indissoluble

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Few things exacerbate epistemic crisis as much as polyphonic disruption and heterogeneity. In the United States of America, this has meant many voices contending at once and a simultaneous multiplicity of identities remonstrating for political and socioeconomic recognition. The hardening of this myriad plurality into distinct positions of advocacy, a plurality that was to have melted and melded into singular containment dubbed a “melting pot,” called the bluff of our E pluribus unum and, in the process, unveiled the unassimilability of difference. As Jose David Saldivar diagnosed, such national peripety discloses, now critically, now symptomatically, the indissoluble claims of identity and identity formations that belie two centuries’ worth of glossing over the irreducible plurality with the myth of unity, a gloss that immunized the “liberal imagination” against the tenuousness of its myth of consensus. The political slippage and thrashing that ensued reached their rhetorical sedimentation in the multiculturalist discourse of diversity and the meliorist program of neoliberalism, first with and then without the redemptive illusions of the welfare state.
—  Djelal Kadir, “Introduction: America and Its Studies,” PLMA, Vol.188, No.1 (January 2003), pg.13-4 (x)
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smile

When Emma smiles, her facial muscles move and her lips slowly stretch into a hint of a smile. She hesitates, her movements cautious, calculated. Like there was a hidden meaning behind it, as if the gesture had it in its power to plant false hopes, to fool everyone into thinking that all was well while the dangers still hung about their heads and no one could attest to what tomorrow would bring.
And he wants to tell her that she might be the Savior, but she is firstly Emma, she is firstly human. And that she’s allowed to smile and be glad, dammit! She’s allowed to live without this indissoluble burden, she is allowed to be happy.
Perhaps there’s something selfish about that, because he needs her smile. He needs it to feel safe. For when Emma smiles, it feels as though the sun is shining, as though he can breathe again. Emma is a sedative that soothes his pains and he needs to have her close, deep under his skin and in his veins. So he makes her smile and lets her expel the darkness from his eyes.

Consciousness of desire and the desire for consciousness together and indissolubly constitute that project which in its negative form has as its goal the abolition of classes and the direct possession by the workers of every aspect of their activity. The opposite of this project is the society of the spectacle, where the commodity contemplates itself in a world of its own making.
—  Guy Debord, The Society of the Spectacle.

Aussi ténu soit-il, le bruissement de l’âme qui regimbe contre la science qui tonne rend l’espoir immortel.
Il reste toujours un cri au cœur de l’homme.


« Il existe une expérience qui non seulement ne se laisse pas entraîner vers le ciel de l'objectivité mais plus encore qui réagit là-contre. A tout mouvement philosophiquement riche répond toujours une voix au ton grave, parfois amère et parfois moqueuse, dénonçant sa vanité, montrant quelque chose de plus humble, éventuellement jusqu’au sordide, mais d’indissoluble. C’est Thomas a Kempis répondant à Thomas d’Aquin ; Epictète à Aristote ; Kierkegaard, désespéré, à Hegel. C’est la nudité de l’homme, son essence irréductible, qui appelle. En un certain sens du cynisme, si le cynisme n’était pas un total désespoir et une déroute.
Ce qui dans de telles voix appelle, c’est l’expérience, le savoir de l’expérience dont le visage vit dans tous les villages espagnoles, visage qui paraît cacher un secret. Un secret bousculé, quand il n’est pas oublié, par le savoir universel, éthique ou métaphysique.
C’est l’expérience de quelque chose qui ne voit pas accompli dans la science son désir, de ce que la science n’a remarqué nulle part, peut-être parce qu’elle ne sait quoi faire face à elle. Et ce que la science ne sait pas réduire, ce sont certains états de la vie humaine, certaines situations par lesquelles l’homme passe et face auxquelles la forme énonciative de la science n’a ni force ni valeur. Parce que cette expérience sait bien que les vérités peuvent apparaître face à nous dures et invulnérables, stériles et impuissantes à la fois. Elle sait que la vie a besoin de la vérité, mais de sa vérité, c’est à dire de la vérité dans une certaine forme.»


In : Maria ZambranoL’inspiration continue, 1934, collection nOmina aux Editions Millon, pp. 46-47.