Non Fiction Authors From Austria

"In a certain sense,I never left Actionism as I understood it to this very day. Today,I work in “sittings” that are very similar to the course of the actions. Only the stage has changed on which the presentation takes place."

"The pencil-stroke is like cutting into the heart."

"Being covered in white paint ,you demonstrate behaviour intended to create a public nuisance,which did in fact cause offence to members of the public ,and created a breach of the peace and public order."

"Total actions are a further development of the happening and combine the elements of all art forms, painting music, literature, film, theatre, which have been so infected by the progressive process of cretinisation in our society that any examination of reality has become impossible using these means alone. Total actions are the unprejudiced examination of all the materials that make up reality. Total actions take place in a consciously delineated area of reality with deliberately selected materials. They are partial, dynamic occurrences in which the most varied materials and elements of reality are linked,swapped over,turn on their heads and destroyed. This procedure creates the occurrence. The actual nature of the occurrence depends on the composition of the material and actors′ unconscious tendencies. Anything may constitute the material: people, animals, plants, food, space, movement, noise, smells, light, fire, coldness, warmth, wind, dust, steam, gas, events, sport, all art forms and all art products. All the possibilities of the material are ruthlessly exhausted. As a result of the incalculable possibilities for choices that the material presents to the actor,he plunges into a concentrated whirl of action finds himself suddenly in a reality without barriers, performs actions resembling those of a madman,and avails himself of a fool′s privileges,which is probably not without significance for sensible people. Old art forms seek to reconstruct reality,total actions unfold within reality itself. Total actions are direct occurrences(direct art),not the repetition of an occurrence,a direct encounter between unconscious elements and reality(material). The actor performs and himself becomes material: stuttering, stammering, burbling, groaning, choking, shouting, screeching, laughing, spitting, biting, creeping, rolling about in the material."

"Creative children do not paint. They mess around. If they have to draw,creative children always end up being the ridiculous kind of child,who produces childern′s drawings Creative children wipe spinach round their gobs,that′s all. Any thing more that these crappy daubnings is the result of education-and before long we′re on a level with Paul Klee."

"As a boy,I was extremely shy,certainly as a result of my upbringing. I was an expert blusher,and some of my harsh actions may echo this shyness by way of compensation."

"“Ritual” might be an acceptable term, if shorn of its overtly religious connotations.For me,breaking taboos became nothing less than a stylistic means. I allowed my body, my self, to be pushed into such extreme situations that certain norms of social behaviour could only appear utterly absurd to me."

"Oswald Wiener had just dropped by. We were watching a football world championship game. Suddenly,in the middle of a game with Germany,the reporter said,“Bertie Vogts slid in like an Irrwisch [Jack-o’-Lantern]”. Eureka! That was the title I was looking for,and Oswald wiener commented,“That fits perfectly-an irrer Wisch”"

"Using the scanty means at my disposal I attempted to paint the room together with several objects that I had gathered together,white on white. The white room is an interior to be made devoid of any specific sensualism emanated by objects. Ultimately it is a classic white canvas expanded into three-dimensional space. It was in these surroundings that I rolled across the room,my body wrapped up in pieces of white cloth like a pile of parcels. The pieces of cloth unwound themselves from my tense body,which for a long time remained in a catatonic position,with the soles of both my feet stuck as it were to the wall.[...] I had planned to do some bodypainting for the second part of the performance.[...] At first I poured black paint over the white objects,I painted Anni with the aim of making a “living painting”. But gradually a certain uncertainty crept in. This was caused by jealous fight between two photographers,which ended by one of them leaving the room in a rage.[...] My unease increased,as I became aware of the defects in my “score”-and should this not have any,the mistakes in the way I was translating it into actions. Recognising this,I succumbed to a fit of painting which was like an instinct breaking through. I jammed myself into a step-ladder that had fallen over and on which I had previously done the most dreadful gymnastic exercises,and daubed the walls in frantic despair-until I was exhausted. The very last hour of “informel”. Mühl angrily ridiculed my relapse into a “technique” that had to be overcome."

