Le Bloggist s'amuse

Walking to the Sydney Pleasure Gardens in Bath, the Bloggist and his friend, Alfred Jarry, amuse themselves with their scatalogical sense of humour at the expense of The Holburne Museum’s refurbishment.

Hello, I am Colette Reyes

Thus the first company would charge, and would engage for awhile, fighting desperately.

The raft had long since stopped and only the waves of the current beat softly against it below.
The road is not swept for the ss my daughter, but for a minister.

Thank you, Colette, for your email - another Readymade sent to the Blogger by an unkown correspondent.

An Ambient Soundscape

L’Oiseau dans L’Espace and the Winged Victory of Samothrace.

Buil de Onplezierig

We don’t invent Buil de Onplezierig – we discover him and only invent the notions for describing him.

The yellow baboon, Buil de Onplezierig, speaks only about basic elements of experience. "Don't think but look!" What was will be or beaten and content. Joke; followed by a chthonic water beast. Shows of the life and in love, ready to wear, daily. “It is not natural to think”; Buil de Onplezierig is illogical, Buil de Onplezierig remains silent, Buil de Onplezierig expresses no thoughts. Telling Buil de Onplezierig something he does not understand is pointless, even if you add that he will not be able to understand it. Buil de Onplezierig imagines the world as a ceaseless riot of noise and illusion. Buil de Onplezierig walks alone apart from the other within him.

Buil de Onplezierig has no more reason to exist than the apparent death of his mentor is said to have happened. Everything is equally valuable or equally worthless. Buil de Onplezierig simply puts everything before us, he does not deduce anything. Everything is open and there is nothing to explain. The mind of Buil de Onplezierig half accepts, half rejects nothingness. Buil de Onplezierig knows only his self; he has no notion of anything or any person; the more precisely Buil de Onplezierig is known, the less precisely Buil de Onplezierig can be known. He keeps an outlandish old man docile with alcohol and chains. Buil de Onplezierig sees the universe as all spots and jumps, without unity and without continuity, without coherence, orderliness or any of the other properties of uniformity and constancy. There seem to be no clear boundaries, order or meaning to anything. A large part of Buil de Onplezierig’s life is spent just trying to work out the pattern behind everything.

Buil de Onplezierig is possible greatness. His behaviour is erratic, and our understanding of the probability of his actions is questionable. Our observations of Buil de Onplezierig have an effect on his behaviour. Observe Buil de Onplezierig and he observes us. When we observe Buil de Onplezierig he chooses what we observe. His existence proves the notion that simplicity equals truth is false. Buil de Onplezierig’s life is perfectly conventional, he is married, living in his own home and working. Buil de Onplezierig does not care who you slept with last night, what gender that person was, or if you are married to that person. Buil de Onplezierig believes in the triumphant progress of science which makes profound changes in humanity inevitable and is confident in the radiant splendour of his future. Buil de Onplezierig rebels against the tyranny of the words “harmony” and “good taste”; they are barbed wire, a crown of thorns.

Buil de Onplezierig, "abrupt of emotion", does not care to know how your week is going, what is going on in your life, and how, as your friend, he can serve you. It is said of Buil de Onplezierig that he has no idea of goodness, he is naturally wicked, he is vicious and he does not know virtue. Buil de Onplezierig eats human flesh, leads a debauched life and is always full of violence and intrigues.

Buil de Onplezierig hears the distant bark of the fox, the baying of the wolf, the snarl of the wildcat, the weird call of the owl, followed by the “Ha-ha-ha!”. Buil de Onplezierig, in the guise of the slave Money, stealthily stealing, without a passport, carries a monstrous gourd with holes cut in it representing eyes and mouth. Buil de Onplezierig has no honour to lose. The slave Money is a manic depressive, over exuberant on the highs and over gloomy on the lows. Buil de Onplezierig just sits around doing nothing and accumulating masses of objects. Buil de Onplezierig despises the slave Money and the hypocrisy of his life. Buil de Onplezierig recalls visions of an anarchic world in which instinctual drives were untrammelled by moderation. The question is obvious, who could have done this?

