18.9.18

Is it?



_________________________________________________



I wld. rather suggest he was reincarnated to another planet, known as the finnegans wake of simultaneous Viconian realization....




_________________________________________


the thing goes round an round in circles charming lovelythings they are /gyres of them! see


30.8.17

Is it possible or likely that Tristan Tzara was simultaneously reincarnated at the same moment as James Joyce?

________________________



 this idea is based on one I had when young  to wit


  Simultaneous contemporary reincarnation



  it means that while alive

in the I self me now,

I am also 


reincarnated at the same time

in someone else 

not knowing


as in the ex ample , the sample above

of TT and JJ


was it possible?
likely
Desirable?

that Tzara

becamse Joyce

or Joyce becoming Tzara he rushes into his body

before dying to his personalty and character and biography of Joyce in

to that of Tzara!



Has anyone conceived of such  a preposterous idea before?
WHo hails such utter spookiness
?

who ponders these strange drifts of the ideas













____________________________

marcel janco english/french ___


_____________________this _Poem  and the previously posted Bilan are from Tristan Tzara's Dada years.... this one below was written for his friend an fellow Dadaist Marcel Janco. Janco outlived Tzara (d 1965) by many years (1984) ____





___________________

translation and image creation of the poem derived from Tristan Tzara's poem (in French ) from exchanges literary journal

_____________________









bilan


Trois poèmes de Tristan Tzara

Pelsue 8










Three Poems by Tristan Tzara
TRANSLATED FROM THE FRENCH BY FORREST PELSUE
VIEW TRANSLATOR NOTES







   Out Door Dada  Linkkkkkkkkkkkkkkkkkiiiiiiiiiiiiiinmnnnnnnngggggggggggggggg to et remerciements a 
https://exchanges.uiowa.edu/issues/cae-sura/three-dada-poems/




________________________

_________________________________________________________________________________________________________________


24.11.15

... Duchamp droit tout a Tzara....

_____________________________________



my thoughts on this matter are incomplete and not formulated as well as they might be : however having said
 that
 I make this Dada pronouncement __ it's  false comparisons between
 
              2 different kinds of minds one dadaist Tzara versus Duchamp
                                          who was never  a Dadaist as such

                                                               and who had a different type of mind
from that of Tzara's










(you might even say Tzara had a typewrite  mind and Duchamp a urinal type,
       
                                                                               or a found ready made sort of brain,
                                                                                                 apt to,



,

More ot come and go

on this another day,





---------------------------------------------

Zervos. Paul Eluard. Aragon. Elsa Triolet. Mayakovski. Marcel Duchamp. Picasso... Conversation de Philippe Bonnet filmée à Barfleur par Denis Leboul le 7 avril 2015.






------------------------------------------

this is it: Marius Hentea: Tata Dada: The Real Life and Celest...


Marius Hentea: Tata Dada: The Real Life and Celestial Adventures of Tristan Tzara

“You'll never know why you exist, but you'll always allow yourselves to be easily persuaded to take life seriously.”

“Always destroy what is in you.”

“Any work of art that can be understood is the product of journalism. The rest, called literature, is a dossier of human imbecility for the guidance of future professors.”

“There is a literature that does not reach the voracious mass. It is the work of creators, issued from a real necessity in the author, produced for himself. It expresses the knowledge of a supreme egoism, in which laws wither away. Every page must explode, either by profound heavy seriousness, the whirlwind, poetic frenzy, the new, the eternal, the crushing joke, enthusiasm for principles, or by the way in which it is printed. On the one hand a tottering world in flight, betrothed to the glockenspiel of hell, on the other hand: new men. Rough, bouncing, riding on hiccups. Behind them a crippled world and literary quacks with a mania for improvement. “

“Not the old, not the new, but the necessary.”

“Thought is made in the mouth.”

“Dada is not modern at all, it is rather a return to a quasi-Buddhist religion of indifference. Dada puts an artificial sweetness onto things, a snow of butterflies coming out of a conjurer's skull. Dada is stillness and does not understand the passions.”

