#jean louis brau

[ficsbystar]

hi, i'm star! i write fluff and smut fics for a few anime series and games. find out which shows and characters i write for down below!

attack on titan

☆ eren yeager, armin arlert, jean kirstein, connie springer, reiner braun, bertholdt hoover, erwin smith, levi ackerman, zeke yeager, kenny ackerman

☆ mikasa ackerman, sasha braus, annie leonhart, hange zoe, historia reiss, ymir fritz, pieck finger, yelena

genshin impact

☆ albedo, alhaitham, itto, baizhu, diluc, kaeya, zhongli, childe, ayato, gorou, heizou, xiao, venti, bennett, razor, chongyun

☆ beidou, ningguang, eula, lisa, shenhe, sucrose, mona, rosaria, jean, sara, raiden shogun, hu tao, amber

jojo's bizarre adventure

☆ jonathan joestar, dio brando, joseph joestar, caesar zeppeli, jotaro kujo, noriaki kakyoin, jean pierre polnareff, santana/santviento, wamuu, esidisi, kars, josuke higashikata, kishibe rohan, okuyasu nijimura, tonio trussardi, mikitaka hazekura

jujutsu kaisen

☆ gojo satoru, yuuji itadori, megumi fushiguro, inumaki toge, yuuta okkotsu, noritoshi kamo, geto suguru, ryomen sukuna, nanami kento, toji fushiguro, hiromi higuruma

☆ kugisaki nobara, maki zenin, shoko ieri

moriarty the patriot

☆ william moriarty, louis moriarty, albert moriarty, sherlock holmes, mycroft holmes, sebastian moran

my hero academia

☆ izuku midoriya, katsuki bakugo, shouto todoroki, kirishima eijiro, tenya iida, shinso hitoshi, kaminari denki, mirio togata, shigaraki tomura, dabi, shota aizawa, toshinori yagi

requests: closed

please note that some of my fics may have aged up characters. if you are not comfortable with that, do skip it and read my other works (once they've been posted) or block my page.

once requests are open, i will post some guidelines (ex. kinks i do not write about, etc.). i will not open links sent in messages, either.

lastly, please do not repost my work on other platforms or pages. thank you!

[queenofanime]

MASTERLIST

Haikyuu

Karasuno

Daichi Sawamura / Kōshi Sugawara / Asahi Azumane / Yū Nishinoya / Ryunosuke Tanaka / Chikara Enoshita / Hisashi Kinoshita / Kazuhito Narita / Tobio Kageyama / Shoyo Hinata / Kei Tsukishima / Tadashi Yamaguchi / Keishin Ukai / Ittetsu Takeda / Kiyoko Shimizu / Hitoka Yachi

Nekoma

Tetsuro Kuroo / Nobuyuki Kai / Morisuke Yaku / Taketora Yamamoto / Kenma Kozume / Levi Haiba / Shohei Fukunaga

Inarizaki High

Shinsuke Kita /Aran Ojiro / Atsumu Miya / Rintaro Suna / Osamu Miya

Aoba Johsai

Toru Oikawa / Issei Matsukawa / Hajime Iwaizumi / Takahiro Hanamaki / Yutaro Kindaichi / Akira Kunimi / Kentaro Kyotani

Shiratorizawa Academy

Wakatoshi Ushijima / Eita Semi / Reon Ohira / Satori Tendo / Tsutomu Goshiki / Kenjiro Shirabu

Fukurodani Academy

Kotaro Bokuto / Keiji Akaashi / Yamato Sarukui / Akinori Konoha

Beastars

Main Characters

Legoshi / Louis / Haru

Shishigumi

Melon / Ibuki / Free / Agata / Dolph / Jinma / Hino / Miguel / Sabu / Dope

Drama Club

Pina / Juno / Billy / Aoba / Tao / Ellen / Shelia / Riz

701 Boys

Collot / Jack / Voss / Durham / Miguno

Black Market and others

Gosha / Yafya / Gohin / Rokume / Kyuu / San / Seven / Ogma / Cosmo

My Hero Academia

Heroes 

Hawks / Mirko / Aizawa / Endeavor / All Might / Present Mic / Midnight / Vlad King / Gang Orca / Mandalay / Fat Gum / Mrs. Joke

Villians

Shigaraki Tomura / Dabi / Toga / Twice / Stain / Kurogiri / Giran / Mr. Compress / Overhaul / Lady Nagant

Class 1A

Momo Yaoyorozu / Shoto Todoroki / Katsuki Bakugo / Tenya Ida / Fumikage Tokoyami / Mezo Shoji / Mashirao Ojiro / Eijiro Kirishima / Yuga Aoyama / Mina Ashido / Tsuyu Asui / Ochaco Uraraka / Denki Kaminari / Koji Koda / Rikido Sato / kyoka Jiro / Hanta Sero / Toru Hagakure / Izuku Midoriya / Minoru Mineta / Hitoshi Shinsou / Hatsume Mei (don't ask why she's here)

Class 1B

Itsuka Kendo / Tetsutetsu Tetsutetsu / Juzo Honenuki / Neito Monoma / Shihai Kuroiro / Yosetsu Awase / Sen Kaibara / Togaru Kamakiri / Yui Kodai / Kinoko Komori / Ibara Shiozaki / Jurota Shishida / Nirengeki Shoda / Pony Tsunotori / Kosei Tsuburaba / Setsuna Tokage / Manga Fukidashi / Kojiro Bondo / Reiko Yanagi / Hiryu Rin