The slave Money, cold and dark, sits on Buil de Onplezierig’s shoulder. The slave Money is a willing slave. He needs no chains. He is fond of his slavery. He is proud of his slavery. The slave Money is impulsive. He counts 28 hills, each constructed of about 1,500 heads. When a thing is right, it is right – in place, time and purpose. Buil de Onplezierig is grossly swollen, an abyss of anarchy and disintegration.

The slave Money glares at Buil de Onplezierig like a wild beast. The slave Money does not use agriculture or laws other than each man to himself. Buil de Onplezierig buys nothing without the slave Money, lethal and infected. The more precisely Buil de Onplezierig is known, the less precisely Buil de Onplezierig can be known. Buil de Onplezierig plied the slave Money with wine and while he slept, pierced his eye with a burning stake. A horrible recollection sickened him, stones were thrown at him so as to kill him. He remembers a time of repression, a reining-in of deviant behaviour, dead livestock and the death of babies and children. Buil de Onplezierig builds a tower.

To the outside world Buil de Onplezierig is a very extraordinary man and inventive genius, a literary scholar and cultural theorist. He is well built, in proportion, and he is most gentle and considerate and of an extremely placid disposition which nothing appears to ruffle. And five shoes now end my thoughts.

60 SECOND INTERVIEW: WHAT IS ’PATAPHYSICS?

What is ’Pataphysics?

’Pataphysics is a vast forested plain of rich soils and temperate climate, sloping gently toward the east and terminating in cliffs along the Ocean or, travelling in the opposite direction from the coast, the country rises in a succession of limestone pavements, wind-swept, semiarid, and bare of vegetation.

What is the weather in ’Pataphysics?

The climate is less severe than was supposed by early colonisers. One day out of three, the wind blows and cuts to the marrow. When the wind is not blowing high rainfall and low temperatures give rise to cold and humid air masses resulting in ice-fields and glaciers, in fact, the largest ice-fields in western literature.

What about cities in ’Pataphysics?

Cities are situated on the forested plain along rivers where transportation depends wholly on the French naval frigate Méduse. The cities are built only a few feet above the level of the river, and streets usually end at the margin of the impenetrable forest. The heavy rainfall results in severe flooding on a regular basis. Built with no river defences and with defective drainage, the death-rate in the cities is high.

What is the principal industry of ’Pataphysics?

The principal industry of ’Pataphysics is the retail of agricultural products such as loin of sea turtle, dolphin livers, Piranha Salad, Congealed sweetened pigs blood, Water buffalo skin, marmalade of sea anemone and fermented beets: all sold from stalls decorated with fantastic landscapes made of caster oil, Madeleine cakes, butter and dried meat.

Why have I heard of ’Pataphysics?

The region became fashionable with wealthy celebrities, fuelling a boom in property prices. These new residents seek to puzzle and, indeed, confuse many people but for those who have accepted their private obsessions with landscaped gardens there is no doubt as to their value and achievements. Of the original inhabitants, the ’Pataphysic giants, the most important are Satrap Queneau, Bison Ravi and Vice-Rogator Chapman, all now, sadly, gone.

What is ’Pataphysics to the ordinary person in the street?

’Pataphysics is the experience of the ordinary person in the street! The ordinary person in the street moves in a world drained of meaning and sees people in pursuit of objectives that cannot be attained and cannot be understood; they suffer the shock of the realization that the world is ceasing to make sense.

And so, as our sponsor recommends, “Mangez le cheesecake et pas du pain”.

Couch, also known as Twitch

Théâtre de l'Oeuvre, Paris

Fairlight Cove, Sussex.

A Readymade emailed to the Bloggist

tqrd sgu ztpycx stp meto

jgdtq dgsgu positztpion
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you tow by rarjg
youtqrdme sgufrom tztptart.
Illbecxg betpvmfore tow.
berarjg pouncetqrdpony.
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ztp filcxglsmy tpvm.
a puntowch toy vorarjglunteer
ktqrdnee.
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atpvmnd atowyou wrarjgsee

Thank you Abbott Barnett, whoever you are.

