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・No.1 drunkard [p・o・e・m] x [E・X・I・L・E]


by takashi honda

A spectre is haunting Europe – the spectre of Red October cookies.
All the representational power of old Europe has entered into a holy alliance to exorcise this spectre;
The Impressionist and The Expressionist and even Cubism obsessed with shadow of substance.

Red October cookies have nothing to lose but their chains.

But do they have a world to win?
Our only mistake was then to imagine that it was a beginning that Meyerhold hadn’t been murdered
That Pravda Kino hadn’t been covered in mud
That the revolt of battleship Potemkin were continuing when really they were weakening.
On the eve of the crisis, the bourgeois, with self-sufficiency that springs from intoxicating prosperity, declares,
History to be a vain imagination.
They say;noney was alone moral.
Now bombing is moral. TNA, there is no alternatives!
And the cry is everywhere.
In the public square there are piles ofwomen’s skeleton
Krack! Kracle! Kruh!Inside of the militant house of State
Money is sucking the equivalent form From the Gold, the Red October Cookies.
And its greedy patriotic dogs gnaw in the streets the skulls of violated girls

No.2 drunkard [p・o・e・m] x [E・X・I・L・E]


by takashi honda

How ? How could the formless thing quickly crush the solid thing?
How could the low thing easily topple the high thing ?
How could the light thing shake harshly the heavy thing?
On 11th March 2011, the tsunami happened like this

But why? Why did the flowers at the bottom of the glacier shiver so sadly on the day?
Because inside of the frozen petal, the white light folded itself over.
No, it did not.The truth is that the mother lost her newborn baby
The tsunami swayed away
The baby boy she had had within her arms.
I have not seen people wandering in such a wayIn the demolition debris.
Even after the tsunamiThe light can never reach in any placesAnd is only coming to an indefinite boundary.
It has only fallen down to the gropingWithout waking up...nightmare

The sea drank all the wave thirsty ?

Only the place of memory
Nourishes the human's love
In between pain and healing
A faltering voice of children
Crossing the rubble
To the song at the graduation ceremony
The reciprocal knot
Must extend if the suffers will save
For the other in return

No.3 drunkard [p・o・e・m] x [E・X・I・L・E]


by takashi honda

Why have I got drunk that much? I has been drawn into an argument.
I promised that I would not argue !
Self-imposed exile...
My sense of touch is as omnipresent commonness as theirs
Coming from the universe shrinking infinitely .
To a neighborhood. It feels in me the inside of the hand
How sweet the innumerable meteorites collided each other In the beginning of the Universe.
Our hand is single book
Connected to the whole history of lovers, even if the protoplanet couldn't unfold its respiration at once.

The author refrained from whispering during work
Because he wanted to embrace his book filled with ones of the exile.
Echo to the drunkard poem of the grass, the indignation

To draw the sun,
One has to draw the others .
So I am the sun and the black sun, crack,
An adverb, a stray lamb, gold, fury, scattered c+

The shining good intentions was cruelly emptied
By the darkness of spell.
Then the rule of game has changed.
Water of humiliation and hatred slowly permeated
Since the sun was replaced by a gold ring expanding infinitely.

Now It begins with table It could be a chairIt could be shoes
But I always returnTo this broken mirrors
Oh! Tranquillity of decomposition

Around My land, I can be anywhere in it
And still not be of it

Here is a room of desert ?