The Big Three

Tamaki Amajiki / Mirio Togata / Nejire Hado

Shiketsu High School

Inasa Yoarashi / Seiji Shishikura / Camie Utsushimi

Ketsubustu Academy High School

Yo Shindo

Isamu Academy High School

Romero Fujimi / Habuku Mongoose / Kashiko Sekigai

Citizens and others

Rody Soul / Melissa Shield / David Shield / Natsuo Todoroki / Fuyumi Todoroki / Eri (platonic) / Kota (platonic)

Magi 

Main Characters

Aladdin / Ali Baba / Morgiana / Hakuryuu Ren

Kou Empire

Kouen Ren / Koumei Ren / Kohua Ren / Hakuei Ren / Kougyoku Ren / Judar / Koubun Ka

Reim Empire

Muu Alexius / Myron Alexius / Lo'lo / Yaqut / Titus Alexius

Sindria 

Sinbad / Ja'far / Masrur / Hinahoho / Yamraiha / Sharrkan / Drakon / Pisti / Spartos / Yunan

Magnostadt

Myers / Doron / Sphintus Carmen / Marga (platonic)

AOS and others

Cassim / Serendine / Barbarossa / Mystras / Pipirika / Rurumu / Fatima / Takeruhiko / Vittel

Demon Slayer

Slayers

Tanjiro Kamado / Zenitsu Agatsuma / Inosuke Hashibira / Nezuko Kamado / Genya Shinazugawa / Kanao Tsuyuri / Senjuro Rengoku / Aoi Kanzaki

Hashira

Giyu Tomioka / Mitsuri Kanroji / Obanai Iguro / Sanemi Shinazugawa / Gyomei Himejima / Muichiro Tokito / Shinobu Kocho / Tengen Uzui + wives / Kyojuro Rengoku / Kagaya Ubuyashiki + family

Demons

Kokushibo / Douma / Akaza / Nakime / Kaigaku / Daki / Gyutaro / Tamayo / Yushiro / Muzan Kibutsuji

Swordsmiths

Hotaru Haganezuka

Attack on Titan

Marley

Zeke Yeager / Reiner Braun / Porco Galliard / Pieck Finger / Gabi Braun / Falco Grice / Colt Grice / Annie Leonhart  / Yelena / Onyankopon / Niccolo / Bertholdt Hoover

Paradis

Eren Yeager / Armin Arlert / Mikasa Ackerman / Jean Kirschtein / Connie Springer / Sasha Braus / Hange Zoe / Levi Ackerman / Floch Forster / Historia Reiss / Marco Bott / Hitch Dreyse

Great Pretender

Makoto Edamura / Abigail Jones / Laurent Thierry / Cynthia Moore / Dorothy / Seiji Ozaki / Clark Ibrahim / Thomas Meyer

Cowboy Bebop

Spike Spiegel / Jet Black / Vicious / Faye Valentine / Julia / Grencia Mars / Andy / Electra / Vincent Volaju / Ed (platonic)

This will be the fandoms and characters I'll be writing for. Updates don't happen often but I'll try my best :)

[garadinervi]

Jean-Louis Brau / François Dufrêne / Gil J Wolman, Poésie Physique, 1964

[merzbow-derek]

POST-POST-SCRIPTUM 1138

AGITATION FRITE 3, DISCORAMA -1 : QUELQUES REPÈRES PHONOGRAPHIQUES*

Au lieu de plus de 600 chroniques-commentaires, était prévue une succession de références phonographiques, d’avant 1966 à aujourdhui. Voici celles d’avant 1966...

Edgar Varèse, Complete Works Of Edgar Varèse Volume 1, EMS Recordings, 1951 / Philippe Arthuys, Le Crabe qui jouait avec la mer, BAM / Maurice Lemaître, Le Lettrisme, Columbia, 1958 / Jean Barraqué, Sonate / Séquence, Véga, 1959 / Olivier Messiaen, Turangalila Symphonie, Véga, 1962 / Romuald Vardelle, Musique expérimentale, BAM, 1962 / Jean-Louis Brau, Instrumentation verbale, Achele, 1963 / Hector et les Médiators, Peggy Sue, Philips / Les Monégasques, Golf Drouot Story, Monte-Carlo, 1964 / François et Bernard Baschet, Structures For Sound, BAM, 1965 / François Tusques, Free Jazz, Disques Mouloudji, 1965 / Les Problèmes, Je ne vois rien, Vogue, 1965 / Les Caves, Menphis Tenessee, Elico Disques. À suivre...

*Un même groupe ne figure pas deux fois. Par contre, un musicien peut figurer plusieurs fois, mais sous des occurrences différentes ne mettant pas son nom en avant.

[mybarricades]

JEAN-LOUIS BRAU; LAISSER PARLEZ LA PEINTURE

[miekasa]

here is a list of what i think the aot characters’ middle names would be

eren asher jaeger

zeke big bitch jaeger

grisha bigger bitch jaeger

carla elizabeth jaeger

levi hash slinging slasher ackerman

madamoiselle kuchel valerie ackerman

sasha marie braus

armin armani exchange arlert

jean louis kirstein the fourth

connie maximillion springer

mikasa ariana ackerman

hange blair zoe

erwin william smith, ceo (thats his legal name)

[increasinglygeeky]

