Flowering is the less(on)


Ay Yildiz, “Moon Star”, made of flowers (Turkish tulips)


«He thought that it must be a feeling of endless bliss to be in contact with the profound life of every form, to have a soul for rocks, metals, water, and plants, to take into himself, as in a dream, every element of nature, like flowers that breathe with the waxing and waning of the moon» – Georg Buchner, “Lenz”, p. 141.
The Buddha stood beside a lake on Mount Grdhrakuta and prepared to give a sermon to his disciples who were gathering there to hear him speak. While he was waiting for his followers to settle down, he noticed a golden lotus blooming in the muddy water nearby. He pulled the plant out of the water – flower, long stem, and root. Then he held it up high for all his listeners to see. For a long time he stood there, saying nothing, just holding up the flower in his fingers and looking into the blank and silent faces of his audience. Only one student, named Maha-Kashapa, smiled at this demonstration, although he tried to control the lines of his face. Some people say that, by this gesture, the Buddha was reversing the great mantra, “Om Mani Padme Hum”, which means “Om – The Jewel in the Lotus – Hum”. When the Buddha held the flower in his hand, the Lotus was in the Jewel.
«In 1986, (…) a celebratory dinner with a small group of colleagues in honor of Jacques Derrida’s appointment. Waiters appeared with fancy plates of food, decorated with colourful orchids. (…) Jacques whispered, with nearly childlike pleasure, “Look, if I as guest of honor eat this flower, everybody must do the same in order not to embarrass or offend me”. With ceremonious flourish, he lifted the orchid with his fork and announced: “Thank you all for this beautiful California cuisine!”. The orchid disappeared into his mouth. A moment of pronounced silence followed before a boisterous colleague broke it: “well, if Jacques can eat his orchid without fear of being poisoned, so can I!” and down went the orchid. It was not long before most guests had followed Jacques’s example. A sequel to this story occurred fourteen years later, in the year 2000, at a reception (…). We stood with Jacques when a waiter passed by with a plate of appetizers, this time decorated with clearly nonedible flowers. Suddendly, Jacques handed me one of the flowers: “May I offer you a flower?” he asked before he cautioned with unconcealed pleasure: “Let’s not eat this one!”. And, with a final twist, he added: “You see, sometimes memory works after all!”» – Gabriele Schwab, introduction to “Derrida, Deleuze, Psychoanalysis”, p. 5-6.
«Thus the flower plays the part of a kind of counterpoison poison. (…) The work of art, the ungraspable flower, more natural and more artificial than any other, is the “Miracle of the Rose”» – Derrida, “Glas”.
«I love and admire Foucault. I’ve written an article on him. And he, one on me, from which you quote the following sentence: “Perhaps the century will be called Deleuzian one day”. Your comment: they send each other flowers. It seems you can never get the idea that my admiration for Foucault is real and that Foucault’s statement is just a crack intended to make those who love us laugh and to make the others rage…» – “I have nothing to admit”, Gilles Deleuze to Michel Cressole.
«…these new regions where the connections are always partial and nonpersonal, the conjunctions nomadic and polyvocal, the disjunctions included, where homosexuality and hetero-sexuality cannot be distinguished any longer: the world of transverse communications, where the finally conquered nonhuman sex mingles with the flowers, a new earth where desire functions according to its molecular elements and flows. Such a voyage does not necessarily imply great movements in extension; it becomes immobile, in a room and on a body without organs—an intensive voyage that undoes all the lands for the benefit of the one it is creating» – Deleuze, “Anti-Oedipus”, p. 319.



A origem do termo alfacinha para designar os naturais de Lisboa remonta a meados do século XIX, surgindo na obra “Viagens na Minha Terra” (1846) de Almeida Garrett: “Pois ficareis alfacinhas para sempre, cuidando que todas as praças deste mundo são como a do Terreiro do Paço…” Segundo uma explicação, a alface, palavra derivada etimologicamente do árabe, foi cultivada em larga escala na região da cidade de Lisboa, durante o período muçulmano, povo introdutor de inúmeras técnicas agrícolas em Portugal. Consta que também que a alface terá sido o único alimento disponível aos habitantes durante um prolongado cerco, garantido a sua sobrevivência.
«This film is dedicated to all those whose sole source of indignation is a trampled-on trifle» – Vera Chytilová, “Sedmikrásky” (1966).


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