Finite Jest

Finite Jest

In David Foster Wallaces Opus magnum Infinite Jest findet sich diese Stelle: »The American Century as Seen Through a Brick. Year of the Whopper. Latrodectus Mactans Productions. Documentary cast w/ narration by P. A. Heaven; 35 mm.; 52 minutes; color w/ red filter and oscillophotography; silent w/ narration. As U.S. Boston’s historical Back Bay streets are stripped of brick and repaved with polymerized cement, the resultant career of one stripped brick is followed, from found-art temporary installation to displacement by E.W.D. catapult to a wastequarry in southern Québec to its use in the F.L.Q.-incited anti-O.N.A.N. riots of January/Whopper, all intercut with ambiguous shots of a human thumb’s alterations in the interference pattern of a plucked string. PRIVATELY RELEASED ON MAGNETIC VIDEO BY LATRODECTUS MACTANS PRODUCTIONS.« Das ist eine Fußnote in einer langen Liste von realisierten Filmen des Protagonisten. Diese Passage verschwand über Jahre nicht aus meinem Kopf. Immerhin ist Wallace einer meiner Lieblingsschriftsteller. Als Shanna Pranaitis mich bat, ein Stück für sie und Frauke Aulbert zu schreiben, zögerte ich nicht, mich diesem Sujet zuzuwenden. Beide Ausnahme-Musikerinnen sind extrem virtuos und wandlungsfähig und bringen zugleich eine gewisse performative Komponente ins Spiel. Diese ist nötig, gehört doch Finite Jest definitiv zu einem humoristischen Stil (der im übrigen bei mir eher selten auftritt).

(Claus-Steffen Mahnkopf)

Finite Jest

David Foster Wallace’s magnum opus Infinite Jest contains the following passage: ‘The American Century as Seen Through a Brick. Year of the Whopper. Latrodectus Mactans Productions. Documentary cast w/ narration by P. A. Heaven; 35 mm.; 52 minutes; color w/ red filter and oscillophotography; silent w/ narration. As U.S. Boston’s historical Back Bay streets are stripped of brick and repaved with polymerized cement, the resultant career of one stripped brick is followed, from found-art temporary installation to displacement by E.W.D. catapult to a waste-quarry in southern Québec to its use in the F.L.Q.-incited anti-O.N.A.N. riots of January/Whopper, all intercut with ambiguous shots of a human thumb’s alterations in the interference pattern of a plucked string. PRIVATELY RELEASED ON MAGNETIC VIDEO BY LATRODECTUS MACTANS PRODUCTIONS.’ This is a footnote in a long list of films realised by the protagonist. For years, the passage stayed in my mind – hardly surprising, as Wallace is one of my favourite writers. When Shanna Pranaitis asked me to write a piece for her and Frauke Aulbert, I did not hesitate to turn to this subject matter. Both of these exceptional musicians are extremely virtuosic and versatile, and also bring a certain performative element into play. This is necessary, as Finite Jest is very much written in a humorous style (something of a rarity in my work).

(Claus-Steffen Mahnkopf)

Finite Jest

Dans l’Opus magnum de David Foster Wallaces Infinite Jest on trouve ce passage : « The American Century as Seen Through a Brick. Year of the Whopper. Latrodectus Mactans Productions. Documentary cast w/ narration by P. A. Heaven; 35 mm.; 52 minutes; color w/ red filter and oscillophotography; silent w/ narration. As U.S. Boston’s historical Back Bay streets are stripped of brick and repaved with polymerized cement, the resultant career of one stripped brick is followed, from found-art temporary installation to displacement by E.W.D. catapult to a waste-quarry in southern Québec to its use in the F.L.Q.-incited anti-O.N.A.N. riots of January/Whopper, all intercut with ambiguous shots of a human thumb’s alterations in the interference pattern of a plucked string. PRIVATELY RELEASED ON MAGNETIC VIDEO BY LATRODECTUS MACTANS PRODUCTIONS. » C’est une note de bas de page dans une longue liste de films réalisés par le protagoniste. Pendant des années ce passage ne m’est pas sorti de la tête. Pour le moins, Wallace est un de mes écrivains préférés. Quand Shanna Pranaitis m’a demandé d’écrire pour elle et Frauke Aulbert, je n’ai pas hésité à m’emparer de ce sujet. Extrêmement virtuoses, ces deux musiciennes exceptionnelles savent transformer leur jeu et y intégrer des composantes performatives. Cellesci sont nécessaires car Finite Jest relève définitivement d’un style humoristique (d’ailleurs assez rare chez moi).

(Claus-Steffen Mahnkopf)