Wednesday, December 17, 2025
Des clowns aux Vampires il n'y a qu'une mort qui les rassemble
LES HAUTS DE FRANCE ET LE
MARXISME
La mort des uns et la survie des autres dictent le
rythme de nos lendemains qui sont loin de tous vouloir chanter, et le rêve du bonheur
demain est comme celui des coiffeurs qui rasent gratis. Cela n’est vrai que
chez les farfelus, les hirsutes, les tout velus de toutes sortes qui vivent
dans les pilosités comme pas mal de bestioles à quatre pattes.
Il me semble toujours étrange que l’on puisse donner les noms de nos morts aux rues,
places et avenues de nos villes ou de nos campagnes comme si les trépassés
étaient capables de nous indiquer le chemin par lequel nous devons passer pour
arriver là où nous voulons arriver, et c’est toujours tôt ou tard la même chose :
se déplacer du lit au fauteuil et du fauteuil à l’urinoir. Tout sauf une chaise
roulante qui n’est qu’une brouette à quatre roues. Je ne serai même pas dans
l’inconfort si on en revenait à une charrette à bras.
C’est dans cet état d’esprit que l’on me demanda
d’écrire un article nécrologique pour le philosophe Jacques Milhau qui avait quitté
sa place de garde dans notre société mal gérée.
J’ai choisi de ne parler que de la période où je
l’ai connu, 1976-1995, de centrer cette période sur mon travail culturel
d’écriture et de diffusion des écrits du monde écrivant, et donc de
pratiquement que des combats dans ce qui était alors le Nord Pas de Calais,
autour de la création menés par le Syndicat National des Auteurs et- des
Compositeurs, à l’époque encore membre de la CGT. Les choses ont bien changé,
mais en ces temps anciens nous avons su sauver quelques meubles de style qui
serviront à des générations futures dans des musées du mobilier des temps
sombres de l’après-de-Gaulle, ou dans quelques bâtiments où ils continueront de
se décomposer pour finir dans un siècle ou deux en poussière ligneuse.
Le reste
n’est plus qu’un échange d’informations et de données. Notre monde a su
survivre aux crises et s’apprête à découvrir un jour que l’histoire est une
suite continue de données et que les contradictions sont comme les explosions
du bientôt disparu moteur à explosion, et bon débarras. Alors nous commencerons
à comprendre que la vie n’est vie que si elle compromet la mort toujours
présente par le principe du changement toujours nécessaire. Philosophie
bouddhiste incontournable.
Academia.edu Comment
Jacques Coulardeau uploaded a paper
Il
n'est de philosophie que dans le cambouis d'un moteur à explosion et la famine
d'amour des peuples rejetés
LES HAUTS DE FRANCE ET LE MARXISME
2025 • Éditions La Dondaine, Medium.com
7 Pages
History, * Philosophy, * Poetry, * Puppets, * Clowns
Clive Barker is the best Blood Pourer in all climates.
I WANT A PERMANENT SIMMERING
HUMAN BLOODBATH
FIVE FILMS
Lord of Illusions 1995
Midnight Meat Train 20008
Dread 2009
Book of Blood
2009Nightbreed-Cabal 1990
My mother planted the sharp knife in the eye orbit of the rabbit
hanging by the hind legs from the tree in the garden, and she extirpated the
eye out of the socket and cut it off, and the blood started to run and collect
in a bowl under the rabbit’s head. The rabbit did not move too much because she
had stunned it with a log behind its head before starting the knife excision.
Explain to me why I loved the blood fried with parsley on a thin
slice of bread. I more than liked it, I relished every single mouthful of it. But
I completely lost this relishing one day when, on the street, I came across a
man who had been shot four or five times, right in front of me. Blood
everywhere, including on my pants, and a small gathering started to grow
immediately, and soon enough, we were fifty, and we could have been even more
if the cops had not arrived and disbanded the gang of voyeurs we were.
Since then, my liver has become sensitive about it, and a bitter
taste of gall comes up in my stomach and up my throat. And this bitterness has
become attractive, desired, necessary for me to finally be able to smile in
front of blood and any being, including human beings, dying the good old male
death, bathing in their own blood and some of their opponents. Blood is blood,
isn’t it, and a cocktail of blood is the best mixture you can find in this
world, dedicated to violence and torture, bliss and the death instinct.
