible anguish in others. Diese Fragen streifen an gar manche Ungerechtigkeit der Welt.
The happiest of these hapless beings was certainly Mme. Vauquer, who reigned supreme over this hospital supported by voluntary contributions. Those cells belonged to her.
She fed those convicts condemned to penal servitude for life, and her authority was recognized among them. Where else in Paris would they have found wholesome food in sufficient quantity at the prices she charged them, and rooms which they were at liberty to make, if not exactly elegant or comfortable, at any rate clean and healthy?
If she had committed some flagrant act of injustice, the victim would have borne it in silence. Such a gathering contained, as might have been expected, the elements out of which a complete society might be constructed. And, as in a school, as in the world itself, there was among the eighteen men and women who met round the dinner table a poor creature, despised by all the others, condemned to be the butt of all their jokes. At the beginning of Eugene de Rastignac's second twelvemonth, this figure suddenly started out into bold relief against the background of human forms and faces among which the law student was yet to live for another two years to come.
This laughing-stock was the retired vermicelli-merchant, Father Goriot, upon whose face a painter, like the historian, would have concentrated all the light in his picture.
Arme Kleine! How had it come about that the boarders regarded him with a half-malignant contempt? Why did they subject the oldest among their number to a kind of persecution, in which there was mingled some pity, but no respect for his misfortunes? Had he brought it on himself by some eccentricity or absurdity, which is less easily forgiven or forgotten than more serious defects?
The question strikes at the root of many a social injustice. Perhaps it is only human nature to inflict suffering on anything that will endure suffering, whether by reason of its genuine humility, or indifference, or sheer helplessness. Do we not, one and all, like to feel our strength even at the expense of some one or of something?
The poorest sample of humanity, the street arab, will pull the bell handle at every street door in bitter weather, and scramble up to write his name on the unsullied marble of a monument. In the year , at the age of sixty-nine or thereabouts, "Father Goriot" had sold his business and retired--to Mme.
Vauquer's boarding house. When he first came there he had taken the rooms now occupied by Mme. Couture; he had paid twelve hundred francs a year like a man to whom five louis more or less was a mere trifle. For him Mme. Vauquer had made various improvements in the three rooms destined for his use, in consideration of a certain sum paid in advance, so it was said, for the miserable furniture, that is to say, for some yellow cotton curtains, a few chairs of stained wood covered with Utrecht velvet, several wretched colored prints in frames, and wall papers that a little suburban tavern would have disdained.
Possibly it was the careless generosity with which Father Goriot allowed himself to be overreached at this period of his life they called him Monsieur Goriot very respectfully then that gave Mme. Vauquer the meanest opinion of his business abilities; she looked on him as an imbecile where money was concerned. Goriot had brought with him a considerable wardrobe, the gorgeous outfit of a retired tradesman who denies himself nothing. Vauquer's astonished eyes beheld no less than eighteen cambric-fronted shirts, the splendor of their fineness being enhanced by a pair of pins each bearing a large diamond, and connected by a short chain, an ornament which adorned the vermicelli-maker's shirt front.
He usually wore a coat of corn-flower blue; his rotund and portly person was still further set off by a clean white waistcoat, and a gold chain and seals which dangled over that broad expanse. When his hostess accused him of being "a bit of a beau," he smiled with the vanity of a citizen whose foible is gratified.
The widow's eyes gleamed as she obligingly helped him to unpack the soup ladles, table-spoons, forks, cruet-stands, tureens, dishes, and breakfast services--all of silver, which were duly arranged upon shelves, besides a few more or less handsome pieces of plate, all weighing no inconsiderable number of ounces; he could not bring himself to part with these gifts that reminded him of past domestic festivals.
Vauquer, as he put away a little silver posset dish, with two turtle-doves billing on the cover. Do you know, I would sooner scratch the earth with my nails for a living, madame, than part with that. But I shall be able to take my coffee out of it every morning for the rest of my days, thank the Lord! I am not to be pitied. There's not much fear of my starving for some time to come. Sie redete ferner von guter Luft und idyllischer Ruhe. Finally, Mme. Vauquer's magpie's eye had discovered and read certain entries in the list of shareholders in the funds, and, after a rough calculation, was disposed to credit Goriot worthy man with something like ten thousand francs a year.
From that day forward Mme. Vauquer had her own ideas. Though Goriot's eyes seemed to have shrunk in their sockets, though they were weak and watery, owing to some glandular affection which compelled him to wipe them continually, she considered him to be a very gentlemanly and pleasant-looking man. Moreover, the widow saw favorable indications of character in the well-developed calves of his legs and in his square-shaped nose, indications still further borne out by the worthy man's full-moon countenance and look of stupid good-nature.
This, in all probability, was a strongly-build animal, whose brains mostly consisted in a capacity for affection. Though his manners were somewhat boorish, he was always as neat as a new pin and he took his snuff in a lordly way, like a man who knows that his snuff-box is always likely to be filled with maccaboy, so that when Mme. Vauquer lay down to rest on the day of M. Goriot's installation, her heart, like a larded partridge, sweltered before the fire of a burning desire to shake off the shroud of Vauquer and rise again as Goriot.
She would marry again, sell her boarding-house, give her hand to this fine flower of citizenship, become a lady of consequence in the quarter, and ask for subscriptions for charitable purposes; she would make little Sunday excursions to Choisy, Soissy, Gentilly; she would have a box at the theatre when she liked, instead of waiting for the author's tickets that one of her boarders sometimes gave her, in July; the whole Eldorado of a little Parisian household rose up before Mme. Vauquer in her dreams. For three months from that day Mme. Veuve Vauquer availed herself of the services of M.
Goriot's coiffeur, and went to some expense over her toilette, expense justifiable on the ground that she owed it to herself and her establishment to pay some attention to appearances when such highly-respectable persons honored her house with their presence. She expended no small amount of ingenuity in a sort of weeding process of her lodgers, announcing her intention of receiving henceforward none but people who were in every way select. If a stranger presented himself, she let him know that M.
Goriot, one of the best known and most highly-respected merchants in Paris, had singled out her boarding-house for a residence. In Wahrheit rechnete sie damit, sie um den Dienst zu bitten, Goriot auszuhorchen und sie bei ihm herauszustreichen. It was this prospectus that attracted Mme. Vauquer saw to her table, lighted a fire daily in the sitting-room for nearly six months, and kept the promise of her prospectus, even going to some expense to do so.
And the Countess, on her side, addressed Mme. Vauquer as "my dear," and promised her two more boarders, the Baronne de Vaumerland and the widow of a colonel, the late Comte de Picquoisie, who were about to leave a boarding-house in the Marais, where the terms were higher than at the Maison Vauquer. Both these ladies, moreover, would be very well to do when the people at the War Office had come to an end of their formalities. After dinner the two widows went together up to Mme. Vauquer's room, and had a snug little chat over some cordial and various delicacies reserved for the mistress of the house.
Vauquer's ideas as to Goriot were cordially approved by Mme. The good-natured Countess turned to the subject of Mme. Vauquer's dress, which was not in harmony with her projects. After much serious consideration the two widows went shopping together--they purchased a hat adorned with ostrich feathers and a cap at the Palais Royal, and the Countess took her friend to the Magasin de la Petite Jeannette, where they chose a dress and a scarf. Thus equipped for the campaign, the widow looked exactly like the prize animal hung out for a sign above an a la mode beef shop; but she herself was so much pleased with the improvement, as she considered it, in her appearance, that she felt that she lay under some obligation to the Countess; and, though by no means open-handed, she begged that lady to accept a hat that cost twenty francs.
The fact was that she needed the Countess' services on the delicate mission of sounding Goriot; the countess must sing her praises in his ears. She left him, revolted by his coarseness. He is absurdly suspicious, and he is a mean curmudgeon, an idiot, a fool; you would never be happy with him. Ich verstehe mich auf solche Fratzen. After what had passed between M. Goriot and Mme. She left the next day, forgot to pay for six months' board, and left behind her wardrobe, cast-off clothing to the value of five francs. Eagerly and persistently as Mme. Vauquer sought her quondam lodger, the Comtesse de l'Ambermesnil was never heard of again in Paris.