"I covered the walls of both basement rooms with Milino,a cheap substitute for canvas,stretched string backwards and forwards across the rooms and attached widths of packing-paper to them,so that they reached down to the floor and as far as the walls that I wanted to paint. I wanted to create a labyrinth which would somehow help to prevent a compositional idea from establishing itself all too quickly. I had the idea of working on all the walls pretty well at the same time,as if they were one large painting completely surrounding me. By constantly wandering in the labyrinth I sought to realise a form of “de-composition”."

"My body is the intention. My body is the event. My body is the result."

"I think my actions,like those of my associates,were possible in this form only in vienna. Our heritage was the vienna secession and Austrian expression,and that,along with the violent disapproval of our work,explains not only its frequently overwrought and aggressive character,but also its radical psychological insights."

"Self-painting is a further development of the art of painting. The surface of an image has lost its function as the sole means of conveying expression. It was taken back to its roots,to the wall,to the object,to the living being,to the human body. By using my body as a means of conveying expression,the result created is a happening captured by a camera as it progresses,and an experience which viewers can share."

"It′s always seemed odd to me that people don′t paint with both hands. I mean, if I′m technically so shackled that I can′t paint with my hair, stomach or bottom, what about my other hand? You′ve got to live in painting. All-round painting... Indefinable space-at least indefinable in traditional terms-that′s what I require of my paintings. There must be absolutely no central focus... There can be no progress until that damned centre has been eliminated... My paintings are sublimated stamping,screaming and hissing-I try to translate a process experienced physically into a physically visible one."

"The white room is an interior to be made devoid of any specific sensualism emanated by objects. Ultimately it is classic white canvas expanded into three-dimensional space."

"Pure painting or the art of drawing whose point of departure is based on purely formal criteria is,in my opinion, passé. I do not reject it if other artists make attempts,but as far as I am concerned,this is what I believe. if I do not place a text next to my drawings,I consider the work on such programmes to be futile."

"A happy childhood means - or ought to mean - that one's first experience of the world is a true experience - not yet comprehensive, of course, yet comprehending the prime reality, so that it becomes an experience of an essential order which thenceforward will serve as a basis of comparison, in whose light all future falsification, all disorder, will be recognised as wrong and invalid. A happy childhood means above all a loved child. Because Thérèse was a happy child, her beginnings could contain perfection. Because she was a loved child, she received from the beginning the knowledge that others must struggle towards so consciously, with such difficulty, by painfully strenuous detours: the simple truth that to so many of us seems the most incredible and amazing lesson of religion: that we can be loved without having deserved it: that grace comes first..It is bliss simply to be someone's child, a child of a father, of a mother, living, moving and having its being in a love which is unmerited, unmeritable , anticipatory, unconditional and immutable. On this basic mystery and reality Thérèse's childhood was built. This was the source of her subsequent doctrine of the way of spiritual childhood."

"the protective, healing silence of forgiveness is just as much part of confession as its quality of judgment - stressed so much more. For in confession sin is not so much subjected to the light of the word, of judicial sentence, as received into the darkness of merciful, secret acceptance, sunk into divine oblivion."

"Anyone who really carries out this existence [ of the Discalced Carmelites ] in spirit and letter must see it as a foretaste of death, of the radical and irrevocable parting from all things that make life rich, sweet and attractive. It is a venturing into death in the hope of receiving a new, mysterious life from the hand of the Lord."

"I'm reading a very quaint American book, The Power of Positive Thinking , written, I'd suppose, by a sectarian minister, presumably of Methodist dye. (Norman Vincent Peale)..He's full of stories of prayers heard - and extols the power of prayer.."Before leaving for an important business conference I brace myself with texts like 'If God be for us, who can be against us?'...Then I stalk into the conference room, sure of my victory, and carry off the most marvellous deal.." This, in essence is the burden of the whole book. That's what people call Christian optimism. But it's wasted on us - we've been spoilt for this sort of thing...But isn't it rather self suggestion than authentic religious impulse? It doesn't seem to have dawned on him that suffering, disappointment, defeat or loss might also have some point too, or that God's designs could sometimes be hidden..."

