• [3398]

    Like asking: Do you belive in your imagination?


    Does Matthew know what he writes? with helping hand of a distracted little winged creature to guide him. Wittgenstein writes in Bemerkungen zur Philosophischen Grammatik (1931): “I really do think with my pen, for my head often knows nothing of what my hand is writing.” Matthew, in this case, does not even think with his pen, since heavy-handed and uncoordinated, yet completely immersed by his work.

    Wittgenstein continues: “like little children who first scribble some marks on a piece of paper at random and now/then ask the grown-up 'what is that?'”

    That knowledgeable little angel-boy is slightly bored no doubt, but not at all disturbed by his company’s inept struggling to get it right (confer grandchild teach grandpa basics of digital competence). And what are they working on so intimately together? The Holy Script for God's sake!


    Deep urban vistas of bouldevards and the like lend themselves to vanishing perspective. So does the Nile for somebodye skip horizons sail right on into the sun

  • [2650]

    Gender issue: manmaid readymade.


    Signed only those two or rather twice: Murtola Medusa (first Medusa) and Decapitation of St John at Valletta. Both allude to namesake Michael Angel of Death set to defend Heavenly Kingdom with his sword. Other paintings no claim to authorship as definite by his hand as sworn statement. Signed those two in order be explicit about moment or act of identification as in beeing identical with. As to second, Uffizi Gallery Medusa, not signed since copying delegated to co-author Caravaggio not present at moment or act of identification.

    Why not sign his most obvious self of Goliath? Because remembered dismembered, would have nothing to do with that man. His most unsigned painting.

    Signature to Caravaggio does not tell maker deep owner but rare moment of lost to it. Cf Pollock numbered paintings where One not first of a series followed by 2,3,4... but rare occassion of complete immersion. Happened rarely. 'One' then neither name of painting nor signature but confusion of the two. See: One: Number 31.

    How differ from I was there, fuit hic, Kilroy was here, etc. Means somebody with a name might return. Pollock 'One' paintings and Caravaggio signed ones, cannot be re-visited neither nostalgically nor theoretically.

  • [3381]

    Sense of parabolic curve of music common practice from baroque and onwards. Renaissance more of butterfly zigzag fluctuating flight unwitting of comrade beeline. Music deliverers use 'song' for any piece of music because suggest singer stay in certain shape from start to end of something called 'song'. Beethoven could not possibly have written a song cycle. Yet Ode to Joy of ninth symphony defines concept of song as permanent stay in shape of singer once and for all. Hardcore comical serious matter. Rest of his music does not. Nobody single traverse his musical landscape. Only those Beethoven crisscross their paths.

  • [3389]

    Blues & Roots Rock based on beat of rail joints add voice of hooter for lyrics. Why not same in Europe? Not same expanse of land to cross cf. sea shanties support shipboard labor on wind-driven ships. Support Working and yearning respectively.


    Excellence of craft: Pygmalion marry his marble, buddhist monk lost in landscape he painted, portrait of Christ absorbed by Veronica's Veil (Zurbaran honoring, not diluting validity of origin). And people of Cycladian Archipelago whose first wooden figures xoana (xoanon) fallen down from sky reproduced in marble skillful craftsmen retaining validity pertaining to source cf. Michelangelo, throughout his career repeating dug up Torso di Belvedere, his carvings variations of earth giving birth.

  • [3369]

    Jimi Hendrix, Jam 292 cf. Sviatoslav Richter, 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 mirror, snatched by stream turn peacefully passing.

  • [3382]

    Jimi Hendrix Star Spangled Banner and Beethoven Diabelli variations rather excursions into the wild, prompted by throughout recognizable figure of music.