The widow often talked of this deplorable business, and regretted her own too confiding disposition. As a matter of fact, she was as suspicious as a cat; but she was like many other people, who cannot trust their own kin and put themselves at the mercy of the next chance comer--an odd but common phenomenon, whose causes may readily be traced to the depths of the human heart. Perhaps there are people who know that they have nothing more to look for from those with whom they live; they have shown the emptiness of their hearts to their housemates, and in their secret selves they are conscious that they are severely judged, and that they deserve to be judged severely; but still they feel an unconquerable craving for praises that they do not hear, or they are consumed by a desire to appear to possess, in the eyes of a new audience, the qualities which they have not, hoping to win the admiration or affection of strangers at the risk of forfeiting it again some day.
Or, once more, there are other mercenary natures who never do a kindness to a friend or a relation simply because these have a claim upon them, while a service done to a stranger brings its reward to self-love. Such natures feel but little affection for those who are nearest to them; they keep their kindness for remoter circles of acquaintance, and show most to those who dwell on its utmost limits. Vauquer belonged to both these essentially mean, false, and execrable classes.
I know that kind of phiz! Eine der widerlichsten Eigenschaften der kleinen Seelen ist es, ihre eigene Kleinlichkeit bei den anderen vorauszusetzen. Wo lag nun die Ursache dieses Niederganges? Like all narrow natures, Mme. Vauquer was wont to confine her attention to events, and did not go very deeply into the causes that brought them about; she likewise preferred to throw the blame of her own mistakes on other people, so she chose to consider that the honest vermicelli maker was responsible for her misfortune.
It had opened her eyes, so she said, with regard to him. As soon as she saw that her blandishments were in vain, and that her outlay on her toilette was money thrown away, she was not slow to discover the reason of his indifference. In short, it was evident that the hope she had so fondly cherished was a baseless delusion, and that she would "never make anything out of that man yonder," in the Countess' forcible phrase.
The Countess seemed to have been a judge of character. Vauquer's aversion was naturally more energetic than her friendship, for her hatred was not in proportion to her love, but to her disappointed expectations. The human heart may find here and there a resting-place short of the highest height of affection, but we seldom stop in the steep, downward slope of hatred.
Still, M. Goriot was a lodger, and the widow's wounded self-love could not vent itself in an explosion of wrath; like a monk harassed by the prior of his convent, she was forced to stifle her sighs of disappointment, and to gulp down her craving for revenge. Little minds find gratification for their feelings, benevolent or otherwise, by a constant exercise of petty ingenuity.
The widow employed her woman's malice to devise a system of covert persecution. She began by a course of retrenchment --various luxuries which had found their way to the table appeared there no more. The thrifty frugality necessary to those who mean to make their way in the world had become an inveterate habit of life with M. Soup, boiled beef, and a dish of vegetables had been, and always would be, the dinner he liked best, so Mme. Vauquer found it very difficult to annoy a boarder whose tastes were so simple. He was proof against her malice, and in desperation she spoke to him and of him slightingly before the other lodgers, who began to amuse themselves at his expense, and so gratified her desire for revenge.
Towards the end of the first year the widow's suspicions had reached such a pitch that she began to wonder how it was that a retired merchant with a secure income of seven or eight thousand livres, the owner of such magnificent plate and jewelry handsome enough for a kept mistress, should be living in her house. Why should he devote so small a proportion of his money to his expenses?
Until the first year was nearly at an end, Goriot had dined out once or twice every week, but these occasions came less frequently, and at last he was scarcely absent from the dinner-table twice a month. It was hardly expected that Mme. Vauquer should regard the increased regularity of her boarder's habits with complacency, when those little excursions of his had been so much to her interest. She attributed the change not so much to a gradual diminution of fortune as to a spiteful wish to annoy his hostess.
It is one of the most detestable habits of a Liliputian mind to credit other people with its own malignant pettiness. Unluckily, towards the end of the second year, M. Goriot's conduct gave some color to the idle talk about him. He asked Mme. Vauquer to give him a room on the second floor, and to make a corresponding reduction in her charges. Apparently, such strict economy was called for, that he did without a fire all through the winter.
Vauquer asked to be paid in advance, an arrangement to which M. Goriot consented, and thenceforward she spoke of him as "Father Goriot.
Einen Monat nach diesem Besuch erhielt Herr Goriot wieder einen. What had brought about this decline and fall? Conjecture was keen, but investigation was difficult. Father Goriot was not communicative; in the sham countess' phrase he was "a curmudgeon. Opinion fluctuated. Sometimes it was held that he was one of those petty gamblers who nightly play for small stakes until they win a few francs. A theory that he was a detective in the employ of the Home Office found favor at one time, but Vautrin urged that "Goriot was not sharp enough for one of that sort.
He was by turns all the most mysterious brood of vice and shame and misery; yet, however vile his life might be, the feeling of repulsion which he aroused in others was not so strong that he must be banished from their society--he paid his way. Besides, Goriot had his uses, every one vented his spleen or sharpened his wit on him; he was pelted with jokes and belabored with hard words. The general consensus of opinion was in favor of a theory which seemed the most likely; this was Mme.
Vauquer's view. According to her, the man so well preserved at his time of life, as sound as her eyesight, with whom a woman might be very happy, was a libertine who had strange tastes. These are the facts upon which Mme. Vauquer's slanders were based. Early one morning, some few months after the departure of the unlucky Countess who had managed to live for six months at the widow's expense, Mme.
Vauquer not yet dressed heard the rustle of a silk dress and a young woman's light footstep on the stair; some one was going to Goriot's room. He seemed to expect the visit, for his door stood ajar. The portly Sylvie presently came up to tell her mistress that a girl too pretty to be honest, "dressed like a goddess," and not a speck of mud on her laced cashmere boots, had glided in from the street like a snake, had found the kitchen, and asked for M.
Goriot's room. Vauquer and the cook, listening, overheard several words affectionately spoken during the visit, which lasted for some time. When M. Goriot went downstairs with the lady, the stout Sylvie forthwith took her basket and followed the lover-like couple, under pretext of going to do her marketing. Goriot must be awfully rich, all the same, madame," she reported on her return, "to keep her in such style. Just imagine it! While they were at dinner that evening, Mme.
Vauquer went to the window and drew the curtain, as the sun was shining into Goriot's eyes. Goriot--the sun seeks you out," she said, alluding to his visitor. Er verzichtete auf den Schnupftabak, verabschiedete seinen Friseur und trug das Haar ungepudert. Er hatte seinen blauen Rock, seine ganze Kleidung abgelegt und trug Sommer wie Winter einen groben kastanienbraunen Tuchrock, eine ziegenlederne Weste und grauwollene Beinkleider. Sie sehen sie noch manchmal? A month after this visit M. Goriot received another.
The same daughter who had come to see him that morning came again after dinner, this time in evening dress. The boarders, in deep discussion in the dining-room, caught a glimpse of a lovely, fair-haired woman, slender, graceful, and much too distinguished-looking to be a daughter of Father Goriot's. A few days later, and another young lady--a tall, well-moulded brunette, with dark hair and bright eyes--came to ask for M. Then the second daughter, who had first come in the morning to see her father, came shortly afterwards in the evening.
She wore a ball dress, and came in a carriage. Vauquer and her plump handmaid. Sylvie saw not a trace of resemblance between this great lady and the girl in her simple morning dress who had entered her kitchen on the occasion of her first visit. At that time Goriot was paying twelve hundred francs a year to his landlady, and Mme. Vauquer saw nothing out of the common in the fact that a rich man had four or five mistresses; nay, she thought it very knowing of him to pass them off as his daughters.
She was not at all inclined to draw a hard-and-fast line, or to take umbrage at his sending for them to the Maison Vauquer; yet, inasmuch as these visits explained her boarder's indifference to her, she went so far at the end of the second year as to speak of him as an "ugly old wretch. Father Goriot answered that the lady was his eldest daughter. Vauquer sharply.
Towards the end of the third year Father Goriot reduced his expenses still further; he went up to the third story, and now paid forty-five francs a month. He did without snuff, told his hairdresser that he no longer required his services, and gave up wearing powder. When Goriot appeared for the first time in this condition, an exclamation of astonishment broke from his hostess at the color of his hair--a dingy olive gray.
He had grown sadder day by day under the influence of some hidden trouble; among all the faces round the table, his was the most woe-begone. There was no longer any doubt. Goriot was an elderly libertine, whose eyes had only been preserved by the skill of the physician from the malign influence of the remedies necessitated by the state of his health. The disgusting color of his hair was a result of his excesses and of the drugs which he had taken that he might continue his career.
