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    [2869]

    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.

    [1988]

    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?

    [1647]

    Not only Gattamelata horse but number of Donatello single figures restlessly pacing even in position of immobility. St.George and Habakuk stance of strong stride energy of unrest far from the contrapposto that Donatello reserved and articulated in the extreme case of David. Nothing restless about that boy.

    [776]

    S-curve structurally foreign to tectonics of cathedral set her off from wall. Contrapposto of Erechteion caryatids could not have been traded for S-curve without producing impression of collapsing structure as if made of overcooked pasta. La vierge dorée Amiens.

     
    [750]

    Bernini screwed column very non-Greek. True, columns in contrapposto do exist best known Erechteion porch. Asked those ladies could they carry entablature and they did with ease and composure still do. But screwed column laying around would no more be asked than some drunk reeling around on premises.

    [162]

    Adaptation, information turned into character of figure in contrapposto or into character of weeping willow.

    [173]

    'Plains language' language of the prarie from Robert Pirsig Lila p42. A straight head-on declarative language as fundamental to Pirsig quest into morals as Wittgenstein ethics of Tractatus, language Wittgenstein had in mind and Pirsig heard spoken through words of famous address delivered by Comanche Chief Ten Bears October 1867 at Medicine Lodge Treaty Conference.

    My heart is filled with joy when I see you here, as the brooks fill with water when the snow melts in the spring; and I feel glad, as the ponies do when the fresh grass starts in the beginning of the year. I heard of your coming when I was many sleeps away, and I made but a few camps when I met you. I know that you had come to do good to me and my people. I looked for benefits which would last forever, and so my face shines with joy as I look upon you. My people have never first drawn a bow or fired a gun against the whites. There has been trouble on the line between us and my young men have danced the war dance. But it was not begun by us. It was you to send the first soldier and we who sent out the second. Two years ago I came upon this road, following the buffalo, that my wives and children might have their cheeks plump and their bodies warm. But the soldiers fired on us, and since that time there has been a noise like that of a thunderstorm and we have not known which way to go. So it was upon the Canadian. Nor have we been made to cry alone. The blue dressed soldiers and the Utes came from out of the night when it was dark and still, and for camp fires they lit our lodges. Instead of hunting game they killed my braves, and the warriors of the tribe cut short their hair for the dead. So it was in Texas. They made sorrow come in our camps, and we went out like the buffalo bulls when the cows are attacked. When we found them, we killed them, and their scalps hang in our lodges. The Comanches are not weak and blind, like the pups of a dog when seven sleeps old. They are strong and farsighted, like grown horses. We took their road and we went on it. The white women cried and our women laughed.
     
    But there are things which you have said which I do not like. They were not sweet like sugar but bitter like gourds. You said that you wanted to put us upon reservation, to build our houses and make us medicine lodges. I do not want them. I was born on the prairie where the wind blew free and there was nothing to break the light of the sun. I was born where there were no inclosures [sic] and where everything drew a free breath. I want to die there and not within walls. I know every stream and every wood between the Rio Grande and the Arkansas. I have hunted and lived over the country. I lived like my fathers before me, and like them, I lived happily.
     
    When I was at Washington the Great Father told me that all the Comanche land was ours and that no one should hinder us in living upon it. So, why do you ask us to leave the rivers and the sun and the wind and live in houses? Do not ask us to give up the buffalo for the sheep. The young men have heard talk of this, and it has made them sad and angry. Do not speak of it more. I love to carry out the talk I got from the Great Father. When I get goods and presents I and my people feel glad, since it shows that he holds us in his eye.
     
    If the Texans had kept out of my country there might have been peace. But that which you now say we must live on is too small. The Texans have taken away the places where the grass grew the thickest and the timber was the best. Had we kept that we might have done the things you ask. But it is too late. The white man has the country which we loved, and we only wish to wander on the prairie until we die. Any good thing you say to me shall not be forgotten. I shall carry it as near to my heart as my children, and it shall be as often on my tongue as the name of the Great Father. I want no blood upon my land to stain the grass. I want it all clear and pure and I wish it so that all who go through among my people may find peace when they come in and leave it when they go out.

     

    [1739]

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

    [2713]

    When Wittgenstein explains his ideas about 'keeping something in the archives' /.../ he notices that, if we settle on a particular rod as a standard of length and put in the archives, we might still be unclear how to make comparisons with the rod, and so we might want to deposit in the archives also a description or picture of the method of use of the standard rod. Cora Diamond, 'How Long Is the Standard Meter in Paris?' in Wittgenstein in America, ed Timothy McCarthy and Sean C. Stidd, 2001, p123.

    Duchamp twist on method of use of standard meter in Paris from which Standard Stoppages crafted. Duchamp method of comparison introduced randomly curved non-rigid meters pointing to fact length in everyday life rarely rectilinear affair not even in case of crow's flight. Twine Stoppages after Duchamp by Ber Lazarus.

    'If a straight horizontal thread one meter long falls from a height of one meter onto a horizontal plane twisting as it pleases [it] creates a new image of the unit of length.' Duchamp dropped three threads one meter long from the height of one meter onto three stretched canvases. The threads were then adhered to the canvases to preserve the random curves they assumed upon landing. The canvases were cut along the threads' profiles, creating a template of their curves creating new units of measure that retain the length of the meter but undermine its rational basis. (MoMA, THE COLLECTION, GALLERY LABEL TEXT)

     

    [1838]

    Mirror portrait Rokeby Venus smeared and diffuse, painter looking at and in mirror leaves vague. When Rubens depicted reflected face of Venus, prism-cut mirror edges and her portrait same degree of accuracy odd twin sisters one of them like peeping through some kind of mobile hole in wall looking at sister when mostly me and my projection reflection can be told apart.

    Meeting beholder gaze way self reflection regularly manipulated in motion picture letting beholder sneak into protected sightline of self immersion. Velázquez loose loop of pink ribbon retarded on top of smokey distant greys that do not reach face they suggest. Cf musician positioning voice of instrument close to where intonation happens or far away from it or somewhere else between whisper and distant. Listen to Miles Davis Sketches of Spain for touch of Velázquez.

    Try see very face of mirror whilst steadily looking at your face, takes will-power get glimpse of yourself only vaguely present yet what articulation requires, what Velázquez was after. Are not best performers only vaguely present? Are we not very sensitive to performer know all too well what they do little else than see themselves in mirror we put at their disposal by our presence? Bob Dylan seem largely developed vague indifference of Velázquez, no clear division setting things apart but intertwined.