caveats I
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  • [2899]

    Bereft of hearing Goya turned language onto itself. Graphics coordinate language and thinking. Captions are not second thoughts but lesson forbid loss of incontrovertible language.


    Provide sound intellectual foundation Goya present late in life touching primary school book illustrations: picture of fox accompanied by label Il Zorro, barking dog called Perro Labrando, Tigre for tiger, by and for somebody lost first grade assignment of coordinating correctly words and things to regime of evil linguistic spinning machine.


    Caravaggio break loose from surface trick depth of linear perspective introduce density of depth for arms to reach out and down into. Immerse and be immersed. Suppose reach into depth of Jacopo Bellini perspective actual wire cage revealed to be model and fact of projection. What a letdown if Rembrandt Jewish Bride revealed itself be fleshed out wire skeleton in disguise dummies for eyes of hands to touch.

  • [2902]

    To Beethoven fugue: movement condensed to momentum of thrust. Fugue starts by presentation of subject matter not same as theme. Theme is like face one meets in conversation while subject matter faceless, no space of situation yet persistently recognizable, subjected to itself reflect canonically in slow mirrors fall to pieces turned around inside out bump into copies and variations and counter subjects of themself.

    Nonsensical subject matter of fugue. Bach picked the notes B A C H, as if note and letter talked to one another and did close to end of last incomplete fugue in Art Of Fugue. Because fugue incomplete all the way. Thrust of fugue same foundation of music as beat and swing. But beat and swing is frame while thrust unstoppable from within like growth to death.


    Hand stencil on wall Pech Merle different from fingerprint hand meet hand from other side in breathing mutuality (cf high-five) vs fingerprint identify subject through incontrovertible self reference.


    Jan van Eyck wrote he was 'here' shown as position over there. Goya said I saw this in Paris. Goya in first and Jan in third person. Goya tell geographical location, Jan does not. Bit of assymmetry. Anchor point: person or place.

    'I am here' no anchor point in sense one always unquestionably somewhere. Pinch oneself in arm or lose oneself in meditation remind about our indefinite presence somewhere. When called for. And action: Jan witnessed and Goya saw. Not quite same. Goya happened to see while Jan rather was invited keynote spectator.
    Common: integrity of picturing act as piece of evidence (e-videns; from vision). What their respective formulation say. They are neither signatures nor picture labels nor names.

    Notice difference: 1,2,3, and: first, second third, a set and a progression. Two persons is a group while a second person somebody singled out from a group.

    Take narrative written in first, second, third person. Matter of perspective. Mostly heard about differentiating 'first' and 'third' person perspective in narration. Also narratives in second person as when author speaks directly to audience. Best case of 'narrative' in second person is manual, break down some undertaking into steps: 1) check packing list, 2) read safety instructions and so forth. Does not say explicitly you are the one because anyone taking on task of following instructions implied.

    'One' is unspecified you. Notice manuals indicate some procedure implicate things in space: 'do this then that' matter of perspective and action. A painting or drawing is effectively its own manual of how to connect perspective and action.
    A perspective, eyes meeting things, traveling through space.

    These two pictures, van Eyck and Goya, stand out in discernment as certificates of caption.


    Make face in mirror expedient way explore expression. Could have used convex mirror listed in 1605 inventory of his belongings for that purpose. Read face first literacy, Medusa fails completely as self portrait. No way reflects temperance required for making that untamed portrait of head severed from body. Compare David and Goliath reflecting on reflection, Caravaggio himself in head of Goliath grabbed and held away from himself by himself back as young boy in guise of David, gesture of grim sacrifice recall by contrast gracefully resigned gesture of Madonna offer her Son to beholder, Michelangelo Pietà di San Pietro.


    Perusing scattered photographs stopping at one Is that me? setting process of reflection going, Yes, that’s me! In recognition effects of separation necessarily considered and negotiated as face-to-face confrontation. In case of Caravaggio occasioning showdown of denial: That’s not me of St. Peter or conversion: That’s no longer me of St. Paul. Or skepticism: How do I know you are the one? of Thomas or refutation: You are divorced me, of the double portrait of David and Goliath or through agreement of empathy: You are me are you of Maddalena penitente.


    Blank of empty canvas staring back at blank face of author void of mirror and some me. Author authorized to establish presence of mind by daring cut Doubting Thomas what it takes by observing closely own poking around with finger in wound of canvas calibrating touch and perception succinctly formulated by Artemisia Gentileschi painter-in-the-act action-painting centuries ahead of concept. Loads of writers musicians painters portrayed with insignia of their craft and trade. Only Artemisia showing herself lost to action of painting. No void no pretense.

    Unwritten something does not stare back from definite page, say third blank page of writing pad, nor muteness of unheard melody heard from particular direction in space. How do I know you are the one? Recognized and known from within touch according to Doubting Thomas Caravaggio. Or Rembrandt. Or heard by Beckett, Company, opening phrase:
    A voice comes to one in the dark. Imagine.
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