The poor old man's mental and physical condition afforded some grounds for the absurd rubbish talked about him. His diamonds, his gold snuff-box, watch-chain and trinkets, disappeared one by one. He had left off wearing the corn-flower blue coat, and was sumptuously arrayed, summer as well as winter, in a coarse chestnut-brown coat, a plush waistcoat, and doeskin breeches. He grew thinner and thinner; his legs were shrunken, his cheeks, once so puffed out by contented bourgeois prosperity, were covered with wrinkles, and the outlines of the jawbones were distinctly visible; there were deep furrows in his forehead.
In the fourth year of his residence in the Rue Neuve-Sainte-Genevieve he was no longer like his former self. The hale vermicelli manufacturer, sixty-two years of age, who had looked scarce forty, the stout, comfortable, prosperous tradesman, with an almost bucolic air, and such a brisk demeanor that it did you good to look at him; the man with something boyish in his smile, had suddenly sunk into his dotage, and had become a feeble, vacillating septuagenarian.
The keen, bright blue eyes had grown dull, and faded to a steel-gray color; the red inflamed rims looked as though they had shed tears of blood. He excited feelings of repulsion in some, and of pity in others. The young medical students who came to the house noticed the drooping of his lower lip and the conformation of the facial angle; and, after teasing him for some time to no purpose, they declared that cretinism was setting in. Diese Folgerung war nicht zu widerlegen. Poiret war ein Adler, ein Gentleman neben Goriot. Poiret sprach, widerlegte, scherzte. One evening after dinner Mme. Vauquer said half banteringly to him, "So those daughters of yours don't come to see you any more, eh?
Seine Tante, Frau von Marcillac, war in ihren jungen Jahren bei Hofe vorgestellt worden und hatte dort die Spitzen der Aristokratie kennen gelernt. The old man scarcely seemed to hear the witticisms at his expense that followed on the words; he had relapsed into the dreamy state of mind that these superficial observers took for senile torpor, due to his lack of intelligence. If they had only known, they might have been deeply interested by the problem of his condition; but few problems were more obscure.
It was easy, of course, to find out whether Goriot had really been a vermicelli manufacturer; the amount of his fortune was readily discoverable; but the old people, who were most inquisitive as to his concerns, never went beyond the limits of the Quarter, and lived in the lodging-house much as oysters cling to a rock. As for the rest, the current of life in Paris daily awaited them, and swept them away with it; so soon as they left the Rue Neuve-Sainte-Genevieve, they forgot the existence of the old man, their butt at dinner. For those narrow souls, or for careless youth, the misery in Father Goriot's withered face and its dull apathy were quite incompatible with wealth or any sort of intelligence.
As for the creatures whom he called his daughters, all Mme. Vauquer's boarders were of her opinion. With the faculty for severe logic sedulously cultivated by elderly women during long evenings of gossip till they can always find an hypothesis to fit all circumstances, she was wont to reason thus:. No objection could be raised to these inferences. So by the end of the month of November , at the time when the curtain rises on this drama, every one in the house had come to have a very decided opinion as to the poor old man.
Poiret was an eagle, a gentleman, compared with Goriot. Poiret would join the talk, argue, answer when he was spoken to; as a matter of fact, his talk, arguments, and responses contributed nothing to the conversation, for Poiret had a habit of repeating what the others said in different words; still, he did join in the talk; he was alive, and seemed capable of feeling; while Father Goriot to quote the Museum official again was invariably at zero degrees--Reaumur.
Eugene de Rastignac had just returned to Paris in a state of mind not unknown to young men who are conscious of unusual powers, and to those whose faculties are so stimulated by a difficult position, that for the time being they rise above the ordinary level. Rastignac's first year of study for the preliminary examinations in law had left him free to see the sights of Paris and to enjoy some of its amusements. A student has not much time on his hands if he sets himself to learn the repertory of every theatre, and to study the ins and outs of the labyrinth of Paris.
To know its customs; to learn the language, and become familiar with the amusements of the capital, he must explore its recesses, good and bad, follow the studies that please him best, and form some idea of the treasures contained in galleries and museums. At this stage of his career a student grows eager and excited about all sorts of follies that seem to him to be of immense importance.
He has his hero, his great man, a professor at the College de France, paid to talk down to the level of his audience. He adjusts his cravat, and strikes various attitudes for the benefit of the women in the first galleries at the Opera-Comique. As he passes through all these successive initiations, and breaks out of his sheath, the horizons of life widen around him, and at length he grasps the plan of society with the different human strata of which it is composed.
If he begins by admiring the procession of carriages on sunny afternoons in the Champs-Elysees, he soon reaches the further stage of envying their owners. Unconsciously, Eugene had served his apprenticeship before he went back to Angouleme for the long vacation after taking his degrees as bachelor of arts and bachelor of law. The illusions of childhood had vanished, so also had the ideas he brought with him from the provinces; he had returned thither with an intelligence developed, with loftier ambitions, and saw things as they were at home in the old manor house.
His father and mother, his two brothers and two sisters, with an aged aunt, whose whole fortune consisted in annuities, lived on the little estate of Rastignac. The whole property brought in about three thousand francs; and though the amount varied with the season as must always be the case in a vine-growing district , they were obliged to spare an unvarying twelve hundred francs out of their income for him.
He saw how constantly the poverty, which they had generously hidden from him, weighed upon them; he could not help comparing the sisters, who had seemed so beautiful to his boyish eyes, with women in Paris, who had realized the beauty of his dreams. The uncertain future of the whole family depended upon him. It did not escape his eyes that not a crumb was wasted in the house, nor that the wine they drank was made from the second pressing; a multitude of small things, which it is useless to speak of in detail here, made him burn to distinguish himself, and his ambition to succeed increased tenfold.
So also sah es Ende November in der Familienpension aus. Um die verlorene Zeit wieder einzubringen, hatte der tapfere Student sich vorgenommen, bis zum Morgen durchzuarbeiten. Das sollte die erste Nacht sein, die er hier im stillen Stadtviertel durchwachte. Wer in diese goldenen Salons zugelassen war, den hatte man in den hohen Adel aufgenommen. Der Marquis von Ronquerolles nannte sie ein Vollblutpferd. He meant, like all great souls, that his success should be owing entirely to his merits; but his was pre-eminently a southern temperament, the execution of his plans was sure to be marred by the vertigo that seizes on youth when youth sees itself alone in a wide sea, uncertain how to spend its energies, whither to steer its course, how to adapt its sails to the winds.
At first he determined to fling himself heart and soul into his work, but he was diverted from this purpose by the need of society and connections; then he saw how great an influence women exert in social life, and suddenly made up his mind to go out into this world to seek a protectress there. Surely a clever and high-spirited young man, whose wit and courage were set off to advantage by a graceful figure and the vigorous kind of beauty that readily strikes a woman's imagination, need not despair of finding a protectress.
These ideas occurred to him in his country walks with his sisters, whom he had once joined so gaily. The girls thought him very much changed. His aunt, Mme. Suddenly the young man's ambition discerned in those recollections of hers, which had been like nursery fairy tales to her nephews and nieces, the elements of a social success at least as important as the success which he had achieved at the Ecole de Droit. He began to ask his aunt about those relations; some of the old ties might still hold good.
After much shaking of the branches of the family tree, the old lady came to the conclusion that of all persons who could be useful to her nephew among the selfish genus of rich relations, the Vicomtesse de Beauseant was the least likely to refuse. To this lady, therefore, she wrote in the old-fashioned style, recommending Eugene to her; pointing out to her nephew that if he succeeded in pleasing Mme.
The tone of representation varies greatly. Some deliver their message or insight in glaringly humorous ways, whilst others do so more soberly with a reporting approach. Who are these buffoons who have in good humor mocked art movements? Who are the heretics that have astutely interpreted and presented the sociological workings of the art scene as well as the more distasteful conducts of behavior within the art system? They may be overtly cynical and yes, some of them are perhaps a bit too much, but who gives a hoot—they're hilarious!
There are those who have crassly blown out idealism's pale fire with one cheeky breath whilst others have nimbly created art-world narratives, grabbing your hand and dragging you somewhere unexpected. The spectrum of styles presented will include parody, satire, irony, cynicism, invective, wit and spoofs. The presentation will be held in English.
