Poets From France

"… necessitating the unilateral choice of one of three orientations […] I would summarize the disjointed temporal multiple which organizes our site in the following manner:"

"Without mathematics, we are blind."

"Truth is a new word in Europe (and elsewhere)."

"The heart of the question concerns the presumption of a universal human Subject, capable of reducing ethical issues to matters of human rights and humanitarian actions. We have seen that ethics subordinates the identification of this subject to the universal recognition of the evil that is done to him. Ethics defines man as a victim. It will be objected: 'No! You are forgetting the active subject, the one that intervenes against barbarism!' So let us be precise: man is the being who is capable of recognizing himself as a victim."

"In the political domain, deprived of any collective politcal landmark, stripped of any notion of the 'meaning of History’; and no longer able to hope for or expect a social revolution, many intellectuals, along with much of public opinion, have been won over to the logic of a capitalist economy and a parliamentary democracy."

"According to the way it is generally used today, the term 'ethics' relates above all to the domain of human rights, 'the rights of man'- or, by derivation, the rights of living beings. We are supposed to assume the existence of a universally recognizable human subject possessing 'rights' that are in some sense natural: the right to live, to avoid abusive, to enjoy 'fundamental' liberties (of opinion, of expression, of democratic choice in the election of governments, etc.) These rights are held to be self-evident, and the result of a wide consensus. 'Ethics' is a matter of busying ourselves with these rights, of making sure that they are respected."

"Everything turns on mastering the gap between the presupposition (that must be rejected) of a being of the one and the thesis of its 'there is'."

"We find ourselves on the brink of a decision, a decision to break with the arcana of the one and the multiple in which philosophy is born and buried, phoenix of its own sophistic consumption."

"Since its Parmenidean organization, ontology has built the portico of its ruined temple out of the following experience: what presents itself is essentially multiple; what presents itself is essentially one. The reciprocity of the one and being is certainly the inaugural axiom of philosophy - Leibniz formulation is excellent; 'What is not a being is not a being - yet it is also its impasse; an impasse in which the revolving doors of Plato's Parmenides introduce us to the singular joy of never seeing the moment of conclusion arrive. For if being is one, then one must posit that what is not one, the multiple, is not . But this is unacceptable for thought because what is presented is multiple and one cannot see how there could be an access to being outside all presentation. If presentation is not, does it still make sense to designate what presents (itself) as being? On the other hand, if presentation is, then the multiple necessarily is."

"If one category had to be designated as an emblem of my thought, it would be neither Cantor's pure multiple, nor Godel's constructible, nor the void, by which being is named, nor even the event, in which the supplement of what-is-not-being-qua-being originates. It would be the generic."

"This book founds a doctrine which is effectively post-Cartesian, or even post-Lacanian, a doctrine of what, for thought, both un-binds the Heidegerean connection between being and truth and institutes the subject, not as support or origin, but as fragment of the process of a truth."

"If the establishment of the thesis 'mathematics is ontology' is the basis of this book, it is in no way its goal."

"I then arrived at the certainty that it was necessary to posit that mathematics writes that which, of being itself, is pronounceable in the field of a pure theory of the Multiple. The entire history of rational thought appeared to me to be illuminated once one assumed the hypothesis that mathematics, far from being a game without object, draws the exceptional severity of its law from being bound to support the discourse of ontology."

"Introduction, p.3-4"

"Ever since my childhood, I was haunted by the search for perfection. An imperfectly cut paper literally made me ill, I would guillotine it. My collages came undone, they became blistered. I then introduced death and decay in my compositions. I reacted by avoiding any precision from one day to another. Instead of cutting the paper, I would tear it with my hands."

"The greatest fighter after Adolf Hitler, Rudolf Hess and Joseph Goebbels. Moreover she was the first to discover the secret and spiritual power behind Hitlerism."

"[Perhaps] she developed her crassly racist views of inter-caste relations only later, projecting them back onto her Hindu activist period when she wrote her autobiography thirty-five years after the fact. My impression is that in the 1930s, she was much more moderate in this respect."

"As for the Nazi connection, let us at any rate be clear about an easily verifiable fact: in so far as the Nazis cared about Indian history, they favoured the AIT. ... In fact, after reading her autobiography, “Memories and Reflexions of an Aryan Lady”, there is not the slightest doubt left that for her and her husband, their belief in the AIT, along with their distortive reinterpretation of Hindu tradition in terms of the AIT, was the direct cause of their enthusiasm for Hitler."

"The Aryan Invasion Theory, along with the concomitant racialist understanding of the caste system as a kind of Apartheid system to preserve the Aryan's racial purity, was the alpha and omega of Savitri Devi's own worldview."