"Take my own case: from nursery days we were taught to believe the worst of people...We were drilled, in principle and emphatically, never to believe anyone, never to trust anyone, all people are liars, people are always hypocrites, especially if they are nice to you, everyone can be bought, etc..Scandal was the sole topic of conversation in Stockau: 'Just to show you what the world is really like.'...I was fiercely determined to have no illusions, to confront even the ugliest reality face to face. I would smuggle The History of Prostitution and such-like books out of the library, disclosures of financial scandals I couldn't understand, books on the crimes of colonial government...And what was the result? I believed every word people told me, they could lie and swindle and make up whatever they liked...Could it be that my insatiable and often so incautious hunger for people who are good, pure, beautiful and holy is in fact the direct result of that early training to despise people?"

"I'm reading a biography of St John Baptist de la Salle - Extraordinary what educational insights and experiments have existed already - and what has been forgotten!. That reformatory, for instance, which he founded on the most amazing principles somewhere around 1680...The young delinquents were detained in solitary confinement to begin with, being promoted later..to community life..But in their single cells they were given flowers and plants to cultivate and singing birds to breed! The prisoners took their meals together with the Brothers, and each of the boys in solitary confinement was entrusted to one particular Brother...The Jansenists were bitter opponents of the Brothers, for in all his schools de la Salle laid great stress on frequent Communion..They did their best to oppose him personally and to hinder his work. The French Revolution wrecked his Institute, some of the Brothers were executed, others emigrated."

"the posthumous visibility of the saints is a puzzling phenomenon indeed, and varies enormously. Little Thérèse emerged from complete obscurity to world-wide publicity; but Vincent Ferrer, for instance, one of the most prominent, most spectacular and dramatic saints in the whole history of the Church seems barely to have outlived his own lifetime. Today he's as good as forgotten."

"another article by Karl Rahner in Geist und Leben - What he reveals is an issue of the utmost importance: how essential it is for the Christian to recognize a plural, numinous universe, made up of angels, saints, the dead and demons - which are not the same as God...that if this created numinous plurality ceases to be understood as a reality, the very concept of God will be disfigured and distorted..to deny all such powers and figures is just as false, just as ominous as to succomb to them."

"For his Spiritual Church Joachim of Fiore foresaw the continuance of the Papacy (much modified), but the bishops were to disappear. If I think at all of the Church to come, then I hope and pray above all for a revival, indeed resurrection of the episcopal office. To my mind it is still a prisoner of its almost thousand-year long disastrous fusion with temporal power. Strange - only a few years ago I thought the Emperor Otto I just marvellous and was full of admiration for his genius in raising the bishops to Reichsfürsten - princes of the realm - thus securing an unshakeable foundation for his Empire. Politically it was a brilliant decision...Yet I can imagine no way in which a mortal enemy of the Church in all craft and cunning could have fastened a worse fate upon her...For how often was their charismatic office as pastors overshadowed, indeed frequently rendered impossible, by their temporal mission and worldly achievements.."

"I'm reading Kristin Lavransdatter again - it's one of the greatest poetic books, and the most powerful portrayal of medieval Christendom I know....I must admit that it makes me cry every time - because it's so real, so true , reaching to the depths of human nature, touching one to the quick."

"In private one can well be a cat that walks by itself, and without roots in any specific soil: but in the great battle for the Kingdom of God it seems to me one ought to belong to some brotherhood."

"Léon Bloy, despite his many impressive qualities..what a hater he was! - wild and implacable, and what power of abuse! Strange don't you think that Ernst Jünger should comment at length in his war-diaries how irresistibly Bloy reminded him of Hitler in his paroxysms of rage and his foul and ribald tongue?..Yet Bloy was undoubtedly a man with great gifts of vision and perception, and charity, too - even in the midst of his orgies of hatred. And much of what he writes about Our Lady of La Salette in his La Salette book is very fine and often goes straight to one's heart..."

"I've just finished a (for me) very important book about the parents (Louis Martin and Zélie Martin) of the Little Flower..It confirms my thesis 100 per cent: that everything claimed by her super-heralds as her direct inspiration, her unique originality, in fact stemmed from inheritance, upbringing and repetition...Most interesting for me is the recognition how alien and remote this bourgeois piety of the late nineteenth century has become, even for cultivated contemporary Catholic writers - a veritable terra incognita; otherwise this so wide-spread legend of Thérèse's uniqueness could never have grown up."