To celebrate this unexpected longevity of the discussion group, Corner College will be hosting a special event. The discussion table and chairs will be folded up and replaced with a ping pong table. A "Theory Tuesdays " publication will also be released, highlighting the occasional scan blooper found in the Theory Tuesdays. Dochin welche Form? As consolidated as a book seems, each one consists of slumbering worlds, which, in the sense of an object with a body and soul, are waiting to get flipped through, to be looked at and read, felt and in its highest form, be transformed into the mind of the beholder and transmitted to the reader.
Without this counterpart, a book is no more than some paper and ink. With a counterpart, books can go far beyond. But in which form? These objects, together with the corresponding books or book series are now presented to the public in a small circulating exhibition. Mehr Infos? Lecture-Performance 'WTF?! Practioners in this field have come to understand the conversations about conceptual writing as being unresolved somewhere between poetics and aesthetics via new media theory.
Any conversations about how these media also effect distribution and reading experiences will be a very welcome bonus! Anschliessend gibt es Eintopf und vielleicht einen Dessert aus Tillessens Geheimrezeptbuch. In fact the book is not an academic but personal compilation by photographer Peter Tillessen. The 40 photographs show excrements of the black-headed earthworm, which aggressively ploughs through a cemetery in Zurich.
The pictures of those fragile sculptures are contrasted with parts from the detailed descriptions of nuclear fission from the original book, a text by Darwin that explains the work of earthworms and a text by the artist, who describes his childhood in the atomic age as a son of an atomic engineer. The number 40 is in this compilation no accident: Tillessen took the pictures on his —rainy— fortieth birthday for one of his best friends to pay off his debts from a bet — as he wasn't a father of a big family like his father at the age of The design of the book in the book accentuates the biographical fission within the big context of the atomic age: particularly the way the photographer examines the father's book to reflect his own situation and to become aware of the earth's fragility.
At the end it's all about evolution. Whether the personal is political or not, Tillessen drew 18 sketches in his Moleskine, which are all represented in this black and white Xerox-printed booklet. The publication is housed in a white paper bag with a self-made potato stamping by the artist and his daughter. Dictators is the second publication in his series at Kodoji Press. Ausstellung Aus der unmittelbaren Unwirklichkeit 6. November, Die Buchvernissage findet in Zusammenarbeit mit dem Kunstmuseum Thun statt.
Blecher Florian Steiner. Blecher an Dt. Blechers Roman. Ausstellung offen ab If you would like to suggest a specific text or film for a Theory Tuesdays winter session, please attend the planning round with your ideas. We will then, collectively, fill in a calendar with everyone's suggestions and begin winter sessions starting on December 4th.
Below is a list of requirements to keep in mind as you prepare your suggestions. The Boy Mechanic, Vol. Starting in , during the last Friday of each month at Corner College, a volunteer will teach or workshop a practical skill to the group. Instead of discussion about a specific text or film, we will have a hands on experience of learning something practical. This can take the form of many skills including how to play the Swiss card game "Jassen", sharpen a knife or effectively change a flat bike tire.
We look forward to learning something practical from you in ! Please attend the Theory Tuesdays winter planning session on November 20th with your ideas or send suggestions to theorytuesdays gmail. The difficult and complex situation in Syria leads to a fragmentation of society into various isolated parts. Some of these parts seem to be in line with each other better than others. Sometimes it appears to be a unified.
And then again it falls to pieces. Syria as concept has become a synonym for itself and all the questions that arise when the line is crossed: be they existential, ethical, humanitarian, political, religious, economic, military or in terms of international law. Battuta, Muhammed Radwan is an engineer, activist and social media entrepreneur from Cairo. He visualises and analyses the complexity and multiple layers of the Egyptian revolution, and its use of language on the basis of flyers, stickers, etc.
Also, besides Facebook and Twitter, other transnational social media platforms with a simplified operation mode, such as Bambuser or Ushahidi, are used to promote identities and opinions. Battuta draws on his own experiences from the streets, digital spaces and the financial market. He links this to the opportunities of social media tools in times of transition and their field of application — a cultural landscape oscillating between representation and archive; one of his theses states that the speed of technical development is overtaking history. Manche Teile scheinen besser zueinander zu passen als andere.
Manchmal erscheint das Bild klar. Konzept Rayelle Niemann. Die Veranstaltung wird am November im Cabaret Voltaire. The presentation will be continued on November 25th at Cabaret Voltaire. This is the message distilled from these portraits of 30 reused industrial areas. In a wide variety of places all round the globe, reinterpretations of the legacy of the industrial age are releasing tremendous potential energy and creativity — in the USA, Russia, Brazil and China just as much as in Europe. The book examines the background, protagonists and concepts involved and shows various strategies for reuse.
In essays and interviews, specialists from both the theoretical and practical fields explain their findings and experiences. In in mid to late 60's Sharits made a number of "flicker" films which will be the focus of the evening. In this temporal mandala, blank color frequencies space out and optically feed into black and white images of one love-making gesture which is seen simultaneously from both sides of its space and both ends of its time.
Color structure is linear-directional but implies a largely infinite cycle; light-energy and image frequencies induce rhythms related to the psychophysical experience of the creative act of cunnilingus. This interview includes excerpts of Paul Sharits films. In a sense, I am more interested in the mantra because unlike the mandala and yantra forms which are full of such symbols, the mantra is often nearly pure nonsense — yet it has intense potency psychologically, aesthetically and physiologically.
Sword swallowers, lions, contortionists and acrobats made of wire were manipulated by the artist, re-creating delicate little circus acts. The stage was designed to fit inside suitcases to be portable. Calder used to give regular performances of his circus in Paris and New York through the mid-thirties. The live shows, provided with an intermission, lasted up to two hours. The pages book is the final result of a longterm research project, which was presented as an multi-media exhibition at the OK Centrum for Contemporary Art which commissioned the project in Linz, Austria in early The Indian Ocean Tsunami was one of the worst natural catastrophes in history.
While international attention has faded, post-tsunami challenges continue to have an impact on affected communities. Six years later and just weeks before Fukushima, Christoph Draeger and Heidrun Holzfeind looked at what has been achieved, what went wrong and what challenges remain.
Using video and photography, they documented the long-term effects of the disaster through conversations with survivors, eyewitnesses, aid workers and rescue personnel. They also established a collection of footage of the disaster and the reconstruction efforts. Additionally, Corner College will be exhibiting two related slide projections in the windows. The site-specific installations will be running over Christmas time including December 26, the 8th anniversary of the Indian Ocean Boxing Day tsunami. Together the texts form a rhizome as a map of shared knowledge between practice and theory, rather than contrasting theses to be juxtaposed, and build on the intersection between two major discourses linked to economic theories: Marx's critique of political economy and Freud's psychoanalysis.
During this first session we will examine Christian Marazzi and his scientific analyses of capital and it's affects.
Text: Christian Marazzi "Starting from Work," in id. During one Friday evening each month at Corner College, a volunteer will workshop a practical skill. During this Practical Fridays session, Julia Schwartz will conduct a two-hour workshop where she will teach the basic physical principles of spoken voice use.
She will get people's bodies active in order to be able to apply the voice, and then get practical and use it. Everyone will benefit from hearing the others' spoken work. The workshop is free and will be held in English. No registration required! Please bring your bring your house shoes or thick socks with you. During this second session, we will examine the final three texts written in different time periods, from until Text 3: Bifo - Franco Berardi "No. One reason is that complex and thought-provoking art is having a harder time than ever, not only to come about but also to circulate beyond an already converted audience.
Another reason is that entertaining and easily digestible art is becoming more and more prevalent - in the public eye, almost synonymous with "art" itself. Both developments are connected with new power dynamics in the wake globalization, neoliberal policies of deregulation and financialization, and the boom of the commercial art market. The text out of "contemporary art and its commercial markets We will discuss the text and see if we are agreeing with that concept.
Sie geben einen Einblick in ihre Auseinandersetzung mit der Erinnerung oder der produzierten Vergangenheit aus intimer Perspektive. Drawing the attention toward the multiplicity of processes and things generative of situations of critique, Latour proposes to move from "matters of fact" to "matters of concern" and from "Realpolitik" to "Dingpolitik.
This session has been organized by Christoph Brunner and will be held in English. The movement allows the common to flow through dispersal, reaching into the solitude of each protester. Each one recognizes her situation in that of the others; affective resonance is transmuted to a point of fusion. Repression can only break up linear collectivities; here, at every turn, at every corner, the common returns in a swarm.
The protests tie together not only problems of a culture of indebted men but also environmental and social issues throughout all strata of society. Insurgence is an expression, a movement of thought becoming a movement of felt sensation. Was ist ein Denkmal? Wird das individuelle Erinnern wichtiger?
