Klossowski Quotes

Les dieux ont enseigné aux hommes à se contempler eux-mêmes dans le spectacle comme les dieux se contemplent eux-mêmes dans l'imagination des hommes.

Boredom seeps from the monstrosity of Sade’s work, but it is this very boredom which constitutes its significance. As the Christian Klossowski says, his endless novels are more like prayer books than books of entertainment. The accomplished technique behind them is that of the ‘monk … who sets his soul in prayer before the divine mystery’. One must read them as they were written, with the intention of fathoming a mystery which is no less profound, nor perhaps less ‘divine’, than that of theology.

There are many more languages than we think: and man betrays himself more often than he desires. How things speak! - but there are very few listeners, so that man can only, as it were, chatter on in the void when he pours out his confessions: he squanders his ‘truths’, as the sun does its light. - Isn’t it rather a pity that the void has no ears?

The landscape of Turin, the monumental squares, the promenades along the Po river, were bathed in a kind of 'Claude Lorraine' luminosity (Dostoyevsky's golden age), a diaphonousness that removed the weight of things and made them recede into a infinite distance. The stream of light here became a stream of laughter - the laughter from which truth emerges, the laughter in which identities explode, including Nietzsche's. What also exploded is the meaning that things can have or lose for other things, not in terms of limited linkage or narrow context, but in terms of variations of light

Such is the world as it appeared to Nietzsche under the monumental aspect of Turin: a discontinuity of intensities that are given names only through the interpretation of those who receive his messages; the latter still represent the fixity of signs, whereas in Nietzsche this fixity no longer exists. That the fluctuations of intensities were able to assume the opposite name to designate themselves - such is the miraculous irony. We must believe that this coincidence of the phantasm and the sign has existed for all time, and that the strength required to follow the detour through the intellect was 'superhuman

In any case, Klossowski, mentioned again during Acéphale's sessional meeting of 25 July 1938, would later return to his opposition between Nietzsche and Bataille in a lecture given in 1941 at the end of a retreat in a Dominican monastery, 'Le Corps du néant', later printed in the first edition of his book Sade my Neighbour (1947) and which Bataille later told him he 'does not like'. Here Klossowski recapitulated the two stages in the evolution of Nietzsche's thought outlined in Löwith's essay 'Nietzsche and the doctrine of the Eternal Return', which he had reviewed in Acéphale 2: 1. Liberation from the Christian YOU MUST to achieve the I WANT of supra-nihilism; 2. Liberation from the I WANT to attain the I AM of superhumanity in the eternal return. It is precisely in this 'cyclical movement', according to Klossowski, that man 'takes on the immeasurable responsibility of the death of God'. Furthermore, he associates Bataille's negation of God with the negation of utility upon which the notion of expenditure was founded, and hence the source of his 'absolute political nihilism'. His conclusion, however, was a little more ambiguous: 'In his desire to relive the Nietzschean experience of the death of God [...] he did not have the privilege [...] of suffering Nietzsche's punishment: the delirium that transfigures the executioner into a victim [...] To be guilty or not to be, that is his dilemma. His acephality expresses only the unease of a guilt in which conscience has become alienated because he has put faith to sleep: and this is to experience God in the manner of demons, as St. Augustine said'. Unlike Nietzsche. who 'accused himself' of causing the death of God 'in the name of all men' and paid for his guilt with madness, unlike Kirillov, the nihilist in Dostoyevsky's Demons who chose to commit suicide so as to kill men's fear of death and thus kill God himself, Bataille shows us this frightful torment of not being able to make his guilt real and so attain that state of responsibility that gives knowledge of the path to absolution.

Transgression (outrage) seems absurd and puerile when it does not succeed in resolving itself into a state of affairs in which it would no longer be necessary. But it belongs to the nature of transgression that it is never able to find such a state. Transgression is then something else than the pure explosion of an energy accumulated thanks to an obstacle. It is an incessant recuperation of the possible itself--inasmuch as the existing state of things has eliminated this possible as a new form of existence, it would have to transgress it in turn. The possible as such would thus have been eliminated and would have to be recuperated yet again. What the act of transgression recuperates from the possible in what does not exist is its own possibility of transgressing what exists.