MY HOLLYWOOD LIVE ACTION ATTACK ON TITAN FANCAST

Alex Storm as Eren Yeager

Jeffrey Dean Morgan as Grisha Yeager

Holly Marie Combs as Carla Yeager

Kitty Chicha Amatayakul as Mikasa Ackerman

Sonoya Mizuno as Mikasa’s Mother

Tom Felton as Mikasa’s Father

Otto Farrant as Armin Arlert

Robert Englund as Armin’s Grandfather

Archie Renaux as Connie Springer

Cierra Ramirez as Sasha Braus

Julian Haig as Jean Kirshstein

Dane DeHaan as Levi Ackerman

Lizzy Caplan as Hange Zoe

Chris Evans as Erwin Smith

Shane Harper as Marco Bodt

Alexander Ludwig as Reiner Braun

Gus Birney as Annie Leonhart

Kathryn Newton as Historia “Christa Lenz” Reiss

Kawani Prenter as Ymir

Théodore Pellerin as Bertolt Hoover

Matthias Schoenarts as Erwin’s Father

Patrick Stewart as Commander Dot Pyxis

Elizabeth Debicki as Rico Brzenska

Emily Browning as Petra Raal

Misha Collins as Eld Guinn

Timothy Odmundson as Oluo Bozado

Ian Bohen as Gunther Schultz

Virginia Gardner as Isabel Magnolia

Leo Howard as Furlan Church

Johnny Depp as Kenny Ackerman

Rose McGowan as Kuchel Ackerman

William Zabka as Hannes

Jk Simmons as Keith Shadis

Joel Kinnaman as Mike Zacharias

Kristen Stewart as Nanaba

Camren Bicondova as Hitch Dreyse

Jason Mantzoukas as Gelgar

Peter Scanavino as Henning

Nathalie Emmanuel as Lynne

Andrew Garfield as Moblit Berner

John Boyega as Onyankopon

Mackenzie Davis as Yelena

Charlie Hunnam as Zeke Yeager

Harriet Cains as Pieck Finger

Tamlyn Tomita as Kiyomi Azumabito

Lou Wegner as Colt Grice

Flynn Curry as Falco Grice

Douglas Booth as Porco Galliard

Louis Partridge as Marcel Galliard

Peyton Elizabeth Lee as Gabi Braun

Hudson Yang as Udo

Miya Cech as Zofia

Matthew Gray Gubler as Uri Reiss

John Goodman as Rod Reiss

Alexxis Lemire as Frieda Reiss

Iain Armitage as Dirk Reiss

Zackary Arthur as Urklyn Reiss

Reagan Revord as Florian Reiss

Kitty Peterkin as Abel Reiss

Michelle Pfeiffer as Rod’s Wife

Will Poulter as Floch Forster

Isabella Gomez as Kaya

Skeet Ulrich as Eren Kruger

BD Wong as Tom Ksaver

Elizabeth Moss as Dina Fritz

Jeff Bridges as The Fake King Fritz

Brad Pitt as Willy Tybur

Helena Bonham Carter as Lara Tybur

Jason Beghe as Kitz Woermann

Jashaun St. John as Mina Carolina

Chuku Modu as Milieus Zeremski

Diego Tinoco as Nack Tierce

Ted Levine as Darius Zackly

Grant Show as Pastor Nick

Rudy Pankow as Thomas Wagner

Jacob Anderson as Marlowe Freudenberg

William Moseley as Daz

Kit Young as Samuel

Melissa Fumero as Nifa

Ramy Youssef as Rashad

Alia Shawkat as Lauda

Tony Thornburg as Keiji

Nico Mirallegro as Abel

Liza Soberano as Black-Haired Soldier

Brandon Flynn as Lima

Cillian Murphy as Dirk

Fo Porter as Marlene

Alan Ritchson as Klaus

Manish Dayal as Darius Baer-Varbrun

Neels Visser as Dita Ness

Barry Sloane as 11th Commander

Austin Bitikofer as Claude Duvalier

Jodie Comer as Traute Caven

Charlie Cox as Duran

Devon Sawa as Nile Dok

Drew Tanner as Franz Kafka

Abigail Cowen as Hannah Diamant

Till Lindemann ad Djel Sannes

Tim Curry as Wald

Veronica Ngo as Ilse Langnar

Kathy Bates as Jean’s Mother

Rob Raco as Flagon

Madelyn Cline as Carly Stratmann

Harish Patel as Annie’s Adopted Father

Dedee Pfeiffer as Karina Braun

Hector Elizondo as Reiner’s Father

Jessica Rothe as Louise

Oliver Platt as Reeves

Jason Genao as Lou

Javier Bardem as Magath

Lucas Till as Niccolo

Brad William Henke as Lobov

David Cross as Griez

Aryan Simhadri as Ramzi

Ritvik Sahore as Halil

Martin Sensmeier as Sumra

Alfred Molina as Koslow

Sonam Kapoor as Connie’s Mother

Nasser Hussain as Connie’s Father

Namit Shah as Martin Springer

Swayam Bhatia as Sunny Springer

Robert Patrick as Elliot Gurnberg Stratmann

Mia Talerico as Maria Fritz

Jophielle Love as Sina Fritz

Alyvia Alyn Lind as Rose Fritz

Jorge Enrique Abello as Artur Braus

Angie Cepeda as Lisa Braus

Lilian Bowden as Gabi’s Mother

Trent Garrett as Gabi’s Father

Sharon Stone as Grice Mother

Craig Fairbass as Muller

Lily Tomlin as Zeke's Grandma

Kevin Kline as Zeke's Grandpa

Ian Mckellen as 145th King Karl Fritz

Michael Fassbender as Karl Fritz

Amanda Seyfried as Adult Ymir Fritz

Brec Bassinger as Ymir Fritz

[death-on-arrival]

Reservas

PERSONAJES CANON

Annie Leonhart, por Carocat

Armin Arlert, por Nevermind

Connie Springer, por Springles

Eren Jaeger, por Xía

Erwin Smith, por Marie D.