Sowohl das Denkmal im engeren Sinn wie auch das Baudenkmal dienen der Erinnerung. Ersteres wurde aber genau zu diesem Zweck errichtet, letzterem werde dieser Zweck erst im Laufe der Zeit auferlegt. Dies hat Folgen. War das unter Denkmalschutz stehende Haus in den 60er und 70er Jahren ein progressives Instrument zur Steuerung der Stadtentwicklung, wird es heute mehr und mehr zum Verkaufsargument.
Erinnerungskultur hat Hochkonjunktur und so muss man sich fragen, welche Formen von Denkmalschutz in Zukunft sinnvoll sind. Vielleicht sollte neu, nebst Industrie- oder Landwirtschaftszonen, auch Kulturzonen geschaffen werden. Das Denkmal als politisches Instrument untersteht dem Wandel der gesellschaftlichen Gegebenheiten.
Was passiert mit leeren Denkmalsockeln? Diesen und anderen Fragen versuchen wir mit Hilfe von Experten aus den Bereichen Kunst, Wissenschaft und der Denkmalpflege nachzugehen. Am Samstag Publikumsdiskussion mit Prof. Georg Kreis Historiker Das St. Jakobs-Denkmal : Verwitterungsprozesse, Untersuchungsmethoden, Restaurierung.
Im Vordergrund des Workshops stehen die Fragen: 1. Was sehen wir? Wie bewerten, benennen wir das, was wir sehen? Do you know the origin of Coca-Cola? Or the secret powers of Swiss triangular milk chocolate Toblerone? And what has sanitary porcelain to do with all this? There is only one way to find out. Wir verlosen am Abend einige Ausgaben der Special Edition.
Buchvernissage also nicht verpassen! Manon de Boer By now, art is probably seen more on Facebook walls than real-life ones. Why is it that the growing importance of the digital does not have a similar impact on the contents of works of art, as it has on the way they are presented? After a short introduction and a brief summary of the text and some responses to it , the discussion could evolve around the following questions: Why do we separate media arts and digital arts from more conventional media, even exhibiting them in specialized institutions?
Will art eventually be left behind by the fast developments within the digital realm? Or can it rather be a tool to counter the predominance of the digital?
This session has been proposed by Daniel Morgenthaler and will be held in English. Dies zeigen die historischen Herrscher eindrucksvoll. Programm Freitag, Seit den er Jahren performt er seine Gedichte zusammen mit Musikern in wechselnder Besetzung, welche vorwiegend aus dem Jazz Bereich stammen. Eine musikalische, stark rhythmisierte Art des Rezitierens, welche zwischen Singen und Sprechen changiert.
Inhaltlich nimmt einem Barry in seinen Gedichten auf kleine, grosse Reisen mit, surreale Begegnungen mit dem Nachbarn, einem Hasen oder dem Zorn Diese neue soziale Bewegung ist mit dem Occupy-Impuls noch nicht zu Ende, sie hat gerade erst angefangen! Diese Sitzung von Theory Tuesday wird in deutscher Sprache abgehalten. Bitte vorab den Text lesen. So potenzieren sich 7 Positionen um die Sicht- und Handlungsweise einer jeweils anderen. Und was haben wir davon? Worin verweisen sie noch auf diese? After her return to Switzerland, Ingrid taught Sigrid 'needle-binding', or 'Nadelbinden', which is a term to best describe this unique, "viking way" of knitting.
Both Ingrid and Sigrid would love to share this old knitting technique with you! If you would like to participate in this workshop, please bring the following: 1 ball of thick, sheep wool in the color of your choice. The language of the workshop doesn't matter: let's just knit together in the viking way! Diskussion Austerity? The words austerity and debt imply or signify a lack of something.
These two words are part of the vocabulary used in mainstream media to describe the current economic situation in Portugal. Taking place in the midst of intense social struggles, the event began shortly after the November 14th European General Strike, a protest marked by police brutality and severe repression in Lisbon. Performances, concerts, and discussions were the response to the open call to use the gallery space. Smith The essays collected in this book represent versions of papers presented at a symposium held at the Art Center College of Design in Pasadena, California.
It's encouraged that you read the essays beforehand. The discussion will be held in English. With contributors based in Ramallah and Tel Aviv-Jaffa, Beirut and Jerusalem, New York and Bethlehem, Nazareth and Warsaw, the book offers solutions that will make life better, and proposes ways to do it.
Inmitten der Kunst, inmitten des sozial-politischen Aktivismus, inmitten der Medien. Und dann kam die Krise.
Learn how to assemble a hand-held bouquet and wrap it in a professional manner! Two types of bouquet making will be taught, the forward facing and the rounded bunch, which are very popular in Switzerland. Please bring a bunch of flowers with you and be prepared for them to be man-handled by the group. You will of course get to take home your own bouquet at the end of the class. The workshop will be conducted in English, with German explanations on hand. Kino Raum 1 is the first in a series of collaborative exhibition events by Jann Clavadetscher and Rouzbeh Rashidi.
The practice of both artists is rooted in experimental cinema, and Kino Raum will explore and dissect the concept of the cinema-space, both physical and mental. Rouzbeh Rashidi and Jann Clavadetscher consider the flittering black and white ghosts and shadows that he left in his wake in their phantasmagorical experimental feature film. This journey through a cinematic night probes the very essence of the cinematic image.
A match was struck and for this short moment audience and cinema became one. Kino Raum 1 will be the continuation of this Exposure Project. This event will take place in two parts: Day one, the film is exposed to light. Day two, the film will return from the Laboratory and be projected. Homo Sapiens Project Rouzbeh Rashidi : Homo Sapiens Project are highly experimental works, part cryptic film diaries and part impressionistic portraits of places and people, and often suffused with an eerie sense of mystery reminiscent of horror cinema.
From highly composed and distantly framed meditations to frenetically flickering plunges into the textural substance of moving images, the restless creativity of this vision of life as a cinematic laboratory is never short of surprising. Encompassing everything from documentary monologues to found footage, Rashidi constantly strives to expand his filmmaking palette while putting his unmistakable stamp on whatever footage passes through his hands.
I, An Actress K section a , Ryan Trecartin 33 min. Its format shores up the paraliterary, confessional, and epistolary precedents for our virtual vernaculars. Designed by Eric Nylund, the pages concretize found quotes, trending language, anecdotes, notes and rants; call it inattentionality as method. If the book sustains a material limit that belies the diffuse shape of the cloud, then its readings attempt similar concretions by having reader and audience occupy the sites that compose the physical form of the Internet.
On other occasions, readings pair with documentation shot on server floors, thus temporarily constructing the data center within the art institution. Each scenario discloses securitized spaces in which reader and audience already reside, for we encounter the material doubles of our virtual subjectivities as data stored in server form. Rather than concede to the seeming intractability of cognitive capitalism, these readings potentiate novel, critical operations through shared access, listening and discussion.
No seats available anymore. Thanks to Google for supporting and hosting "I'm that angel". Design auszustellen, ist heute kein Ausnahmefall mehr. Design im Sinne industrieller Herstellung hat sich in eine Disziplin des Ausstellens gewandelt. Dabei ist auch das Herstellen zum favorisierten Ausstellungsthema geworden. Anschliessend Grill. Moderation Michael Hiltbrunner.
Intervention Interventions is an informal and open symposium that allows scholars and thinkers to present their recently finished work and their work in progress. Interventions thrives on the unexpected juxtapositions and clashes that result from addressing a wide range of philosophical and political issues such as autonomy, economy, finitude, aporias, capitalism, and many more. Interventions does not limit itself to a specific discipline and welcomes all intriguing papers from Switzerland and abroad. Anabel Sarabi Remembering Mnemosyne.
Jacob Miller On Thinking. Daniel Marti Perhaps this time we have gone too far. Wie lehrt die Kunst? Die Ausstellung kann also nur von aussen eingesehen werden. Vernissage: Dienstag, den 4. Juni , 19 h. Juni , 20 h. Diagrams are strange devices and techniques which attempt to make relations tangible and at the same time evade straight formats of representation. They are expression in physical as much as in immaterial ways. Ian Kerr - Diagram The goal of the session is to familiarize ourselves with diagrammatic practices as means for tracing and enabling movement.
