Speed ​​| Colta.ru

On November 23, the first prize of Arkady Dragomoshchenko will be awarded in St. Petersburg. In anticipation of the presentation, Colta.ru publishes a fragment of the work of Mikhail Yampolsky, one of the members of the jury of the award, about Dragomoshchenko’s poetry.

This is a fragment of a lot of work about the poetics of Arkady Dragmoshchenko, read through his interest in photography. The previous parts indicate the stable interest of the poet in atomism, Epicurus and Lucretia and the attitude of Epicurus simulars to photography.

1.

The connection of the speed of atoms and thoughts of Lucretius was so formulated by the section: “Clinum is fundamentally connected with the epicurean theory of time and is a significant part of the entire system. In the void, the atoms fall at the same speed: the weight does not make the atom either faster or slower than other atoms, more or less interfering with its fall. In the void, the speed of the atom coincides with its movement in a unique direction in a minimum of continuous time. This minimum expresses the smallest possible interval during which the atom moves in this direction before it can take a different direction as a result of a collision with another atom. So, there is a certain minimum of time - just as there is a minimum of matter and a minimum of an atom. According to the nature of the atom, this minimum of continuous time refers to comprehending thought [1'ApprehenSion de la Pensee] . He expresses the fastest or smallest thought: the atom moves “quickly, like thought”.

But as a result, we must think the true direction of each atom as a kind of synthesis that gives the movement of the atom its initial direction, without which there would be no collision. Such a synthesis is necessarily performed in a time less than a minimum of continuous time. This is Klinamen. Clinamen, or deviation [from the direct path], has nothing to do with an inclined movement that would accidentally arise, changing the vertical fall. He was always present: this is not a secondary movement, not a secondary determination of movement, which occurs at any time anywhere. Klinamen is the initial task of the direction of movement of the atom. ”

This complex text is based on the famous letter of Epicurus to Herodotus, in which he explains how simulacra is formed, called Epicurus Eidolas . The atoms that make up the body are in continuous movement, but those that make up the surface of the body can move faster than those that are inside, since they do not experience the resistance of other atoms. It is thanks to the unusually quick movement of the surface atoms from it that eidolas, images of the body are separated. The atoms, their components, for some time retain the configuration of the body, which they convey to other bodies and observers: “The fact that the images have indistinguishable subtlety contradicts any of the objects available to sensual perception. As a result of this, they also have intact speed, because every way for them is a suitable one, not to mention the fact that nothing prevents them from interfering or a little prevents, while a large or limitless number [atoms in dense bodies] immediately prevents something. In addition, it does not contradict the fact that the emergence of images occurs with the speed of thought, because the course of [atoms] from the surface of the bodies is continuously, but it cannot be noticed through [observation] of the reduction of [objects] due to the opposite replenishment [by bodies of what is lost]. ”

The fact that the speed of atoms is equal to the speed of thought is noted by Epicurus repeatedly and is of essential. The uniformity of speeds provides continuity between bodies, simulacra and thought, that is, perception of man. The truth of perceptions is ensured precisely by the fact that there are no obstacles between the eidolas and the thought that could modify the speeds. Thought is, as it were, part of Eidol themselves, or rather, their direct continuation. In other words, images arise in bodies, fly away from them, enter us and, as it were, make us a continuation of the bodies that gave rise to them.

But to the extent that the thought is integrated into a thing, it cannot separate herself from Aidola and treat Simulacram as a picture, visibility. This requires the distance of the observer from the thing, introducing into the perception of mediation. Delez borrowed from Epicurus (and Bergson, who was under the strong influence of the epicuresty), several important points. Firstly, the idea of ​​the immanence of the image of a thing. The image arises in things as a result of the interaction of its atoms. This is not an external picture, visibility, a mimetic illusion. It is immanence that makes Deleuz talk about Klinamen not as a causeless deviation from the vertical of the fall. When Deleuz writes that “Klinamen is the initial task of the direction of the atom movement”, he has in mind that the very thing created thanks to the meetings of atoms is the result of the mutual determination of their movement, which is expressed in the clinament, which embodies the speed more than even the speed of thought.

The use of the epicurean speed idea is equally important. Bergson distinguished images-material (Image-Matière) from vocational images. If you transfer its terms to Epicurus, the images-material move at the speed of thought, make things and fly away in the form of Eidol in all directions. The perceived image, the one that we associate with a picture or photography, occurs as a result of a slowdown in the motion of a simulacra due to a collision with other objects and surfaces. Slow down allows perception to separate from the ultra-fast image-material and, as it were, see it from the side as a representation.