And on the other side for lack of sun there is death perhaps
waiting for you in the uproar of a dazzling whirlwind with a thousand explosive arms
stretched toward you man flower passing from the seller's hands to
those of the lover and the loved
passing from the hand of one event to the other passive and sad parakeet
the teeth of doors are chattering and everything is done with
impatience to make you leave quickly
man amiable merchandise eyes open but tightly sealed
cough of waterfall rhythm projected in meridians and slices
globe spotted with mud with leprosy and blood
winter mounted on its pedestal of night poor night weak and sterile
draws the drapery of cloud over the cold menagerie
and holds in its hands as if to throw a ball
luminous number your head full of poetry

― Tristan Tzara, L'Homme approximatif


DADAIST DISGUST

Every product of disgust capable of becoming a negation of the family is Dada; a protest with the fists of its whole being engaged in destructive action: Dada; knowledge of all the means rejected up until now by the shamefaced sex of comfortable compromise and good manners: DADA; abolition of logic, which is the dance of those impotent to create: DADA; of every social hierarchy and equation set up for the sake of values by our valets: DADA: every object, all objects, sentiments, obscurities, apparitions and the precise clash of parallel lines are weapons for the fight: DADA; abolition of memory: Dada; abolition of archaeology: DADA; abolition of prophets: DADA; abolition of the future: DADA; absolute and unquestionable faith in every god that is the immediate product of spontaneity: DADA; elegant and unprejudiced leap from a harmony to the other sphere; trajectory of a word tossed like a screeching phonograph record; to respect all individuals in their folly of the moment: whether it be serious, fearful, timid, ardent, vigorous, determined, enthusiastic; to divest one's church of eve ry useless cumbersome accessory; to spit out disagreeable or amorous ideas like a luminous waterfall, or coddle them—with the extreme satisfaction that it doesn't matter in the least - with the same intensity in the thicket of core's soul pure of insects for blood well-born, and gilded with bodies of archangels. Freedom: DADA DADA DADA, a roaring of tense colors, and interlacing of opposites and of all contradictions, grotesques, inconsistencies:

LIFE.









this is it: Marius Hentea: Tata Dada: The Real Life and Celest...:

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a terriblE SenTimEntal SounD TrAck to a quite loVerlee Visual preSentation over view of OurAnTi PapA Dad L'AnTiPOpe l'AnTiPhilOSoPhe Tristan tzara..................................................................................

Sooner or later we will fix it sooner or later some how some where we will we shall as dada would 

 _____________________

 

have liked it as DaDa would have



Sooner or later we will fix it sooner or later some 

 

how some where we will we shall as dada would have liked it as DaDa would have


-----------------------------------------------------------------------



-----------------------------------------------------------------------------------------------------------------------------------

5.11.15

walser tzara


Wandering with Robert Walser


     Inside “quite a normal folder” for example, they found “two or three sheets of paper with Kafka’s last notes from Kierling,” the sanitarium where Kafka died. In Zurich, they unearthed a letter that Kafka sent to Brod in 1910, enclosing two birthday gifts: “a small stone,” still in the envelope, and “a damaged book” — which turned up two years later at Spinoza Street and proved to be a novel by Robert Walser. Other treasures that Echte described to me included a copy of “Tristan Tzara’s ‘Première Aventure Céleste de M. Antipyrine,’ the first Dada publication, with a personal dedication of the author to Kafka. Imagine that!”
It was nice to see Echte, recognizably the same good-natured fellow who observedthat he enjoyed meeting Walser fans because they are “kind people inclined to self-irony.”