Not dividing between movement in space and movement of thought, we want to foreground and experiment with techniques of non-representational expression and relational movement. The material exposure will be complemented with collectively developed techniques and propositions for diagrammatic practices. We aim for collaborative and experimental processes with the 'stuff' at hand! Lia Perjovschi, The Universe, As this year's Romanian Pavilion is the talk of the town and has made the "Best Pavilions" list of numerous critics, while several major artists and galleries from Romania are on view at Art Basel, the perception might be that the Romanian art scene is strong and thriving.
But major challenges and obstacles are more the reality. Olga Stefan will present the political and cultural context in Romania, selections of work by practicing artists and initiatives, as well as the current debates and issues affecting the art scene. Ab What goes into a compost, and what should not?
How do you build a compost? What exactly happens inside it? And how many worms should you ideally find in a handful of compost? Please bring along with you what you think makes for good compost. Paula Troxler zeigt Tafelbilder aus ihrem Tageskalender. Julian Sartorius spielt live aus seinem Beat Diary.
Seine Richtlinien waren: Keine Loops, keine Effekte. This first chapter focuses on male portraiture and questionable masculine structures that are developed from metabolic architecture, modernist patterns and digital pixilation. Each chapter will take the form of a mixed media installation within the corner college gallery space for a single evening. Interventions is an informal and open symposium that allows scholars and thinkers to present their recently finished work and their work in progress. Peter Price first person view: overserving. Balz Isler A Bibliography of Emotions.
Dennis Schep Vulnerability as Quotidian Intervention. John Calvelli and onward: barbecue at Corner College For detailed program see below. The four events will happen throughout and are interwoven by strategies of colour coding, numeric compositioning and non-linear narrative continuations that create a camp hyper-fluidity. This second chapter thematically derives from subtle erotic bouncing rhythms in nature.
Following chapter two are: Lady Boy Snooker Match Using techniques of pencil drawing in conjunction with the 'Universal Pain Assessment Scale' and clay modeling, this workshop will engage in notating the sensations of everyday surfaces. The sensory registers of tactility, weight and felt resistance and the specific surface character of the surfaces being notated will morph into a hybrid sensory representations of the body. This approach to drawing and modeling is dramatically different from typical figurative representations that reduce the body to impermeable outlines.
Moreover, these sensation techniques lend a great deal of complexity and multiplicity to how sensations can be described and felt as compared to conventional analytic parameters that only measure sensation according to a linear scale of intensity. The sensory notation techniques that we will explore and develop in the workshop will instead instigate a complex, generative and relational approach to conceptualizing embodied experience. Please wear clothes that can get dirty or bring a skirt. A detailed examination of De Brabandere's research processes can be found on the Research Catalogue and on her website.
This third chapter plays with gender, material fetishism and game strategies. Geers's essay appeared in issue number 17 of Fillip, a Vancouver-based publication on art and culture. The exhibition displays the evolving library that was part of the Occupy Wall Street movement. We will be reading one text that relates to the exhibition title and one text from this library itself, and then having a long-distance discussion together. This session will be held in English and will start promptly at 7pm.
Performance The art of not Knowing , Pawel Kruk. I am arriving in Zurich on Monday, September 30, Feel free to meet me at the Zurich Airport. I am scheduled to arrive at Will you come? I don't want to know. I want the insecurity of not knowing. This is what performers feel before a performance. Please scribe my name on a piece of paper so I can find you in the crowd. This session will take place in Dan's attic, where he has built a fully featured two-seat cockpit and flight simulator.
There will be a short introduction to flight theory, followed by a practical landing attempt by everyone who dares to climb into the cockpit. I am arriving in Amsterdam on Monday, October 7, Feel free to meet me at the Schiphol Airport. Drawing on the Paris Commune as well as Occupy Wall Street and the London Riots, Harvey asks how cities might be reorganized in more socially just and ecologically sane ways—and how they can become the focus for anti-capitalist resistance.
Une affaire de montage, Myriorama reassembles heterogeneous ready-made element and fabricated artefacts, thus proposing an intertwined understanding of the common and the personal as complementary agents. Myriorama leads to no final conclusion; rather, it eventually presents a constant movement of composition and decomposition of the collected material that like the eponymous game offers infinite combinations of the same image.
Open to interpretation Myriorama never substitutes experience with commentary. If the cap fits, come and wear it! Ein Diavortrag. Bereits seit Beginn der er Jahre im Quartier wohnhaft, begann er damit, die Umgebung systematisch zu dokumentieren. Blick vom Balkon der Familie Dahinden, und Serving as presenter and guide is the charismatic Slavoj Zizek, acclaimed philosopher and psychoanalyst. With his engaging and passionate approach to thinking, Zizek delves into the hidden language of cinema, uncovering what movies can tell us about ourselves.
Whether he is untangling the famously baffling films of David Lynch, or overturning everything you thought you knew about Hitchcock, Zizek illuminates the screen with his passion, intellect, and unfailing sense of humor. The screening will begin promptly at 8pm. The film will be in English with German subtitles. I am arriving in Zurich on Thursday, October 17, I am scheduled to arrive at 8. I am arriving in San Francisco on Sunday, October 20, Feel free to meet me at the San Francisco International Airport.
In deutscher Sprache. Kommen Sie an die Demonstration am Samstag Am Montag Whose Billboards? Woher kommt das Geld und in wessen Taschen fliesst es? Welche Gesetze regeln Plakatwerbung? Wie steht die Stadt dazu? Und welche neuen Werbeformen werden auf uns zukommen? But who owns the billboards? And who owns the owners of the billboards?
Where does the money come from and in whose pockets does it end up? How much goes to the community? How much tax do the outdoor advertising companies pay in Zurich? Which laws regulate outdoor advertising? And which new forms of advertising are we going to face in the future? Often, when it comes to the outdoor advertising business, vague or even romantic ideas prevail. This talk will present facts little known to the general public and aims at kindling the discussion around outdoor advertising as well as putting it on a firm footing.
Alle Interessierten sind herzlich eingeladen auch mit ihren Fragen teilzunehmen. Stylewriting is a thorough analysis of the alphabet and its use by graffiti writers. Characterising every letter as well as different forms of putting them together from tag to wildstyle this text gives a very structured overview of American graffiti. The authors — all writers themselves — try to explain the esthetics of style and their approach to it. In a culture usually distrusting theoretical debates, this essay is a rare exception.
It's encouraged that you read the essay beforehand and the session will be held mostly in German. The selection will give a deeper insight in Coehlo's interests and art practice that is based on personal research with collaborations from various cultures, geographies and histories. These works begin to take on the form of human-shaped media-landscapes and often contend with conflict, emotion, culture, gender, history and the environment. Corner College will open the kitchen at 7pm, screening starts at pm followed by a talk with Stefan Wagner. Please feel free to join us for a insight and chat with Baptist Coehlo.
Talk in English language. In her essay, Dean investigates the relation between what she calls the pathological conception of the individual as form similar to the commodity as form and the potential for emergent collective desires. For Dean, collective desire should become a want for dissensual collectivity and differential activity, beyond the pathology of the individual. It's encouraged that you read the essay beforehand. This concluding chapter reflects on camp superfluous intuition and human physiology.
Es interessieren folglich mehr Fragen als Antworten. In , the year anniversary of Dada will be celebrated in Zurich. On this occasion how will the pieces of the Global Art Game be locally distributed? Who will come out on top? You are cordially invited to join us on this evening to participate in the discussion. The conversation will be held in German. Lesung Schaum Joanna-Yulia Kluge. Departing from experimental practices in Gestalt psychology and Cognitive Science, participants will be asked to react to Rorschach inkblot images, which are commonly used in personality tests: "Do something not to see anything.
Gunplay Though hip hop music and culture was first born on the poverty stricken streets of the Bronx, it's spread across demographics in the four decades since. Mostly this has been to the betterment of the culture, though recent shifts in the media and music industries have resulted in a widening of the gap between rap's haves and its have nots.
Join us for a conversation about American rap music and how commerce, technology and classism is changing its face. Co-editor Linda Jensen will give an hour-long polyphonous and juxtaposing glance into the editorial content of Torrent No. The multimedia presentation will section in on five to six features. Craig Venter creator of the first synthetic genome In "Introduction to Interstellar Travel: Corner-College" the audience is invited to engage with scientific primacy in a pedagogical fantasy. Both audience and artist assume the role of synthetic beings of the future, built entirely from digital codes.
