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.

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    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.

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

  • [3384]
    Music: space happening. Schubert piano. His musical material physical side to it such that whole body of beholder musician engaged in processing it cf. pantomime actor on empty stage sort out mess in storage, move things from one side to another, put them in order all kinds of stuff, bulky small hard soft heavy lightweight one could largely tell by reading motion of mime cf. lip reading. Say korous kore considered music, then in vein of Schubert: mime act reduced to stance of balance: carriage of its own from mind to matter.
    Would not hold for Bach nor Beethoven, former rather structure of crystallization happening all over the place like ice roses of condensation on window, latter rather emergent eruptive events in furnished rooms.
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    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. Confer '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.)
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    Origin and Etymology of sacred
    Middle English, from past participle of sacren to consecrate, from Anglo-French sacrer, from Latin sacrare, from sacr-, sacer sacred; akin to Latin sancire to make sacred, Hittite šaklāi- rite
    Merriam-Webster Dictionary
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    In graphic arts true-to life-make sense in so far as presentation and re-presentation at some stage simultaneously present cf. identity check when passing borders.

    What about language? Somebody good at mimicking voice of somebody does not go deep enough, using somebody voice for pun. Like caricature need not go to source but add to already scheme of schematic. Playwright then? Too deep. Drama does not portray but penetrate deeper and deeper.

    True-to-life is no exchange of ideas. Impression of The Investigations simply pursued by author engaged in writing true to life.

    Wittgenstein 'language games' compiled to picture album. An album is not about anything but collection of scraps be checked against author in presence. Best case Wittgenstein lecturing. Why student notes from his lectures so instructive.

    When actor miss cue prompter re-connect. In capacity of being his own prompter Wittgenstein helped back to grammar of life whenever risk fall into some line of thought stuck in moras of words it produces. Cues delivered from his own inconspicuous presence in blank space between paragraphs. His inner prompter no hidden company with office help him back in line of thought but the opposite: to disrupt connection to any score whenever such invitation presents itself easy way out.

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    Beethoven third movement op.132 string quartet called Heliliger Dankgesang written 1825 after period of abdominal pain. Patience of endurance interrupted twice by episodes of heightened spirits underscoring by contrast extended notes almost dissolve piece in aimless duration. Neither romanatic sickness nor pangs of love or varitation thereof music back then prone to deliver.
    Episodes of vitality instruments talk to one another from different positions in tonal space while in extended phases of patience space shrink into single voice of breathing no voice but foundation of voicing apart from unrest of synthetic voice not resting on bed of breathing.
    Patience of strings remind of free reed wind instrument mouth organ, one set of notes when blowing and another when sucking, blow reed and draw reed allowing for uninterrupted continuity as of labored breathing. The harmonica first appeared in Vienna, where harmonicas with chambers were sold before 1824 tells Wikipedia. Beethoven died in 1827.



    Particular moment in Florentine art when the floor fact of foundation, united all visual arts early 1400s, Brunelleschi Donatello and Masaccio. Architect painter Brunelleschi maybe first out buildings built from the ground, his lost perspective paintings essentially depicting the ground as foundation of any geometrical construction. Two examples along those lines associated with Piero go back to Brunelleschi.

    Masaccio Holy Trinity Santa Croce in principle frameless, has to be, in order offer natural parameters for bipeds inspecting environment at eye-level.

    Donatello stability of stance, no matter of balance as in contrapposto, but powerful amble of Gattamelata.

    Legacy of this threesome reinterpreted by next generation Michelangelo, whose sense of gravity informed all three domains of his visual engagements. And, clearly recourse and reconnection to Florentine heritage in Caravaggio never forgot life tied to ground. Bad timing though since Italian Baroque machineries hovering in the sky about to take over.


    Sign said Waiting Room. Had they come do waiting proper? Watteau innovator of body language. At long last self-sufficient contrapposto gotten rid of as well as calling of attention of Roman orator retired gesture. See how little remains of Kritios or Aulus Metellus in figure of Gilles. But of course who would support Gilles at referendum?