E STHÉTIQUE DE L ’ INÉFABLE
F RAGMENTS HERMENEUTICS OF THE WORK OF Y OEL T ORDJMAN Nathalie Roudil
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The pure and the impure Rose Can a shape of line, a phoneme, an acute accent, a word, a semantic architecture, a Bohemian comma, takes you to the reality? Are they only labels of a codified collective language? Do they express the agitation of the emotion the senses? Do they make you to understand the background echoes of the physic1? Sometimes like is a lure, sometimes like a Utopia, sometimes like creative verb, the language only opacity or lets it foresee, behind the surface of the words, the “rustle” of the direction. What language will remain after crossed the curved and invisible footbridges of the irrational one? The approach of phenomenological 2 is not a psychology of the emotions but an opening to the appearance and the experiment which it causes. It is necessary to respect the “phenomenon”, i.e. to appear-even it, include/understand it in its pro-ject more meaning and not to explain it by a study or a report expert. Exploration hermeneutics 3 can be written by signs, which beckons to appear it work. It is thus difficult to write on a work because the danger to reduce it to the prosaic over-exposure of the language that is always hidden from sight. The writing is appearing of two distinct elements which leave a gaping impossible to fill. The text must seek to speak about the Entity without veiling it words To write about work of Yoel Tordjman, i need to narrow them in some forms of hypnotic and meditative fright. 1 Phusis: the phusis, always moving likes “to shelter” because with the shelter of the veil, “cèlement”, screening for it and guarantee of “sudden appearance” and of “the blossoming. 2 Phenomenology: direct experiment lived by a subject. It exempts
3 the hermeneutics : are a going beyond of phenomenology because it applies to what is doesn’t shown. It exempts interpretation of the conscience which dissimulates an authentic report/ratio with the being.
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Épochè - to put outstanding - conscience alienated and reifies by the frames of reference society men. I take the bias to make a clean slate, as possible with conventions and to leave the writing , to comb out, to bring to this text that seems to me is closer to appearing and to the direction of work. If it were possible to say what “IS”, the words would deliver, then, out of mirror, colouring, choreography, the symbolic system, they would dig their own form, they would descend the known and unknown grounds, would cross the history, the culture, the unutterable torture of crowned, the rose of pure and impure, the imaginary one, the dreams of the gilded centuries and would make it possible to see the work of Yoel Tordjman in its pure visibility. But Utopia of a language which could return us seeing by a disordered state of “grammar”, syntax; by all the forms of love, of suffering, of madness, the sirens of Ulysses sing us tirelessly; by all these exquisite fish which attract us and which one declines with the profit of the austere project of morals; by all this animal or immoral wisdom which captivates us; by the reception of all the ranges of oneself…, remains a Utopia. There are not take place there of respite for the man, it remains his cenotaph.
Cenotaph
It is works which speak too much and others filled of tall story. Some are eaten by eyes, they decorate your interior heroically; the settee leather and the tapestry are pleasantly matched there. Aesthetics society man is everywhere, it hides behind many works of art, and it hides even in certain smiles. The philosopher Friedrich Nietzsche proposes to think of things and not the words. It is important not to be subjected to the logic of the ordinary language stripped of what, there is of more powerful at the man. According to the philosopher, the idiosyncrasy4 which was delivered common thought is not communicable. The writer employing his own vocabulary, and expresses himself poetically, when it approaches the world beyond his representations.
4 The idiosyncrasy is a whole of characteristics and character traits specific to each individual and who defines his ontology
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Odi profanum vulgus: known as Horace . Would the men be necessary to touch to agree to speak their vulgar language and to drown in the schmaltzy banality of beautiful figure? There are however two vulgar languages: most widespread of the masks, the make-up and the artifice; the “illustrious vernacular” The poet Dante Alighieri 5 realizes that, this panther (the vulgar language illustrates) is not localisable nowhere and yet, one returns in emotional and intellectual resonance with it. It is a spit of land which brings together the men, a language which gives the possibility of speaking its own singularity with another singularity. Strange familiarity from where emerges an incredible feeling of proximity within the distance between the human beings of this country and this other country. There are a verb, poetic, which needs education, neither of recommendation, or to be used as decoration, grammar, nor syntax; a verb which blows the wind of a back-country, makes hear the “rustle” of the direction and the pulsations of the body. These letters, bodies To be it, which give life to any existence, which realizes the inanimate matter is read and is given what we see in the work of Yoel Tordjman. Work which makes us travel between spaces of visible and the invisible one, of tangible and of intangible or rather proposes to us to see starting from the surface of the things and of prosaic space, which crosses, and nothing bruise vibrates resounds. To live this clearing of light, it is to live the world poetically unmasked.