In "What is philosophy?" Deleuz and Guattari write that Aidola, moving at maximum speed, completely avoids representation. In it, the outlines and figures are sprayed: “The movement of infinity does not refer to any spatio-temporal coordinates, in which the sequential positions of the mobile element and fixed points and the reference axis would determine, in relation to which these provisions change. <...> Everything here is captured by the movement, so there is no place for the subject or the object that can only be concepts. ” As the human body is slowed down (for example, in the human body), and the image-material becomes a perceptual representation: “By perceiving the thing, we subtract from it what is not of interest to us, depending on our needs. Under the need or interest, we should understand the lines and points that we retain from the thing as our perceiving apparatus, as well as the actions that we selected depending on the detained reactions that we are capable of. This is how the first material moment of subjectivity is determined: it is associated with subtraction, it subtracts from the thing that which is not of interest. But vice versa: in these cases, it is required that the thing present in itself in the form of perception, complete, direct and diffuse. A thing is a way and on the basis of this perceives itself, as he perceives and all other things as he is exposed and reacts to him with all his faces and in all its parts. For example, the atom perceives infinitely more than us, and in the limit perceives the entire universe - from the points from which the actions directed at it come to the points where the reactions emanating from it go. In a word, things and perception of things are grasping; However, things are gravity of total and objective, and perception of things are partial and private, subjective. ”

Atoms are associated with the whole world and the infinity of the atoms of the material world. At the time of perception, “subtraction” occurs, selection, only a few lines and points are preserved, and thus the thing acquires outlines, contours, forms, becomes visible. But this transformation, the transformation of the thing into an object for the subject, and the image-material-into representation, occurs only due to the obstacle to reducing the speed of movement, the “black screen”, which the body substitutes to the light emitted by things: “If we consider a different aspect, the aspect of the glow of the plan of matter, then we will say that living images or lively matter and act as the same black The screen that lacked the plate, and therefore the acting image (photographic card) could not appear. This time, the light line or light image is no longer diffusing and does not spread in all directions “without resistance and losses”, but is pushed into an obstacle, that is, on reflective opacity ”. The mirror in such a prospect is like a photograph that makes a thing a copy.

In the book about the cinema, Delez distinguishes several types of images associated with different speeds. This is an image-perception, an image-action and an image. Expective image is directly related to the image. Both of them have a sensorimotor nature and are in the horizon of similar speeds. The image-emphy (or image-re-hearing, as it is also called in the Russian translation,-Image -Affection ) does not turn into action, but goes into an expression that is best on the face as a micro, that is, in relative immobility. Delez believed that the person, blocking actions, is necessary for the emergence of consciousness, that is, the mirror of reflection. The return from representation and reflection to reality and immanence passes through the division and Guattari through the destruction of the face as a inhibitory expressive body. The face should decay on the atoms in which the outlines disappear. Thus, there is a utopian return to images rooted in the matter of the world. This process is clearly visible on the example of the metamorphosis of the face of the Pristovsky Albertina, described in Anti-Edip: “Albertina's face is initially nebula, it barely stands out against the background of a group of girls. Then the personality of Albertina is isolated - in a series of various plans, which are as if its individuals, Albertina's face jumps from one plan to another as the storyteller’s lips are approaching the cheek. Finally, in excessive proximity, everything decomposes, like a drawing on the sand, Albertina's face explodes with molecular partial objects, while partial objects of the narrator join the body without organs: closed eyes, a clamped nose, filled mouth. ”

2.

This poetry of slowdown, in which perception occurs, and then the speed of speed, in which the image breaks up into “molecules”, is extremely important for the ATD and allows us to understand the role of the photographs allotted to it, as well as the meaning of time, obstacles - walls, gauze, web in the phenomenology of the world and in the simultaneous manufacture of copies. Returning to Bergson, we can say that slowing down with pictures that suddenly manifest on reflective, slowing down and sensitive surfaces produces the duration as the ability of our consciousness to experience the experience of slowing or acceleration.

In a number of texts, Dragomoshchenko first describes the slowdown, thanks to which the contours appear, the face arises in the screen of the screen, and then this amendment goes further, suddenly accelerates, and the appearance disappears in the confusion and whirlwind of particles. The verse arises in this process. The word is impossible without a photo, without a face that can be called, identify. But the meaning of poetry is to start with descriptions, nominations, and then get away from them, get away from propositions, split the image into dust in which contours disappear. I think that it is in such categories that the skeleton of the poetics of Dragomoshchenko can be described, based on the emergence of a representative, perceptual image (as a manifesting photograph, as a contour that appears through gauze) only in order to resolutely accelerate and go beyond the scope of representation. I will give a few examples:

And again they hesitated: photography;

The fallen glare from behind: we became faster:
<...> On roofing cuts, Dremota Races Drailus.

