Tuesday, January 12, 2021

Η μορφή ακολουθεί τη λίμπιντο : Το οδοντοφόρο αιδοίο (vagina dentata) και η πατροκτονία

Η μορφή ακολουθεί τη λίμπιντο : Το οδοντοφόρο αιδοίο (vagina dentata) και η πατροκτονία 

 

Βιβλιογραφίασημειώσεις

Bibliography / REF/ Works Cited / Films / Performances 

 

 

Τέχνη στο συγκείμενο (Art in context )

ΑΣΚΤ -Χειμερινό εξάμηνο/ Εαρινό εξάμηνο

Αμφιθέατρο νέας βιβλιοθήκης,  Πειραιώς 256

Κωστής Βελώνης

 

 

AbrahamNicolas & TorokMaria, Το χαμένο αντικείμενο –Εγώ. Σημειώσεις για την ενδοκρυπτική ταύτιση. Εκ των υστέρωντεύχος 15 (2007) 175-195    

 

Alvarez, Ana Cecilia, Bend it Like Benglis , The Critical Inquiry, 20 Oct. 2014  

https://thenewinquiry.com/bend-it-like-benglis/

Barthes, Roland, Μυθολογίες –Μάθημα,  μτφρΚαίτη Χατζηδήμου, Αθήνα: εκδ. Ράππα, 2007

 

Βελώνης, Κωστής, “Η γλυπτική της επιθυμίας”, Αυγή της Κυριακής, 31 Μαιου 2015 

http://avgi-anagnoseis.blogspot.gr/2015/05/blog-post_9.html#more

 

Briony, Fer, Objects beyond Objecthood, Oxford Art Journal, Vol. 22, No. 2, Louise Bourgeois (1999), pp. 27-36. https://www.jstor.org/stable/1360633

ButlerJudith,  Σώματα με σημασία , μτφρ. Παναγία  Μαρκέτου, επιμ. Αθηνά Αθανασίου Αθηνα : Εκδοσεις  Εκκρεμές, 2008  

CixousHelene.  Το γέλιο της Μέδουσας, μτφρ. Γωγώ Κατσούλη, Τζένη Κουντούρη Τσιάμη, Ειρήνη Σπανοπούλου, επιμ.-εισ. Δήμητρα Γεωργιάδου, Αθήνα : Τοποβόρος, 2018.

 

CreedBarbara.  To τερατώδες- θηλυκό, στο  CixousHelene Το γέλιο της Μέδουσαςμτφρ. Γωγώ Κατσούλη, Τζένη Κουντούρη Τσιάμη, Ειρήνη Σπανοπούλου, επιμ.-εισ. Δήμητρα Γεωργιάδου, Αθήνα : Τοποβόρος, 2018.

 

Creed, Barbara. Orgasmology : What Does the Orgasm Want? Feminist Formations, Volume 28, Issue 2, Summer 2016, pp. 144-151 https://doi.org/10.1353/ff.2016.0033 

 

Clair, Jean, Meduse. Contribution a une anthropologie des arts du visuel,  Paris: Editions Gallimard,  1989.

 

 

Dali, Declaration of the independence of imagination and the rights of man to his own madness (1939)

https://collections.vam.ac.uk/item/O1309656/declaration-of-the-independence-of-dali-salvador/

Eidelpes, Rosa.  Roger Caillois’ Biology of Myth and the Myth of Biology, Anthropology & Materialism,  2 | 2014 .

https://journals.openedition.org/am/84

Gomes, Elisa,  "MARIA – Don’t Forget I Come from the Tropics", 

https://www.youtube.com/watch?time_continue=107&v=d7VIt017IDg&feature=emb_title

 

GreenAndré. Η ιδιωτική τρέλα, ψυχανάλυση των οριακών περιπτώσεων μτφρ. Λογαρίδη Θάλεια,  επιμ. Συνοδινού Κλαίρη, Μητροσύλης Σπύρος, Αθήνα : Καστανιώτη, 2002

 

HamiltonJohn T., “The Luxury of Self-destructionFlirting with Mimesis with Roger Caillois." Flirtations: Rhetoric and Aesthetics This Side of Seduction, a Poetics and Theory/ Comparative Literature Workshop, Draper Program, New York University, March 3, 2012. 

https://dash.harvard.edu/handle/1/14065783

 

