updates

    [1739]

    Rembrandt positioned his model leaning on ledge or something, natural comfort. LIke Hopper. Caravaggio precariously balanced on edge roulette of life.

  • [1628]

    Brother Angelico did not interpret evidence why should he? Interpretation pursued where evidence missing or not perceived. Did Michelangelo or Wittgenstein interpret what they disclosed? No did not force interpretation onto piecemeal evidence rather persevered in being in want until invention do away with interpretation moment of temporary full stop.

    [1]
    “As Vajra keeps asking, he keeps being referred to more fundamental arts, so that sculpture depends on painting, which comes from dancing, which relies on instrumental music, which derives from vocal music, which springs from language itself, which has to be learned through its grammar.” 
    From manual giving instructions for making painting and sculpture written in India in sixth or seventh century C.E. by Priyabala Shah.
     
    CAPTION : a sentence or group of words that is written on or next to a picture to explain what is being shown.
    : the part of a legal document that states the court, the names of the parties, the docket number, the title of the document, and sometimes the name of the judge.
    Latin, from capiō; capture, seize, take. Origin of concept: probably short for 'certificate of caption' (taking, seizure). First known use: circa 1670. (Merriam-Webster)
     
    CAVEAT : a modifying or cautionary detail to be considered when evaluating, interpreting, or doing something
    : an explanation or warning that should be remembered when you are doing or thinking about something
    Latin, from cavēre; let him beware. First known use 1533. (Merriam-Webster)
     
    Something missing? marked with editorial ‘caveat’ let him beware. Does not follow from BEWARE OF DOG (CAVE CANEM) watchdog roaming behind walls or not negotiated same moment uncertainty done away with this way or that. Alternatives prompt settlement when people expected be present or not and are or not as in case of present in absence. Cf Schrödinger cat: alternatives of dead and alive co-existing in superposition prior to check.
     
    “When the smoke of tobacco smells also from the mouth which exhales it, then the two odours marry through the infra-thin”. Marcel Duchamp direct attention to all those processes of accommodating separateness of this-and-that and of either/or. Of print and picture for instance. March 1945 issue of ‘View’ front and back cover designed by Marcel Duchamp.

     

    [81]

    First paragraph of Tractatus: Die Welt ist alles was der Fall ist. The world is everything that is the case. Casus, a falling. Wittgenstein cabin at Skjolden watching steadily like owl from that rock ledge. The Bridal Veil to the right. Spectacular view and murmur of falling waters, aural affect optic. Joyce Finnegan fall (‘pftjschute’ cf. 'chute d'eau') first page unshaped sound pass within earshot precipitate language. And pilgrim asleep with vision of Adam literally fall to ground. From Guillaume de Degulleville Pèlerinage de la vie humaine, Paris ca 1405 BN fr.1647 folio 95v. Eva Lindqvist Sandgren showed me.

    Acknowledgment of The Case (der Fall) premeditated by Leonardo drawing “A Cloudburst of Material Possessions

    [3372]

    Rapier and paintbrush confused, case of Caravaggio. Did he not kill himself with his rapier/paintbrush in David with Head of Goliath? Then Goya: his etchings caustic because his imagination corrosive.

    [2503]
    Michelangelo never exposed his figures to the public eye, like did Naumburg ‘celebrity sculptor’ catching Ekkehard and Uta et al in slightly awkward situations. Cf. Michelangelo immersion (Pietà Rondanini) sealed from disturbance of confrontation. His David exception. Not even Bernini, for all his encompassing concerns about helping his audience to a smooth transition from actual to fictional space. Rather make one feel uneasy in company with Cornaro family members on balcony, as if being among dummies fill empty seat cut cost for movie shot save number of extras.
    [1536]

    Mirror yourself in frameless full-length mirror lean against wall, observe floorboards break and slope down and away from you. Paving of courtyard in Caravaggio Beheading of St John rather tilted opposite direction, lifted at far edge ever so slightly... What I want to say at least. Like floor of some theaters. Inclination distinct enough force attention down to ultimate humiliation, head of John pressed to the ground.

  • [3371]
    Author, midwife at delivery of: new literary form, new theater, new science, new music, new art…
    Montaigne, Pedro Calderón de la Barca, Cervantes, break loose from tradition of literacy-of-letters that cannot resist bend back to their own beginnings in script of Scripts.
    And Shakespeare, knew voice of speech won’t let itself be dominated by letter of script.
    And Galilei, replace teleology-of-science by stand-alone operation through principle of evidence, by means of experimentation.
    And music, on brink of new era soon enough establish common practice of differentiating well-tempered tonality of major and minor, lasting for the next 300 years or so.
    And Caravaggio/Artemisia Gentileschi, sucked up and absorbed by irresistible pull of strong picture vacuum unknown to their predecessors, who, in comparison, programmatically restricted themselves to marking with line and color some compliant support for eyes-of-eyesight to read like some print, affording primarily optical presence of a plotter in front of a ’window’ screen (as of a linear perspective or some variation thereof). No draft nor pull to sweep away or gobble up author and beholder disappear get lost or get home in the process.
  • [3369]

    Jimi Hendrix in Jam 292. Cf. Sviatoslav Richter in Bach: Well Tempered Clavier, Book 1: Prelude and Fugue No. 2 in C Major BWV 847: 1. Prelude.
    Same free subordination to flow. Cf. autumn leaf landing on water snatched by stream turning peacefully all there is.

  • [3356]

    There are things in the world that mind can reach and wrap itself around, but neither ’the self’ nor ‘the world’ is ‘a thing’ hence cannot be contained. However, appreciated in terms of certain coherence of balance. Pertinent lesson of theater: to present flow of language threatened by stagnation (petrification) and falling apart in disparate details. Of individual. And of city. Same chronic event. Case of Oedipus/Thebe.