Favorite faces in one combination.
Smolist-acidic copper is steep of trunks,
A kind of rumble reads them and drates,
exactly consciousness, gradually a thing

Eliminating from her own siru.

And then the days of the year the fracture comes <...>.
Like a moment they walked along the way.
It seemed that it was possible to distinguish them completely silhouettes

And what they are talking about.

But now only the branches are swaying
Confusing everything and knocking down and wormwood windows stand in wormwood.

Lack of yourself. <...>

Meanwhile, how many landscapes have been lost,
Turning uneasy in what comes down later

To the pronoun "they" - unlimited:
not having generic mediastinums,

growing as a crystal at the moon.

Those who just were.
However, no matter how hard, no matter how much the pupil is Tomi -
Only light spots run: ripples, photography, walls.

At first, a slowdown arises, faces, trunks appear, silhouettes become distinguishable, but acceleration (“we have become faster” occurs), and now the contours of the trees disappear in the swaying of the branches, the outlines are replaced by ripples of spots, the photograph is now fixed by the appearance, but the disappearance. And the same thing happens with a voice, the sound of trees. At first, the noise slows down and becomes, as it were, articulated, a speech: “It seemed that it was possible to distinguish them and what they are talking about.” But pronouns associated with the certainty of identity and presence disappear. Speech breaks up, the emerging figures are reduced “to the pronoun“ they ” - unlimited: not having generic mediastinums, growing like a crystal under the moon. Those who have just been. "

The second example is taken by me from the “Second Thessalian Fragment”, which is guessed by the epigraph from Octavio Pas “La Transparentia Es Todo Lo Que Quedo” - “Transparency is the last thing left”:

... we are on the threshold of anticipating the phenomenon of features;

Only a moment and everything will enter its rut
but both suddenly gain the acceleration of messengers,
like a dangerous vortex with a plateau, a sickle is so creeping
blindly, -

And the one and the other, like light in doubling, fade
permeating each other, without changing, however, a landscape,
The scene of speech drew on the choir, names
And the flicker of their scales.
This is also something like an attempt to burn your experience
to the fact that out of shape, he will accept to understand

or spin at least in the draft direction ...

The “plot” is the same - slowdown, we are on the threshold of the phenomenon of the devil, but the sudden “acceleration of messengers” (Eidol, Simulakrov?) Desters the readability of images, speech breaks up into choir and names. The flickering of scales is a frequent image of a mirror that decaying into fragments of a mirror, in which a “face” could arise. And at the end, Dragomoshchenko gives an excellent formulation of burning experience in draft, into a stream of particles, into a whirlwind, in which the image penetrates the body and turns it literally into part of things and the world. Photography and organized speech, that is, forms of symbolic representation, put the wall between us and the experience of the world as it is. ATD remarks: "... the situation was in the" slowness "of vision, the mission of bodily imperfection, the purpose of which was not to miss the experience further than the limit." Poetry, ultimately, is designed to be such a stream, such a transformation of speech in a vortex of particles burning the experience of perception and perception. The final product of such a transition from slowing to acceleration is the “climbing of dust” (atoms). In Elegy to climb the dust, ATD writes:

Dreams of the tongue are huge.
And dust, wandering over them outside of names,
It rises slowly with a simple disassembly.

Dust is a disembarkation of images, and photography is their embodiment. In the same Elegy, Dragomoshchenko directly says that the decay of the mirror into a molecular scales creates a meaning lying on the other side of thought. And in this, of course, the calling of poetry:

... a mighty article of hot dust,
with brilliant, ulcerative scales
In mirror spray Sundays
(recognition follows: Elegy ... Law ...)
Or with a meaning that neglected thought.

The spraying of the text, the transformation of a perceptual image into an image-material, if you use the expression of Bergson, is a significant step that leads Dragomchenko to the framework of the poetics of tautology. I wrote about tautology as a way to overcome discursive logic and truth of propositions. Epicurus scandalized the ancient Greek philosophy with the statement that it is true not proposition, but perceptions themselves. But they are true only to the extent that they are not transformed into copies and representations. In Dragomchenko, the destruction of propositions passes through the stage of tautologies, doubling. He constantly has the image of face dualness in the mirror, body and shadow, etc. Double in principle can be understood as an assertion of identity, equality of oneself. Photography traditionally performs such a function. It is no coincidence that all kinds of identification certificates need photographs duplicating their owner.