Hancock, Caroline. Medusa in Ecstasy in Lynda Benglis. Edited by Franck Gautherot, Caroline Hancock, Seungduk Kim: Franck Gautherot , Dijon : Presses du réel, 2009.

http://www.carolinehancock.com/carolineHancock/pdf/Lynda_Benglis.pdf

 

 

Henriques, Martha, BBC Future: The vibrator: from medical tool to revolutionary sex toy, 8th November 2018. 

https://www.bbc.com/future/article/20181107-the-history-of-the-vibrator

 

Didi-Huberman, GeorgesThe Order of Material: Plasticities, malaises, survivals (Matlock, J, Trans.), in: Taylor, B, (ed.): Sculpture And Psychoanalysis, Routledge, 2016  

 

Didi-Huberman, Georges, Die Ordung des Materials. Plastizitat, Unbehagen, Nachleben,  στο Vortrage aus dem Warburg-Haus, III, Berlin : Akademie Verlag, 1999.

 

FreudSigmundΤο κεφάλι της Μέδουσας, στο Κείμενα για την ψυχοσεξουαλική ζωή , μτφρ.  ΒασιλιάςΑνδρέαςΑθήνα : Ανατολικός, 2018. 

 

Jagose, Annamarie. Orgasmology, Durham, NC:  Duke University Press, 2013.

Kachur, Lewis. Displaying the Marvelous, Marcel Duchamp, Salvador Dali, and Surrealist Exhibition Installations Cambridge, Massachusetts: MIT Press, 2001)

 

Koehler, Sezin.  Pussy Bites Back: Vagina Dentata Myths From Around the World

https://www.vice.com/en_us/article/payq79/pussy-bites-back-vagina-dentata-myths-from-around-the-world

 

Klein, Melanie. A contribution to the psychogenesis of manic-depressive states, International  Journal of Psychoanalysis, 16:145-174, 1935 

 

https://www.sas.upenn.edu/~cavitch/pdf-library/Klein_Contribution.pdf

 

J. Laplanche & J.-B. Pontalis. Λεξιλόγιο της ψυχανάλυσης. Μτφρ. Β. Καψαμπέλης, Λ. Χαλκούση, Α. Σκουλήκα, Π. Αλούπης. Αθήνα: Κέδρος, 1986.

 

http://www.preder.net/r/geriadur/enmoned.php?dic=6&ent=918

 

Lippard, Lucy R., Eccentric Abstraction (Fishbach Gallery: New York, 1966); reprinted in Art International, vol. 10, 20 November 1966 

''}66https://monoskop.org/File:Lippard_Lucy_R_1966_1971_Eccentric_Abstraction.pdf

Lurie, Susan. The Construction of the "Castrated Woman" in Psychoanalysis and Cinema, Discourse Vol. 4 (Winter, 1981-2), pp. 52-74

https://www.jstor.org/stable/44000262?seq=1

Martyris, Nina. 'Luncheon In Fur': The Surrealist Teacup That Stirred The Art World, February 9, 2016

https://www.npr.org/sections/thesalt/2016/02/09/466061492/luncheon-in-fur-the-surrealist-tea-cup-that-stirred-the-art-world?t=1578851213115

 

Middleman, Rachel. Rethinking Vaginal Iconology with Hannah Wilke's Sculpture, Art Journal, 2013, 72:4, 34-45.

https://www.jstor.org/stable/pdf/43188632.pdf

 

Mignon, Nixon. Eating Words, Oxford Art Journal, Vol. 22, No. 2, (1999), pp. 57-70

https://www.jstor.org/stable/pdf/1360635.pdf

PlathSylvia. Αριελ, μτφρ., Ηλιοπούλου, Ελένη, Ηλιοπούλου, Κατερίνα, Αθήνα : Μελάνι, 2012 

http://i-mourmoura.blogspot.com/2013/03/blog-post_9033.html

 

Pollock Griselda.  "Feminism and Modernism," in Framing Feminism: Art and the Women's Movement, 1980-1985. ed. Rozsika Parker and Pollock London: Pandora, 1987. 

Schaffner Ingrid.  Salvador Dali`s Dream of Venus: The Surrealist Funhouse from the 1939 World`s Fair, New York: Princeton Architectural Press, 2002.

