loose assembly
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  • [2566]

    In brief phantom portrait of this book of hours. Imagine falling into some space inspected from doorway captivated by circumstances beyond control in regions you have traversed extensively amidst winding geometries of passion and even so elsewhere elsewhen recognizing elsewhom reluctant to leave pocket of illuminated space afforded by spoonful of light at this very hour and as long as it lasts. (Introductory call to my seminar series What Do I Know. Think it was 2006.)


    Dürer self from 1500 Pontormo Visitation 1520s, enhanced sense of sharing through silent dialogue of mirroring. Pontormo contribution: Mary and Eilzabeth duplicated invite third party of beholder into same sharing. Pivots on fact one meets same kind of attention one spends in mirror. Be remembered majority of self portraits do not live up to this. Trance of Courbet Self Portrait With Pipe misses spectacularly, cannot possibly be same as investment of self in making of it. Consider Duchamp With Pipe correction of Courbet portrait.


    van Eyck Arnolfini Betrothal and Raphael Transfiguration same notion of there being distinct visual source of evidence, be it in eye of eye-witness or in point of vanishing of visual discrimination at crossing of diagonals of projection

    Raphael School of Athens final statement on vanishing vision. Same painter turned around saw himself in privileged gaze of eye witness sick boy. Had to combine two pictures in one, upper and lower, to show what was at: sick boy only beholder of transfiguration in domain of picture above their heads.

    Instead of two pictures Jan introduced mirror afforded nestled duplication, make us see and be seen at sacrament of wedding which is transfiguration that could pass for nothing if not sensitive eye of mind.

    Duchamp payed heed to both, in The Glass, general disposition of lower and upper zone of transfiguration and slightly less obvious identifying van Eyck mirror as the lens of the Eye Wittnesses. And, those eye wittness(es) accounted for by same engineering mind that produced linear projections...

  • [2569]

    Envious of canine superb nose human faculty of scent joke in comparison. Applies not only to olfactory discrimination. Is not human sensorium as a whole marked by mediocracy? Canine scent does not stick out in dog world which is how environment presents itself to them. General mediocracy of perceptual faculties? No, balanced sensorium. Dog and human same. Until degeneration of one or another sensory faculty sets in there is but sensorium in equilibrium. Even degeneration or loss of certain faculty handicap, sensorium seeks remain intact through plasticity. Thinking, is it not resilient compartmentalization through compensation?


    Painter touches body of light like instrumentalist in music touches body of sound.


    Ring of innocence of crystallophone glass harmonica sounds of life textured or not slick or rough. Caravaggio late light Burial of St Lucia turned corrosive (Dominic Cutajar's term) damp climate and wear added to effect. Rembrandt light in Stockholm Simeon same order and intensity but raucous mild and mellow.


    The way, as quintessential to Vincent as to Fan Kuan not far away but where one happens to be.


    Care and comfort through subtle touch in focus of Rembrandt and Velazquez, difference of balance though: Velázquez little more care through comfort, Rembrandt little more comfort through care. Mirrored in what they touch, breathing life and artifacts respectively. Notice Velázquez learns as much from handling artifacts as Rembrandt holding life in his hands. Same mutuality: any artist in efforts of mastering instrument be it speaker weighing words engaged in same mutual attachment.

  • [2576]

    Do not expect me to teach but to learn why we met.


    Mystery of Picasso, Clouzot motion picture from 1956. Picasso made a point of continuous transformation pot of flowers becomes fish turning into bird and so forth final state not a goal but leave taken due to whatever exhaustion or indifference. As against his classicistic finality of satisfaction.

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