Hange Zoe, por Vulcan

Jean Kirstein, por Dragonfly

Krista Lenz, por Excel

Levi Ackerman, por AK

Mikasa Ackerman, por Valentine

Petra Ral, por Triangle

Pieck Finger, por H.Q.

Sasha Braus, por Morgana

Zeke Jaeger, por Monkeflip

PERSONAJES CANON ORIGINALES

Aaron Holzmann, por Gato

Amir Hassad, por Soleighnox

FACECLAIM

Anne Hathaway, por Vulcan

Anya Taylor-Joy, por YoMerengues

Angourie Rice, por Excel

Camilla Cabello, por H.Q.

Choi Yeonjun, por Cat

Chris Evans, por Marie D

Dane Dehaan, por AK

Dylan O'Brien, por Xía

Elcin Sangu, por Soleighnox

Florence Pugh, por Lizzie H.

Jennifer Lawrence, por Morgana

Jessica Henwick, por Valentine

Julia Nobis, por Carocat

Louis Garrel, por Konstantin

Madeline Ford, por Julia

Maja Strojek, por Gato

Max Riemelt, por Manson

Maxence Danet-Fauvel, por Bleeze

Riz Ahmed, por Soleighnox

Shawn Mendes, por Dragonfly

Sydney Sweeney, por Storm

Tom Holland, por Springles

Tom Mison, por MonkeFlip

[denny1416]

BRAU Jean-Louis / PALMER Claude, Le voyage de Beryl Marquees.

[thearistocratsblog]

What is Lettrism?

Lettrism is a multi-disciplinary creative movement born in Paris in 1946 under the guiding force of Isidore Isou. The movement soon expanded by attracting numerous creative people, such as Gabriel Pomerand, Maurice Lemaître, Gil J Wolman… (and over the years, many others joined for particular periods or specific contributions). Lettrism systematically took on all the fields of knowledge, principally in the arts (Poetry, Painting, Novel, Cinema, Photography…) but also in the social sciences (Economics, Law, Psychology…) and natural sciences (Chemistry, Medicine,…).

Lettrism is a new philosophy of creativity and aims to transform society by a creative method –  “La Créatique / Creatics” – and by a new understanding of the branches of knowledge – Kladology. The writing and symbols used in Lettrist works are not to be seen as carrying a useful message, but solely as the object of art, as a third visual material after the figurative and the abstract. In Lettrism, kladology, the science of the branches of knowledge, allows one to approach each discipline fully aware and desiring revolution, with conscious creative positivism that prohibits chance mixtures of genres like the today often favored all-in-one. The happening as a creation is thus rejected by Lettrists. Lettrists keep the theatrical, artistic or poetic dimensions separate, including when they use the supertemporal, which invites the participation of the spectator, but in a well-defined context.

Even today, the movement continues to produce numerous creations as well as propose areas for reflection.

This movement was named Lettrism because in its historic phase it was first of all involved in upsetting poetry, which was judged to be exhausted when it was conveyed by words and concepts. Poetic Lettrism clearly and systematically for the first time (after a few hints, for example, by Dada) proposed a new conception of poetry entirely reduced to the letter, thus eliminating all semantics. The use of new letters, symbolized by the letters of the ancient Greek alphabet, and then by numbers on the scores of this music-poetry, calls on all the sounds that a human body can produce, integrated into a sort of super-score, anticipating the later movements of sound poetry and performance art. Lettrist poetry is also music, but without instruments and rejecting its secular concept, the notion of pitch. Thus Lettrist music-poetry requires a certain flatness while introducing original sound and noise combinations.

In the same way, Lettrism latched onto other art and produced an impressive number of visual works using letters as the exclusive compositional element. To avoid any confusion, one must understand that Lettrism is not a language and thus the writing and symbols used in these works are not to be seen as carrying a useful message, but solely as the object of art, as a third visual material after the figurative and the abstract.

Lettrism thus requires rigorous critical judgment: for instance a foreigner who speaks and is not understood, is not an unknown Lettrist poet, and any writing, even if framed and exhibited, is just a manuscript and cannot be called a work of art.

Besides, the absolute systematizing of Lettrist practice, combining numerous works by several artists with a wide range of visual art personalities, is clearly different from the sporadic use of written forms, as seen before Lettrism and much more since the appearance of the Lettrist movement.

Lettrist visual art quickly added to its palette all the signs of all past, present, as well as invented cultures, overthrowing the meaning that naturally distinguishes it from calligraphy. For more clarity and because letters become only one element of this super-writing, this section would be called Hypergraphics. Thus, the majority of Lettrist painting is really Hypergraphics, an art of signs that is truly prophetic in our society full of pictograms, logos and other graffiti.

But the true importance of Lettrism is to simultaneously attack all the fields of knowledge and artistic expression, for example cinema, photography, theatre, dance, and also economics, mathematics, chemistry, law, theology. Lettrism, unless seen in its totality, which is the only way to grasp its true dimensions, is thus an artistic and intellectual upheaval of great significance, and the precursor of numerous developments in society.

Isou, who created the founding concepts within which the members of the group would carve out their own places, insisted for example on the amplifying and chiseling (or deconstructing) periods of each art, where after being raised up and constructed, it is reduced and eventually destroys itself, before being reborn in a Lettrist form (e.g. painting reborn in Hypergraphic form). Thus in cinema, which Isou overthrew once and for all with his film Le Traité de bave et d’éternté / Treatise on Venom and Eternity (1951), begins the phase of chiseling film when Isou destroys the concept of the classical image by using scraps of film found in trash bins, scratching graffiti on these images to make them unrecognizable. He goes even further in radically disassociating the sound and the image, viewed as two totally independent channels, discrépant or discrete (like later works in music by John Cage and in dance by Merce Cunningham, for example).