The artist, Zoe McCloskey, takes the role of an anthropology professor and digital historian, teaching a class the corner college audience to travel interstellarly in the archaic form of a computer screensaver. Recurring themes in "Introduction to Interstellar Travel: Corner-College" highlight the potential roles for individual autonomy, genetic manipulation, and creative individuality in the biological and digital future.
In-character participation is encouraged! In den er Jahre entstanden in Italien Bauwerke, die dem Razionalismo, also etwas vereinfacht gesprochen der italienischen Variante des Internationalen Stils zuzuordnen sind. Wohin verschwinden die alten politischen Konnotationen in der postfaschistischen Gesellschaft? Eine Untersuchung der Form und ihres politischen Gebrauchs. Wir freuen uns auf Ihren Besuch! Klaus Lutz is a unique filmmaker who creates a visual universe completely his own. Writing rapidly, in the last year of his life, and conscious of a terminal illness, the distinguished anthropologist Alfred Gell developed a highly original approach to the anthropology of art.
The topic had been neglected for over a century, in spite of the fashion for primitivism within the art world, as anthropology had focused its attention on questions such as kinship systems. What Gell suggested was an approach called "methodological philistinism", by which art is treated not so much as an expression of genius or cultivated taste, but rather as a field of animism and ritual.
His approach, as laid out in the posthumous "Art and Agency" has sweeping implications for questions of the role of aesthetics, the marginality of ornament, and cross-cultural theories of art. A resurgence of interest in Gell's work is currently to be seen in anthropology, and his work is increasingly being applied in other fields. This lecture will introduce "methodological philistinism", abduction, agency, and ornament, with the aid of pictures, explain their importance, and show how Gell's theory might be used to resolve or aggravate some contemporary controversies in the fine arts.
After the demonstration, it's encouraged that everyone participates in bottle flipping, drink mixing, orange flaming and cocktail tasting. The workshop will be held in English and is strictly limited to 15 participants. There will also be a 20 CHF workshop fee, per person, to cover the cost of alcohol and supplies. Januar wird Alexander Tuchaceks "archiv aus lesen" im Bayrischen Rundfunk br2 gesendet.
Diskussion Skein. In der Mathematik bezeichnet man damit einen Algorithmus oder eine verwickelte und komplexe Materialmasse. Phantasies of violence and marginality belong to the attitude of the Heavy Metal scene which was founded in the late '70s. This movement broke with the rules and morals of the christian middle class in their reenactment of archaic-warrior representations and gestures at a time when censorship started to have a political impact especially in the UK and the US.
In opposition to the male role model of the hippies, Heavy Metal staged aggression, destruction and demonstration of power. Thereby men could once again distiguish themselves from women by referring to gender-related attributes. These three individually accomplished acquaintances are now developing their archive together and are connected not only by the passion for heavy metal, but also in their affinity for accumulating memorabilia and insignia from this scene. Als Intermezzi werden alte Aufnahmen der beiden Musiker abgespielt. Heavy Metal arose mostly in societies dominated by censorship and still existing authority structures at the parental homes and the educational institutes.
Martin Stricker and Marky Edelmann will tell about what is was like to grow up Zurich in the 70ies and 80ies and what kind of revolt Metal actually was about. In the interludes they are going to play unpublished recordings. Diese Doppelperspektive, ist faszinierend, die Tatsache, dass beide Seiten von demselben Ereignis berichten, aber dieses jeweils anders schildern. The duality is fascinating, the fact that both sides subjectively report about the same event, but in quite different ways. This book is a manifesto for the importance of a politicized representation of the contemporary in today's art.
The Swiss government was accurately observing specific citizens during the cold war period. Reason for the observations could have been simply meeting a person or playing in a theatre - but also for political actions. Many of these files provide an insight onto the riots in Zurich, whose aftermath changed the city into a more open and culturally diverse city.
The readings will bring up the language of the observing officers but also the absurdities and rather scary notes. The reading will be held in German. Jahrhundert Walter Angst. Jahrhunderts, die Teil der Stadtentwicklung ist, deutlich werden. Walter Angst will present the latest surveillance technologies available on the market.
With these technological tools contemporary city management, which includes the development of neighborhoods and social surveillance, can be realized through the use of tactical police forces. Angst will show examples of this security management, using specific examples in Zurich. The presentation is part of the exhibition "Observing and Surveillance", exhibiting the dynamic shifts in surveillance techniques and technologies. How to open a closed door How to close an open door and a bit about the Vast Threshold Using two doors installed in the space as central models we will examine methods of opening, closing and communicating with doors.
We will explore door histories, types and problematics, practice door uses and cultural door etiquette. A few work stations for different door and lock exercises will be available for learning how to deal with doors and feel with doors, how to enclose yourself and others. Anhand von den drei Buch-Publikationen "Vue par Freitag 7. Ausstellung www. Eher schon thematisiert sie damit geschickt wie Kunst im kognitiven Kapitalismus positioniert ist.
Nicht demonstrativ, sondern auf den ersten Blick eher spielerisch, das Webseitenpublikum dazu animierend, die Lesart des Bestehenden neu zu organisieren. Vom Februar bis zum 7. September wird sie im Haus Konstruktiv eine Audioarbeit zeigen. Stencils, watercolour, solvents, brushes, and other tools are often used to embellish a monotype print. Monotypes can be spontaneously executed and with no previous sketch.
This technique is easy to learn, no previous skills are required. The workshop will be held in English, is free and open to the public. Cybernetic theory provides her a model for analyzing how critique becomes functional to the maintenance of existing states of affairs. Finally, other potential avenues for critique as rhetorical stance and praxis are evaluated through case studies.
The session will be held in English and it's encouraged that you read the essay in English beforehand, to participate in the discussion. Immediations is an international transdiciplinary research network. From April the EU-participants of the Partnership Research Grant Immediations: Art, Media, Event will experiment collaboratively investigating the notion of the urban fabric along questions of emergence, infrastructure, metamodelization, and ecology. For the participants the urban fabric is a loose term pertaining to the interstices between infrastructures, materialities, cultural practices and their relation to artistic, architectural, design, and philosophical concerns.
Coming from different backgrounds and sharing a strong interest in transversal and collaborative practices, they will engage in interventions, readings, cooking, living, meandering, writing and diagramming with the aim to articulate what we understand as urban fabric in the immediacy of emergent experience. On April 28nd you are cordially invited to share our preliminary impressions, ideas, and insights.
We consider our research as emergent and our structure as open — come and play with us! You are cordially invited to join the contoverse discussion of the two texts and read the papers beforehand. Lia Perjovschi will discuss a few of her previous projects in context, the evolution of her practice and the changes it underwent as a result of various personal, social and political events, and how she ultimately reached the Knowledge Museum.
The Knowledge Museum is a project in which Lia recycles all her other artistic projects including elements of her Contemporary Art Archive CAA , the first archive of its kind in Romania. Like an architect, she presents a model - on a table, on the walls, or in a space - using diagrams from her interdisciplinary research. This research comes from books, reviews, the internet, and objects mainly in museum stores from around the globe collected from until today and used for educational purposes.
It is not 'The Museum', but rather a basic starting point.
Theaterverfilmung, , Farbe, Min. When these four visit their ailing friend Pisarenko, they adopt the same attitude that the friends of Job display. Teleclub AG. Sci-Fi; GB Es ist die Zeit unmittelbar vor dem Herbst ' The list of superlatives used to describe Pisarenko almost raises him to the stature of a saint.
Knowledge is Surviving doing the best you can out of what you have. Hans-Christian Dany kommt wieder und liest dieses mal. Sein neustes Buch hat er mit "Morgen werde ich Idiot - Kybernetik und Kontrollgesellschaft" betitelt. Jeder ist nun Beobachter aller anderen und ein von allen anderen Beobachteter. Ansonsten kann sein Buch auch bei einem der sympathischsten Verlage bestellt werden.
The session will be held in English and it's encouraged that you read the chapter in English beforehand, to participate in the discussion. April , a collaboration of Hackteria and their long term partner, lifepatch — citizen initiative in art, science and technology , together with diverse local partners. The two week collaborative and interdisciplinary practice of HLab14 was defined by three ongoing Ecological Research Nodes within the practice of the local Indonesian facilitators.
The topics are tightly related to the daily life of Yogyakarta. They are: 1. Biorecovery of Volcanic Soil, 2. Environmental Monitoring of the Rivers, 3. HLab14 brought together a large group of international and regional participants, of makers, artists, scientists, hackers, educators to investigate and foster the concept of DIWO do-it-with-others , bio art and citizen science. HLab 14 had a strong focus on workshopology, sharing and collaboration, field-trips and musical experimentation, and was additionally presented in an exhibition format at LAF, Yogyakarta from 25 April — 2.