tt

 
Einstein explains that the Africanmask does not symbolize but, rather,
is

the god, and that consequently it‘signifies nothing’, we could imaginethe Jewish mysticism of the trans-xing but unknowable divinitdisplaced into avant-garde Afri-canism, and intthe ecumenicalagreement amongst the dadas thatdada too ‘signifies nothing.’
55
In fact,after dada turned gangrenous, Tzarainvoked Taoism in discussing themeanings of ‘nothing’ at the WeimarConstructivist Congress in 1922,
56
but that may have been in partbecause Taoism could be used to mask any attribution of specifically Jewishmysticism through the rhetoric of animpersonal dissolution of the self.Jewish mysticism, Einstein’s under-standing of African sculpture, Taoismand dada, could mask, frame, or alle-gorize one another.To return to Tzara’s arrival inParis: Everling, in whose apartmenthe stayed, remarked upon his prolif-eration of papers, his endless sending and receiving of mail, to the point that thepolice were tipped off by the post office and made enquiries, suspecting espio-nage. This, too, seemed absurd. Of course Tzara’s tactic of sending dada materialto everyone of influence or interest everywhere has left him susceptible to thecharge of being a mere self-promoter, rather than the high-minded
seeker of like-minded men
he claimed to Breton in their earlycorrespondence.
57
Indeed, Everlingspecifically remarked on Tzara’s harnessing of a supple and tenacious intelligenceto an ‘adaptive Semitic mentality’ devoted to the furthering of his cause as a‘virus’.
58
Troublingly, this
adaptive
Semitic mentality was a truism otherwise setout in the infamous
Protocols of the Elders of Zion
, translated into French in 1920 andreferring to the supposed Jewish strategy of concealment by adaptation to themores of the larger culture, particularly in order to manipulate the press.
59
Tzara’s proliferating papers also serve as a prolix demonic double to Breton’selegant romance of ‘leaving no trace’ (for which courage Breton was specifically applauded by Jacques Rivie`re, implicitly against Tzara, when
NRF 
was trying tomake dada an indigenous, French, literary form).
60
By 1922 Tzara ended up exiledfrom his own dada. Thrilling in print and letters, a giant at a remove – ‘I think about you as I’ve never before thoughtof anyone’, Breton had once written – Tzarawas a disappointing mail-order bride.
61
When Tzarawas first unveiled at the dada Matine´e of 23 January 1920, he readin a grating voice. Anticipating the embarrassment of his accent, he had itmasked by offstage electric bells manned by Breton and Aragon.
62
But his flam-
8 Man Ray 
, Untitled rayograph
, in
Les Champs De´li-cieux
, Paris, 1922. Gelatin silver print,22.2
Â
17.2cm. Photo: reproduced with thepermission of SODRAC.
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153
&
ASSOCIATION OF ART HISTORIANS 2009
 
Einstein explains that the Africanmask does not symbolize but, rather,
is
the god, and that consequently it‘signifies nothing’, we could imaginethe Jewish mysticism of the trans-xing but unknowable divinitdisplaced into avant-garde Afri-canism, and into the ecumenicalagreement amongst the dadas thatdada too ‘signifies nothing.’
55
In fact,after dada turned gangrenous, Tzarainvoked Taoism in discussing themeanings of ‘nothing’ at the WeimarConstructivist Congress in 1922,
56
but that may have been in partbecause Taoism could be used to mask any attribution of specifically Jewishmysticism through the rhetoric of animpersonal dissolution of the self.Jewish mysticism, Einstein’s under-standing of African sculpture, Taoismand dada, could mask, frame, or alle-gorize one another.To return to Tzara’s arrival inParis: Everling, in whose apartmenthe stayed, remarked upon his prolif-eration of papers, his endless sending and receiving of mail, to the point that thepolice were tipped off by the post office and made enquiries, suspecting espio-nage. This, too, seemed absurd. Of course Tzara’s tactic of sending dada materialto everyone of influence or interest everywhere has left him susceptible to thecharge of being a mere self-promoter, rather than the high-minded
seeker of like-minded men
he claimed to Breton in their earlycorrespondence.
57
Indeed, Everlingspecifically remarked on Tzara’s harnessing of a supple and tenacious intelligenceto an ‘adaptive Semitic mentality’ devoted to the furthering of his cause as a‘virus’.
58
Troublingly, this
adaptive
Semitic mentality was a truism otherwise setout in the infamous
Protocols of the Elders of Zion
, translated into French in 1920 andreferring to the supposed Jewish strategy of concealment by adaptation to themores of the larger culture, particularly in order to manipulate the press.
59
Tzara’s proliferating papers also serve as a prolix demonic double to Breton’selegant romance of ‘leaving no trace’ (for which courage Breton was specifically applauded by Jacques Rivie`re, implicitly against Tzara, when
NRF 
was trying tomake dada an indigenous, French, literary form).
60
By 1922 Tzara ended up exiledfrom his own dada. Thrilling in print and letters, a giant at a remove – ‘I think about you as I’ve never before thoughtof anyone’, Breton had once written – Tzarawas a disappointing mail-order bride.
61
When Tzarawas first unveiled at the dada Matine´e of 23 January 1920, he readin a grating voice. Anticipating the embarrassment of his accent, he had itmasked by offstage electric bells manned by Breton and Aragon.
62
But his flam-
8 Man Ray 
, Untitled rayograph
, in
Les Champs De´li-cieux
, Paris, 1922. Gelatin silver print,22.2
Â
17.2cm. Photo: reproduced with thepermission of SODRAC.
FAIRE DE SON HISTOIRE UNE BOUCLE (NOIRE)
153
&
ASSOCIATION OF ART HISTORIANS 2009
 