In 1956 Isou went beyond this art of the letter and the sign by creating imaginary or infinitesimal art (also called esthapéïrisme / esthaperism), which allows one to imagine a work that would be conceived in the mind, starting from a concrete sign, whether poetic, cinematic, or pictorial. It is the conceptual art par excellence and one of the most productive fields opened up by Isou. In 1960, Isou added the supertemporal framework, which calls on spectators or listeners to participate in working on an art work, which is constantly renewed and goes beyond the finite time-frame of a classical art proposition.

One of the other fundamental dimensions of the movement is economics, with Isou’s Traité d’Economie Nucléaire /Treatise on Nuclear Economics, and his first prophetic political manifesto Le soulèvement de la Jeunesse / Youth Uprising, of which the first volume appeared in 1949. On the occasion of this publication Isou and Lemaître met, a momentous meeting that started a mutually enhancing relationship. Indeed, these two will be practically the only consistent members of the group or more accurately, of the groups, in view of their constant metamorphoses over sixty years. Their vision of transforming society led Lemaître to present his candidacy for the Legislature in 1967, and Isou in 1993. Still today, Lemaître sends out manifestos attempting to promote the innovative concepts that seek to be an alternative to Marxist or capitalist models, based on a society basically involving the notions of creation and innovation.

If Isidore Isou created Lettrism in 1946, launching this movement through a journal with the provocative title La Dictature Lettriste / The Lettrist Dictatorship, he was joined by various first class creators such as Gabriel Pomerand, nicknamed the archangel of Lettrism, who became a Lettrist activist and wrote some of its most emblematic Lettrist pages. His hypergraphic novel (originally called a metagraph) Saint-Ghetto des prêts / Saint Ghetto of the Loans, his oil paintings, and his Symphonie en K / Symphony in K are part of the basis of Lettrist esthetics. And whereas Pomerand soon left the Lettrist group, Maurice Lemaître was the one who faithfully stood shoulder to shoulder with Isou. Author of a prolific canon that is detailed in the other pages of this site, Lemaître clearly became the major Lettrist film-maker as well as the greatest photographer of the movement. He has been a prolific writer, but his acute sense of polemic would lead him to a public isolation that was the lot of all the Lettrists during their lives. This public isolation and misunderstanding is now progressively overcome by high quality exhibitions and catalogs, showing the true contributions of this group, not in a confusing or partial manner, but by an enlightened and well-documented choice.

The history of this group is naturally plural and the numerous strong personalities that pass through it are like so many currents, more or less in relationships with Isou’s initial ideas. Pomerand and Lemaître, like later on Jacques Spacagna, Roland Sabatier, Broutin or François Poyet and Jean-Pierre Gillard … represent some of the exciting possibilities of the Isouian line, even though sometimes upsetting it. At the same time, other no less important Lettrists, starting with Gil J Wolman, adopt a more divergent view, both using and challenging the new Lettrist concepts. Nevertheless, and this is the case for Wolman and his megapneumies (deep breath poetry), his film L’Anticoncept / The Anticoncept, his Lettrist paintings and even some of his scotch tape art, they would also write some essential pages in a movement that would be diminished without their participation.

As for François Dufrêne, he would concentrate on Lettrist poetry (and also film) while  Jean-Louis Brau would be involved in everything. The case of Guy Debord remains rather amusing and marginal in the sense that, dazzled by Isou in 1951, he joined the Lettrist gang only for a year, but a year during which he would make his major film, Hurlements en faveur de Sade / Shouts in Favor of Sade, before going on to found a Lettrist International (1952-1957) with Wolman and Brau; this movement would be the antechamber to the future Situationist International that would permit him to become this French National Treasure* that still is often the first gateway to Lettrism.

The complexity and longevity of Lettrism make it a difficult subject to grasp; it claims to be a completely different species from other groups of its time or even of the past. For example, the infinitesimal makes it similar to what the Fluxus movement would develop later, even though it is opposed to it. In Fluxus art and life are mixed together, while for Lettrism, kladology, the science of the branches of knowledge, allows one to approach each discipline fully aware and desiring revolution, with conscious creative positivism that prohibits chance mixtures of genres like the all-in-one. The happening is thus rejected by Lettrists. Lettrists keep the theatrical, artistic or poetic dimensions separate, including when they use the supertemporal, which invites the participation of the spectator, but in a well-defined context.

If one thinks of the ultimate goal of Lettrism: “la société paradisiaque concrete,” the concrete paradisiac society, a sort of heaven on Earth: a world made up of creators, a world where contrary to the anarchical “Neither God nor master,” a person must change into “All Gods, all Masters”, then one understands better the gulf that has been dug out between the Lettrists, the most radical and innovative group of the second half of the twentieth century, and a society that seems in a hurry to consummate its loss, incapable of recognizing the still living creators.