The doubling of representativeness, and a symbolic are the phenomenon of the mirror manifestation of figures and contours. But in the bifurcation, which is produced by identity and tautology, the grain of spraying I, the disappearance of the reflecting and perceiving consciousness, is already hidden. The bifurcation not only gives rise to pictures, but also reveals the void between them. This is how Dragomoshchenko describes in the “phosphorus” the essence of poetry (this is one of the central declarations of his poetics): “insofar, since poetry does not consist of words, there are no words in it, its discourse is comparable except with a draft, with a through span of each word through each. Высказывание (то есть то, что улавливается и оседает в структурах знания и что в итоге дает возможность о ней говорить даже сейчас) образует лишь карту направлений, подобно “образу”, медленно выгорающему на сетчатке логики. И который воображение в силу своей той или иной предрасположенности успевает наделить значимостью. Перфорация памяти. Но что несущественно для сознания, подобно росе, выступающего на коре вещей и испаряющегося вместе с вещами. Скорость чего сравнима только со смехом и что не означает вовсе каких-то конвульсий, мышечных спазм и характерного звука. Смех равен ребенку, вглядывающемуся в огонь и смутно осознающему: а) что огонь не отбрасывает тени; б) что отвернись он в сторону, и смутное, как гул, беспокойство вновь исполнит его, поскольку вместе с пламенем он утрачивает (и все чаще и чаще) в себе его сквозящую пустоту, возвращаясь в “рай детства”, в преддверие зеркала, к языку, “состоящему из слов”, к себе, лелеющему странствие самоубийство, обреченному глядеть из себя — Паноптикон мяса, костей, сухожилий, связанных в узел “восприятия”, — на коже которого и в мозгу постепенно проявляется мушиный рой “я” этих безродных Эриний, чьи иглы день за днем будут пришивать его рассудок к слову-вещи-форме-смыслу, превращая неуклонно его в размалеванное яйцо куклы, хранящей в себе нескончаемое число таких же, со всей безупречностью повторяющих друг друга...»

Поэтическое высказывание существует в режиме высокой скорости, «сквозного полета». От него лишь оседает след, который имеет только косвенное отношение к соотношению интенсивностей и направлений, его характеризующему. След этот, как точно выражается АТД, подобен «“образу”, медленно выгорающему на сетчатке логики». Логика и зрение тут совпадают, фотоотпечаток становится именуемым и в силу этого дискурсивным. Воображение — способность предвидеть будущее, то есть существовать в причинно-следственной логике, наделяет эти замедленные («медленно выгорающие») образы значением. «Смысл», недоступный логике и невидимый для сетчатки, — это «роса», исчезающая вместе с контурами и образами вещей, тогда, когда медлительность выгорания сменяется стремительностью и скоростью. Скорость этого нерепрезентируемого вихря, «сквозного потока» «сравнима только со смехом», пишет АТД.

Скорость смеха — довольно нетривиальное понятие, но менее загадочное, чем может показаться. Прежде всего смех — это разрушение лица как экспрессивного аппарата, выражающего состояние эго, это разрушитель значения. А потому он с большой легкостью переходит в слезы. Эрнст Крис писал о смехе как о механизме регрессии: «Смех начинается со рта, постепенно распространяется на все лицо и в конце концов на все тело, то есть патогномический акт возвращается к моторному. Здесь мы имеем дело с регрессом, с усечением или с отказом от функций, которые характеризуют эго». Можно сказать, что смех разрушает целостный гештальт, перцептивный образ, разбивая его целостность. Одновременно он уничтожает сопровождающее перцепцию сознание (функция эго, данная в экспрессии). Не случайно Драгомощенко пишет: «Желтая по краям фотография. Капли смеха на очках, на ветровом стекле. Система, понуждающая систематическое устранение — мысль». Смех разрушает, «разбрызгивает» течение времени и мысли — отсюда « капли смеха». Он разрушителен по отношению к фотографии как к эквиваленту перцепции.

Хельмут Плесснер подчеркивал взрывной, неожиданный характер смеха и его неконтролируемость, выход за рамки сознания. Начинаясь в области экспрессивного, смех в силу своей скорости выходит за экспрессивное: «Смех и плач предлагают иной взгляд на отношения человека с телом. Их форма высказывания, экспрессивная или нет, имеющая или не имеющая смысла, не предлагает символической формы. <...> Он [человек] отвечает на что-то, смеясь или плача, но не экспрессивной формой, которая может быть с основанием сравнена со словесным высказыванием, жестом, действием». Смех, начинаясь как экспрессия, фрагментирует образ и выходит за рамки символического. Здесь происходит именно разрушение лица как эквивалента словесного высказывания. Тут имеет место дисперсия значения, его распыление .

