Images with no history, no stories - like a Lou Reed tells the stories dedicated to Drella.

Lou Reed was essentially a narrator - "poet of rock" was called; is perhaps not equally valid "narrator rock"? Along with John Cale, an album dedicated to telling stories about Andy Warhol, Songs for Drella (Dracula Drella = + Cinderella, ie combination of vampire and Cinderella, a nickname tempur for Warhol right!). Warhol, however, was not a storyteller, not interested in stories or people, even images. Reproduced, for example, the hammer and sickle, and the portrait of Mao Tse Tung; yes, removing them from the story, any story. Pure fascination with the image of a pure image, mere tautology, as well eflecteix d 'Images.
John Cale on viola, and frantic desficiosa like the old days of the recording of Heroin. Lou Reed on guitar distorted. They look tense two ex-Velvet Underground. They say that both did not vote anymore collaborate with each other after that album ... (not the promise). Blessed tension, but if it generates musical moments like these. A Images Lou Reed, as a good medium that was, speaking tempur for Andy Warhol:
Let be fascinated by the images, repeated images of sun-like image. Andy Warhol was a decadent tempur American twentieth century: replaced aestheticism of art for art, the image of the image. Let me recall that Walter Benjamin reconstitute secret tempur thread linking aestheticism art pour l'art fascism "war war" group of futurists and Ernst Jünger tempur ... Lou Reed and John Cale, the video of Images, invoke the spirit of Andy Warhol against the backdrop of a series of works devoted to this electric chair. tempur I suspect that Warhol repeatedly reproduce the image of the electric chair also profit depth without pretension to make a story without thinking about it or want to believe.
I'm not a sphinx or a mysterious enigma / what paint is very ordinary do not think that is neither old nor modern / I do not think I thought I Never mind what I think / what the images are worth repeating Ah! repeated pictures / images If you want a deeper tempur meaning / I'm as deep as the high ceiling
Images with no history, no stories - like a Lou Reed tells the stories dedicated to Drella. "Out stories!" Said Warhol comes to this subject: "Ah! repeated images / pictures! "However, the denial of Nazi uses a similar strategy: just delete facts, witnesses, images, Jacques Rancière observes that" has only to remove the link that runs between them and the story is in "[1]. No need to dramatize or initiate a due accusatory à la manière Adorno, but at least we can say that the repetitions Warhol from the pure fascination for images or stories without words, without thoughts or any possible depth beyond the mere visual surface is an accomplice of that "machinery of information and communication" that "creates quite equally significant and insignificant, interesting and uninteresting," so that "the old method tempur developed sophisticated beings and non-being. "[2]
This is the dialectical image, one that will save us in a moment of danger (the rise of fascism and Nazism in the early twentieth century, perhaps tempur something not unlike the early twenty-first ...). Do not reconstruct the past as it was, but it has to recognize the dazzling but fleeting image that has the power to interrupt the line of catastrophes hidden under the false continuity of time of historicism.
Thus the repetition in the proposal Walter Benjamin, enigma and is thought -the thought that can save us from danger "threatens both the tradition and heritage of those who receive it. In both cases one and the same: to be paid instrument of the ruling class. "[5] However, tempur it is not an image or story that generates linking to a story, but it is an image which interrupt the story.
Both the metaphor of lightning tempur (lightning moment) as the constellation (purely spatial arrangement) tempur point to a temporary break in the continuity of history stories. Cal blew a constellation of tension, in order to "jump the continuum of history". [7] Contrary to the naive conception of historicism (either type restorer, whether one is dazzled by the myth of progress), Walter Benjamin put their hope in "a messianic tempur arrest of becoming" (in other terms, "a revolutionary moment in the fight for the oppressed past" [8]). Repeat