Why have I got drunk that much?
I has been drawn into an Argument.
The beast in speed, swift to attack,
To flee, to turn...pfft
Anger. We have lost the grass, imagination.
To the exile, grass is the only way out.
The grass is as furious indignation
As the protoplanet, our hands, universal voiceless voices,firm as a rock , swept down by the torrent.
Wind. Beyond the boundary
Flame in prairie running to any place in the world

便利ファシズムのこの国で、反証なき理性の安眠を貪る駅ビルアンの呪縛を解こうと、Epicurean Travelと命名した今回の旅は、ジャーナリスト的にと形容するのは無理無理でも、浮気調査の街の探偵ぐらいのつもりで行って来たよ。確かにオルランドの存在感はロンドンでも感じ取る事ができたね


This subject itself is not at the center, which is occupied by the machine, but on the periphery, with no fixed identity, forever decentered, defined by the states through which it passes.

to be as marginal and as undomesticated as someone who is in real exile is for an intellectual to be unusually responsive to the traveler rather than to the potentate, to the provisional and experiment rather than the authoritatively given status quo. The exilic intellectual does not respond to the logic of the conventional but to the audacity of daring, and to representing change, to moving, not standing still.

・Qu'on ne dise pas que je n'ai rien dit de nouveau; la dis position des matières est nouvelle. Quand on joue à paume, c'est une même balle dont joue l'un et l'autre, mais l'un la place mieux. j'aimerais autant qu'on me dit que je me suis servi des mots anciens. Et comme si les mêmes pensés ne formaient pas une autre corps de discours par disposition différente, aussi bien que les même mots forment d'autre pensées par leur différente disposition. (Pascale, "Pensées")




・"This world is not the right path, then shall I ride raft to
the sea Tokai ? (the text of Analects of Confucius ;Kong Zi )

Note; Kong Zi suggests that it is better for him to set out to sea "Tokai" than to stay the country in a state of disorder. Kong Zi thinks it right to leave the troubled times. Rather it is wrong and impossible to remain as his subject working under the king"君主" sillily straying from the right path in the country in a state of disorder. Mr. Koyasu says; the aphorism is just striking. Japanese has ever justified any ridiculous thing only for the sake in the interest of their State? (How can the government construct more 50 nuclear power stations in Japan ignoring the earthquake ?) Awfully, State is always standard of justification.Leaving the country is simply regarded betrayal so that thought of the exile cannot be acceptable in Japan.Unbelievable, no sympathy to the exile of the neighboring country. Mr.Koyasu warns that Japanese Intellectuals are very indifferent to the exile from China.

・ My oil painting work (takashi honda);riverrun



都市において血と飯で結ばれた〈抵抗する共同体〉が実現したことだ (洪成潭)


韓国がどういう国で、どのような現代史を生きどんな顔なのかとアンデンティティーに関して考え始めたのは、八十年代光州事件以降であった。市民社会を意味する「市民」とは何か?「市民」は単なる資格として与えられるものではない。「市民」とは階級である。「市民」になりたければ、特権的階級を打ち倒し君主の首を広場で切り落とすこと。その流れた血を手に染めてこそその国民は「市民」となる。私達の素顔である。同様に民主主義も単に与えられるものではない。日本植民地主義は36年間続いた。その後、戦後の韓国において日本植民地主義の継承者達"親日派"が権力・経済・学問を秩序化し制度化した。自分達の既得権を安全にする為に「反共主義」となり米国の庇護に入った。新米主義である。光州抗争はこうした歴史のなかで起き「市民」が産声をあげた。以降韓国に民主主義が順調に定着していった。しかし現在、三十年前に後戻りするという反動が起きている。小・中学校の教科書から、5月18日の記述, 光州事件の記録が削除された三十年前に。



・Deleuze and Guattari resolutely position themselves in the realm of
experimentation, opposing literature of the narrow traditional canon in favor of the creative force of a "minor" literature. Their demonstration relies on an analysis of the cultural context of the decadent Hapsburg Empire of the early twentieth century that encouraged centrifugal movements, accentuated the process of deterritorialization, and led to a return to forms of reterritorialization.This extreme tension created a propitious climate for universal voices to develop, like Kafka's and his contemporaries, such as Einstein, who was teaching in Prague, the physicist Phillip Frank, the twelve-tone composers, and expressionist filmmakers like Robert Weine and Friz Lang, not to mention the Prague circle of linguists and Freud in Vienna, who gave birth to psychoanalysis. In this immense, declining empire, German was the official language of power and of the central administration,but other, subordinate languages were also used.
Kafka was at the crossroads of several languages; Czech as a Praguer, German as the official language of the Austro-Hungarian empire, and Yiddish because he was Jewish. (Francois Dosse)