Hierophantic “Apparently we are in front of a “landscape” and very blow is discovered a “world”, we believe to deal with pictorial double of the stereotypes and we have the presence of 5 De vulgari eloquentia (On Eloquence in the vernacular) is the title of an essay by Dante Alighieri, written in Latin and initially meant to consist of four books, but abandoned in the middle of the second. It was probably composed shortly after Dante went into exile; internal evidence points to a date between 1302 and 1305. The first book deals with the relationship between Latin and vernacular, and the search for an illustrious vernacular in the Italian area, while the second is an analysis of the structure of the "canto" or song (also spelled "canzone" in Italian), a literary genre.
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an impenetrable place. This demonstration of a radical unknown, says to us that there is no immediate access to its being which should be taken and turning by the work which expatriate us, of the obviousness of the things to repatriate us in the unexpected one. It is well of a strangeness of the man in the world of an originating exoticism about which painting speaks. The exile of oneself, the search of a ground righter and fertile calls the possibility even on behalf of the man of being thought “out” being conceived on an adversative mode to do not like plenitude or lack, but like being excessive. There is undoubtedly a major relation between the Utopia and the unfinished condition, to be it in the world” Ricardo Pineri 6. Remove the movement, neither place, neither vacuum, nor time are possible.7 Body of the letters comes with whatever, is all that disappears and all that will be. It is by the being of the letters that appear the flowers, the sky, the desert, the men, the women, the birds, the stones and the things. They animate the eyes, circulate the ones through the others and appear in different forms. The titles given to each collection of the work of Yoel Tordjman, penetrate the veil and reduce to us, the image which out of spring. A safeguarded image, passage which indicator offers to us in a division. Here or there, nowhere and at the same time everywhere, the product of waves and crowned particles.
TITLES OF THE
COLLECTIONS Réflexion Seasons Horizon Evolution
6 Ricardo Pineri, L’île matière polynésie, editions the motu 2004 7 Whole is movement, an expensive concept with Yoel Tordjman. Quotation of Heraclites, philosophizes of the end of the Life century before the Christian era.
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Motion Illusion Expression Coloration Composition Emotion Floraison Variation
Transmutation
The manifestation of crowned appears in our eyes, the cross-piece and by its movement returns to us not in love like the prosaic one with the love society man but by “falling in love”, a happiness interfered with concern and passion caused by the glance. The conversion of the lover who sees for the first time the object of his love and whose image is engraved at the bottom of its eyes will leave never again what is now in its heart. Its eyes are the mirror of the heart, and it is by them that from now on the absolute “in love is perceived”. Fire, ground, air water In Hebrew, the natural term does not exist; it is cut and connected by two words: “sky and ground”. The work of Yoel Tordjman opens since the ground of Israel, it quivers of its cuts and of its engagements, evokes fire, the ground, the air and water since its four geographical spaces. See, then, impact of a world surprised in its originating appearance. A world which is appears shining, noisy, bubbling. See, then, primitive times of the ground in its infinite variety and all the strength of an inexhaustible energy, before the commonplaces did not proliferate or the automatic company did not deteriorate the aspect of the landscapes, the marl and the silt. “Nature, for the men, more in-depth than, on the surface” is said, Cézanne but it is necessary to see surface to see the depth, the stake is the play of reference between the form and the gasoline, work is concretion of signs. For Plato it is “the medium between the pure being and pure nothing” . If work with place, it is in this appearance of the medium which 6