 

 

Films/Performances

 

Dali's Dream of Venus 1939 World's Fair 

https://www.youtube.com/watch?v=g9jcL-qjqi4

https://www.youtube.com/watch?v=-yhWxQnvoSo

https://www.youtube.com/watch?v=xy9dnakh5L4

 

Elisabeth Sussman discusses the artist Eva Hesse’s rope Sculpture, No Tile, 1970.

https://www.youtube.com/watch?v=LklUuaUxX4k

 

Eva Hesse: “Life doesn’t last; art doesn’t last”  -sfmoma https://www.sfmoma.org/watch/eva-hesse-life-doesnt-last-art-doesnt-last/

 

Louise Bourgeois – 'I Transform Hate Into Love' | TateShots

https://www.tate.org.uk/art/artists/louise-bourgeois-2351/art-louise-bourgeois

 

Aliens, dir. By James Cameron (1986) - Trailer

https://www.youtube.com/watch?v=z0IXOUFYMt0

Aliens 1986 Final Ellen Ripley vs Xenomorph Queen

https://www.youtube.com/watch?v=DqA8Z5gjNWw

The Brood, dir. by David Cronenberg, 1979

https://www.youtube.com/watch?v=CNYfCMY2zHg

 

Teethdir. by Mitchell Lichtenstein, 2007

https://www.youtube.com/watch?v=yH8yuld4DUE

 

Lynda Benglis at the Walker, Eric Crosby

 

https://walkerart.org/collections/publications/art-expanded/adhesive-products/#/introduction

 

https://walkerart.org/collections/publications/art-expanded/adhesive-products/#/working_in_space

 

Marcel Duchamp

Étant donnés: 1° la chute d'eau, 2° le gaz d'éclairage . . . (Given: 1. The Waterfall, 2. The Illuminating Gas . . . ) 1946-66 Marcel Duchamp Philadelphia Museum Of Art

https://www.youtube.com/watch?v=dAlzBx24_vM

 

Marcel Duchamp, The Bride Stripped Bare by Her BachelorsEven (The Large Glass) by  Lara Kuykendall 
https://smarthistory.org/duchamp-largeglass/

 

Sunday, January 10, 2021

Blacksmith beetle

Blacksmith beetle,

you crawl
between garden rows
in newly upsprung
flowers:

I can’t bear
seven years’
of your misfortune.

Neither can you bear
the burden
of rubber soles.

 

Magnús Sigurðsson

transl. by Meg Matich 

My Boat Roofed Shed


 



Clumsy Boat, 2020 

Wood, stone, clay, acrylic 

178 x 21x 20 cm



Η γκαλερί Ζήνα Αθανασιάδου, μετά την πρόσφατη παρουσίαση του πρότζεκτ 199 στον εκθεσιακό χώρο του Ιδρύματος ΔΕΣΤΕ στην Ύδρα, παρουσιάζει τη δεύτερη ατομική έκθεση του Κωστή Βελώνη με τίτλο My BoatRoofed Shed.

Ο  Κωστής Βελώνης επιχειρεί  την ανάδειξη της  ρευστής συνθήκης κάποιων δομικών προτύπων, μέσα από τον επαναπροσδιορισμό των σχέσεων τεχνητού και φυσικού περιβάλλοντος.

  Στο σύνολο της η έκθεση αποτελείται από σχέδια, γλυπτά και ζωγραφικά έργα στα οποία το μυθοπλαστικό υποκείμενο των έργων αφορά τον ονειροπόλο χωρικό ως ‘περιπλανώμενο ιουδαίο» αλλά και τον ναυτικό ως  homo domesticus.

 Συνοπτικά ο αποχωρισμός και η ανεστιότητα αναγνωρίζονται ως   μια διευρυμένη μετακινουμένη κατοίκηση. 

Η  εστία (τζάκι, καμινάδα, υπόστεγο, σπίτι) γίνεται πλεούμενο (βάρκα, πλοίο, δοχείο, σχεδία) και το οποίο στη συνέχεια υποκαθιστά τη μόνιμη κατοικία. Πρόκειται για κατευναστικές πρακτικές από τους κλυδωνισμούς της μετακίνησης μέσα από την προσδοκία του μόνιμου απέναντι  στο  προσωρινό και το ευμετάβλητο. Αυτό που επικρατεί είναι ένα πλεούμενο  με τη σταθερή και  ριζωμένη ιδιότητα του σπιτιού. Ενώ στο βάθος του δάσους υπάρχει μια βάρκα, στον ορίζοντα  της θάλασσας  πλέει μια κατοικία. 

