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                <text>Principal fondateur de l'art abstrait, Kandinsky est aussi un exceptionnel théoricien. Traduction fidèle des notes du peintre, le cours présenté ici contient une étude approfondie des éléments de la peinture : couleurs, lignes, plans, rapports entre les divers éléments. On y trouvera aussi des réflexions personnelles sur de grands thèmes : histoire de l'art, forme et contenu, nécessité de l'art, rapports entre art et technique, art et nature, etc. Il constitue une introduction irremplaçable aux problèmes de l'art moderne.</text>
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                <text>Superbe album que ce « Tirages de têtes » où les photos de Jean-Pol Stercq répondent aux textes de Werner Lambersy (ci contre) et inversement. &lt;br /&gt;&lt;br /&gt;La moitié des écrivains français sont belges, note plaisamment Jean-Jacques Brochier dans sa préface ; on le découvre parfois avec surprise en feuilletant ce livre qui leur est consacré et s'ouvre sur la silhouette de Norge sous son parapluie. Stercq est un habitué des portraits et, notamment, des portraits de femmes et d'hommes de plume. Il sait à merveille suggérer un auteur et une œuvre, la malice, la gravité ou l'inquiétude, derrière ce « mystère de la surface » qu'est l'instantané photographique, « chemin de traverse entre l'être et le paraître par le biais du surpris » (Lambersy).&lt;br /&gt;&lt;br /&gt;Ainsi, de Maurice Carême à Scutenaire, à Françoise Mallet-Joris, Félicien Marceau, Béatrix Beck, Jacques Sternberg, en passant part Hubert Juin, Guy Goffette, Jean-Pierre Otte, Pierre Mertens, Izoard, Raoul Vaneigen, Dominique Rollin, Nyssen, Schmitz, Tessa, et tant d'autres, des regards nous interrogent et livrent un peu de leurs arrière-pays. Si « la photo d'un visage le défigure » pour traverser l'apparence et atteindre « non pas le trait mais le retrait », ainsi que l'analyse avec finesse Werner Lambersy, ce dernier a assigné la même fonction à ses textes d'accompagnement, véritables poèmes cernant en quelques vers une personnalité et la singularité d'une voix.&lt;br /&gt;Là encore, les familiers d'un auteur ne pourront qu'être convaincus de la justesse et de la pertinence des traits en même temps que des résonances niverselles de textes qui réussissent, comme les photos, « le miroitement du secret ».&lt;br /&gt;Au bout du compte, une puissante mise enperspective et en abîme, à travers les mots et la lumière, de ce fonds d'humanité riche, fragile et tourmentée qui fait les œuvres</text>
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Lais­ser le temps au temps ?&#13;
Cet essai aborde l’une des plus grandes énigmes qui fut, et qui sera pro­ba­ble­ment encore long­temps : celle du temps… D’une clarté à faire pâlir plus d’un phi­lo­sophe, d’une luci­dité à toute épreuve face à ce démon qui hante nos esprits, sorte de malin génie que l’homme a per­son­na­lisé au point d’en faire un dieu, Les tac­tiques de Chro­nos nous rap­proche des rivages d’un océan d’interrogations, là où se repose et se repaît ce dieu mali­cieux. En effet, toutes sortes de ques­tions sub­sistent : le temps est-il un être, une sub­stance ? Demeure-t-il iden­tique à lui-même en deçà des chan­ge­ments qui affectent l’univers ? Est-il com­pa­rable à un fleuve qui cou­le­rait inexo­ra­ble­ment ? Autant d’interrogations qui nous taraudent depuis la nuit des temps sur les­quelles Étienne Klein, phy­si­cien au com­mis­sa­riat à l’énergie ato­mique (CEA), ensei­gnant à l’école nor­male, et doc­teur en phi­lo­so­phie des sciences, s’attarde ici en expert plus qu’éclairé. Nous savons à quel point la phy­sique (rela­ti­viste et quan­tique) a révo­lu­tionné nos concep­tions étri­quées de l’espace, du temps, de la masse, de l’univers en tant que tota­lité indi­vis, et com­bien nos évi­dences (ces notions si simples qu’elles récla­maient l’adhésion de tout un cha­cun dans la phi­lo­so­phie car­té­sienne) sont sans cesse remises en cause aujourd’hui, l’approche du réel sol­li­ci­tant la créa­tion de nou­veaux concepts dont le plus célèbre est sans nul doute celui d’espace-temps.&#13;
./..&#13;