"Savitri Devi's paganism was a very modern philosophy of submersion in the purely physical, a biological materialism exalted to the status of a religion. Obviously, genuine Pagan philosophers with their own views of the transcendent dimension would hardly have recognized their own worldview in this reductionist quasi-Darwinism."

"For the period from her birth until after World War 2, we have to trust Savitri Devi Mukherji for her life story. However, it is obvious that she herself has arranged her biography a posteriori in order to harmonize it with the themes defended in her books... It is evident and very clear that Savitri Devi Mukherji has 'arranged' her biography in order to construct herself a persona apt to shine in the tiny circle of neo-Nazism."

"I asked Savitri ... how she would have received her mother. Without batting an eyelid, she said: 'I would have shot her.'"

"In the Third Reich, even schoolchildren knew from their textbooks that this [= the Aryan] race had spread from the north to the south and east, and not the other way around."

"A 'civilization' that makes such a ridiculous fuss about alleged 'war crimes' -- acts of violence against the actual or potential enemies of one's cause -- and tolerates slaughterhouses and vivisection laboratories, and circuses and the fur industry (infliction of pain upon creatures that can never be for or against any cause), does not deserve to live. Out with it! Blessed the day it will destroy itself, so that a healthy, hard, frank and brave, nature-loving and truth-loving élite of supermen with a life-centered faith,-- a natural human aristocracy, as beautiful, on its own higher level, as the four-legged kings of the jungle -- might again rise, and rule upon its ruins, for ever!"

"To those privileged ones -- among whom we count ourselves -- the high-resounding "isms" to which their contemporaries ask them to give their allegiance are all equally futile: bound to be betrayed, defeated, and finally rejected by men at large, if containing anything really noble; bound to enjoy, for the time being, some sort of noisy success, if sufficiently vulgar, pretentious, and soul-killing to appeal to the growing number of mechanically conditioned slaves that crawl about our planet, posing as free men; all destined to prove, ultimately, of no avail."

"I worship impersonal Nature, which is neither "good" or "bad", and who knows neither love nor hatred. I worship Life; the Sun, Sustainer of life. I believe in the Law of everlasting struggle, which is the law of life, and in the duty of the best specimens of our race — the natural élite of mankind — to rule the earth, and evolve out of themselves a caste of supermen, a people 'like unto the Gods'."

"Long centuries before any foreigner had settled in India, the unity of the country was materialised in symbols. What more suggestive story than that, for instance, of Sati, Siva’s wife, whose body, divided, after her death, in fifty-one pieces, is lying still in fifty-one different places, therefore revered as “tirthasthans,” throughout the Indian Peninsula? One lies near Peshawar, one in Kamakhya, not far from India’s eastern boundaries; one in Benares, one in the very extreme South, others here and there. Fifty-one pieces, but one body; fifty-one “tirthasthans” in the name of the same Goddess, scattered over the same territory. Indeed, among the different interpretations that can be given of the legend of Sati, one can take it in this light: Sati is India herself, personified; India’s soil, sacred from end to end, is, with all its variety, the actual body of one great Goddess... And Indian nationalism means: devotion to this great Goddess."

"Hinduism is really superior to other religions, not for its spirituality, but for that still more precious thing it gives to its followers: a scientific outlook on religion and on life. Hindu spirituality is a consequence of that very outlook. We consider it useless to oppose: India to the “West,” as “spiritualistic” opposed to “materialistic.” Hindu superiority lies elsewhere; not in the opposition of Hindu thought to European thought, but in the fact of its greater consistency than that of European thought, of its greater faithfulness to life, of greater harmony between life and it; in the universality of the Hindu’s scientific outlook, compared to that of the Europeans."

"The day when the whole of India will break its idols and worship God after his fashion, that day he will be Indian, like the Afghan across the mountains is an Afghan... but until then, he will remain in India a conqueror who remembers his old victories, the master of India cheated of his prey by the late-coming British, whom he accuses, in spite of the benefits they heap upon him, of favouring the Hindus.... The Indian Christian is a Hindu unaware of himself."

"The Hindu Aryas are, among the modern peoples of similar race and language, the only great people to have conserved a living Aryan religion. That is their most beautiful entitlement to glory, the secret of their strength and pride, even in the midst of all their misery the secret of their freedom under all the past and future phases of foreign domination."

"The Hindu religion in its popular expression, as one can see it, is in sum the pre-Byzantine Greek religion, and all the ancient Aryan religions of Europe, minus the tribal spirit and, generally, plus the goodness and the respect for all beings."

"Europe is organized, marvellously organized; but India is cultivated."

"Europe is only powerful; India is beautiful."

"I never stood under the influence of Dadaism because whereas the Dadaist created Spiegel-dadaismus (Mirror-Dada) on the Zurich Lake [the 'political Dada'], I created MERZ on the Leine-river, under the influence of Rembrandt. Time went on, and when Jean Arp made concrete Art, I stayed Abstract. Now I do concrete Art, and Marcel Duchamp went over to the Surrealists.. ..and at all I have much fun about Art."

