Blog Post 5.5: Passages for Friday’s Class

Hi all,

Really nice conclusive discussion for this section of the course today!

Here’s a thread for Friday’s material, and here’s a link to a page with Soundcloud audio for Donnelly’s poem. By class time Friday, you should post in this thread a passage (roughly 2-4 sentences) from one of the texts for Friday that you find particularly interesting, surprising, inspiring, problematic, or otherwise significant. Remember to cite the page number for your passage.

18 thoughts on “Blog Post 5.5: Passages for Friday’s Class”

  1. “Writers don’t own their words. Since when do words belong to anybody. ‘Your very own words,’ indeed ! And who are you?” (Cut-ups Self-explained, 34, Brion Gysin)

    Or, in the cut-up words: “Told poets they were Poets to make words own their words. Very own. Writer’s ‘very own words’ belong to anybody. You and you.” (37)

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  2. “Cut-ups are for everyone. Anybody can make cut-ups. It is experimental in the sense of being something to do. Right here write now. Not something to talk and argue about. Greek philosophers assumed logically that an object twice as heavy as another object would fall twice as fast. It did not occur to them to push the two objects off the table and see how they fall. Cut the words and see how they fall” (Burroughs and Gysin 3-4).

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  3. “…echoing out as the words of a potent phrase are permutated into an expanding ripple of meanings which they did not seem to be capable of when they were struck and then struck into that phrase” (Cut-Ups Self Explained 34)

    “They enter the free zone of writing; they have cut their own ties to the writer. She no longer remembers these disembodies shreds of desire as her text” (Notes On Cunt-Ups)

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  4. “All writing is in fact cut-ups. A collage of words read heard overheard. What else? Use of scissors renders the process explicit and subject to extension and variation. Clear classical prose can be composed entirely of rearranged cut-ups. Cutting and rearranging a page of written words introduces a new dimension into writing enabling the writer to turn images in cinematic variation” (The Cut-Up Method of Brion Gysin)

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  5. “You cannot will spontaneity. But you can introduce the unpredictable spontaneous factor with a pair of scissors” (The Cut-Up Method Of Brion Gysin)

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  6. “In closing, we should briefly mention some aspects of what we call ultra-detournement, that is, the tendencies for detournement to operate in everyday social life. Gestures and words can be given other meanings, and have been throughout history for various practical reasons…Ultimately, any sign or word is susceptible to being converted into something else, even into its opposite” (Debord and Wolman 38-9).

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  7. “The cut ups can be applied to other fields than writing…The cut up method could be used to advantage in processing scientific data. How many discoveries have been made by accident?” (The Cut-Up Method of Brion Gysin)

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  8. “As exactness equal to any example. As under this thin
    guise of circumstance. As if internal Minneapolis.
    As enlarged by sorrow, terror, wheresoever I decline.

    As against decay of liberties, as against misapplication,
    monster propagating and the extinction of softness.
    As overzealous as a number.”

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  9. “The best writing seems to be done almost by accident but writers until the cut-up method was made explicit – all writing is in fact cut-ups; I will return to this point – had no way to produce the accident of spontaneity. You cannot will spontaneity. But you can introduce the unpredictable spontaneous factor with a pair of scissors” (Gysin ).

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  10. “Not only does détournement lead to the discovery of new aspects of talent but also, clashing head-on with all the social and legal conventions, it is bound to appear as a powerful cultural tool in the service of a real class struggle. The cheapness of its products is the heavy artillery that breaks through all of the Chinese walls of understanding. It is a real means of proletarian artistic education, the first step towards literary communism,” (Debord and Wolman 36).

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  11. “I confronted him with my viewpoint on montage as collision. A view from the collision of two given factors arises a concept.” (Montage is Conflict, 30)

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  12. “And photographers will tell you that often their best shots are accidents… writers will tell you the same.”
    “Cutting and rearranging a page of written words introduces a new dimension into writing enabling the writer to turn images in cinematic variation” (The Cut-up Method of Brion Gysin).

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  13. “It is experimental in the sense of being something to do. Right here write now. Not something to talk and argue about.”

    “Cut Rimbaud’s words and you are assured of good poetry at least if not personal appearance” (The Cut-up Method of Brion Gysin).

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  14. “Cut-ups are for everyone. Anybody can make cut-ups. It is experimental in the sense of being something to do. Right here write now. Not something to talk and argue about. Greek philosophers assumed logically that an object twice as heavy as another object would fall twice as fast. It did not occur to them to push two objects off the table and see how they fall. Cut the words and see how they fall” (The Cut-up Method of Brion Gysin)

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  15. “You cannot will spontaneity. But you can introduce the unpredictable spontaneous factor with a pair of scissors” (The Cut-up Method of Brion Gysin)

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  16. “Is the cut-up the male form? I’ve always considered it so–needing the violence of a pair of scissors in order to reach nonlinearity. Oddly, even though I’ve spent up to four hours on each c*nt-up, afterwards I cannot recognize them … She no longer remembers these disembodied shreds of desire as her text” (Dodie Bellamy from “Notes on C*nt-ups).

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  17. “The cut-up method brings to writers the collage, which has been used by painters for fifty years… In fact all street shots from movie or still cameras are by the unpredictable factors of passerby and juxtaposition cut-ups. And photographers will tell you that often their best shots are accidents.” (Gysin)

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  18. “Outside of language, it is possible to use the same methods to detourn clothing, with all its strong emotional connections. Here again we find the notion of disguise closely linked to play. Finally, when we have got to the stage of constructing situations, the ultimate goal of all our activity, it will be open to everyone to detourn entire situations by deliberately changing this or that determinant condition of them…detournment scarcely interests us. But we find it linked to almost all the contructive aspects of the pre-situationist period of transition.” (Debord and Wolman 39)

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