'Patacities - ideal cities planned according to scientific methods

Building Models by Lewis Ambler

Sculptural Maquettes by Ian Robinson

Panegyric for Stanley Chapman

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Stanley Chapman, President of the London Institute of 'Pataphysics

8 Absolu 53 (Absinthe) - 9 Merdre 136 (Voidance)

15 September 1925 - 26 May 2009

Stanley Chapman, White or Pink
Stanley Chapman, a Technical Trop
Stanley Chapman, Electric Energy
Stanley Chapman, Cures All

Stanley Chapman, la nature a coup d’oeil
Daar d’ene hand de andre wast zyn se byde schoon
Stanley Chapman, a Burning Pillar in a Building
Stanley Chapman, King of Corinth, promoted navigation
Stanley Chapman, Sur la Terre de la Lune
Stanley Chapman, Dans la Maison du Capitaine Grant
Stanley Chapman, absinthe, bicycles and merdre

Stanley Chapman, a certain speed but not too much

Stanley Chapman, "the contradiction of every matter of fact is conceivable"
Stanley Chapman, King of Thessaly, murdered his father-in-law
Stanley Chapman, L’Architect d’une ville flottante
Stanley Chapman, used as an architectural term, indicates a monument
If you refuse Stanley Chapman’s advice you will walk the whole day

Stanley Chapman, Centre of the Wheel
Stanley Chapman sees the Despotism of Culture everywhere
Für ’Pataphysics, weltmacht oder neidergang
Stanley Chapman, tu est bon comme du pain

Stanley Chapman, “Fundamental to Art is the fact that viewers stand in front of it”

Stanley Chapman, King of Sipylus, stole nectar & ambrosia from the gods
Stanley Chapman, Pisser dans un Violon
Stanley Chapman, Astrolabe
Stanley Chapman opens the door into a new anti-world
Stanley Chapman examines the laws governing exceptions

The Order of Ursulines, founded in 1535 by St Angela de Merici, is especially devoted to the education of Stanley Chapman

Stanley Chapman, Monad of the Pythagoreans
Stanley Chapman, a living thought
Stanley Chapman, a philosophical enquiry into the origin of our ideas
Stanley Chapman, a function of the extreme tension experienced by the mind

Farewell Stanley Chapman

The Palotin's Library of Educational Texts

Ubu under surveillance

Second Congress of the Third International Gathering of ’Pataphysics. 1922.

Delegates at the Second Congress of the Third International Gathering of ’Pataphysics. 1922. Tunbridge Wells.


Manifesto of the Second Congress of the Third International Gathering of ’Pataphysics. 1922.

1. Delegates agree that ’Pataphysics, with its variations, is one of the most wonderful things, and is always present everywhere.
2. Delegates agree ’Pataphysicians aim to improve the minds of the young in our acrimonious and utilitarian world.
3. Delegates agree that thought processes grow out of the technology of writing and that therefore ’Pataphysic writing must be a vehicle for introducing new ideas.
4. Delegates agree to abandon the Socratic pursuit of truth for its own sake on the grounds that the world is fundamentally unknowable and the Socratic pursuit of truth is biased towards established paradigms.
5. Delegates agree that ’Pataphysics can never be certain of both position and momentum and that the fundamental assumption that two parallel lines will extend indefinitely and never meet is counter intuitive.
6. Delegates agree to ’Pataphysic implementation using technologies with a predictable, transparent maximum aggregate cost which will drive global adoption and foster the social and economical growth of illuminated popular literature, church Latin, erotic books without spelling, novels of our foremothers, fairy tales, little books for children, old operas, silly refrains, naïve rhythms.
7. Delegates agree that within the current framework the fundamental mystification of ’Pataphysics is to associate ideas of fulfillment with objects (televisions, garden furniture, automobiles, etc) so that social action takes the form of the action of objects.
8. Delegates agree that to change the world and society the life changes that limited the liberatory possible want. Possible that these changes, all actions by using this information so that things that were once directly lived are now lived by proxy.
9. Delegates agree that working with ’Pataphysics, psychology and art, more or less safe and the risks. The current idea that a successful, modern thought away from such positions and varied, with many disciplines and years about the time maintain new and exciting events that undermine.
10. Delegates agree the rejection of the project to cover the absurd result of sensitivity? Both cheap original and creative book is nearly everything, Jarry, as the force and, in particular, Ubu, a sentence, a song book, printed as an exact contemporary new direction in the future, they see only shadows.
    