Αυτή η «μεταφορά» ακόμη και  με την κυριολεκτική της σημασία ως μετακίνηση, δημιουργεί ερωτήματα που σχετίζονται με την προσφυγική κρίση, και αφορούν την φροντίδα  και τη διαμονή εκείνου που περιπλανιέται. Τα έργα του Βελώνη μας ενθαρρύνουν  στην εξάλειψη της ανεστιότητας με την αποδοχή μιας διαφορετικής «άστεγης» κατοίκησης. Σε αυτό το σημείο, οι  λαογραφικές ιστορίες και οι λατρευτικές πρακτικές  που περιγράφουν τη στενή σχέση του ανθρώπου με τις ρίζες, τα κλαδιά τα φυλλώματα και τους καρπούς του δέντρου, δεν ανταποκρίνονται μονάχα στις συσχετίσεις της πόλης και του δάσους  και του αναπόφευκτου παραλληλισμού της ανάπτυξης του δέντρου και του αστικού δικτύου αλλά και στις ρευστές ιδιότητες που  απορρέουν από τον ανιμισμό των φυτικων οργανισμών. 

 

 Γκαλερί Ζήνα Αθανασιάδου  

12/1/2021 - 12/2/2021 

 


Friday, January 8, 2021

The Politics of Materials : Transparency and Intimacy

What are the limits of design in addressing political challenges? We might first want to ask: which politics? The ‘small p’ politics of everyday, negotiated, shared space suggested by the Greek root of the word (politika – affairs of the city; or politikos – relating to citizens)? This scale of quotidian interpersonal politics in the public realm concerns fundamentally material issues such as the right to presence and visibility in and practical agency over urban space. But what about the ‘big P’ Politics [1] of parties, legislation, and bureaucracy, that is less immediately material? Evidently there is no clear line between the two, and so I would like to start by looking at a failure in design for Politics to open up questions for a more material and aesthetic discussion of design for politics. 

In 1999 Foster and Partners completed a renovation of the Reichstag in Berlin, including a glass cupola over the chamber, “allowing people to ascend symbolically above the heads of their representatives”. [2] This is just the most recent in a series of post-war German parliament buildings constructed around what Deborah Barnstone calls an “ideology of transparency”, posited by futurist design thinkers and almost entirely uncritically taken hold of in both architecture and politics as the material embodiment of the ideal of accountable, accessible government.[3] However, rather than creating a system for transparent democracy, this design takes the most literal meaning of the word ‘transparent’ and looks for its material equivalent in glass. It conflates a material fact – the ability for glass to convey a complete image – with a way of doing things. If transparency in politics has meaning only as far as being able to see what politicians are doing, then within the scope of its setting the glass dome succeeds. If, as we would hope, it is supposed to be a tool for holding the political system accountable through involvement, it fails. The kind of transparency it creates is the same as that set up in the theatre between stage and audience: information and affect passes in one direction; the public is a set of eyes rather than a set of interlocutors. Because we inherited a word for information passing through material to approximate the way information passes between political actors and the public, the representation of democracy in glass has been able, at times, to supersede the process of democracy itself.

The Campo de Cebada in Madrid has become one of the best known spaces for bottom-up democracy. Following a series of assemblies debating the future of the vacant, city-owned public site, lightweight shelters and bleachers were constructed from recycled wood allowing it to be used for peer-to-peer education, performance, and local democracy. Built on the basis of necessity for and by its users, it appears on the surface to be the epitome of material functionalism. Why, then, is its aesthetic so instantly recognizable? Why have ply and wooden boarding come to be so expressive of (small-p) political? There are obvious pragmatic reasons: they are cheap and durable. But there are also ways of doing things encoded in these materials. Could ergonomic properties of materials could become political? Take weight: how many humans and/or non-humans does it take to lift a plate of glass versus a plank of wood? Ply and scaffold can be manipulated by non-specialists, giving us a ‘DIY’ ethic/aesthetic/politic. Even at this most seemingly pragmatic a relationship with materials there is a conflation of language that blurs the functional and symbolic. Grass-roots or DIY political organization literally uses the same tools and materials as home improvements, borrowing a material way of doing things and inheriting with it a symbolic aesthetic of the intimacy of the domestic interior. 

