updates

    [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.

  • [3302]

    Schubert sonata. Next movement does not follow on previous by carrying something on in terms of contrast theme or some other way rather forgets about it cf. somebody  finally say: Forget all I told you.

  • [2787]

    In Nude Descending a Staircase Duchamp explored flow of motion as translated into sequence of discrete steps. Duchamp interest in piled images: sliding deck of cards rather than chained on tape of film. Also explored poetic potential of dictionary as big reel of film (see White Box notes).

  • [1074]

    Duck/rabbit shift reduced reading value. Cf Duchamp striptease rich in shirfting evidence be explored indefinitely.

    [1739]

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

  • [1628]

    Brother Angelico did not interpret evidence why should he? Interpretation pursued where evidence missing or not perceived. Did Michelangelo or Wittgenstein interpret what they disclosed? No did not force interpretation onto piecemeal evidence rather persevered in being in want until invention do away with interpretation moment of temporary full stop.

    [1]
    “As Vajra keeps asking, he keeps being referred to more fundamental arts, so that sculpture depends on painting, which comes from dancing, which relies on instrumental music, which derives from vocal music, which springs from language itself, which has to be learned through its grammar.” 
    From manual giving instructions for making painting and sculpture written in India in sixth or seventh century C.E. by Priyabala Shah.
     
    CAPTION : a sentence or group of words that is written on or next to a picture to explain what is being shown.
    : the part of a legal document that states the court, the names of the parties, the docket number, the title of the document, and sometimes the name of the judge.
    Latin, from capiō; capture, seize, take. Origin of concept: probably short for 'certificate of caption' (taking, seizure). First known use: circa 1670. (Merriam-Webster)
     
    CAVEAT : a modifying or cautionary detail to be considered when evaluating, interpreting, or doing something
    : an explanation or warning that should be remembered when you are doing or thinking about something
    Latin, from cavēre; let him beware. First known use 1533. (Merriam-Webster)
     
    Something missing? marked with editorial ‘caveat’ let him beware. Does not follow from BEWARE OF DOG (CAVE CANEM) watchdog roaming behind walls or not negotiated same moment uncertainty done away with this way or that. Alternatives prompt settlement when people expected be present or not and are or not as in case of present in absence. Cf Schrödinger cat: alternatives of dead and alive co-existing in superposition prior to check.
     
    “When the smoke of tobacco smells also from the mouth which exhales it, then the two odours marry through the infra-thin”. Marcel Duchamp direct attention to all those processes of accommodating separateness of this-and-that and of either/or. Of print and picture for instance. March 1945 issue of ‘View’ front and back cover designed by Marcel Duchamp.

     

    [81]

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

    [3372]

    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.

    [2503]
    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.