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white piece of absorbent paper, used especially as a handkerchief for cleaning skin ...

a square of cotton or other woven material, typically carried in one's pocket

square handkerchief
In the first week of January, 1775, Louis XVI, at the instance of Queen Marie Antoinette passed an edict decreeing that the length of handkerchiefs whould be equal to their breadth; henceforth throughout all Europe the people adopted the fashion of aquare handkerchiefs as we know them today.

The melodrama is characterized by the formular "if only": happiness and resolutions seem possible, if only. Their graspable, potential realisation leads to the weeping revolutionary, as Katja Dieffenbach writes in Echo's Book: "melodrama, which rwf [rainer werner fassbinder] loved so much, ever tells you: if only you could recognized what was always yours. At the same time it promises a sudden upswing: you can do it, but no, not really. And then the tears flow for the final credits, so as to reconcile you with the fact that every thing goes passivity. But, perhaps, perhaps, the big perhaps, tears flow from the passionate feeling of the connection between your life and power, of how unbearable and fucked up it is. This is the birth of the weeping revolutionary."

the miraculous moment
Consciousness of the moment is not truly such, is not sovereign, except in unknowing. Only by canceling, or at least neutralizing, every operation of knowledge within ourselves are we in the moment, without fleeing it. This is possible in the grip of strong emotions that shut off, interrupt or override the flow of thought.
This is the case if we weep, if we sob, if we laugh till we gasp. It's not so much that the burst of laughter or tears stops thought. It's really the oblect of the laughter, or the object of the tears, that suppresses thought, that takes all knowledge away from us. The laughter or the tears break out in the vacuum of thought created by their object in the mind. But these moments, like the deeply rhythmed movements of poetry, of music, of love, of dance, have thej-ow er to capture- and endlessly recapture the moment that counts, the moment of rupture, of fissure. As if we were trying to arrest the moment and freex it in the constantly renewed gasps of our laughter or our sobs." The miraculous moment when anticipation dissolves into NOTHING, detaching us from the ground on which we were groveling, in the concatenation cf useful activity.

Georges Bataille, 1991, The Accursed Share, Zone Books, New York

tender buttons
Gertrude Stein writes on p14 of this book: a handkerchief
a winning of all the blessings, a sample not a sample because there is no worry

lorem ipsum


to surrender

under plain cover
in an envelope or parcel without any marks to identify the sender

interior architecture

utopic madness
according to Derrida, the condition under which the gift may give, only by not taking place, by taking up residence or domicile




perfect arrangement


body prosthetics

cleaning up



blurry vision


Katja Diefenbach explains the birth of the weeping revolutionary in Rainer Werner Fassbinder's films through this notion. The figures crying in his films go through the revelation that they cannot do anything anymore about anything. They internalize the melodrama that is both the reflection of loss and misfortune and the sudden faith in a different state of affairs.

Media Burn, 1975
Ant Farm social architects, dressed as astronauts, drove a space-age Cadillac full speed through a wall of flaming TV sets in the parking lot of the Cow Palace, San Francisco. The video of the performance was also styled after news coverage of a space launch, including melodramatic pre-stunt interviews with the artists. Media Burn video

being together while apart:



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Flutgraben Projekte

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