* Artist’s archives cannot leave France

-Frédéric Acquaviva

[duocdonga2015]

Lemaître- Une vie lettriste ebook gratuit

Lemaître- Une vie lettriste ebook gratuit

Auteur: La Différence ISBN 9782729120726 Ce livre est la première monographie sur l’oeuvre plastique de Maurice Lemaître (1926), dernier lettriste historique vivant, ayant rejoint le groupe d’Isidore Isou en 1950, autour de Gabriel Pomerand, François Dufrêne, Gil J Wolman, Jean-Louis Brau ou Guy Debord… Le lettrisme, fondé en 1946 par Isidore Isou, s’impose aujourd’hui comme le mouvement…

[horsesingsfromcloud]

Jean Louis Brau - Ataloche Roche

[reecelba1b]

the letterists

The Letterism, founded in 1946 by Gabriel Pomerand (1925-1972) and Isidore Isou (1925-2007), uses letters as “sounds” and then as “images.” Poetry turns into music and writing becomes painting. The letterists extend these changing relationships to film, culture and society. In 1952 the movement divides because of diverging objectives: living art or the art of living. Jean-Louis Brau, Guy Debord and Gil Wolman founded the Letterist International to “transcend art”.  Marc’O set up the group “Externalists” to encourage the uprising of youth. The Isouists asserted that their only doctrine came from a single creator. Letterists, for a long time, would remain “badly known or known to be bad”.

[merzbow-derek]

POST-SCRIPTUM 863

AGITATION FRITE 2 : PAR RAPPORT À MARGUERITE DURAS, J’ADORE DEBORD

Agitation Frite 1, Témoignages de l’underground français est donc sorti chez Lenka lente, mais déjà épuisé (il sera peut-être réédité pour les 50 ans de Mai 68, qui sait ?). Un second volume est en préparation (un troisième également, de plus de 350 “chroniques” celui-là). La forme en est la même : une quarantaine d’entretiens dont la plupart, cette fois, sont inédits. On en trouvera ici des extraits, régulièrement. Par exemple, Frédéric Acquaviva (deuxième entretien).

EXTRAIT…

..., ..., ... Tu es à l’origine, sous la forme d'un vinyle, d’une réédition augmentée de Jean-Louis Brau éditée par Alga Marghen : comment ça s’est fait, pourquoi ? En quoi relies-tu Gil Wolman, Jean-Louis Brau (ou pas) aux situationnistes ?

Lorsque j’ai découvert l’œuvre d’Isou en 1997, j’ai été voir un peu partout autour, spécialement là où il ne « fallait » pas, car Isou était fâché avec Lemaître qui détestait Chopin, qui lui-même avait fini par détester Heidsieck, etc. Moi, je m’en fichais, l’important c’était de comprendre quelque chose et d’aller vite car ils n’étaient pas éternels. Et j’aime les gens dont les œuvres ne se ressemblent pas, et par conséquent Chopin et Heidsieck, c’est difficile de faire plus opposés au sein de la poésie sonore.

J’avais envie de comprendre leurs œuvres tout de suite, par moi-même, tout seul, et non grâce à quelqu’un d’autre, mais de toutes façons personne ne s’était penché sur le sujet, et surtout pas Greil Marcus, la bible des gens superficiels. Quand j’ai rencontré Isou, il était complètement isolé, personne ne le voyait, et il était complètement décrié. J’ai trouvé ça vraiment injuste, et plutôt que de pomper ses idées et de m’en servir (suivez mon ouïe), je me suis dit que j’étais assez fort pour faire deux choses en même temps : séparer ma propre œuvre musicale qui n’est pas lettriste (dans le lettrisme musical, il n’y a plus de hauteurs par exemple) et passer un certain temps à propager les œuvres des gens qui me semblaient sous-estimés, à travers des actions créatives et donc diversifiées, telles qu’émission de radio, films, montage d’expositions, livres, activités qui me permettaient aussi de ne pas m’intéresser qu’à mon propre nombril, et d’avoir ainsi une certaine ouverture au monde, à commencer par les invitation de Conz à Vérone.

Isou m’a proposé par deux fois d’adhérer au lettrisme, mais j’ai refusé car je trouvais, il y a déjà vingt ans, que tout ça était complètement mort : et puis j’ai horreur des groupes, et de plus, personnellement, je ne crois pas à la musique lettriste, même si historiquement cela existe et est important, et qu’il faut que cela soit connu. D’une certaine manière, j’ai été nettement plus intéressé par les œuvres plastiques, leurs hypergraphies, parce que, justement, ce qui m’intéressait était de relier cela à ma pratique musicale, de faire des transpositions d’un art à l’autre, comme je l’ai toujours fait. Ma pensée s’articule ainsi et je n’ai aucune envie de reproduire une musique qui existe déjà, ni même de m’insérer dans un courant : j’ai envie d’inventer ma musique et de me ré-inventer.

Jean-Louis Brau, donc...

…Donc, je me suis naturellement intéressé à Brau, mais il faut dire qu’il y a plein de barrages sur la route de la connaissance, et que, malgré une illusion du partage du savoir (internet), en réalité, certaines personnes bloquent l’accès aux œuvres ou écrits, et s’agissant de Brau, il faut savoir qu’il y a quelqu’un qui s’humilie lui-même à barrer la route à tous ceux qui voudraient prendre connaissance, par exemple, de l’enregistrement de La Barque de la vie courante, film inachevé de Jean-Louis Brau. Ce n’est qu’un exemple parmi d’autres, alors quand j’ai la possibilité de décloisonner les choses, par exemple en proposant à Alga Marghen ce disque des « instrumentations  verbales » de Brau, eh bien je le fais. J’ai aussi fait ressortir, de Brau, Le Singe appliqué, au Dilettante, ce genre d’actions, dans le vide, comme tout ce que je fais. Mais peut-être, lors de notre troisième entretien, on s’apercevra que certaines en valaient la peine (sourire).

Wolman...