"St Thomas had lots to say about the mystical quality of createdness. For him the creature is truly a mystery, a mystical reality. Sometimes this strikes me so forcibly that I shrink from crushing a gnat or plucking a blade of grass - how dare one do such a thing, except of necessity? Nothing sentimental about this - not even compassion at having to hurt things - simply awe before their Maker. I'd never dare to tear up someone else's sketch or manuscript without first asking the author's permission - unless, of course, he had asked me to do so."

"In the Napoleonic Museum in Arenenberg I was rather impressed just how richly clad in the costume of Antiquity the First Empire in fact was - dressed up even comically with its laurels and eagles and togas. Return to Rome wherever you look, though of course not to the Holy Roman Empire - to Caesar's Rome. But the French Revolution itself had fallen back on more or less genuine or imaginary classical models: Brutus and Tiberius Gracchus and Gaius Gracchus, the Gracchi, consuls and Roman virtues - even these revolutionaries couldn't resolve to start from scratch with something really new."

"Trochu's Vianney book makes me shudder. Positively frightening - and the saint too. The first time I read it I was quite horrified...Actually he is a second Simeon Stylites - and how hard and stern he is - and not only against himself: he would excommunicate his parishioners if they even once went dancing or drinking - like the most rigorous Puritan..For him sin involved personal, direct single combat with Satan...But there's no glove to Vianney's peasant fist. He's really gruesome."

"isn't every kind of conformity really a sort of masquerade, the mask at once conspicuous and disguising?"

"I'm reading Günther Anders' Die Antiquiertheit des Menschen (The Antiquity of Man)..That bit about Promethean shame impressed me..observations about the shame of being oneself, the reluctance at stepping out of line, of being forward, of being looked at. This is entirely true to life...Yet it's just as natural to man to want to be seen, to want to be outstanding, to be regarded, as to want to hide - and both these instincts - for that's what they are - clash, often with equal force...How clearly I see the Little Flower in this light: from earliest days the focal point for her whole family, yet on the other hand sincerely desiring to be hidden, taking the veil - and so wonderfully unveiled to posterity, revealed to the world, set up as an image, i.e. to be looked at!"

"Yet again - visible and invisible. The panic of loneliness - not physical, far more moral - arises from the fact that every lonely person is wearing a tarnkappe , a magic hood, (in German fairy tales, a magic cap which makes the wearer invisible) against his will: which is tantamount to saying: "If people don't bother about me, it's because nobody is seeing me - seeing me. I'm just a piece of furniture in their eyes." … Newcomers in a strange world suffer this fate especially, what's more in a doubly unpleasant way: first because no one takes any notice of them since they don't belong, i.e. they're nobodies, yet at the same time they're conspicuous, in the way, a nuisance, desperately conscious of being just awkward lumps of furniture."

"I'm afraid I do believe that all earthly love can die - since man is mortal, why not also his most human feature? - and for me pretensions such as love that dies was never love, etc. belong to schoolgirls' albums."

"I just revelled in that High Mass at Beuron Abbey on All Saints' Day..Of course it's a spectacle, but that's just what makes sense, the very same sense as monasticism in general...ritual as the reflection of glory. How marvellously impersonal it is - the strict anonymity of the monks, even more impressive when they raise their hoods. They are just figures and voices. What an achievement to divest oneself of everything private, individual, to enact this holy drama day after day, indifferent to one's personal mood, representing all of us simply as mouth of the Church."

"Reading O'Rahilly's life of Father William Doyle. I'm surprised this book hasn't left a deeper mark, for it contains - often in parallel terms - the whole teaching of the Little Way which created such a stir in the case of Thérèse. But it seems people prefer to accept such things from a lovely young girl complete with smile, roses and veil. One can't help wondering whether Thérèse would have met with the same enormous response had she been hopelessly ugly - a hunchback with a squint, or old..."

"Reading lots of Dickens. Barnaby Rudge: the last Catholic pogrom - No Popery, the Gordon Riots in London - 1780, twenty years before Newman was born. He must have known people who had set fire to the houses, or taken in victims and refugees. Lord George Gordon who led the mob (obviously a religious maniac) died as late as 1793. Old Curiosity Shop, Nicholas Nickleby - this too, is part of Newman's background, this gallery of living gargoyles, ghouls and monsters. Might account, perhaps, even for some of Newman's pessimism about the world and human nature, which some attribute merely to his own melancholy disposition? That nineteenth century!!"

