• [2083]

    Science measure earth meet greet apple fall.

    Learned from Quora: ...the Earth DOES accelerate upwards to meet the apple. The Earth will hurtle upwards at the break-neck pace of 0.000000000000000000000000328 m/s^2. (Matt Whiting, University of Southern California)

  • [3368]
    Said Karin Torneklint, Swedish team leader at World Indoor Championships Birmingham 2018, to the effect that, if you want results in advance go to the theater instead.
    Sports arena and theater subdivisions of tribunal: only evidence exposed during 'trial' must decide outcome, as finally read by referee and judge. Difference, of sports and theater: encapsulation of athletic event. Nothing, apart from what transpires in arena relevant to case, whereas at theater drama already happened and elsewhere, whose reconstruction court summoned to investigate and pass judgement on, but then by procedure such that every step taken nowhere else but in the very room of theater.
    Oedipus, prosecutor and judge happens to arrive at establishing own guilt through conclusive evidence thereof. No plead guilty of confession in room of court because unaware and ignorant until final phase facing undeniable facts of his felony.
    Tragedy, we already know the outcome, still must not look away from re-enactment in court of theater since playwright Sofokles wrote a ‘wellwritten verdict’ (legal parlance) make it piece of language worthy of re-consideration again and again by theatergoers and aren't we all.
  • [3365]
    Foreign language? Noise of nonsense hence barbarian. Or of babbling, confusion of voices as in Babylon. Former: crude exclusion of them from us, while latter rather suggest need of crosswise clarification through translation transcription, for differentiating extraction marked by difference of tongue. Then third form of incomprehensibility, viz that of enigma, Egyptian in origin transported 'translated' to Terra Firma Greece in form of composite strange creature of the Sphinx ask for solution-to-problem, instead of interpretation-of-foreign, or dismissal of foreigner.
    Language-of-solution, through algebra and music, same only for preponderance towards abstraction and perception respectively. ‘Algebra’ all kinds of geometries of numbers irrespective of descent, sacred or secular. And ‘music’ all kinds of Faculties of Muses. In Western context algebra from Pan-Babylonian bed-of-sky of operating immutables, while Ancient Egypt rather steeped into imponderables of immersion, into  river of streaming light.
    Make sense make believe... suggest preoccupation with language. Sphinx pose riddle for Oedipus to solve problem of connecting sense and truth. And answer is: the human being. What else could it be? Always same answer to riddle. In principle. Cf. 'koan' case of master challenge disciple dis-connect sense from truth. Difference between: set-no-limit to language (we are our language) and language as ‘limited whole’ (Wittgenstein Tractatus). Notice koan quality of Wittgenstein Tractatus paragraph 6.521:
    Die Lösung des Problems des Lebens merkt man am Verschwinden dieses Problems. (Ist nicht dies der Grund, warum Menschen, denen der Sinn des Lebens nach langen Zweifeln klar wurde, warum diese dann nicht sagen konnten, worin dieser Sinn bestand.)
    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 the balcony, as if being among dummies fill empty seat in theater (cf. cut cost for movie shot save number of extras).

    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 way lifted at far edge ever so slightly like floorboards of stage, of some theaters, inclination distinct enough though, to force attention down to ultimate humiliation, head of John pressed to ground.


    For society represent itself: manmade mound of ziggurat for inferiorized people follow their leaders abstract themselves from practicalities, scale up onto higher platform read fortune of society from astral source of nocturnal script. Cf. terra firma mainland city state invite fellow citizen take seat on descending slope of embracing rows watch together enactment-of-language down on ground of theater follow fate foretold ultimately by hollow voice secreted from crevice of Omphalos. Pity those lost letter of speech at circus, nowhere to hide nowhere to turn to, neither script of sky nor deep voice from underground.


    Glenn Gould said it was a tragedy Mahler wrote nothing for piano (interview 1958 youtube URL?). Was it he wanted take heed of what Mahler master of texture could have done to distinctly separate voices of counterpoint so close and dear to keyboard Gould? Assume for comparison Velázquez career been cut short before Las Meninas and Las Hilanderas. Painter would still no doubt have left impressive oeuvre behind clearly related to Zurbaran and Sánchez Cotán: a certain co-occurrence of things but would have left unresolved aspects of cohesion hence a great loss since we would not have that master painter of dense-fabric-of-space ever to arrive at articulating the texture of punctus contra punctum, of counterpoint. Is not Velázquez the missing Mahler? that Gould had in mind.

  • [3361]
    Why choir? Because spoken language is resonance at source. What would a choir be in written language? Even reading loud is isolated reading. Apart from any situation but itself. Only overheard when meant to be, as in case of audio book. Do not read at the steering wheel.
    Wittgenstein twist: heard choir composed of generations of readers, of Holy Script: a longitudinal choir (this author) heard coming from far back including Wittgenstein along the way, of that extended conference of voices. Doubt he would have heard same choir-of-readers of criminal stories even if favored genre of philosophy to him.
    One cannot pin the words on some individual chorister because words sung together. And when chorister step forward soloist then more of actor at theater like OEDIPUS set wave-train of voices of choir in motion like rock dropped in water cause expanding circles of waves spread far.
    At source: language tonal, sine qua non of choir do not speak their mind since mirror themselves have nothing to say. Cf. deep unrest of soloist/protagonist carry fatal burden into open of language put end to themself.
    Beckett writer for stage, even as voice-in-head of loner: choir compressed into one hole of a single voice that cannot rid itself from resonance. Company, his last book, starts:
    "A voice comes to one in the dark. Imagine."
  • [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 among things, hence cannot be contained, however appreciated in terms of balance, which is pertinent lesson of the theater: present flow-of-balance, threatened by stagnation (petrification) or fall, of individual. And of city, same chronic event.


    Hopper Rooms by the Sea neither allow clear view of interior nor more than narrow slit of vista, one of those in-between spaces Hopper attracted by. Come in two versions: gas station case, permanent temporary place positioned in between home and some place to go such as café, hotel room, theater etc. The late paintings more of steady accommodation in landscape: Rooms by the Sea perfect example remind of Frank Lloyd Wright Fallingwater. Nobody there, best empty, not in clinical sense of some modernist architecture, rather archeologically but then not as meditation on something bygone rather new begin, archeo- from archē beginning, the way children love to build make-shift hut cannot wait to move in before dismounted by game-over.

    Fallingwater remains inviting since falling waters do not cease but attract indefinitely like rooms by the sea do not move some other place. Cf. well-built playhouse, always a nuisance! should be built to collapse or even better, roof of house ought return tabletop at next serving of snacks without delay.