"Mr. Arp hated shiny sculptures. He hated that. Because if it's shiny, you can't appreciate the form. It creates reflections."

"Dada was founded in Zurich in the spring of 1916 by Hugo Ball, Tristan Tzara, Jean Arp, Marcel Janco and Richard Huelsenbeck at the Cabaret Voltaire [in Zurich, Switzerland].. .Arp was an Alsatian; he had lived through the beginning of the war and the whole nationalistic frenzy in Paris, and was pretty well disgusted with all the petty chicanery there, and in general with the sickening changes that had taken place in the city and the people on which we had all squandered our love before the war [World War 1., 1914-1918]."

"We visited Meudon [c.1938] to see Hans Arp and though, to our disappointment, he was not there and his wife, Sophie Taeuber showed us his studio. It was very quiet in the room so that one was aware of the movement in the forms.. .I thought of the poetic idea in Arp's sculptures. I had never had any first-hand knowledge of the Dadaist movement, so that seeing his work for the first time freed me of many inhibitions and this helped me to see the figure in landscape with new eyes.. .Perhaps in freeing himself from material demands his idea transcended all possible limitations. I began to imagine the earth rising and becoming human."

"Tzara would draw [during Dada-evenings in Zürich, Switzerland] slips of paper with words described on them from a hat, and present the resulting combination of words as a poem. Arp allowed cut-outs of free or geometric shapes to arrange themselves in a random order, then pasted them on a surface and presented the result as a picture. In the course of such experiments Arp also used 'automatic writing', i.e.: irrational, spontaneously traced forms, rising from the unconsciousness."

"Based on the metaphysical implications of the Dadaist dogma.. .Arp's Reliefs [carvings] between 1916 and 1922 are among the most convincing illustrations of that anti- rationalistic era...Arp showed the importance of a smile to combat the sophistic theories of the moment. His poems of the same period stripped the word of its rational connotation to attain the most unexpected meaning through alliteration or plain nonsense."

"Arp, yes, was one of the artists that I was interested in. And that reminds me of a friend of those times, Frederick Kiesler, who was an architect and painter, a man of all trades, and who said this word about Arp: 'This is Arp, not art.' [Laughs]"

"As we liked to do as children, extracting from the soft forest floor the light chestnut trees only a few centimeters high at the base of which the chestnut continues to shine to the sun its clods of soil from the past, the chestnut conserving all of its presence and witnessing with its presence the power of green hands, of shadow, of airy white or pink pyramids of dances.. ..and of future chestnuts which, under new dust, would be discovered by the marveled sight of other children. It is in this perspective that the work of Arp, more than any other, should be situated. He found the most vital in himself in the secrets of this germinating life where the most minimal detail is of the greatest importance, where, on the other hand, the distinction between the elements becomes meaningless, adopting a peculiar under the rock humor permanently."

"Yes, I deal with accidents, just as Arp admits it all the time. And I admit it, too. But I like to have them under my command and not sign them because they are accidents."

"Dada aimed to destroy the reasonable deceptions of man and recover the natural and unreasonable order."

"Soon silence will have passed into legend. Man has turned his back on silence. Day after day he invents machines and devices that increase noise and distract humanity from the essence of life, contemplation, meditation.. ..tooting, howling, screeching, booming, crashing, whistling, grinding, and trilling bolster his ego. His anxiety subsides. His inhuman void spreads monstrously like a gray vegetation."

"To be full of joy when looking at an oeuvre is not a little thing."

"At daybreak I found on my sculptor's turntable a little mischievous form [a small plaster form of Impish Form, Arp made in 1949], alert and somewhat obese, with a stomach like a lute. It seemed to me like an imp. I called it that. And all of a sudden one day this little character, this imp, through a Venezuelan medium, found itself to be the father of a giant [Arp enlarged it]. This giant son resembles its father like an egg resembles another egg, a fig another fig, a bell another bell."

"Actually, it was in Paris in 1914 that I did my first collages, for an occultist friend. They were mysterious portico's which were supposed to replace mural paintings and which evoked the structure of palm branches or fish-bones. [remark on the first collages Arp made, in different materials]"

"These collages were static symmetrical constructions, portico's with pathetic vegetation, the gateway to the realm of dreams. They were done with colored paper in black, orange or blue dye plates. Although cubist painting interested me very much, not a trace of their influence was to be found in my collages."

"I did exhibitions with the Surrealists [in Paris, c. 1929] because their attitude revolted against 'art' and their attitude toward life itself was wise, as was Dada's."

"Each one of these bodies [art-works which Arp made] certainly signifies something, but it is only once there is nothing left for me to change that I begin to look for its meaning, that I give it a name."