does not cease being there, discrete and invisible through obviousness. Nature and all things represent with the eyes of Yoel Tordjman, the possible place of an emergence of the direction and its work endeavours to renew the infinite diversity which one meets with the daily newspaper. So the modern things, does not tend only to becoming decorations or cultural relics, is needed the antidote. Thus, a simple manufactured object, pain-killer or usual can be expressed, thanks to the artistic medium, and truth of it. If the objects are shown before very artistic gesture they reveal fully only by work. The nature of the work of art expresses infra-ordinary existence between revealing and dissimulation. Its movement and its adulatory matter are revealed by work. We see differently, therefore we see another thing, therefore we see what appears in the back-country, a nature as at the first day, “it is always given like already front of us and however like a new things under our glance� Merleau Ponty.8
Die-to exists and lives the world poetically
8 Merleau-Ponty, Phenomenology and experiments, published by Marc Richir, Etienne Tassin
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If it is believed that the photographs are copies, in their apparent reproducibility, they are only lures, prosaic and commonplace. The work of Yoel Tordjman demolishes of their cultural layer and shows sudden appearance behind appearance. In this direction, contrary to the images infinitely reproducible which haunts our albums and limit our existence, his things looking at us from the back of world, they teach us to see “one little better” reality. They transport us in the undecided one! Yoel Tordjman never ceases pointing out the muteness to us from where emergent things are. But if eye was allowed to see and to realize of vital force and of spirituality contained in all things create, those which, take their source in what emanates from the breath and pulsations of the ground, then materiality of all “things” vital force and the spirituality which are in them. If that was allowed, I could say that vis-a-vis the work of Yoel Tordjman: I die-exist, therefore I am not any more Here and there too. However, the paradox does exist in his works because it is impossible to separate the world and the direction since it is the world which reveals it direction and the direction disappears without the world. To appear and to be appearance are closely and pitilessly dependant. It will be necessary to consider the emergence of one appear of the direction in dynamic figures moving, disorders, enigmatic, ecstatic or hermetic. It is leitmotiv, its rhythm with 8
Open which accompanies some discoveries by origins. The work of Yoel Tordjman is compared to the society man in elsewhere, here when it is resulted from this. These is a universe which is not safe from the hardness of the history and of the inescapable conscience of the time but which could pacify our lives if one left finally touch upon by the field of the possible ones.
The therapeutic one of the hearts or the exploration of realities A man who is with heart in peace is not importunate neither with itself nor with the others. ~Epicure ~ For Paul Watzlawick 9, figurehead of the “new communication” and School of Palo Alto , it is our spirit which builds reality. It has there two levels of reality: a “reality of first order ”, that we perceive by our five directions, and a “reality of second order ” which are the significance that we let us give to the first reality. Thus, the direction which we allot to the things and the events is conditioned by our former experiments, our culture and our education which we inherited since our tender childhood. The Greek philosopher Epicurus had noticed that “it is not facts that disturb people, but the opinion that they have bout these facts of them” 10 In Talmud one reads: “You do not see the world such as it is, but such as you are”. it seems impossible to change the reality of first order, it is on the other hand possible to intervene on the reality of second order to modify it without, however the expert therapeutic does not intervene on this modification with the danger to influence his patient/client. “However - we say Axel Karol 11 - we can add the sensory perception about which Watzlawick speaks of itself only one construction or, which would be perhaps righter, a deterioration of the Real and of which it rises. We could consider a reality of order 9 Paul Watzlawick (1921-2007) psychological, psychotherapist, psychoanalyst Jungian and sociologist. He is founding member of the School of Palo Alto. 10 Stoical Epictetus, philosophy (50 -125 a. the Christian era).