・Die Zeit ist eine notwendige Vorstellung, die allen Anschauungen zum Grunde liegt. Kant
ああ、なんと凝縮された文でしょうか!ドイツ語は不得手で、上手く訳せんのが残念ですが、時間の表象としての秩序と根拠の認識、この両者は、考える人間において、互いに切り離せない関係にある、というようなことカントは説いているとおもいます。 たしかに、昼間の時間のあいだは、そういうことはいえますが、夜の時間のあいだは、別です。たとえば、夢をみるときは、それほどでもないとおもいます。時間の表象としての秩序と根拠の認識が緊密に繋がっていません。そうある以上、演劇は昼間の時間に属し、映画は夜の時間に属するアートといえるでしょうか?

・存在とはなにか?    本多敬






・Entendons le modèle épique...L'accès à la pluri-dimensionalité et une temporalité délinéarisée n'est pas une simple régression vers le <mythogramme>; il fait au contraire apparaître toute la rationalité assujettie au modèle linéaire comme une autre forme et une autre époque de la mythographie. La méta-rationalité ou la méta-scientificité qui s'announcent ainsi dans la méditation de l'écriture ne peuvent donc pas plus s'enfermer dans une science de l'homme qu'elles ne peuvent répondre à l'idée traditionnelle de la science.Elles passent d'un seul et même geste l'homme , la science et la ligne.

・The nuclear power disaster immediately reveals that Japan is also the censorship State that controls on speech,and never disclose the fact as desired. We all knew there lay the concealment behind any announced accident information, the serious danger being veiled. It makes a heavy attack on us to know our-self being caught in a trap set by the State,a whopping lie " the peaceful use of atomic energy".This trap is set by the single system consisting of the politician, the bureaucrat, the financier, the university and the mass-media. Hard or soft, Japan is as oppressive a nation as China. I mean, a nation of censorship system hostile to the people.


In praise of Ring.
Speaking of Siegfried, it is a hero exterminating a dragon in Wagner's opera. Siegfried, as Brunhilda mentioned, is contradictory itself. He was really faithful to his enemy, while he is badly insincere to his lover. And he really kept the contract, while he terribly broke it. I think, Wagner wanted to making an image of a human being that courageously transcend the limit of God that never knows the contradiction.
We don't need a hero but the people to fight the dragon , the nuclear power station...

・However Godard never believes that there is something the outside of cinema, he is a writer like Tarkovskii taking the position in between the fiction and the documentary. If the film is the autonomous form of thinking, it must become independent in between. Since 1980 Godard have thought the possibility of the film showing some imaginary substitution of the religious healing that couldn't reduce to the reasonable cognition.In image and sound the Godard's montage has regarded the film as the poem, the utopian method to settle the differences opposite.In between the fiction and the documentary Godard have ever shown to the people how to combine the differences opposite. Right?

・Korea’s Easter Uprising: the March 1 Independence Movement

If Korea is the “Ireland of the East,” the March 1 Movement of 1919 was its Easter Uprising. Granted, one can stretch the analogy too far — unlike the Irish armed uprising of Easter 1916, the massive independence protests in Korea three years later were peaceful, at least as far the Koreans were concerned. Yet the commonalities are striking: both movements failed when they were harshly suppressed by their respective colonial overlords, but their spirit lived on to inspire the struggle for independence even after the revolts were put down and their leaders arrested and/or executed.

・Quand l'hoome prend son Ange,
il le prend dans le Nombre de Dieu.
When Sun takes the cat,
it takes it in the advance of the perihelion of Mercury

(takashi honda)





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