Emanations of the Yellow Sign

ghosts and scattered limbs of reading, excisions and marginalia.

Apr 15
“The ultimate subversion (contra-censorship) does not consist in saying what shocks public opinion, morality, law, the police, but in inventing a paradoxical (pure of any doxa) discourse: invention> (and not provocation) is a revolutionary act: it cannot be accomplished other than in setting up a new language. Roland Barthes, Sade / Fourier / Loyola (1971)

speciesbarocus:

Hermes Trismegistus - Occvlta philosophia (1613). [x]

(via alanreedwrite)


Jan 5
“what’s an artist, but the dregs of his work? the human shambles that follows it around. what’s left of the man when the work’s done but a shambles of an apology.” William Gaddis (via alanreedwrite)

edwarddespard:

slobbering:

Louis Boulanger  (1840)

Ah yes - one of the Bouzingo circle. As you could tell from the subject matter.

(via temporubato)


Jan 4
“It is in Théophile Gautier that we first seem to find an authentic French sense of the unreal world, and here there appears a spectral mastery which, though not continuously used, is recognisable at once as something alike genuine and profound. Short tales like ‘Avatar’, ‘The Foot of the Mummy’, and ‘Clarimonde’ display glimpses of forbidden visits that allure, tantalise, and sometimes horrify; whilst the Egyptian visions provoked in ‘One of Cleopatra’s Nights’ are of the keenest and most expressive potency. Gautier captured the inmost soul of aeon-weighted Egypt, with its cryptic life and Cyclopean architecture, and uttered once and for all the eternal horror of its nether world of catacombs, where to the end of time millions of stiff, spiced corpses will stare up in the blackness with glassy eyes, awaiting some awesome and unrelatable summons.” H.P. Lovecraft, Supernatural Horror in Literature (1927)

Oct 17

In this book it is spoken of the Sephiroth and the Paths; of Spirits and Conjurations; of Gods, Spheres, Planes, and many other things which may or may not exist.

It is immaterial whether these exist or not. By doing certain things certain results will follow; students are most earnestly warned against attributing objective reality or philosophic validity to any of them.

3. The advantages to be gained from them are chiefly these:
(“a”) A widening of the horizon of the mind.
(“b”) An improvement of the control of the mind.

Aleister Crowley, Liber O (1913)

“Fan fiction is a way of the culture repairing the damage done in a system where contemporary myths are owned by corporations instead of owned by the folk.” Henry Jenkins, in Textual Poachers: Media Fans and Participatory Culture  (via tristealven)

(via alanreedwrite)


Oct 5
“The passage beyond language requires language or rather a text as a place for the trace of a step that is not (present) elsewhere. That is why the movement of the trace, passing beyond language, is not classical nor does it render the logos either secondary or instrumental. Logos remains as indispensable as the fold folded onto the gift, just like the tongue of my mouth when I tear bread from it to give it to the other. It is also my body.” Jacques Derrida, At This Very Moment in This Work (1987)

Jun 30
“I will add one proof of the general ignorance of the civilized mechanism, taken from the unpredictable calamities which befall every generation. The most recent was the Jacobin clubs and their associates: nobody in 1789 imagined what they would be like, for all the scholarly analyses of Civilisation. Other calamities will follow which the philosophers will be equally incapable of foreseeing, such as commercial feudalism, which will be no less odious than the rule of the clubs and will be the result of the day-to-day influence of the commercial spirit on the social system. Its encroachment will produce a terrible innovation, which civilised man is far from predicting. Nobody, though, should be alarmed by this forecast; it should cause joy, not fear, because the theory of Social Movement will provide us with the means of predicting and averting political stormclouds.” Charles Fourier, First Part: The General Destinies, The Theory of the Four Movements, 1808 (via discursivelacerations)

Jun 6

It is important to read and re-read the diagram in order not to have to turn back to it every time I speak of the various epochs and periods.

Those who are unwilling to devote a quarter of an hour to studying these tables and comparing the four phases and the thirty-two social metamorphoses with the epochs of the eighteen creations and the northern crown should shut the book rather than continue reading something which will constantly present them with obscurities, although to anybody who has studied these tables of Social Movement they will be quite intelligible.

Charles Fourier, The Theory of the Four Movements and of the General Destinies (1808)

Apr 4
Thought thinks in us rather than we in it. Charles S. Peirce (via heteroglossia)

(via alanreedwrite)


“Knowledge of the fact that the natural world consists only in errors makes it easier to find the weak point in philosophical systems.” Hugo Ball, Flight Out of Time (1917)

“I have need of angels. Enough hell has swallowed me for too many years. But finally understand this—I have burned up one hundred thousand human lives already, from the strength of my pain.” Antonin Artaud  (via tristealven)

(via alanreedwrite)


“Delicately whipped by each other, all these minds were frothing. Only some intense souls—I could count three or four in the room—sat silent, some with heads lowered, some with eyes fixed dreamily on the rings of a hand that lay extended on their knee. Perhaps they were trying to corporalize their daydreams, which is as difficult as to spiritualize one’s sensations.” Jules Barbey d’Aurevilly, Beneath the Cards of a Game of Whist (1874)

Feb 6
“Rhythm is perhaps the most primal of all things known to us. It is basic in poetry and music mutually, their melodies depending on a variation of tone quality and of pitch respectively [ … ] the rhythm set in a line of poetry connotes its symphony, which, had we a little more skill, we could score for orchestra.
[ … ]
I have in my translations tried to bring over the qualities of Guido’s rhythm, not line for line, but to embody in the whole of my English some trace of that power which implies the man. The science of the music of words and the knowledge of their magical powers has fallen away since men invoked Mithra by a sequence of pure vowel sounds. That there might be less interposed between the reader and Guido, it was my first intention to print only his poems and an unrhymed gloss. This has not been practicable. I cannot trust the reader to read the Italian for the music after he has read the English for the sense.”
Ezra Pound, Introduction to Translations of the Poems of Guido Cavalconti (1910)

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