Blog

During each residency, guests will publish blog entries through which the interested public will be able to track their journey through the locations included in the project.

Ulysses's Shelter 1 (2018/2019) residents: Christos Armando Gezos, Greece, poetry; Lena Kallergi, Greece, poetry; Vasileia Oikonomou, Greece, poetry; Thanos Gogos, Greece, poetry; Lara Mitraković, Croatia, poetry; Jasmina Mujkić, Croatia, poetry; Goran Čolakhodžić, Croatia, poetry; Antej Jelenić, Croatia, poetry; Urška Kramberger, Slovenia, poetry; Denis Škofič, Slovenia, poetry; Aljaž Koprivnikar, Slovenia, poetry; Katja Gorečan, Slovenia, poetry.
 
Ulysses's Shelter 2 (2020/2022) residents: Maja Klarić, Croatia, poetry; Maja Ručević, Croatia, translation; Dino Pešut, Croatia, prose; Marija Andrijašević, Croatia; prose & poetry; Katja Grcić, Croatia, poetry; Josip Ivanović, Croatia, translation; Eluned Gramich, Wales, prose; Steven Hitchins, Wales, poetry; Lloyd Markham, Wales, prose; Elan Grug Muse, Wales, prose; Dylan Moore, Wales, prose & non-fiction travel writing; Morgan Owen, Wales, poetry; Maša Seničić, Serbia, poetry; Nataša Srdić, Serbia, translation; Danilo Lučić, Serbia, prose; Goran Stamenić, Serbia, prose; Katarina Mitrović, Serbia, poetry & prose; Vitomirka Trebovac, Serbia, poetry & prose; Dejan Koban, Slovenia, poetry; Davorin Lenko, Slovenia, prose; Katja Zakrajšek, Slovenia, translation; Tomo Podstenšek, Slovenia, prose, novel & short stories; Uroš Prah, Slovenia, poetry & translation; Ana Svetel, Slovenia, poetry & prose; Thomas Tsalapatis, Greece, prose; Marilena Papaioanou, Greece, prose; Dimitris Karakitsos, Greece, poetry; Filia Kanellopoulou, Greece, poetry; Nikolas Koutsodontis, Greece, poetry; Iakovos Anyfantakis, Greece, prose.
 
Ulysses's Shelter 3 (2022/2023) residents: Sven Popović, Croatia, prose, translation; Marina Gudelj, Croatia, prose; Tibor Hrs Pandur, Slovenia, poetry & translation; Ajda Bračič, Slovenia, pose; Sergej Harlamov, Slovenia, poetry; Tonia Tzirita Zacharatou, Greece, poetry; Marios Chatziprokopiou, Greece, poetry; Ivana Maksić, Serbia, poetry; Ognjen Aksentijević, Serbia, poetry & prose; Jake Butttigieg, Malta, poetry, prose & translation; Matthew Schembri, Malta, poetry, prose & translation; Jan Škrob, Czech Republic, poetry & translation; Marek Torčik, Czech Republic, poetry & prose; Esyllt Angharad Lewis, Wales, translation & prose; Ruqaya Izzidien, Wales, translation.

 

Tibor Hrs Pandur: POSTSKRIPT K RECEPCIJI ZADNJEGA FILMA ORSONA WELLESA / POSTSCRIPT ON THE RECEPTION OF THE LAST FILM BY ORSON WELLES

From the poetry book: Psyops (Litera, 2022)

 

POSTSKRIPT K RECEPCIJI ZADNJEGA FILMA ORSONA WELLESA

Ostal je v njegovi glavi
s fleši fusnot in odrezanih scen praznih mest
po sili razmer
da jih lahk sam zapolniš
Kup smešnih nepovezanih scen
ki jih brez lastnega doprinosa
nikdar ne boš razumel
Ker to, kar manjka
kar se ti morda zdi, da manjka
je input tvojih možganov
ki jih morajo dosanjat
domaštat, izfantazirat
in jih ne sodit kot objekta
konzuma predstave, da bi ga opisal
interpretiral, ocenjeval
ampak podoživel kot tok teksta
ki teče s tabo
v tebi zdaj
Moje sanje so zgolj triger
za tvoje sanje
kot so bile moje sanje
zgolj triger za ta tekst
Tvoje potencialno zavračanje
ali ignoriranje teh sanj
je izogibanje sodelovanju
s tem tekstom
sveta
te vzajemne povratne zanke
teksta in mesa