"Legenda Aurea. To think that there's no Catholic edition of this most Catholic book!...Richard Benz sees it as epic and myth of the Middle Ages, exact parallel to the Gothic cathedrals. Sunk into oblivion with the epoch, rediscovered through the history of art, in the countless painters inspired by the Legend. Wonderful, costly and beautiful - but belonging utterly to the past, monument, museum: venerable, interesting , imposing - tout à fait passé."

"That Somerset Maugham anthology Cakes and Ale. How destructive he is, venomous, pulling everything down in biting, corrosive cynicism. Yet somewhere deep down under all the conceit, sarcasm and snobbery is real quivering pain, helpless bewilderment at the inexplicable fact that human nature is chequered. And what perplexes him is less the common, mean element in decent people than the goodness and kindness of wicked, vicious ones."

"All the time each one of us is hovering above an unfathomable abyss of potential calamities of every kind - sensed in that ever-throbbing pulse deep down in one's heart; as long as this chasm does not open up to devour one, the floating island in any guise whatever must surely be welcome. Wrong notion of God? Asiatic pessimism?"

"I'm reading George Borrow's Lavengro...and , of course, it fits perfectly into the pattern of my current reading! - Fallada and Arnold Bennett's The Old Wives Tale, i.e. my constant musings on the nineteenth century. I was amazed to learn from Bennett's book that in Papa's childhood you could watch an execution, which was a public entertainment, a real show, with high prices paid for windows with a good view, and the local hotels doing a roaring trade."

"Life of Paul of the Cross, founder of the Passionists. Astonishing really that he should be so little known, should have left so little impression..Strangely thrilling that St Paul - end of the eighteenth century! - should have prayed all his life for the conversion of England, pledging his sons to do likewise. Once, during Mass, he had a vision of my sons in England. But only in 1841, almost seventy years after his death, did they actually set foot on English soil - through Fr Dominic Barberi. It was he who received Newman into the Church.."

"Larion's Law by Peter Freuchen. An Indian saga written by a Dane who lived for thirty years among the woodland tribes of Alaska and even had an Eskimo wife...Really one is ashamed to belong to a white race...what we did to Indians, Negroes, Australian aborigines (not even out of political fanaticism either, but as a matter of course, en passant)"

"Humanly speaking the Church as a whole will never cut a good figure, and her exceptions seem almost like another species."

"Psalm 118 - my solace and my blessing - unfathomably deep. It is my backbone."

"Actually we were brought up to ingratitude - a relentless training through which we were taught to find nothing whatever good in ourselves, whether natural or spiritual..Conquering pride and conceit, they called it, practising humility, self-praise is no praise - all very well...Was pride really crushed by all this snubbing and humiliation? Was it not rather repressed...Worse still, we learnt this way to cultivate the devil's mirror eye of Hans Andersen's Snow Queen , over-vigilant, super-critical sight, sharpened to discover the worm in every bud, even the tiniest plant-louse! For if one practises this sort of discipline on oneself, day and night, it is asking too much - at any rate of a young girl - to judge one's neighbour by another yard-stick. All the time one's lynx-eyed consciousness remained on the alert, quick to pounce on everything negative - in you and in myself...Hans Andersen well knew how near this attitude is to blasphemy."

""From time to time I have the feeling that certain instincts [urges? involuntary impulses?] are being annihilated within me, which have hitherto seemed good and perfect: yet as soon as they are destroyed I perceive how evil and imperfect they were." (Catherine of Genoa). This strikes me as very important, for it shows that the judgment of conscience can change, and precisely in someone whose conscience must already have been particularly highly developed, sensitive and illuminated."

"the Legion of little Souls does exist, and they did become manifest in the Little Flower. True, they get on our nerves more than they edify us - precisely that awful Martin family with their pompous self-preoccupation, their insufferable family worship, a perpetual mutual admiration society - but, say what you will, such people really do have religion, in the strictest sense of the word - living contact, authentic conversation with God. They do live out of their trust in him, are honestly concerned with seeking and doing his will, they take pains about being kind to their neighbours, for his sake. Is this really not enough? To hell with all esoterics!"