cadence of breathing IX
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    Johann Sebastian Bach, Chromatic Fantasia and Fugue in D Minor, BWV 903, for clearing voice of mind tonikum if there ever was one start day by since committed to nothing in particular: articulate nothing.

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    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.)

    Duchamp landscape painter indebted inspired, by voyeur Cézanne.

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    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.

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    Said Karin Torneklint, Swedish team leader at World Indoor Championships Birmingham 2018, to the effect that, if you want results in advance go to the theater instead.
    Sports arena and theater subdivisions of tribunal: only evidence exposed during 'trial' must decide outcome, as finally read by referee and judge. Difference, of sports and theater: encapsulation of athletic event. Nothing, apart from what transpires in arena relevant to case, whereas at theater drama already happened and elsewhere, whose reconstruction court summoned to investigate and pass judgement on, but then by procedure such that every step taken nowhere else but in the very room of theater.
    Oedipus, prosecutor and judge happens to arrive at establishing own guilt through conclusive evidence thereof. No plead guilty of confession in room of court because unaware and ignorant until final phase facing undeniable facts of his felony.
    Tragedy, we already know the outcome, still must not look away from re-enactment in court of theater since playwright Sofokles wrote a ‘wellwritten verdict’ (legal parlance) make it piece of language worthy of re-consideration again and again by theatergoers and aren't we all.
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    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.

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    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.

    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.

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