But how dare you say that? All the censors, the moralizing accusers,
and the ethical signposts on the road tell me, tell us, we may not in any way
enjoy the real blood of a dying person cast on the street by some violent
action. So, they invented comic books, comic films, literature, and even the
cinema to give us the illusion of real blood, though we know it is only an
illusion. And in this field, Clive Barker is one of the best, with the help of
John Carpenter, and why not David Cronenberg?
And think of the Bible as a blood-flood book of nothing but blood,
including that of Jesus.
Academia.edu Comment
Jacques
Coulardeau uploaded a paper
Clive Barker is one of the best about thrilling an audience with the
illusion of blood and torture. But is it really an illusion, deep in the mind?
I WANT A PERMANENT SIMMERING HUMAN
BLOODBATH
2025 • Éditions La Dondaine,
Medium.com
16 Pages
Cannibalism, * Torture, * Blood, * Meat Production, * Cohabitation of Living and Dead
Friday, December 05, 2025
The Beauty of Love Against Death
PEONY PAVILION, A MASTER
PIECE.
DIVINES FOURBERIES
DE LA MORT – ou – LOVE’S TOILING LOAD
https://jacquescoulardeau.medium.com/peony-pavilion-a-masterpiece-76378b642cb0
I consider this opera a masterpiece, and the Kunqu opera genre is
unique and should bring about a renewal in theatrical and operatic art ay world
level. A much-needed renewal to creatively address the challenge of Artificial
Intelligence. But this AI is an existential and spiritual challenge that we
must face and resolve to our advantage. We might, perhaps, have to summon an Infernal
Judge to pull us out of the impasse we are digging or burying ourselves into,
creating ruts that will completely block us. Fortunately, electric motors
cannot be flooded with fuel, gas, or diesel. There is a sense of humor in Kunqu
opera that ultimately makes the dramatic architecture thrilling.
[…]
The opera spans three generations, but it is systematically based on
earlier generations of poets and other famous figures, and above all, on the
understanding that history is necessarily a phylogenetic accumulation of
generations of actors and actresses. We cannot confront the modern world today
without referring to the ancient eras that were crucial to historical
phylogeny.
[…]
For about 25, perhaps 30 years, the Chinese have been engaged in
rediscovering ancient forms of culture, and they are using this as a catalyst
for social and cultural unity within diversity in China, and for a renaissance
of classical, ancient, and modern forms of Chinese art targeting the world
beyond China or its provinces. But this is not unique in Asia. Consider the
return to ancient forms of culture in the Philippines, some frankly ante- or
pre-colonial, encompassing languages, themes, and bodywork as well as costume.
It is a renaissance, not a resurrection, because it was never utterly lost, of
the traditional handcrafted loincloth as an artistic form of clothing for men.
Women, on the other hand, retain traditional handcrafted costumes, but without
the same level – far from it – of nudity as men. Currently, it has become a
rapidly growing social activity, from primary school children (class projects
being mandatory) to university students, and, apparently, even to professional
adults in music, dance, and the heritage of old hunter-gatherer communities
transitioning to agriculture many centuries ago. The 20th and 21st
centuries in Asia are marked by the transformation of these regenerated and
revitalized cultural forms into exportable, tourist-oriented cultural products.
The resurgence of these cultural forms, which colonialism, as we know, would
have liked, and even been able, to destroy, is like revenge from the history of
peoples against the mad post-Columbian adventure. It makes you want to live
another twenty years to see what it will be like, say in 2050. I will be one
hundred and five years old then. I've already ordered the birthday cake. We
just need to imagine what, in Livradois-Forez, the « bourrée
sans culottes » could be.
Academia.edu Comment
Jacques Coulardeau uploaded a paper
This Chinese love story is torn apart by death, but it is strong
enough to impose resurrection onto death itself as an Epiphany of passion
PEONY PAVILION, A MASTER PIECE. DIVINES FOURBERIES DE LA MORT –
ou – LOVE’S TOILING LOAD
16 Pages
2025, Éditions La Dondaine,
Medium.com
Death,
* China studies,
* Marriage, * Resurrection,
* Love and Death
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