cadence of breathing II
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  • [2209]

    Dark dusk rolling skies late autumn appeasing invitation for eyes come to sleep rest and recover. No distinct point of transition in Turner weathered eyes Grünewald chromatic passion gradual transition from low to no light.

    [2210]

    Veil or sweat cloth of 'Veronica' from 'ver' of 'veritas' and 'onic' of 'icon', true picture of all, sweat cloth of slave experience blue of every blues or style stripped down to origin of acknowledgement through articulation.

    [2211]

    Duchamp Waterfall and Leonardo Apocalyptic Drawings opposite conceptions of: the fall. Former fall source of generation of each and every case embedded beating heart of nature. Latter sweeping last collapse of each and every case that finally transpired.

    [108]

    Reasoning stroke of Cézanne seeking accuracy of evasive statement opens for reconsideration.

  • [2212]

    Interpenetration not interpretation.

  • [2213]

    door ajar: Anybody home? (no answer for no)
    whispering: Are you asleep? (no answer for yes)
    wondering: So it's a No? --Yes. (a yes for no)
    ordering: Say after me! (excluding both yes or no)

  • [2214]

    Despite dismissals Freud held lasting grip on Wittgenstein idea of driving force underlying language not easily waved away some elementary force of cohesion behind his grammatical investigations.

    Dismissed if understood as translations of 'id'. Wittgenstein no interest in translation since private language mistaken idea.

    Used code for some privacy bilingual sameness slightly delayed all he wanted now and then. Wittgenstein horizontal differentiation Freud vertical translation combined in Duchamp breadth and depth every articulation considered one language viing with another as game of chess within overarching amusement.

    Duchamp mutuality different from Freud analysis in that both parties on couch in turns. Both Freud and Duchamp different from Wittgenstein reassuring blindness: of benevolence and decency.

    [2216]

    Piero and Grünewald Annunciation in Arezzo and Colmar respectively. Is it not as if they depicted the pictorial form of an image through the subject matter of: Annunciation?

    [2215]

    Wittgenstein Tractatus:
    2.172 Seine Form der Abbildung aber, kann das Bild nicht abbilden; es weist sie auf.
    2.172 The picture, however, cannot represent its form of representation; it shows it forth.

    Is that so? Piero and Grünewald respective Annunciation reveal pictorial form of Annunciation through geometry-of-space and atlas-of-color respectively.

    String instrument articulate geometry of space: hand positions of the three figures in Piero painting three-piece band strumming on invisible strings of crystalline space directing attention to underlying pictorial form of picture.

    Grünewald color body temperature of patient as well as somebody impatient and every stage in between. Archangel Gabriel impatient to communicate load of God message to Our Lady. His fiery presence of flaming reds and yellows meet interact with cool deep blue of  Virgin produce chromatic chord and key to pictorial form of polyptych.

  • [2217]

    Image comes in one piece. Jigzaw puzzle comes in heap of pieces contain one-piece-image. Mozart said about composing even a long piece of music he could 'see the whole of it at a single glance and I do not hear it in my imagination at all as a succession' and 'the best of all is the hearing of it all at once', from Weick, Karl E., The Social Psychology of Organizing, Addison-Wesley Publishing Company 1979. 

    Everything in motion translated to immobility when committed to context of picture. Picture is not motion picture. Not even motion picture is but series of stills or even sequenced addressable pixels. Still life and motion picture both oppose and blend.

    Page of print frozen picture but comes with instruction of how get around problem make move by let gaze hop from one recognizable cluster of characters to another. Road-map other example of overcoming immobility of picture.

    Duration and timing rather than stillness and motion. Within duration-and-timing every medium of articulation, housed. Immobility no handicap to imagination. Picture, sensed as affording certain completion, a complete picture of an unfinished depiction or a complete picture of two or many combined pictures etc. Idea: all and every part of a picture, in whatever way we isolate parts, are not parts of another picture.

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