Драгомощенко подчеркивает регрессивный характер поэтического процесса — «смех равен ребенку». Это «рай детства», «преддверие зеркала». Этот регресс ведет сначала внутрь тела, в котором единство Я, единство наблюдателя — «Паноптикон мяса, костей, сухожилий, связанных в узел “восприятия”» — постепенно распадается на множество безродных точек Я: «мушиный рой “я” этих безродных Эриний». Значение подвергается атомизации, Я распадается, но на самом дне этого распада мерцает призрак тавтологии, копии, удвоения: «хранящей в себе нескончаемое число таких же, со всей безупречностью повторяющих друг друга...» Очень существенным тут мне кажется сам выход за идею экспрессивности поэзии, связанной с распылением Я. Поэзия призвана покончить с экспрессивным.

Очень близкое понимание смеха предложил в свое время Жорж Батай, но сопроводил его более глубоким философским комментарием: «Короче, мы смеемся чрезвычайно резко, мгновенно переходя от мира, в котором все твердо определено, где все дано как нечто стабильное внутри стабильного порядка, в мир, который ошеломляет нашу уверенность, где мы видим, что наша уверенность обманчива. Где все ранее казалось уже наличествующим, но где вдруг возникает непредвиденное, нечто непредсказуемое и обескураживающее, говорящее о высшей истине: поверхность видимостей скрывает абсолютное отсутствие соответствия нашим ожиданиям. Мы ощущаем, что в конце концов, несмотря на все наши знания, мир полностью лежит вне их пределов...»

В сущности, речь идет о мгновенном обнаружении сокрытого мира хаотической реальности за видимостью перцептивных образов. Это откровение напоминает обнаружение сокрытой истины у Хайдеггера, алетейи. Поэзия у АТД, однако, функционирует не в режиме тавтологий, гельдерлиновских призывов к самораскрытию языка. Поэзия — это система, которая собирает образ в некую линзу, зеркало, отпечаток, а потом его распыляет в скоростях, ведущих к чистой дисперсии глубоко экзистенциального переживания.

Отсюда парадоксальность вспышки у Драгомощенко. Я уже говорил об устойчивой ассоциации вспышки с моментом фотографирования, вспышкой магния. Но вспышка лезвия гильотины, о которой упоминает АТД, не просто останавливает момент, жизнь, соединяет вечность со смертью, но и уничтожает лицо того, кто попадает на сетчатку или фотоэмульсию. Отсюда характерный для АТД образ медленной вспышки , в которой как бы взаимодействуют два порядка скоростей. В «Китайском солнце» Драгомощенко пишет о «проницающих друг друга временах»: явленные «в неуклонном стирании одного другим, волна за волной они несли тебя, одновременно наполняя, протекая, мнится, через заведомо установленную с каким-то умыслом проницаемость тела, памяти, воображения, страсти, молниеносно слагаясь в податливую последовательность мысли, праздную и ничем ничему не обязанную, ничем не обусловленную; <...> и облекали, совлекая одновременно, нескончаемую разрозненность того, что именуется “тобой” в меру целесообразности либо, если угодно, бессмысленности и что опять же являло себя в кратчайшем ощущении медленной, невыразимо медленной вспышки, в чьем неукоснительно разветвляющемся свечении всегда начиналось блаженное расслоение простой длительности...» Тут хорошо видно, как образ «ты» складывается и распадается в едином и разнонаправленном движении, «облекая и совлекая одновременно нескончаемую разрозненность». И этот процесс соединения медленного и быстрого времени, ведущий к расслоению длительности, дается в парадоксальном образе «кратчайшего ощущения медленной, невыразимо медленной вспышки». Воображаемая фотография «ты» тут складывается и распадается одновременно. Драгомощенко так описывает движение поэтического текста: «В нарочито медлительном продвижении, слово за словом вести к концу предложения, к краху, к великолепной кратчайшей вспышке, настолько неосязаемой, что останавливается в странном веселье сердце и нелегко даже уму подыскать ей соответствие в каком-то возможном повторении, ни единому из них (вплоть до воображения) не успеть запечатлеть молниеносное распыление, когда на месте ожидаемого возникновения ничего не оказывается и повисает нечто наподобие умозрительной пыли...» Медлительное продвижение к распыляющей складывающийся образ кратчайшей вспышке. И это именно тот процесс, который, по мнению Драгомощенко, и называется поэзией.