Nous l’avons vu, rien n’est simple, mais que d’invitations à l’étonnement, à la rêve­rie lucide après lec­ture de cet essai, où poé­sie et science se côtoient dans une sorte d’osmose que l’on vou­drait éternelle…&#13;
&#13;
patrick raveau&#13;
&#13;
internet : http://www.lelitteraire.com/?p=720</text>
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                <text>Le poème vient à vous, qui dit le voyage. C'est une chance qu'un livre : il s'offre sans rien demander, comme le premier livre de l'histoire, en Chine, le &lt;em&gt;Sutra du Diamant&lt;/em&gt;, imprimé et diffusé gratuitement, rêve échoué de tous les livres qui suivront.&lt;br /&gt;Peut-être ce bref compagnon ne vous quittera-t-il pas, peut-être l'abandonnerez-vous sur le fauteil à son destin de livre, à quelque autre voyage. Mais si le monde tend à devnir ce qu'est le Sahara pour les crickets [...] &lt;br /&gt;&lt;div style="text-align:right;"&gt;&lt;em&gt;Alain Borer&lt;/em&gt;&lt;/div&gt;</text>
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                <text>Icare &amp;amp; I don't, vaudeville métaphysique, se compose de trois pièces organiquement liées : Paul des Oiseaux, Le Chant du rien visible et Le Quadrige invectif. &lt;br /&gt;&lt;br /&gt;Quatre personnages — avec pour accessoire suffisant une échelle, retournée en bolide spatial puis en automobile — reviennent dans chaque pièce avec des rôles différents mais analogues. &lt;br /&gt;&lt;br /&gt;Paul des Oiseaux, qui reprend un synopsis abandonné d’Antonin Artaud, présente un dialogue sur la « perspective » entre les deux grands maîtres de la Renaissance, Paolo Uccello et Brunelleschi, et un jeune peintre contemporain, Antoniucci ; la seconde pièce raconte ou chante la course intersidérale de deux autres chercheurs d’absolu, Giotto et Bill Halley, qui chevauchent la sonde éponyme (Giotto) de l’Agence Spatiale Européenne à la rencontre de la comète de Haley ; dans la troisième les coureurs s’interpellent comme sur la route du Tour, Richard Mille dans sa Bugatti, Fausto Coppi sur son vélocipède, Pégase et sa jument Let’s go Darling — la course du quadrige du soleil contre le temps.&lt;br /&gt;&lt;br /&gt; « De toute œuvre, assure l’auteur, il n’y a au fond qu’une chose à savoir : est-ce qu’elle est abyssale ou pétillante ? » Ces pièces — qui seraient à voir par dessous, en levant les yeux : ce sont des « drames contemplatifs » — réunissent deux types de personnages dramatiques, les icariens (qui chutent magnifiquement) et les dédaliens (qui réussissent le vol mais assistent à la chute). L’ambition de Icare &amp;amp; I don't ne serait rien moins que d’atteindre à un alliage très rare de poésie et d’humour, de légèreté et de profondeur. « En sorte que le théâtre, vu par dessous et s’il était drôle (allegro serioso), pourrait se faire renversant. »</text>
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                <text>&lt;p&gt;Au début de notre ère, un terrible ouragan dévaste ces hautes vallées du Caucase que l'on appelait le «Ventre du monde». Pour se venger du Vent, un bûcheron géorgien, Koba, chef des Abreks, décrète l'extermination des dieux, de tous les dieux, où qu'ils se trouvent.&lt;/p&gt;
&lt;p&gt;Alors commence cette chasse insensée : les «Insoumis», ainsi s'appellent-ils eux-mêmes, déferlent sur les hauts plateaux d'Arménie, installant partout, jusque dans les chemins de neige, des pièges à dieux. Koba s'écrie : «Que les dieux nous blâment à leur guise ! Laissons-les pousser des cris de rage ; même s'ils se lèvent contre nous, nous serons vainqueurs !»&lt;/p&gt;
&lt;p&gt;Pour se rendre plus effrayants, les Abreks s'enduisent de glu et se roulent dans les chardons. Massacres, viols et pillages s'enchaînent : Ninive est en flammes, Babylone mise à sac. Dans les déserts de Syrie, des juifs leur parlent d'un certain Elohim, un dieu qui passe dans la brise et qui chuchote. Qu'à cela ne tienne : Jérusalem investie, les chercheurs de dieux dévorent et mâchent les rouleaux de la Torah. Le Sinaï franchi, Koba et ses hordes ensanglantées dévastent les rives du Nil, «le Nil couleur de carnage et d'incendie»... puis rageusement s'embarquent pour la Grèce, à destination du mont Olympe, le repaire des dieux inaccessible aux hommes.&lt;/p&gt;