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Zero. Indeed we can affirm that our perceptions are partial and partial in the sense that they do not give an account of the globalist of reality but only of one fraction. For example we perceive only one limited spectrum of the received light, so when we look by the window, we do not see the landscape such as it is, but only such as the limits of our visual system allow us to perceive it. It is necessary to have our perceptions to build a particular cognitive reference frame which consequently can be defined only as one reality as second taking into consideration what we have just described. In addition to deterioration due to the sensory limits, there is also a construction of the reality which deforms original perceptions. ” We recommend with Axel Karol that practice of the meditation, notwanting, the silence of the conscience, hypnosis or the paradoxical day before, the suspense of the spirit (épochè), as it propose the wise ones, the philosophers and the magicians of the heart (psychotherapists, hypnotherapists, experts in relation of assistance, artists, poets, etc,) allow a course of readjustment the interior world and consequently the outside world, is delivered reality of second order, spawning time a way by the reality of first order and surprises some fragments of reality of order Zero. This form of dialectical ascending which would go back to the principles first would learn with the human being that reality cannot merge with the cultural getups, tinsels, and “cosmos-oozing” obsessions new age and enlightened. However, it is impossible to reach completely the reality of degree Zero because it is diaphanous and always moving. let us dream our possible, if we know the contingency of anything, if we agree, let us to cross by the metaphors, then all poetic works, tales, myths, fables; any work artistic, will return the flexibility to us which we had mislaid on feel the thick fashionable banality The first rule of a therapeutic work or personal development is not to copy.
Exploration of realities
11 Axel Karol works as the mediation and hypnosis since many years. It was formed with hypnosis and with the philosophical practices; he is Co-person in charge of the research institute and Noesis formation.
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The “resemblance” should not be required because they would disturb the space of the heart and would generate a morbid turning. The reproducibility of reality does not enable us to breathe in our place. It is because we do not live with things which the problems emerge! “To lie true” on oneself, to state and carry the masks of the requisites society men, excludes to reach forever a few pieces of the real creator and creating. The variation of identification which one makes during a meeting of hypnosis, without giving fixed and perennial materiality it is comparable with this moment of suspends in front of a work of Yoël Tordjman. This variation makes praise of the flexibility 12 and stability; he speaks about this swinging favourable to the meditation, he is the variation necessary to continue a suitable existential movement with the essence of oneself. Exercise of autohypnoses 1. To put a question in connection with problems to solve and think of it ardently during 20 minutes. Think deeply on holding and outcomes of the situation present and desired. To examine the coherence of the desired project 2. To contemplate during 20 minutes a work of Yoël Tordjman, to leave, to move out and try to see the place of where it looks at you. To release all to want and notice how the initial form disappears with the profit from the bottom which gives to see, to feel what was concealed up to now. 3. To close the eyes and to rest during 10 minutes. 4. “Nothing to make and nothing is fait13”. The philosopher and Hypnos-expert François Rousting speak about “perceptive ” an open space in oneself and towards the world which perceives beyond the forms and of the crystallized diagrams a Whole at disposal. During a meeting of hypnosis, this bottom involves the patient customer/with deposer from the elsewhere indefinite of it, where all the ways are possible, where all realities coexist. “The phase of 12 Voir excel it work of Corinne Van Loey, Eloge of the flexibility, Dangles
Editions, 2015
13 François Julien, Treaty of the effectiveness, Grasset, 1997
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opening” or “dissociation” can lead to the beyond of the “problem” by hypnotized. Exploiting its own resources, it recovers at the same time and clearness the independence of mind which is necessary to control of its problem”. The perceptive is perception of the Whole in opposition to the ordinary perception which separates, divides, “objectified” and solidifies the life. The perceptive is the taking into account of all our bonds with the world. The work of Yoel Tordjman is one of the royal roads for this art of life – askèsis - which makes it possible to conquer perfection», psychic and psychic, a form of discipline which also makes it possible to re-conquer our difference. Kron os and kairos “Where did the little Madeleine pass?” 14, Where are times of the golden age? They are, present there! It is enough to find them and pay attention to the time of the infinite-present, intense, impulsive, oscillating which leads everywhere where the answers to the questions are and one is posed. All is already there. The strange certainty in the uncertainty of the kairos seize the amateur when suddenly, it tests the objet d'art either only like beauty, “filling” but like breach, gift and appearance of already there. And it is well in this moment when kronos is replaced by kairos, which another dimension of time, nonlinear but vertical creating depth in the moment, appears. The embrasure opens on another perception of the world, the events, and the beliefs and on oneself. It is the time of the convenient occasion whereas before was too early, after too late, the moment present becomes this moment of grace to decide, act and exist. One ceases running after wasted time, believer whom it is lost, Which is good, strong, painful, turbid, enigmatic, festive, sad, merry, attractive, etc; is in the topicality of oneself.
