Faust Series Opus 9: Bodhisattva

Showing posts with label Bodhisattva. Show all posts

Wednesday, 8 January 2020

The Hannya and the Bodhisattva

The Mysteries of Reading

The Way of Asuras

Self-Assertion of an English Garden (After-Life Topoi of Nazi Desire)

Parergon

Contemporary philosophy has become universally pragmatic. The world is its tool. It is also salvationist – in the sense of reclaiming historical salvage and post-obsolescent waste for its ‘toolbox’. Nazism is also one of its tools – a tool of the ‘modern’. Here a particular alchemical skill is required – Nazism is not just any tool of contemporary philosophy – it is a measure, a standard, a norm, a value – a desire. The norm is fashioned by contemporary philosophy in its mode of ‘the political’ – when it is especially adapted to its role as purveyor of the modern and the norm – the less obtrusive term for ‘the metaphysical’. The norm is equally the ‘avant-garde’ – for the norm as Nazism implies a practical subversiveness, a talent for ‘re-description’ - the re-presentation of the history of metaphysics as both ‘nihilism’ and the foundational ‘normative order’.

How did Nazism become the ‘norm’ and ‘measure’ of modernity for contemporary school philosophy (including all genres of criticism)? What historiography or morphology of Nazism is presumed by this philosophy? How is this complicity of contemporary philosophy with Nazism and its after-life itself exposed to history?
How do Heidegger and his following both unveil and conceal this ‘truth’ of the “West”? The “West” as it understands itself to be the “history” or “sending” of being? What ‘dialectic of the West’ compels it to recognize itself as the ‘essence’ of Nazism – as its ultimate figure of philosophy? How is this ‘recognition’ embodied in ‘political ontology’? In ‘biopolitics’? How are today’s philosophico-political constructs of Being and Life illuminated/inspired by Heidegger’s historical-practical Nazism of the “Self-Assertion of the German University”? What is the immanent theatricality of biopolitics? How does it manifest itself in the "ontological-hysterical" scene of the contemporary university?

World Radio Premiere of Pomp of Life Series: Opus 3 "The Cure" on wluw Chicago

Opus 3: "The Cure" will be broadcast on Philip von Zweck's Something Else Radio Program, www.wluw.org Chicago at 10:00pm CDT/GMT-5 this Sunday 21st March 2010.

Opus 3: "The Cure" is a 'noir' piece - combining classic themes of a 'lost highway' and a disappearance. I have always been fascinated by the 'mystery' of the road and its hypnotic fateful effects. The story is about the disappearance of a young English woman on her delayed honeymoon in France - but the inner movement of the piece is determined by the life and death consequences of seemingly ordinary conversation.

"The Cure" - radio play by Shannee Marks, sound production by Peer Wolfram, directed by Shannee Marks & Peer Wolfram, © Ulysses Productions 2010

Faust Series Opus 9: My Night in the Bad Class, Minimal Noir

"Faust Series Opus 9: My Night in the Bad Class, Minimal Noir" is a sequel to "Faust Series Opus 8: The Accident Colony, Triptych from the Dark Night of Suburbia" (Performance, Exhibition, Symposium 2-12 September 2008 at the Austrian Cultural Forum London) and a prelude to the book series in progress "My Night in the Bad Class".
© Ulysses Productions 2023.
All rights reserved.

Writings © Shannee Marks 2023.
All rights reserved.
Images © Peer Wolfram 2023.
All rights reserved.

"I too wanted to try out the voluntary servant life. I saw myself more as an apprentice of a master who had not revealed himself yet." (The Accident Valet)

Characters

Outer Apparatus:

Guards
Sleepers
Instructors
Obstructors
Punishers
Pain Accountants
Pleasure Bookies
Observers
Audience

Inner Apparatus:

Fly Woman - Philosopher, Ontologist
Muselmann - Philosopher, Ontologist
Blue Sport Boy - Biological Parsifal
Red Nature Girl -Virgin Ousia

Time: Late Eternity
Location: Suburb of Immortality
Scene: The Bad Class