Come inizia l'intervista a Pierre Klossowski, in appendice all'edizione ES de Il Bafometto: K: Io non sono né un romanziere né un filosofo, e nemmeno un artista: io sono un maniaco. Ognuna delle mie opere nasce da una mia mania. Int: Una sola mania per tutte le opere, oppure per ognuna di esse una specifica mania? K: La "monomania" consiste nel mettere instancabilmente in evidenza una sola e medesima cosa, nell'esporre una sola e una fisionomia, una sola e medesima scena ripetuta nelle sue variazioni infinite... La "monomania" rincomincia sempre, all'infinito. Al momento opportuno ritorna al punto di partenza. Si tratta di legittimare la monomania per mezzo dell'arte, di sottomettere la tensione a esibire a una pratica specifica, a una disciplina.

BOOKS The Alchemist’s Handbook: Manual for Practical Laboratory Alchemy, Frater Albertus (Red Wheel/Weiser, 1987) Alchemy: Science of the Cosmos, Science of the Soul, Titus Burckhardt (Fons Vitae, 2000) Alchemy: The Secret Art, Stanislas Klossowski De Rola (Thames & Hudson, 1973) Ars Spagyrica – being a rendition of the Alchemical Arte of Spagyrics, G St M Nottingham, (Verdelet Publishing, 2005) Isaac Newton: The Last Sorcerer, Michael White (Fourth Estate, 1998) Medicine and Magic in Elizabethan London: Simon Forman: Astrologer, Alchemist, and Physician, Lauren Kassell (Oxford University Press, 2007) On Becoming an Alchemist: A Guide for the Modern Magician, Catherine MacCoun (Trumpeter Books, 2009) Path of Alchemy: Energetic Healing and the World of Natural Alchemy, Mark Stavish (Llewellyn Publications, 2006)

The concepts 'individual' and 'species' are equally false and merely apparent. 'Species' expresses only the fact that an abundance of similar creatures appear at the same time and that the tempo of the further growth and change is for a long time slowed down, so actual small continuations and increases are not very much noticed (- a phase in evolution in which the evolution is not visible, so an equilibrium seems to have been attained, making possible the false notion that a goal has been attained - and that this is the goal of evolution -). [quoted in P. Klossowski, Nietzsche and the Vicious Circle, p. 155]

Klossowski’s writings therefore invite us to move beyond the impasse of certain intellectual positions inherited from the 1960s: on the one hand, arguments that society is all-determining as a set of institutional and disci- plinary constraints (Frankfurt School, structuralism), and on the other hand, arguments for the perpetual vitality and agency of the subject which continually subverts and undermines these restrictions (post-structural- ism, Deleuze and Guattari). Rather than collapsing these positions, Klossowski requires us to take on board a more complex network of libidi- nal drives that require perpetual restaging and renegotiation. This tension between structure and agency, particular and universal, spontaneous and scripted, voyeur and voyant, is key to the aesthetic effect and social import of the best examples of delegated performance.

At the same time, the phenomenological experience of confronting these performers always testifies to the extent to which people relentlessly exceed the categories under which they have been recruited. Using amateurs is essential in this regard, for it ensures that delegated performance will never assume the seamless character of professional acting, and keeps open a space of risk and ambiguity. That this amateurism nevertheless provokes a sense of moral outrage betrays the extent to which institutional perversion has been internalised as fully normal, while that of the artists comes across as unacceptable. The logic is one of fetishistic disavowal: I know that soci- ety is all-exploiting, but all the same, I want artists to be an exception to this rule. When artists make the patterns of institutional subordination that we undergo every day both visible and available for experiential pleasure, the result is a moral queasiness; and yet the possibility of this also being a source of jouissance and a ‘tool’ is precisely the point of Klossowski’s disturbing analysis. What becomes thinkable if the pleasure of reification in these works of art is precisely analogous to the pleasure we all take in our own self-exploitation?