Kako ta tekst doživljaš
ni odvisno tolk od teksta
in kako ga misliš, ko bereš
ampak bolj od tega, kaj sproža
ali kako te misli, ko ga bereš
Ne misliš, da si del njega?
Ne misliš, da ga tvoji možgani zdaj
igrajo zate in da ne sodelujejo
pri tem, kakšen se ti bo zdel?
Misliš, da se lahko izvzameš?
Ga sodiš kot preferenco glede na to, kar misliš
da bi z ozirom na tvojo specifično zgodovino branj
ta tekst po tvojem moral bit, in ni?
Verjetno ti bo način, kako te sanje bereš
kako dopuščaš, da te berejo
razkril način, kako engejđaš s svetom:
Kot s serijo nedokončanih flešov filma
ki ga Orson zaradi pomanjkanja denarja
ali zaupanja nikdar ni uspel končat
in potrebuje tvojo domišljijo, tvoj input
da lahko njegova zadnja neposneta mojstrovina
na veke vekov sklepa njegov magnum opus sinhrono
v vsakih možganih posebej
vsakega pozornega gledalca sveta?
Ali kot kup skiciranih podob
ki so nekaj hotle in spušle
zdaj pa so zgolj artefakt, del zgodovine
nad katero lahko kritiki vihajo nosove
ali ga kujejo v zvezde
razvrščajo, indeksirajo, klasificirajo
ker jih glasnik za njim več ne ogroža
tako kot misterij narave
kot samopoganjajoča sila narave
ni več ogrožala Darwina
ko je v svoji zatemnjeni kamrici
skrivenčen nad petrolejko
z lupo razvrščal herbarije mrtvih žuželk
da bi dokazal teorijo evolucije

Kar torej manjka v teh fleših zgodbe
si Ti, ki si vkalkulirana vanjo
Zato ne opisujem detajlov prevelikih maket, scen vlakov
ki jih lovijo konji kukluksklana
prepovedanih filmov rojstva naroda
Tilde Swinton in njene hčerke
ki živi za privatnimi kamerami
sobe njene mame
ker si lahko vse to sama namaštaš

Skratka:
Tekst je gorivo
ki teče na možgane bralke
in to takšno, da modificira
tako bralko in njene možgane
kot sebe (precej nepredvidljivo)
Vsak tekst torej ni več isti tekst
kot tekst, ki si ga začela brat
in tvoji možgani po tekstu
niso čisto isti možgani
kot pred njim
Čudovito pri tem pa je pravzaprav
da objektivno nihče ne bo nikdar zvedel
kaj in o čem ta pesem sploh je
ker je vsakič spoj sebe in tebe
torej tudi o tebi in tvoja
do enake mere, kot je o meni in moja

Potemtakem lahko
na podlagi tega mirno sklenemo
da sta celotna kritika in literarna veda
kot se ju prepogosto površno prakticira
popolnoma neadekvatni
izzivu zadovoljivo doprinest k razvoju
ali sploh ustrezno mapirat kompleksnost
bralne izkušnje sanjalca 21. stoletja

In summa:
Največji film, ki ga Orson Welles ni nikdar posnel
teče zdaj simultano v možganih njegovih neštetih gledalcev
ki se s tem bralnim dejanjem pravzaprav šele zdaj
točno zdaj
neizbežno
absolutno
in neuničljivo
zdaj
bukvalno
šele rojevajo

Sodit o tej pesmi
torej pomeni
sodit zavest, ki jo bere
in o učinkih, ki jih sproža
tvoj organizem
Tebi
na podlagi
njene fuzije s tvojo zavestjo v realnem času
vsakič neponovljivega trenutka spoja
tega teksta in mesa
Iz česar neizbežno sledi:
Brez Tebe
te pesmi ni
Ta pesem si Ti

 


 

POSTSCRIPT ON THE RECEPTION OF THE LAST FILM BY ORSON WELLES

It remained in his head
with flashes of footnotes and cut scenes
empty spaces
by force of circumstances
that you can fill in yourself
A heap of ridiculous unrelated images
which, without your own contribution,
you’ll never be able understand.
Because what’s missing,
what seems to be missing,
is the input of your brain,
which must dream, imagine
and fantasize them to a close,
without judging them as objects
of a performance to be consumed
in order to describe, interpret, evaluate it
but to re-experience it as a text
that flows with you
in you now
My dream simply triggered
your dream
just as my dream
merely triggered this text.

