cadence of breathing I
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    Swinging sword St John on knees nothing in front nor beyond neither cut out nor contextualized but emerging as from medium itself stained and marked by motley history, current of thinking sensed and lost and then again carrying weight. Animator trust as firm grip of ground page of paper, to comprise even flux of weathers and passage of sorrows. Rembrandt Leonardo.


    Solid unrippled at calm, water reveal release dynamic power in motion analyzed as braided strands of fibres like some sophisticated hair-do by Leonardo. Surging rock spiraling plant rearing stallion, dynamics, to which all and every form of presence relates. And taken together in the Apocalyptic Drawings even collapse of concept of differentiation.


    Classical photography seek certain balance of whiteout and blackout where composition of things satisfy no-touch sight. Graphical action with pen or brush has aspect of farmer-plow-field density to it. Leonardo pen drawings not only preparatory step of painting but of its own. And Vincent never considered drawing and painting apart. Apocalyptic Drawings and the Auvers Field paintings ultimate statements of respective authors. In case of Vincent color was soil and substance for him to work up with his tools every bit of it help life grow expand fields and skies to inhabit. In case of Leonardo the world a hairy skein collapse only same pen earlier wrote perfect linear depth can do justice to.


    Rembrandt piece of paper or Niaux imagist stretch of wall in Cave of Niaux was not just another resistant surface but an affordance.

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    Duchamp realized successful comrade painters about set up picture industry would have nothing of it since business is haste cannot afford waiting for times arrive at their own chosen speed. Chose monumental heavy made for memory freestanding framed piece of pane for The Bride to appear in and through noticing there was something arboreal about her gentle rustling murmuring nature. From J. Glenn Gray’s translation of  Martin Heidegger’s Was heißt Denken? Vorlesung Wintersemester 1951/52 part one fourth lecture:

    We come and stand facing a tree, before it, and the tree faces, meets us. Which one is meeting here? The tree, or we? Or both? Or neither? We come and stand—just as we are and not merely with our head or our consciousness—facing the tree in bloom, and the tree faces, meets us as the tree it is. Or did the tree anticipate us and come before us? Did the tree come first to stand and face us, so that we might come forward and face-to-face with the tree?

    Windows need be polished stained by touch attention trapped by surface rather than by what seen through. Large engineered Glass but not stained by meticulous thinking accidentally broken carefully restored leadwired toy gun shot perforated for osmotic proceedings to happen, dust-bred bed, minimal friction for runners of Glider as well as attributed aquatic properties possibly even allowing for cross draft of breathing desire, all in all crisp and sober untouched assessment of unlimited expansion.     

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    Sweeping searchlight freeze flashlight establish certain photographic completion, preserve portion of light hrough access to ocean of light. Camera shots from different angles and positions of Large Glass would produce neighboring or connected representations of unlimited whole seen through it (moderated glass transparent as varnish and name).

    Duchamp told Linde he would have liked place the Large Glass in front of endless wall of pine trees southernmost part of the taiga he saw swishing past train window on his way to Stockholm. Travelling bride.

    A thought relates to thinking like photograph to light. The silver screen remains dumb and dead until lit up by projection. Nobody flicked a light switch in cave but carried out a lost repertoire of preparatory actions in order to attain readiness of mind for satisfaction of illumination to occur.

    Mud page of river bank receptacle of 'chirographical action' Gibson term for any marking event producing delayed  presence deciphered by those who come after. The pixels firing in concert on computer screen entanglement and interface of veiled script and light.


    Each find fragment pieced together into breathing whole. Sparse manifold unpredictably lodged into sediments of time wedged into cracks isolated in pockets drifting apart forming intermittent fabric of inconclusive information.

    Taking stock of stray distributions counterbalanced by unstoppable urge to establish connection and continuity. Duchamp made point of separating artistic operations in time and space neither stretched by fatigued inspiration nor obviously contextualized. Had an archeological perspective already in life recovered instances of a past, the Nine Shots upper right part of the Glass archeological site of someone distributing marks of intention distributed unwittingly yet not miss edge of energy in sediments of water and air.


    Fields of sameness capping change and diversity, resemblance of self portrait by Schjerfeck or Rembrandt not between model and portrait at time of execution but field of sameness expanding over aging. Duchamp portrayed himself as congregation of others overlapping in passage varied and multiplied, masked as prematurely aged, replaced by 'doppel', as invariable of cutout shadow, piece of paper torn along edge of sheet-metal profile, for friends, individually and personally ripped.


    Listen to thinking in one's head does it sound unmistakable voice? How could one tell? Musical thinking case of Beethoven in what sense was volume and voice articulated to his inner ear? One who hears a charateristic voice in the head does not listen to thinking but to voice of speech of another person.

    Thinking biding its time to go loud. Trapped in feed-back loops of litanies the Large Glass Glider driven to and fro wïthout friction or aim messing its litanies closest one gets to catching sight of thinking as something of its own, thinking as listening to itself repeating itself.

    Sorrow is thinkable litany with friction since hinged along its edge like swinging door. Thinking as sadness feeding sadness yet directly connected to the wall (thinking with and without friction) (?). To be distinguised from thinking desire feeding desire.


    Learning Gauguin was working on The Prayer of Jesus Christ in the Garden of Gethsemane, put Vincent into rage (Vincent letter to Émile Bernard). What would self indulgent Gauguin think himself Christ know about agony and submission in prayer?

    Vincent room at St.Rémy overlooked olive grove. Set himself to depict it repeatedly, translating personal agony to garden in prayer. Does not Grünewald Magdalene remind of Vincent olive tree? Is Alfred Döblin novel Berlin Alexanderplatz a book about a place or about a person about Berlin or Franz Biberkopf? Cannot be decided.

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