Donc, l’œuvre de Brau, je la connais bien et l’estime assez, mais l’œuvre de Wolman est de toute autre envergure. C’est du reste le seul de tous ces artistes que je regrette de ne pas avoir connu, mais je connais la totalité de son œuvre, et il est avec Isou celui qui me passionne le plus. J’ai du mal à comprendre pourquoi il faut autant de temps aux gens pour comprendre l’importance de ces deux-là, qui sont l’équivalent pour moi de Marcel Duchamp et Francis Picabia par exemple. J’ai fait – et ferai ? – ce que j'ai pu pour leur redécouverte : un livre sur l’œuvre de Wolman, et je suis en train de terminer la toute première monographie sur l’œuvre plastique d’Isou sur laquelle je travaille en parallèle à toutes ces autres choses depuis quatre ans. J’ai préféré faire cela que chef d’orchestre ou professeur, car je ne peux pas tenir en place et j’ai horreur qu’on me dise ce que je dois faire.

Après, tu me parles des situationnistes et comment je les relie au lettrisme. Eh bien c’est simple, le point de convergence, c’est l’Internationale Lettriste, qui n’est pas l’alpha et l’oméga, mais un simple moment de construction de cette future Internationale Situationniste avec des gens qui veulent s’éloigner d’Isou tout en reconnaissant, qu’au moins, celui-ci a une ligne (il faut lire les lettres de Guy Debord à Wolman par exemple, qui sont éclairantes sur ce point). Si j’aime certaines choses chez Debord (Hurlements en faveur de Sade, Mémoires, Fin de Copenhague, The Naked City ou même le film autour de La Société du spectacle), je dois dire qu’Isou ou Wolman me passionnent bien davantage. Maintenant, par rapport à Marguerite Duras, Jean-Paul Sartre ou Roland Barthes, j’adore Debord !

Comment as-tu mis sur pied CRU ? Quels but et nécessité y voyais-tu ?

En fait, l’acte d’édition m’est apparu comme essentiel : j’ai commencé et continué à m’auto-éditer, mais progressivement j'ai pris conscience que cet acte est autant créateur que politique. Du reste, je crois que beaucoup d’artistes que j’estime ont eu aussi ce rôle, que ce soit Maurice Lemaître avec son Centre de Créativité, ou Henri Chopin avec OU, Dick Higgins avec Something Else Press ou encore George Maciunas… Car éditer, répandre, sauver de l’oubli, est une activité qui, si elle engendre de la jalousie (en France en tout cas), permet d’essayer de modifier le cours des choses, de transformer sa vie et celle des autres.

Cette revue, CRU, est venue tout naturellement comme devant témoigner de ce qui se passait ou aurait pu se ..., ..., ...

( Frédéric Acquaviva, par là )

[aamjp]

Centre Georges Pompidou

On Kawara, Today Series [1]

saw some others of these in Hamburger Bahnhof, I think, though they were displayed without the boxes // less striking display in the Pompidou but they're with full context here (i.e. the box)

box contains a cutting from the day's newspaper ( in this instance, the New York Times) with the date and page number visible // the content seems to have been selected arbitrarily > that is, it's not the front page, nor is there any obvious narrative present through the successive days 

the paintings themselves are all uniform, except for the changing date > they immediately historicise the present // THIS HAS COME UP SOMEWHERE ELSE ON THIS TRIP > APT, collecting work as historicising the present 

the series is dated (i.e. old and old hat) but I think it gives me permission to pursue the crossword paintings as a form of history painting through inclusion of the image (or images... projections?)

Collection

Marcel Broodthaers, Le corbeau et le renard [“the fox and the crow”] > non-QWERTY keyboard > or has it just been rearranged? The A swapped with the Q, the Z with the W? The 1 and 0 keys also seem to be missing? // Salle blanche [“white room”] > brought to mind Gabriel Garcia Marquez’s plague of amnesia

Joseph Kosuth, One and Three Chairs, 1965 :D

Miklós Erdély, Theses on The Theory of Repetition, 1972-3 > "explores the concepts of repetition and resemblance, and questions notions of the original” // from the theses:

13. Since man can stand neither the catalepsy of total identification nor the dizziness of continuous change and diversity, he regards the sphere of resemblances and analogies, rhythmical changes and dialectical periods as his own. He looks for the same in the different, and the different in the identical. The man of intellect, however, can only recognize himself in total change.

Art & Language, Map of a thirty-six square mile surface area of the Pacific Ocean west of Oahu, 1967 

Rémy Zaugg, Sans titre, 1988 [2] > carefully printed black type over a lascivious (haha) white paint > it works?

Paul Klee, Pfeil im Garten, 1929 [3] > Russell Craig says Klee’s blurry lines are monoprinted

Mondrian’s edges are really imprecise, nearly sloppy

It’s hard to take photos of Barnett Newman’s work

Picabia, L’oeil cacodylate, 1921 > was this in one of Polke’s prints? // hmm, Man Ray photographed it, but I’m not sure this is what I remember

Duchamp, Fountain, 1917 (1964)  

★ Gil Joseph Wolman, l’horreur de l’horreur, Saigon, c. 1958 [4] > tape transferred to canvas // HHHHHH Un homme saoul en vaut deux, 1952 [5]

★ Jean-Louis Brau, The Ghoo that Jack Built, 1963 [6]

Lettrism — Isidore Isou intended leftism a “total project simultaneously theoretical and practical, aesthetic and political" > influenced Guy Debord, François Dufrêne, Brau and Wolman // my research at the start of the year was on-point

Futura and Rot concrete poetry journals // Hansjörg Mayer and Max Bense > Bense was a "philosopher and mathematician influenced by C S Pierce's semiótica and was interested in the implications of cybernetics for art" > cf. dude in Venice

Jasper Johns, Figure 5, 1960

★ Cornel Brudascu, Portrait d’une génération, 1970 [7-8] > technique for cryptics

Marcel van Eeden, Sans Titre, 2015 > equivalence of line and writing over a grey-scaled ground

[miamibeerscene]

Brewers Association Announces SAVOR 2017 Brewery List

February 1, 2017

Get your classy clothes and appetite ready. The Brewers Association has released the list of craft breweries that are coming to SAVOR 2017 in Washington, DC.