&lt;p&gt;On le sait, c'est surtout à mi-chemin des mythes et de l'Histoire que les dieux ont tendance à pulluler : c'est donc là que Koba inscrit sa guerre personnelle - une guerre totale par laquelle le Guide, à la recherche du Grand Coupable, pourchassant dieux et hommes jusqu'au dernier, devient dieu lui-même. En ce sens, Koba est au-delà de Prométhée, il est lui-même l'injure définitive, l'injure bariolée, hoquetante et inépuisable qu'on fait aux dieux.&lt;/p&gt;</text>
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              <text>Le tirage original de cet ouvrage, est limité à quarante exemplaires numérotés et signés par l'auteur et l'artiste.&lt;br /&gt;&lt;br /&gt;Une oeuvre originale de Jean-Claude Vignes les accompagne.</text>
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                <text>Frontispices de Pierre Antoniucci. &lt;br /&gt;Imprimé sur les presses de Jean-Paul Louis.&lt;br /&gt;&lt;br /&gt;L'exemplaire est dédicacé par Alain Borer à Luc Rémy.</text>
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&lt;p&gt;Quatre-vingt-dix-sept ans plus tard, un jeune écrivain français, également âgé de vingt-sept ans, arrive à Harar. Il sillonne le pays, interroge partout les gens, pousse même, sur les traces de Rimbaud, jusqu'en Egypte où l'on sait qu'un grand bloc, très haut sur l'un des murs du temple de Louqsor, porte l'inscription RIMBAUD, en grandes lettres majuscules creusées dans la pierre, seule trace laissée (peut-être, peut-être pas) par le poète.&lt;/p&gt;
&lt;p&gt;Alain Borer rapportera de ce voyage un livre inclassable, autant qu'on puisse dire "inclassable" une obsession littéraire aussi belle, et portée avec rigueur (celle du rimbaldien et de l'exégète qui se livre à la critique des textes et des correspondances) jusqu'à l'emportement, jusqu'à l'extrême fantaisie, décidé en somme à tout dire de cette course fabuleuse.&lt;/p&gt;
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                <text>Pour Alain Borer, la poésie a explosé historiquement avec les « Illuminations » de Rimbaud en 1886, puis en chaîne avec le mouvement Dada pour ne plus exister en tant que poésie habituelle mais avec des sens très variés et très éloignés les uns des autres d’où son idée de la renommer et de l’appeler « poétrie », base de ses cours aux USA. Puisque la pensée poétique a des formes particulières accessibles à tous, Alain Borer a choisi de considérer ses écrits poétiques comme des « noèmes ». Il aime à dire que « la poésie est oxymorique » c’est-à-dire qu’elle peut signifier deux sens opposés côte à côte sans que cela soit une erreur.&#13;
&#13;
1984 est une année féconde pour Alain Borer car en plus de ses deux livres cultes sur Rimbaud, il publie un livre de poésie personnelle « Zone bleue » constitué de deux parties, « La chevelure de Bérénice » et « Le Nuage de Magellan, extrait III ». Par la magie du voyage, il faut tourner le livre d’un quart de tour pour le lire, effectuant notre envol pour ainsi dire et le gardant tout au long de ce voyage. Alain Borer, l’amoureux des voyages, se retrouve bien ici. Des phrases concrètes, inattendues, se pressent au fil des pages comme la deuxième ligne :&#13;
&#13;
« Il neige sans arrêt dans mon téléviseur et j’ai trop attendu au bureau des longitudes »</text>
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&#13;
Une carte postale de Jacques Dapoz à Luc Remy est glissée dans le livre.</text>
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                <text>La poésie à ses martyrs. Un siècle après la mort d'Arthur Rimbaud, la malchance veille encore et, dans le&lt;em&gt; dictionnaire des idées reçues&lt;/em&gt;, l'ange déchu d'Abyssinie reste discrédité, un "négociant" soucieux de s'enrichir, "trafiquant", "traître", "négrier", ...&lt;br /&gt;&lt;br /&gt;LA question mérite qu'on aille y voir de plus près, comme disait Philippe Soupault, qui fit le voyage en 1951. ALain Borer a 27 ans quand il part à son tour pour Aden et Harar - l'âge précisément qu'avait Rimbaud lorsqu'il vint s'échouer sur les bords incandescents de la mer Rouge. Il a 34 ans lorsqu'il termine ce carnet de route. [...]</text>
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Seoul</text>
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Dédicace signée : "le président"</text>
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