Your potential rejection
or ignorance of this dream
is an avoidance to participate
in this text
of the world
in this mutual feedback loop
of text and flesh

How you experience this text
does not depend so much on the text
and how you think about it when you read it
but more on what it triggers
or how it makes you think when you read it
Don't you think you’re part of it?
Don’t you think that your brain is playing it
for you now and that they don’t participate
in how it will make you feel?

Do you think you’re exempt?
Do you judge it as a preference
according to what you think that,
given your specific reading history,
this text should be and is not?
Perhaps the way you read these dreams,
how you allow yourself to be read
will reveal how you engage with the world:
As a series of unedited flicks of film
that Orson, for lack of money
or trust, never managed to complete
and needs your imagination, your input
for his last unrecorded masterpiece
to conclude forever and ever
his magnum opus synchronically
in each individual brain
of every attentive spectator worldwide?
Or as a bunch of sketchy images
that strove for something and failed
and are now mere artefacts, part of history
at which critics snub their noses
or praise sky-high,
categorise, index, classify
Because the messenger behind it
no longer poses a threat
like the mysteries of nature
like the self-propelling force of nature
no longer threatened Darwin,
crouched over a lantern in his dim cabinet
arranging herbaria of dead insects
with a magnifying glass
in order to prove his theory of evolution

What is missing in these flashes of stories therefore
is You, who are incorporated into it
That’s why I’m not going into details of oversized mock-ups
or trains pursued by the Ku Klux Klan
forbidden films of the birth of nations
Tilda Swinton and her daughter
who lives behind private cameras
of her mother’s rooms
because you can imagine it all by yourself

In short:
The text is fuel
running on the reader’s brain
modifying
both the reader and her brain
including itself (quite unpredictably)
Every text is therefore no longer the same text
as the text you started reading
and your brain after the text
is not quite the same
as before it

But the wonderful thing about this actually is
that objectively no one will ever know
what this poem is or even is about at all
since it fuses itself and yourself
every time
and is therefore as much about you and yours
as it is about me and mine

On the basis of this, we can safely conclude
that the entire field of literary science and criticism
as they are too often superficially practised
are completely inadequate to the challenge
of making a satisfactory contribution
to the development of
or to even adequately map
the complexity of the reading experience
of the 21st century dreamer

In summa:
The greatest film that Orson Welles never made
is running now simultaneously
in the brains of his countless viewers
who are only now, with this act of reading actually
right now
inevitably
absolutely
and indestructibly
now
literally
just being born

To judge this poem
therefore means
to judge the very consciousness reading it
including the effects your organism
produces
for You
based on
its fusion with your consciousness in real time
of this unrepeatable moment of union
of this text and flesh
every time

From which inescapably follows:
Without You
there is no poem
This poem is You

Translated by Tibor Hrs Pandur

 


IMPRESSUM

 

Sandorf - publishing house founded in 2008, engaged in Croatian literature and literature in translation, and in a wide range of books in humanities.

 

Center for Research and Promotion of Urban Culture (CIP) is a non-profit association that has existed for twenty years. Established in 1998, it operates in the areas of culture and art, urbanism, youth mobility and social dialogue.

 

Editor in chief: Ivan Sršen

Managing editor: Jana Smrekar

Editorial board: Matko Abramić, Thanos Gogos, Sena Zereyak
Graphic editor: Nikša Eršek

Website maintenance: Nabukodonozor d.o.o.

 

 




 

Address

Severinska 30, 10110 Zagreb, Hrvatska

Call Us

+ 385 (0)1 789 8457