SAVOR™: An American Craft Beer & Food Experience, hits DC June 2 and 3 for its 10th anniversary. This isn’t like the beer events you’re used to. Food truck grub is replaced by one-of-a-kind pairings by BA Executive Chef Adam Dulye. Jeans and brewery t-shirts take the night off, replaced by the nicer things in your closet. The ambiance inside the National Building Museum, with its towering columns and old architecture, sets a tone that makes you want to sip a little slower and enjoy the flavors you’re finding from table to table.

(MORE: 7 Things to Know About SAVOR)

The attending breweries are chosen by a lottery. Here’s a look at the breweries that are attending SAVOR in 2017:

3Weavers Brewing Company – Inglewood, CA

4 Hands Brewing Co. – Saint Louis, MO

Adroit Theory Brewing – Purcellville, VA

Aero Plains Brewing – Wichita, KS

Alesong Brewing and Blending – Eugene, OR

Allagash Brewing Company – Portland, ME

Anchor Brewing Company – San Francisco, CA

Arcadia Brewing Company – Kalamazoo, MI

Aspen Brewing Company – Aspen, CO

Ass Clown Brewing Company – Cornelius, NC

Backcountry Brewery – Frisco, CO

Band of Bohemia – Chicago, IL

Brewery Ommegang – Cooperstown, NY

The Brooklyn Brewery – Brooklyn, NY

Butcher and the Brewer – Cleveland, OH

Cape May Brewing Company – Cape May, NJ

Cash Brewing Company – Silverdale, WA

Crying Eagle Brewing Co. – Lake Charles, LA

DC Brau Brewing – Washington, DC

Deschutes Brewery – Bend, OR

Dialogue Brewing – Albuquerque, NM

Dogfish Head Craft Brewery – Milton, DE

El Segundo Brewing – El Segundo, CA

Fair Winds Brewing Company – Lorton, VA

Fat Bottom Brewing – Nashville, TN

FATE Brewing Company – Boulder, CO

Flying Dog Brewery – Frederick, MD

Flying Fish Brewing Co. – Somerdale, NJ

Free Will Brewing Company – Perkasie, PA

Fulton Beer – Minneapolis, MN

Funky Buddah Brewing – Oakland Park, FL

Great Lakes Brewing Company – Cleveland, OH

Green Flash Brewing Company – San Diego, CA

Half Acre Beer Company – Chicago, IL

Hardywood Park Craft Brewery – Richmond, VA

Hops & Grain Brewing – Austin, TX

Hopworks Urban Brewery – Portland, OR

La Cumbre Brewing Co. – Albuquerque, NM

Left Hand Brewing Co. – Longmont, CO

Lord Hobo Brewing Company – Woburn, MA

Maui Brewing Company – Kihei, HI

Melvin Brewing – Alpine, WY

New Belgium Brewing – Fort Collins, CO

Ninkasi Brewing Co – Eugene, OR

Odell Brewing Company – Fort Collins, CO

Old Bust Head Brewing Company – Vint Hill, VA

pFriem Family Brewers – Hood River, OR

Port City Brewing Co. – Alexandria, VA

Prison City Brewing – Alexandria, VA

Propolis Brewing – Port Townsend, WA

Red Cypress Brewery – Winter Springs, FL

Reuben’s Brews – Seattle, WA

Revolution Brewing – Chicago, IL

River Horse Brewing Company – Ewing, NJ

Roadhouse Brewing Company – Jackson, WY

Saint James Brewery – Holbrook, NY

Saltwater Brewery – Delray Beach, FL

Samuel Adams – Boston, MA

Saranac Brewery – Utica, NY

Saucony Creek Brewery + Gastropub – Kutztown, PA

Schlafly Beer – The Saint Louis Brewery – St. Louis, MO

Sierra Nevada Brewing Company – Chico, CA

Sixpoint Brewery – Brooklyn, NY

Smuttynose Brewing Company – Hampton, NH

Stevens Point Brewery – Stevens Point, WI

Stone Brewing – Richmond, VA

Summit Brewing Company – Saint Paul, MN

The Bruery & Bruery Terreux – Placentia, CA

The Lost Abbey – San Marcos, CA

Toolbox Brewing Company – Vista, CA

Track 7 Brewing Co. – Sacramento, CA

Troegs Brewing Company – Hershey, PA

Two Roads Brewing Company – Stratford, CT

Uinta Brewing Company – Salt Lake City, UT

Union Craft Brewing – Baltimore, MD

Urban Chestnut Brewing Co – Saint Louis, MO

Wicked Weed Brewing – Arden, NC

Wild Wolf Brewing – Nellysford, NY

Wolf’s Ridge Brewing – Columbus, OH

Wolverine State Brewing Co. – Ann Arbor, MI

Yards Brewing Company – Philadelphia, PA

Tickets go on sale in late March. Check back with CraftBeer.com for more updates on SAVOR.

Jess Baker

Jess Baker is a 15-year media vet whose credits include tv producing, digital storytelling and overall social media magic-making. Enamored by the personalities, dedication and entrepreneurial spirit of America’s small and independent brewers, she brings their stories to life at CraftBeer.com. She’s a runner, an aunt, a big fan of beercations and also a die-hard Springsteen fan. Read more by this author

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