Wood is intimate. It is for building a hut, not a parliament. It belongs to the world of communality and physical affect, which Hannah Arendt distinguishes clearly from the world of the Political.4 But wood also contains things within it and traps them: it does not transmit information. It holds affect at the scale of the intimate and the immediate. Glass is implicated in the technologies of mass media. It allows mediated affect to pass through it whilst keeping bodies apart. Just as the Reichstag fails in doing Political transparency because of its literally symbolic interpretation, it succeeds in doing other things like the communication of power outwards from a centre. Just because its symbolism does not equal its function, does not mean we should not pay attention to its functionality. Inversely with wood at the Campo de Cebada: it is highly effective in doing DIY politics, economically and ergonomically, but in doing so symbolizes a communality and an immediacy that puts it in aesthetic opposition to Politics. This may well be the aim, but then how does it scale up, expand, and grow as a movement whilst holding on to the material symbols it has created for itself? Does wood symbolically trap the political in the realm of the intimate, shared between initiates to that realm, and exclude a wider public?

Text by John Bingham-Hall

NOTES

[1] Capitalisation observed to distinguish throughout
[2] http://www.fosterandpartners.com/projects/ reichstag-new-german-parliament/
[3] Deborah Ascher Barnstone, The Transparent State: Architecture and Politics in Postwar Germany(Routledge, 2004).
[iv] Hannah Arendt, “The Public Realm: The Common,” in The Public Face of Architecture, ed. Mark Lilla and Nathan Glazer (London & New York: The Free Press, 1987), 4–12.

 Originally published in Designing Politics: The Limits of Design. Theatrum Mundi - LSE Cities - Fondation Maison des sciences de l'homme. 2016


https://www.readingdesign.org/politics-of-materials




Monday, January 4, 2021

Gimme More: On Sianne Ngai’s “Theory of the Gimmick”


SIANNE NGAI IS KNOWN for her close attention to the overlooked, the fringe, the marginal. Her first book, Ugly Feelings(2005), was a taxonomy of “minor” emotional-aesthetic responses like irritation and paranoia. Our Aesthetic Categories (2012) centered on the “zany,” the “cute,” and the “interesting.” With these two works Ngai was credited with making the study of aesthetics — albeit under the banner of “affect theory” — sexy again.

In her third book, Theory of the Gimmick: Aesthetic Judgment and Capitalist Form, Ngai delves further into her longstanding preoccupations: first, the economic underpinnings of aesthetic judgment; second, the way affective judgments are built into nomenclature. (When we say someone’s “cool,” we convey nonchalant admiration; when we call a movie “cheesy,” we come off as knowing, jaded.) For Ngai, the critic’s task is to tease out the two, thus making apparent what gets obscured in the judgments we toss off. Although the subject of Theory of the Gimmick is unsexy at times — there is more than a little on transvaluation and reification — it marks a culmination of Ngai’s work as a critic. Not only does Ngai open up suggestive new lines of inquiry here, but she also completes a critical trilogy begun 15 years ago.

Ngai makes the case that the gimmick, whose value we regularly disparage, is of tremendous critical value. The gimmick, she contends, is the capitalist form par excellence. The book’s argument starts from the simple premise that the gimmick is “simultaneously overperforming and underperforming,” confounding our normal estimations of labor, value, and time. Ngai distinguishes the gimmick from its kin — kitsch, camp, conceptual art — making the case that, although superficial resemblances may bind the gimmick to these categories, the calculations of worth and cheapness it involves us in set the gimmick apart as a specifically capitalist form.

In a series of Kantian-Marxian “antinomies,” Ngai sketches out the gimmick’s contradictory, capitalistic nature: the gimmick simultaneously saves labor/does not save labor; works too hard/too little; is outdated/newfangled, dynamic/static, unrepeatable/reusable, and transparent/obscure about capitalist production. These antinomies are the book’s guiding thread, reiterated and elaborated throughout. They make some of Ngai’s more cryptic-seeming pronouncements intuitive: “The moment in which the gimmick arouses critical response is therefore simultaneously a dissipation of criticality.” “A gimmick that is necessary […] must by definition be trivial.” The gimmick’s capitalist DNA allows for

such reversals [which] are endemic to the world that gives rise to the gimmick’s compromised aesthetic. Like capitalism itself, in which paradoxes like planned obsolescence and routinized innovation abound, the gimmick is a […] fundamentally unstable form.