    
    

Lower Hope Point Japanese Temple, Kent, Engand

Keishin seikatsu no koryo

Recent archaeological research on Cliffe Marsh has discovered the site of the Lower Hope Point Shinto Temple founded in 1839 by Japanese monks. The existence of this Shinto Temple is well documented but the exact location had been lost since the monks abandoned the site in 1953 as a result of the destruction wrought by the great flood that affected the eastern seaboard of England.

Today, Cliffe Marsh is a low-lying grazing marsh forming part of Kent’s north coast and part of the many low-lying areas that stretch around the outer Thames estuary. What the area looked like in 1839, when the monks first arrived, is best described by Charles Dickens, a resident of the area, “Ours is the marsh country, down by the river, within, as the river wends, twenty miles of the sea. This bleak place overgrown with nettles and brambles, the dark flat wilderness, intersected with dykes and mounds and gates, with scattered cattle feeding on it, are the marshes; and that the low leaden line beyond, is the river; and that the distant savage lair from which the wind is rushing, is the sea; and inbetween the marsh and river, sea and sky, the desolate temple sits”.

Today the area is less bleak; being better drained and protected from flooding, still populated by cattle and sheep as well as migrating wetland birds, ornithologists and ramblers. The lack of research at Cliffe is at odds with the Thames Estuary as a whole but the recent Archaeological Research Agency’s Framework of Understanding has identified key areas for research and a consistency in approach has ensured and encouraged both site based and wider focused work. Inter-agency co-operation has provided a holistic understanding of the natural and cultural issues of Cliffe Marsh. To ensure the long-term preservation of landscape features and preservation of organic and inorganic archaeological remains and to develop an overarching management framework specifically for the cultural landscape of all the North Kent and Thames estuary Marshes is the Archaeological Research Agency’s prime target.

A brief description of the remains.

The Torri Gate marks the entrance to the shrine, near this gate would have been bowls of water where worshippers would symbolically purify themselves by rinsing their hands and mouth. The temple buildings are traditionally raised above the ground and, here on the Thames, this tradition would have been reinforced by local conditions. Buildings within the shrine enclosure would have been built according to tradition interpreted by the lie of the land, but the inner shrine would always be built on an east-west axis. The inner shrine was here flanked by two subsidiary buildings on the east-west alignment. An open pavilion was used in times of inclement weather to perform the ceremonies. At low tide painted plaster can be found in the river sediments and indicates that the building was highly decorated, possibly with dragons and other mythical animals.

The Torri Gate

The Temple was sacred to the Kami, which is respect for nature and naturalness and is expressed through the materials used for constructing the shrine, the main material being timber. Harmony with nature being the most prized element in the shrine, the predominant colour used in decoration was a dark green that a century later became synonymous with English motor sport teams.

Rudyard Kipling, on a visit in 1900 from his home in Rottingdean, wrote to his son John Kipling, “The temple itself, reached by a wooden bridge, was nearly dark, but there was light enough to show a hundred subdued splendours of brown and gold, of silk and faithfully painted screens. The ceiling was of panelled wood, with the exception of one strip at the side nearest the window, and this was made of plaited shavings of cedar wood, marked off from the rest of the ceiling by a wine-brown bamboo so polished that it might have been lacquered. Two sides of the room were of oiled paper, and the joints of the beams were covered by the brazen images of crabs, half life-size. Save for the sill of the tokonoma, which was black lacquer, every inch of wood in the place was natural grain without flaw. Outside lay the garden, fringed with a hedge of dwarf-pines and adorned with a tiny pond, water-smoothed stones sunk in the soil, and a blossoming cherry tree. It was only when I stopped to examine the sunk catch of a screen that I saw it was a plaque of inlay-work representing two white cranes feeding on fish. The whole was about three inches square and in the ordinary course of events would never be looked at.