boyant rolling of ‘r’s seemed to sum him up:
63
his fricatives clacked like falseteeth and he made self-portraits out of sibilants, as the very fabric of his name,suitably abbreviated by Aragon into ‘Trtz’
64
: ‘Monsieur tzacatzac parasol cassecase´e glace glisse monsieur.’
65
In ‘Pe´lamide’ Tzara gives Rimbaud’s ‘
Voyelles
aSlavic waterlogging, thickening them with ‘th’ sounds: ‘a o u ith a o u ath’.
66
Germaine Everling reported that Breton would flee to an adjoining room withgrated teeth whenever Tzara started to recite,
67
and Aragon said that Tzara had tobe taught to say even ‘dada’ in a French way.
68
A paradox of this is that theraucous sounds of dada were to be, in Paris, pronounced correctly. Something of Tzara’s being wrong-footed in Paris dada relied on the fact that, by being foreign,his subversions of language were not first grounded in an inviolable French.
69
Forhis first Paris performance, Tzara came on to the stage reading one of Le´onDaudet’s speeches to the Chamber of Deputies.
70
While there is an clear irony tothe recitation of any politician’s speech in a dada context, there was a particularirony to the choice of Daudet (whoever made the choice), as Daudet as editor of 
Action Franc ¸aise
had notoriously promoted a
Protocols-of-Zion
-inflected fear of Jewishinfiltration of economic, political and cultural institutions, and the press.
71
Thatis, Daudet provided a perfectly negative frame for Tzara’s debut.Within Paris dada Tzara ultimately came up against this generic set of xenophobic and anti-Semitic predispositions. When the literary arbiters Andre´Gide and Jacques Rivie`re praised dada in
NRF 
, it was the dada of those ‘legitimateheirs’ of French culture – Aragon and Breton – whose work in language they found admirable or even mentionable. The dada project was the necessary ruin of 
notre
Verbe’; the ‘notre’ signifying ‘French’.
72
When Gide acidulously found thatthe two syllables of ‘dada’ had a ‘sonorous inanity’ and ‘absolute insignificance’he could attribute the origins of this distasteful term to those ‘strangers’ whoimport mediocrity and stagnation into French culture. These strangers include‘the inventor of dada’: young, charming, a foreigner, a – Jew! (‘I knew it,’ Gideassures the reader, signalling that such a character could only be a Jew). Worse:‘They tell me he doesn’t sign with his real name, and I’d easily believe that dadatoo is nothing but a pseudonym.’
73
Dada too is a Jew with an assumed name. TheGide point of view raises the problem that dada as avant-gardism could be alle-gorized by reference to that pernicious fraudulent account of internationalJewish conspiracy, the
Protocols of the Elders of Zion

: dada as a programme of demoralization and as subversion of all social institutions, relying on deliberatedisinformation and a hidden, parasitic, use of the press. Such spurious preceptsattributed to the Elders of Zion, as ‘no morality inpolitics’, ‘one must sow anarchamongst the masses’, ‘power and hypocrisy’, and ‘a senseless, dirty, anddisgusting literature’,

74

could be aligned with Tzara’s dada manifestos’ excoria-tions of morality, sense and logic.

75

On 1 September 1919 an anonymous note (immediately understood to be theeditor Jacques Rivie`re’s) appeared in

Nouvelle Revue Franc ¸aise

[

NRF 

], emphasizing the‘German origins’ of dada. This was a familiar echo of the rightist Frenchnationalist rhetoric crucial to Maurice Barre`s, who lumped the Jew with theHun.

76

Breton immediately informed Tzara of the note.

77

Tzara was apparently too weary, or too familiar, with this kind of rhetoric, to respond directly toRivie`re’s dig directly (‘I ordinarily never reply, outof laziness, to such stuff’),

78
butin a long letter to Breton, on 21 September, he outlined his views: ‘Today one does
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&
ASSOCIATION OF ART HISTORIANS 2009

tzara by giacometti at moma tristaN daDa At aMamAMa


Tristan Tzara

Alberto Giacometti (Swiss, 1901-1966)

(1949). Lithograph, composition: 7 3/8 x 4 5/8" (18.8 x 11.8 cm); sheet: 10 3/16 x 5 5/16" (25.9 x 13.5 cm). Gift of Tristan Tzara. © 2011 Artists Rights Society (ARS), New York / ADAGP, Paris
165.1951______________________________________

                                                                                                                                                                                                Whata  great pAintyer 

                                                                                                                                                does witha  a great POet