14 Ann Delobelle, teaching philosopher and essay writer proposed to me this heading work of groundwork of autohypnoses who we has the project to write.
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The art lover has just tested the kairos, he in seized an infinite present, the multitude of possible and the therapeutic existential one.
Eroticism of the esthetical experiment
Mimesis of a paradoxical pleasure is never attainable. Presence, absence, enigmatic object transitional or carrying signs create an erotic and artistic experiment at the same time. When there is suspension of the psychic apparatus, presence with kairos, body with body does matter, there is also erotic. The vital force wakes up, press, pushes, quivers‌ The proximity with work, the damning up and the extras offer an instinctive sensualise. Liability in the active, there is in this erotic aesthetics of intense exchanges between the amateur and work. The erotic sublimation of the gesture burning of agitation for the artist in direction of the amateur, appears magnified of another which, there will be eternally disorder of an absence, is very present in the work of Yoel Tordjman. The “innamoramentoâ€? in power of another towards oneself through work of art creates in the space of possible the desire which remains desire. The call increasingly more extreme is read on the impossible layer. The amateur is seized; it has a presentiment of sensuality with work because space is responsible for vibration, form and of colours. The image fills sensuality produced one closed world, an alcove of love and of impulses on itself which is concealed there more especially as it appears completely offered and available. This lack metamorphose and what is lacking generate a shock in love in return image,
Postlude
To acquire a work of Yoel Tordjman, they are not to get goods, a decoration, a future relic; it is to decide to purify its space. To take back itself with the infinite diver sity of nature, the objects, dreams and all that sh ow enigma. The form is exceeded permanently, bubbles of light and creates perforated from where spout out the
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clearness of the things, It is abyssal and chaotic bottom of the world. Something which it is, and which is not at even time. A world which is shown in interstices, a world engaged to hide while necessarily showing its reason to be with the danger of the human one. Circumscribed space can never open completely, it creates embrasures and signs to integrate and keep remotely abyssal bottom of nature in order to create it, which it has moreover expensive, the mimesis BOTTOM. Passion to foresee continues since the paddle of humanity. Creative Nothing attracts and withdraws itself at once in fear of making it disappear the human condition. In this vast warehouse of images and permanent representations, the indicator us puts face to face with a hologram of Reality, reality of order Zero impossible to see but possible to perceive, secretly, in its revealed intimacy. It is in the interval when the world of forms and of the masks breaks up that it novel mode of presence appears and shows its shades and its lights. Turbid spaces and disconcerting which show in the work of art and lead the glance towards this meet of a forgotten origin. The artists captured for one moment the veil of the immortality and the secrecy living or forever non-existent of gaping between the being and be in it. To seek to include/understand the world is not to recopy it prosaic, but to be without idea to open with all the possible ones. To die of our beliefs and certainty, to slip into the floods of impermanency and in the desire to reach the limits of what must however remain unlimited, here what is said in work of Yoel Tordjman. 14
Under the yoke of kronos, mortality, pain, capacity and recognition, it is by creation that man forever ceased calling upon an originating space where time would be suspended on eternity. This search for a wasted time, of an undivided origin, of an abolished time, is configured like celebrates of a memory of the phantasm with ore of the existence. L’oeuvre de Yoel Tordjman permet de conquérir la the “creality”.15 Which means, we need to live in peace with ourselves and the world? Thus, therefore to create reality is starting from the fragments of reality, to recreate life, because all sets out again in the movement and the indefinite one, to activate new representations, to reorganize existence to the Open one with work, to accept that all is vanity, only vanity and, the existence will calm down. Nathalie Paolucci, Enseignante de philosophe, hypnoanalyste, directrice de l’institut de formation et de recherche Noesis
15 Term used by Thierry Melchior, philosopher and psychologist, author “To create reality, hypnosis and therapy”.
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