Capitalism, which ceaselessly generates more work while making workers obsolete, is the gimmick’s progenitor and twin.

The gimmick’s ubiquity, like that of capitalism, makes it similarly hard to pin down. Ngai follows Susan Sontag’s lead in “Notes on ‘Camp’” by personifying her object of study: the gimmick is loud and embarrassing, pestering and diverting like a precocious child. Theory of the Gimmick is never dry because it has the quality of the hunt, even when Ngai arrives at abstract formulations or locates the social value of the gimmick by wading through devalued aesthetic responses (annoyance, embarrassment, amusement). Ngai’s study lies somewhere between critical theory and Sontag’s best work; her rigorous economic analysis, combined with her flair for the memorable epigram, makes the prose rangy and zippy. (She would have plenty to say about adjectival characterizations like these intrinsic to book reviews.)

More : https://lareviewofbooks.org/article/gimme-more-on-sianne-ngais-theory-of-the-gimmick

Text by  Andrew Koenig

Tuesday, December 22, 2020

Going Postal :A psychoanalytic reading of social media and the death drive


I QUIT TWITTER and Instagram in May, in the same manner I leave parties: abruptly, silently, and much later than would have been healthy. This was several weeks into New York City’s lockdown, and for those of us not employed by institutions deemed essential—hospitals, prisons, meatpacking plants—sociality was now entirely mediated by a handful of tech giants, with no meatspace escape route, and the platforms felt particularly, grimly pathetic. Instagram, cut off from a steady supply of vacations and parties and other covetable experiences, had grown unsettlingly boring, its inhabitants increasingly unkempt and wild-eyed, each one like the sole surviving astronaut from a doomed space-colonization mission, broadcasting deranged missives about yoga and cooking projects into an uncaring void. Twitter, on the other hand, felt more like a doomed space-colonization mission where everyone had survived but we had to decide who to eat. Or like a drunken 3 AM basement fight club, a crowd of edgy brawlers circling each other, cracking their knuckles, waiting for an excuse. Only, it didn’t have any of the danger, or eroticism, or fun you might expect from a fight club.

It seemed obvious that unless you were passing around a GoFundMe link, no good could come from social platforms at that moment. The main purpose of social media is to call attention to yourself, and it was hard to think of a worse time to be doing so. It wasn’t like you were going to get a job thanks to a particularly incisive quote-tweet of President Trump; in the midst of a lockdown, your chances of getting laid based on your Instagram Story thirst traps plummeted. The already paltry rewards of posting disappeared, while the risks skyrocketed. And yet: people kept on going. Founders and executives at companies with “empowerment” brands posted vague bromides about social justice to their Instagram Stories, unwittingly calling attention to systemic racism and sexism at the companies they oversaw. An editor I vaguely know posted his salary and was swiftly accused of acting like a creep to women he’d worked with; a writer at the New York Times took to Twitter in the middle of a fraught meeting to condescendingly castigate her peers, thereby alienating herself from her workplace to the point of resignation. A student at Brown tweeted a long, excoriating list of the scions of wealth and privilege who had matriculated alongside her, and then capped it off by revealing that her mother is the president of ExxonMobil Chemical—like an aristocrat rushing to the front of a crowd of sans-culottes, shouting “don’t forget about me!” 

By Max Read 

The Twittering Machine by Richard Seymour, Brooklyn, NY: Verso

https://www.bookforum.com/print/2703/a-psychoanalytic-reading-of-social-media-and-the-death-drive-24171 

Monday, December 21, 2020

I Get Such Pleasure from them Every Day When I Sit in the Bath


I Get Such Pleasure from them Every Day When I Sit in the Bath, 1991  

#martinparr #pleasure #curtain #bath#athome #edwardian #sundays

What are the most boring topics?

 


https://ask.metafilter.com/350822/What-are-the-most-boring-topics 

The Dream of the Stone


The dream of the stone is long and cold
its gray nature
kept nothing of the splendor of the fire.

How frightened I am by what goes off and remains!

Burning, quiet,
under the night of my senses
imprisoned
I only ask for heat.

How frightened I am by what goes off and remains!

                        

Dolores Castro 

Transl. by Toshiya Kamei