Site of the Open Pavilion

(Kipling and his party entered further into the monastery), with our hats in our hands, through a small avenue of carved stone lanterns and wooden sculptures of devils unspeakably hideous, to be received by a smiling image who had grown grey among netsukes and lacquer. He showed us the banners and insignia of daimios long since dead, while our jaws drooped in ignorant wonder. He showed us a sacred turtle of mammoth size, careen in wood down to minutest detail. Through room after room he led us, the light fading as we went, till we reached a tiny garden and a woodwork cloister that ran round it.”

The Inner Shrine

It is unusual to find Japanese architecture in Kent and the loss of this little known building has only partly been redeemed by the discovery of its remains, now standing in the Thames.

Père Ubu

Venceslas, King of Poland

Concerning Clouds

In our world we have cloud-houses where are prepared clouds and instruments for all sorts of cloud motions by cloud-scientists. In our cloud-houses every cloud has ‘movements’, ‘rests’ and ‘illusions’, giving rhythm to the discourse of cloud-scientists. Cloud-scientists, with vibrating engines, make tremblings and wobblings of clouds which in their original are entire and static. We have clouds which you have not, of quarter-clouds and lesser clouds. Diverse instruments generate clouds likewise to you unknown; we have strange and artificial clouds, reflecting the cloud many times, and, as it were, tossing it. We imitate and practice to make swifter motions in our clouds than any you have, either out of your cloud machines or any engine that you have; and to make them and to multiply them more easily and with smaller force, by wheels and other means, and to make them stronger and more luminous than yours are, exceeding even your greatest cumulus and cirrus

Ver Sacrum

In our cloud-houses our cloud-scientists research the hypothetical identification of clouds which provides the impetus for a study into more general questions relating to the identification of clouds and the Mécanique Céleste. We ask ourselves, what orbit will a cloud follow under an inverse square force? We note that clouds are the sole effect of an innovative provider of plastic solutions and that these solutions are the same in all things only discriminated by degrees of maturity and the rude matter employed. We note that clouds are a pellucid substance insoluble in water.

Mon Rêve Familier

In our cloud-houses the Markov Algorithm is used to construct non-binary clouds, which for classification purposes, when the dependent variables are categorical in nature, relies on the Automatic Interaction Detector test to determine the next cloud at each step. Through the use of this algorithm we have determined that an examination of clouds confined solely to their internal features might create many hazards, since most clouds survive in conditions that are elementally altered since the time of their creation. We find that success in identification of clouds is often resolved by external evidence such as another cloud, some archival document or the static pressure of a vapor under the influence of things that are either airy, insubstantial or passing. We find clouds are not to be narrowed down to the limits of our understanding but our understanding must give greater scope to the breadth of clouds. Clouds are, first and foremost, highly elliptical ideas.

L'Immaculée Conception

The organization of the sound of clouds occurs along lines that we might define as ‘melodic’, that is, we seek continuity, polished intonation and fluidity of expression. In the melodic, ‘cumulus’ and ‘nimbus’ come together while ‘cirrus’ and ‘nimbus’ stay apart. Wind serves to initiate the strategy of melodic celestial discourse. The artifices of clouds, such as echoes, cadences, the beauty of the sequence of tones, the mixture of modes, the expression of passion; these depend on the speed of sound through the cloud, the elastic tension in the cloud and the density of vapours in the cloud. Cloud-scientists have initiated melodic cloud-sounds by striking, blowing, rubbing or plucking. Cloud-scientists represent the sound of small clouds as extenuated and sharp; likewise the sound of great clouds as eminent and deep.

There are some clouds we have sweeter than any others, with dainty bells and rings to mark their passing. Our cloud-scientists have contrived certain helps which set to the ear, further the hearing of clouds greatly. These amplification devices capture from afar the hums, buzzes and atmospheric whirrs of clouds. Listen, there we hear the cloud referred to as Le Chant d’Amour, and there the Ver Sacrum. Listen again, there is Mon Rêve Familier and there is L'Immaculée Conception.