Hackteria is a community platform encouraging the collaboration of scientists, hackers and artists to combine their experitise to develop access to practical knowledge in the artistic engagement with the life sciences. The web platform servers to share simple instructions to work with life science technologies and the network cooperates on the organization of workshops, temporary labs, hack-sprints and meetings.
To create public discussions hackteria invites international artists, tinkerers and scientists for critical and theoretical discourse. Hands-on workshop within this network have been held in more than 20 countries since The presentation is part of a series on the topic of Bioart organized by Hackteria Society and Corner College. Haludovo Malinska Each summer season, the sun-drenched coasts of Bulgaria and Croatia turn into densely inhabited, intensively exploited tourism industry hot spots. This book traces the various architectural and urban planning strategies that have been pursued there since the mid s—first in order to create, and then to further develop, modern holiday destinations.
It shows how—after the fall of state socialism—individual resorts and outstanding buildings have been restructured both economically and physically and traces the present-day conflicts triggered by coastal development in the name of tourism. Seaside Architecture and Urbanism in Bulgaria and Croatia" here. The session will be held in GERMAN and it's encouraged that you read the excerpts one in German, one in English beforehand, to participate in the discussion.
Adressaten waren die Bewohnerinnen und Bewohner eines Altersheims in Zug. Dort wurden die Dinge in einer von ihr entworfenen und eigens angefertigten Vitrine ausgestellt. Bevor Vreni Spieser ihre Objekte verpackte und in die Schweiz verschickte, hatte sie diese zu Dokumentationszwecken fotografiert.
Vreni Spieser verfasste ihre Kommentare in Deutsch. Mariam Haji. It includes examples from emerged and immerging artists within these regions and discuss their culturally driven motives for visual expression and their artistic processes. The presentation also focuses on comparing the differences in education and inspiration between artists from the Gulf and from Europe, while shortly discussing a segment on the hyper economically driven Art Market within the Gulf.
Our life takes place in hybrid space merging the physical and virtual. As we continue to develop and use technologies which now also include the manipulation of the living we are challenged to rethink our concepts and relations to the environment we inhabit. Erich Berger and Yashas Shetty will give two lectures about their current work.
Wawies Wisnu Wisdianto from Lifepatch Indonesia will also be present and briefly introduce their activities in Yogyakarta, as they have already been discussed at the last edition of HSC 1. Lifepatch has just received the Honorary Mention from Prix Ars Electronica, Finde more infos here We are looking forward to seeing you. Ian Wooldridge presents the work of Jeff Keen. Jeff Keen — was a pioneer of experimental film whose rapid-fire animations, multiple screen projections and raucous performances redefined multimedia art in Britain.
Please reference the following. Wir laden euch herzlich ein, euch zu beteiligen! Eigentlich bestand sie bereits seit deren Kindheit. Es sind solche gemeinsame Entwicklungen, manchmal auch ein Begleiten, die die Dinge zum zusammenwachsen bringen. Eingriffe, die von der Gewohnheit abweichen werden deutlich und lassen die Werke ins Surreale kippen. Hence, bio-art has established itself as the latest trend in the field of media art. However, this artistic production is extremely heterogeneous, encompassing the spectacular works of Eduardo Kac and SymbioticA, the thought-provoking ones of Paul Vanouse and the Critical Art Ensemble, or again the participative and performative activities of Hackteria, for instance.
How have these practices been described and examined by critics and historians? How were they presented in institutions, museums and festivals? Furthermore, what are the future challenges for the artists engaging in biotechnologies? Through the discussion of a selection of works, exhibitions and essays, I will attempt to answer these questions and offer a possible, critical perspective on bio-art and its reception. In performance in the collision of body and movement, electronic sounds and gestures, the domains of music and dance fuse into an expression of an intricate and densely woven web of meaning.
Links and dependencies, analogies, similarities and a common movement and sound language are being explored and transformed artistically to create an instant composition. The ultimate state and expression of this union reveals itself as one of intense presence, flow and fusion between the media and art forms. Jan Schacher electronic music, interaction technologies , Lionel Dentan electronic music , Angela Stoecklin contemporary dance and Namrata Pamnani Kathak and cotemporary dance are searching for a linkage between the non-verbal art forms dance and music, where the body can take on the role of a musical instrument and the electronic music obtains a physical form and expresses motion pattern.
They are interested in finding a crossing point where the two art forms become like one. The group works in the field of improvisation, as this is the most direct form of communication and aims for dialogue and equal positioning more than music accompanying dance or dance following the music. Sharing this process and the show with one musician and one dancer from the local context of Delhi, we add the aspects of a culturally informed approach to non-verbal artistic communication.
Vom Montag 4. Am Sonntag In particular the care of recreational and essential water resources will be addressed through a discussion of WaterBar, a system that creates mineralized water in response to bad water news and WaterBank, a water analysis and fresh water distribution system designed for the Terban district of Yogyakarta, Indonesia. It is both an anachorism and an anachronism. It is a combined production of words and images, of printing and design. Martin Robinson, the English wordmonger, is as yet unknown and can remain un-introduced for the time being, not out of any false modesty, but as a bow to his belief that the words are not his but common property.
As he writes:. Either part of this project has its own intrinsic interest, but married they resonate just that little bit more. You are therefore very cordially welcome to join both men and see the pages of the project at Corner College from Bas Jan Ader, Tea Party In the s a transformation took place in the way that global art was shown and discussed. Retrospectively, this can also be seen as a period of the invention of an entirely new anthropology of art, in particular by Alfred Gell, around whose work there is a currently a resurgence of interest. It is perhaps the strongest example of an attempt to test the exhibition as a machine for generating ideological consensus.
It also acts as the trigger for one of the most provocative and unusual cross-cultural ontologies of art ever to be devised: Alfred Gell's argument that the art object is, quite literally, a kind of cognitive trap. The profusion of interest in anthropological ontology, in combination with the dilemmas of contemporary curating, provides dual motivation for a closer reading of early Gell, as well as the careful historicisation of his ideas.
This is the second lecture Adam Jaspers is giving about Alfred Gell. First took place in December at Corner College. Wir alle nutzen Wikipedia. Dem wollen wir etwas entgegenhalten. Samstag, 6. September, Uhr. You're invited to bring material you want to edit and publish on wikipedia. Or just come on in and collaborate with others. Members of Wikimedia Switzerland will introduce us to the technicalities. Saturday, September 6, pm. Bring your own laptop or tablet. Also, please create a Wikipedia account before the event.
During each session, a different person initiates discussion about a specific text, film or leads an instructional workshop. If you would like to lead a session, please bring a concrete idea about a text, a film or a practical workshop with you to the planning session. During the session, everyone will briefly present their ideas and we will collectively fill in a calendar with the suggestions.
Below are a list of requirements to consider. TEXT - The texts presented and discussed are usually about art, architecture, design, critical and literary theory. Please keep in mind that a workshop should be no longer than two hours and everyone should be able to participate. Please don't hesitate to make suggestions that are in German. Es diskutieren - Dr. Organisiert von Incomindios. In return, the government demanded a financial compensation of half of the lost revenue from the international community. In , Ecuadorian President Rafael Correa announced the failure of the initiative due to the lack of international support.
Ausstellung A4 Tom Menzi. Oder aber er verdichtet durch Repetition Sprachsequenzen verschiedener Kunstinstitutionen, die oft in schwurbeligem und zumeist gestelztem Deutsch verfasst sind. Das wird auch an den an konkrete Malerei erinnernden farbigen Collagen deutlich, die auf Museums- und Galerieinseraten basieren.
It's told she holds her men for the kill and never gets measured herself.
Adler Zeugen Keine Tauben (German Edition) [Susi Munch] on irelytuqypov.ml * FREE* shipping on qualifying offers. Die Schulten von der Lühe waren in. as the old cock crows so doth the young German: Dutch: Frisian: 1) like mother, forth a rope a) Adler keine Tauben b) Adler zeugen Adler c) an den Friichten.
But, having come a long way, with nothing else to do in the town, I stepped a pace and looked her up and she led me in all softness and covered my mouth as if to silence caution. Then, and slowly, she worked her fingers into my mouth. I thought it was sex. It might have been murder.