spread on the floor
  • [50]

    ―Are you sure we're looking at a picture at all? Can you point it out for me?
    ―On location I could have given its exact position by drawing a chalk line around it.
    ―So you know how animator framed image? Could it not be that your suggested chalk line would cut a corner from picture as originally conceived?
    ―See what you mean. What about this then? Suppose I marked the flank of the beast with an X instead.
    ―But would not your X just mark an arbitrary position on the wall strictly speaking?

    [51]

    ―As to a sketchpad picture I can point it out even before realized since the pad defines space to house the same. And signature might help establishing authorship of that imaginary space.
    ―Would you say cave animation is more like graffiti? Happens on walls never meant to be receptacles of art. And stay where they sit until not.
    ―Well, graffiti want to be seen in particular places while those ancient animators wanted to observe what could be seen out in the open. A cave is for looking around neither gallery nor locale of definite dimensions but in the eye of the animator. And peopled by beings coming and going.

  • [54]

    Pictures claim space cleared from previous visualizations if needed. Cave images do not, one image on top of another no problem since emergence not based on territorial claim but happens amidst something else going on already.

  • [55]

    Pictures can be discarded, images be lost but not discarded.

    [56]

    —Could have been different simply what showed up in framed space a beetle crawling over shaman’s carpet or picturesque view or photogenic face simply some topographical realities not presupposing any screen of projection at all. One doesn't say a pretty face presented itself on the front-oval of his head.
    —That picture of lions survived the grindings of time better than almost all other pictures in history and you claim it doesn't exist!
    —A snow-blind trapped and lost in own footprints truly vicious circle in which making and reading divorced but confused. Don’t take for granted that making and reading marks always were neatly distinguished and associated way they are today and have been for the last few thousand years. As to those big cats we can be sure their author paid attention to them in the act of making but after the fact that marked surface could very well have returned to a blank as far as the maker’s interest concerned.

  • [57]

    Why did not the makers of those animations avoid overlaps and superpositions? Assume musician refused to play where somebody else had played before.

    [58]

    Double exposures showing portrait overlaid by landscape why bother no problem eyes mostly no trouble sorting out portrait from landscape but ignore or pleased by ambivalent sight.

    [59]

    Animators attended to images separate acts, with exception of 'Chauvet panel' showing perhaps somebody practicing art of drawing head of horse, process rather than group portrait. Like practicing scales on instrument.

  • [60]

    Tango aficionados dancing trance of passion suppose they had ink-pads for soles pattern on floor left behind their kick and motivation. Animating for posterity in Lascaux? Did not return to see what they had done previously but to good place, engage afresh in dancing shadows of flickering light.