The compass of pirate captain Jack Sparrow (Johnny Depp) in the “Pirates of the Caribbean” trilogy points to a new evaluation of the relationship between Man and his world by means of instruments. More

Ein Kompass, der dahin zeigt, was man am meisten wünscht, bestimmt die Handlung in den Filmen „Piraten der Karibik” (2003, 2006, 2007). Eine Replik des Geräts in den Händen des Piratenkapitäns Jack Sparrow (Johnny Depp) zeigt die Ausstellung Magnetische Erfahrungen, die noch bis zum 16. Juni 2010 in der Zentralbibliothek Zürich zu sehen ist.

Video

Judith Albert, two kinds, 2010, Videostills mit Zeichnung überarbeitet, Inkjetprint

Magnetische Erfahrungen

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Ravi Agarwal

Where Three Dreams Cross

“Above all the fights … nobody ever had the smallest chance to fight with Marcel” (Arman).
Jabès: Substitute Marcel with the word “zero”.
Realometer: I have expected you to say: Substitute Marcel with “god”.
Magnes: This would have contradicted the subtlety of both.
D: Of both?
Jabès: Thank you for the question, but I have to reject it, too much honor for me.
Magnes: Zero  contains male and female, plus and minus in infinitesimal combinations.
Realometer: And a head? Indiana’ s head is a product of all the heads that had been seen in the movies. Indiana’s had is marked by the Eliot effect, which is an effect produced by history, and therefore by linear writing. The head in the Indiana cartoon is a combination of heads which have been sketched in other cartoons. Indiana’s head is the ultimate head of a certain time. Different times have different forms of ultimate heads.
Jabès: Different places have different heads, zeros and knifes. Butcher knifes, pen knifes (Schreibmesser),

Our perception is shaped by reading. Therefore we orientate ourselves in an image in two directions: top down (head – trousers) and right left (one hole after the other).

Realometer: Incoming news are transformed. First I experience them as strikes or as incoming single bricks with a strong  quasi measurable impact. After a while they lose their discreteness and become somehow cloudy, fuzzy. This may have to do with the attention that I pay.

Magnes: This night I was dreaming to start a long walk in order to reach something in a far distance. While I was walking I asked myself: Why do I not take a bike? Just in the moment of deciding to turn back home in order to get my bike, I had a glimpse of thought. It suggested to consider my situation as a dream. In a dream it is possible to have a bike at disposition and to have it not a disposition. So I decided to have a bike at my disposition. This disposition did prevent me from returning home. Now I wonder why I did not ask myself to have my home at hand when I wanted it. I can dissolve this by arguing that this would be indirect and a dream supports direct decisions.

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„Die Dinge sind nicht schwarz-weiss. Es geht darum, zwischen den Dingen in Bewegung zu sein. Deshalb kann ich auch nicht an rein äusseren Gesichtspunkten festhalten, weder am Feminismus noch an Ideologien. Bezieht man einen solchen äusseren Standpunkt, wird man leicht in eine Verteidigungsposition gedrängt, wo man verteidigen muss, was man schon begriffen hat. Sich auf einer solchen Stelle zu befinden ist nichts für einen Schriftsteller. Man muss versuchen, sich in Bewegung zu halten, zu unbekannten Gebieten auszurücken, und neue Erlebnisse und Erfahrungen in Besitz nehmen“. (Inger Christensen: „Verwandlung – Das Gedichteschreiben“. In: Schreibheft 74. S. 62)

Seemundvorrat