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.

    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.

    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.

    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 an owl from that rock ledge. To the right The Bridal Veil. Spectacular view and murmur of falling waters, aural affect optic. Joyce Finnegan fall (‘pftjschute’ cf. 'chute d'eau') first page unshaped sound come within earshot precipitate into language. And pilgrim asleep with vision of Adam literally fall to the 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

  • [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.

    Sphinx, concocted from Merriam-Webster by this author:
    …winged female monster in Greek mythology having woman's head and lion's body noted for killing anyone unable to answer its riddle an enigmatic or mysterious person she a sphinx whose features hold blank fascination ancient Egyptian image in form of recumbent lion having man's head, a ram's head, or a hawk's head.
    Cf. cat at night sitting on your chest look into your eyes indefinitely. What? Solve that riddle and gates of language opened. Cf. Wittgenstein run up against walls of language gotten rid of...
  • [3367]

    A spoon, at best like Calder hanging mobile. Careless handling falls apart collapse but touched with grace, ensemble of loosely connected components start swaying pleasantly also in unison in one's mind.

  • [857]

    Asked elderly patient at St Patrick's Hospital Dublin which instrument in orchestra he liked best. Answered: the big drum. Afterwards Wittgenstein told his friend Drury he had understood perfectly (M.OC.Drury 'Conversations with Wittgenstein' in Recollections of Wittgenstein, ed by Rush Rhees 1984 p140). Considered response of patient showed remarkable clarity and command of language right through mental disturbance irrelevant in situation. Cf. metallic disturbing words of conversation:

    —Excuse me, what time is it?
    —Let me see... ten past eleven.
    —You believe I care!? How could I trust you anyway? Are you aware piece of information you just gave makes you responsible if I won't catch my train because of your slow watch? It is 11:15! I know because I just checked! And what do you know about time anyway? Nothing! You can keep your cheap little watch for yourself!


    —Would you excuse my intruding here with piece of advice of certain urgency?
    —Please do.
    —Watch your step.