dust itself
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  • [1440]

    Painter venture outside orthodoxy need way of pinning down imagination something to prove present in re-presentation. Where vanishing point comes in handy. Had they not slipped out of mirror maze of Speculum Major? That vanishing point their point of origin as in Origo.

  • [1441]

    Painters of Antiquity took natural scenery for granted. Never occurred to them enveloping space be conceived of as projection of construction or construction of projection.

  • [1442]

    Merit of visual pyramid: coherence. Perceptual, challenging dogmatic control of imagination.

    [1443]

    Origo Dürer conceived of picture little like marksman scoreboard while Affinitas van Eyck rather pausing in doorway of contemplation. Duchamp combined their respective mode-of-presence in overarching diptych of Large Glass and Étant donnés.

    [1445]

    Matter of faith and faith in matter on same piece of paper. At top standard fluent formula Annunciation that Pisanello could have drawn asleep. But that nude! energetic hatchings of avid eyes gripping her presence in the round.

    [1447]

    Since Byzantine orthodoxy disregarded authority of volume Origo set itself task of construing depth geometrically: for housing missing volume. Pisanello, absorbed by his lady saw nothing around her. Nevertheless, convincing depth emerged in process portraying her, as by itself, her volume instantiating all depth needed for housing her free as a bird.

    Where there is volume there is mould, scoopful of cavity carved out of depth. Volume of body does not push space away but make space tangible. A mould not space waste but promise of presence. Imagine kouros or kore placed on promontory. Does a lot to place and position in vast panorama of natural environment by the sea.

    Lute and football are cavities in space, shaped to afford vibrations of membrane for purpose of game set in motion by touch and carress of playful desire.

    [1448]

    Duchamp Standard Stoppages account for technique of picturing, method of taking measure such that artist always been trained to do. Dürer Underweysung der Messung, Art of Measurement, sum up Origo approach to picturing in very much same bureaucratic manner did Duchamp, only latter without underlying confusion of desire, not bound between covers but gathered in box or spread in wind of vitrine cabinet of some sort.

    [1449]

    Combination of Pisanello body-of-attraction and Piero geometry-of-space: Duchamp. Queen. Through her unrestricted penetrative moves, both piece and reach of game. Her passage rise to distinction body-and-space. Whatever transpire aspect of her presence in passage. She can be wiped out but also arise from humble extraction transform pawn to Sovereign Queen.

    [1450]

    Figure on chessboard not precisely vividly present but composed. Pisanello nude vividly present anything but chess-like. Chessman quality about every Piero figure. Pertain also to Seurat.

  • [1451]

    Piero fluent spacetime modify undisturbed orthodoxy as well as turbulence of presence. Little of both. Like stroking tight skin of drumhead or body of guitar, set wave-train of slight vibration registered attentive perception whisper of potential.

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