Le Chant d’Amour

We have all means to convey small clouds in trunks and pipes, in strange wagonettes and over great distances. We imitate the flight of birds so as to have some degree of porterage of clouds in the air. We have ships for going under water with clouds and boats for the brooking of the seas, also swimming-girdles designed for the transportation of clouds. We have used bipedal disambiguation for terrestrial distribution of smaller clouds, while larger clouds are dispersed by steam driven self-propelled vehicles or clinker built cogs. Other transport methodologies include vessels of a thin polycrystalline bismuth film, graphite nano-crystalline brigantines and a horse drawn dome car. In our cloud-houses a cross-functional approach to logistics is used for the flow and storage of clouds. That is, a transversal approach to flow management including a succession of unsettlements and resettlements, erratic switches of direction, patience and petulance.

In our cloud-houses we have anti-chambers where we refine the deceit of the senses, where we represent all manner of feats of false apparitions, impostures and illusions, and their fallacies. And surely you will easily believe that we, that have so many things truly unnatural which induce admiration, in a world of particulars do deceive the senses as we disguise those things and labour to make them more miraculous.

A Portrait of the Artist as a Young Man

https://artcollection.culture.gov.uk/person/brown-john-francis/

Bristol Bloodhound

The award of an Hsidews Le Bon Ezirp

Dr. Faustroll has noted the research by the Japanese scientist Dr. Masaru Emoto (www.masaru-emoto.net), and offers him his congratulations. Dr. Faustroll awards Dr. Masaru Emoto the honour of an Hsidews Le Bon Ezirp for his work. Dr. Masaru Emoto has a PhD in alternative medicine from an unaccredited university (http://www.sciencepunk.com/2006/10/masaru-emoto/). One admiring fellow scientist has written that, “Emoto’s procedure, while simple and direct, does not eliminate numerous possible sources of error” (www.is-masaru-emoto-for-real.com); a methodology at the heart of Dr. Faustroll’s approach to science.

Dr. Masaru Emoto’s ground breaking work consists in exposing water contained in a suitable vessel, such as a bottle, to positive words, images or music; this water is then frozen and the resulting crystals are photographed. The experiment is repeated but with negative words, images or music. When compared the crystals from the experiment using the positivistic approach show symmetry and beauty while the crystals from the negativistic approach are misshapen and ugly. Dr. Masaru Emoto concludes from this research that water that has been spoken to politely is happier than water that has been insulted.

Dr. Faustroll has said, “We live in a golden age of science, which we hope will continue to unlock the secrets of the unknown for the benefit of all humankind”. Dr. Faustroll welcomes this research and looks forward to seeing its practical application in, for example, plumbing.

Autobiographical Details

John Brown is an expression of being human in the landscape.

John Brown searches for answers through discussion, responding to the arguments of others, or through careful personal contemplation.

John Brown often possess a gently ironic naiveté combined with a nostalgia for what are perceived to have been simpler, more straightforward times.

Sometimes, John Brown poses difficulties because he cannot be classified as belonging to one definite category; “Oh, that accident was so tragic!”

John Brown, who may or may not exist and who sometimes thinks, is grotesquely comic and also irrational and non-consequential.

John Brown argues that humanity has to resign itself to recognizing that a fully satisfying rational explanation of the universe is beyond its reach.

John Brown is an object that absorbs all the energy that falls upon him and, because he reflects no light, he combines a sweet mellowness with a kind of mesmeric serenity.

In 1905 John Brown was puzzled by paradox.

John Brown’s mind map is of course only a model for reality, how suitable that model of reality is, is another important question.

John Brown seems to express the idea of the absurdity and meaninglessness of the human situation.

John Brown is an opening in the crust of the Earth through which hot gases are ejected.

In mathematics, physics, and engineering, John Brown is an infinite-dimensional function.

Though semantically paired with the beautiful, John Brown has nothing like its currency and the use of the term John Brown may even strike some people as affected.

John Brown seems to enjoy asking the perennial question when seeing a radical and challenging piece of art, “Its all very soothing, but ... ”

The lycée in Rennes where Alfred Jarry studied

INFRAleve

Black Wall (The Ego and Its Own) Les Dents de Duchamp


The old questions, the old answers, there's nothing like them! (Lasker-Reichhelm)

Exhibited as part of the INFRAleve project in 2008 by the Instituto 'Patafísico de Santiago de Chile . INFRAleve is "a way to meet/again with Duchamp after 40 years of his occultation".

I hear you talking quietly, like sleeping bears