updates

    [3100]

    Signed only those two or rather twice: Murtola Medusa (first Medusa) and Decapitation of St John at Valletta. Both allude to namesake Michael Angel of Death set to defend Heavenly Kingdom with his sword. Other paintings no claim to authorship as definite by his hand as sworn statement. Signed those two in order be explicit about moment or act of identification as in beeing identical with. As to second, Uffizi Gallery Medusa, not signed since copying delegated to co-author Caravaggio not present at moment or act of identification.

    Why not sign his most obvious self of Goliath? Because remembered dismembered, would have nothing to do with that man. His most unsigned painting.

    Signature to Caravaggio does not tell maker deep owner but rare moment of lost to it. Cf Pollock numbered paintings where One not first of a series followed by 2,3,4... but rare occassion of complete immersion. Happened rarely. 'One' then neither name of painting nor signature but confusion of the two. See: One: Number 31.

    How differ from I was there, fuit hic, Kilroy was here, etc. Means somebody with a name might return. Pollock 'One' paintings and Caravaggio signed ones, cannot be re-visited neither nostalgically nor theoretically.

  • [3381]

    Sense of parabolic curve of music common practice from baroque and onwards. Renaissance more of butterfly zigzag fluctuating flight unwitting of comrade beeline. Music deliverers use 'song' for any piece of music because suggest singer stay in certain shape from start to end of something called 'song'. Beethoven could not possibly have written a song cycle. Yet Ode to Joy of ninth symphony defines concept of song as permanent stay in shape of singer once and for all. Hardcore comical serious matter. Rest of his music does not. Nobody single traverse his musical landscape. Only those Beethoven crisscross their paths.

  • [3389]

    Blues & Roots Rock based on beat of rail joints add voice of hooter for lyrics. Why not same in Europe? Not same expanse of land to cross cf. sea shanties support shipboard labor on wind-driven ships. Support Working and yearning respectively.

  • [2650]

    Gender issue: manmaid and readymade.

    [2651]

    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.

  • [3369]

    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.

  • [3382]

    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.
  • [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. 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.)
  • [3383]
    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