diamond bright angry

    Goya implicate Picasso just as Picasso Goya, cross-breeding that does not violate direction of influence but broaden scope of the present. In line with G.H. Mead Philosophy of the Present ed Arthur E.Murphy 1932.

    Library scene in Wim Wender  Wings of Desire where Damiel and Cassiel walk/…/ into their own point of view (http://pov.imv.au.dk/Issue_08/section_2/artc5A.html). Model of what is going on, literally going on, ‘fluid camera work' when listening to thinking as angels do.

  • [1429]

    Library silence classified according to interest. Angels listen to individual immersion pass from one to another smooth transition of fading and rising voices of silence, private language not private but in sense of not founded on taking of turns as of colloquy but rather contrapuntal conversation going on like in The Glenn Gould Trilogy but another format of vastness.

  • [1430]
    Not only obvious individual painters tend towards same mode-of-presence again and again but painters within established tradition same mode incessantly. Gravitating towards five modes of presence, labels picked  to hint at some property or trait (cf Dorian, Phrygian, etc in music before system of keys of common practice in music):
    Origo; from oriri, to rise
    Affinitas; from affinis, ad, to, and finis, end, adjacent, related by marriage
    Passio; from pati, to endure, suffer
    Nexus; from nectere, to bind
    Scena; from scaena, stage, a picture of a mise en scène of an image (an embedded tableau vivant) showing person or group posing silently
  • [1433]
    'Modes of presence' pervasive kind of involvement without symptoms. Cf 'emotions' patently symptomatic. Modes of presence not complementary. Green and red are complementary. Eyes produce lingering sight of green by intense exposure to red, mixed into uncolored light, split and blend proving same of differentiation and integration, as known to eye of mind.
    Emotions different and complementary but not in perceptual terms. Sorrow does not produce looming joy. Episodes of joy or sorrow biographically distinctive parts of larger context. Would there be emotional non-colored clarity where sorrow and joy mutually absorbed?
    Modes of presence are not dynamic like emotions nor do they form continuity of spectrum.
    Innumerable possible positions out in open yet people gather in certain places. Painters tend to do. Often one understands why. Could be the view. 'History' considered a series of views and venues of historians.