used the hotel pen
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    [2875]

    Raphael Duchhamp re-thought vision, evidence; e-videns; emerge from vision. Eyesight of possessed beholder: Raphael sick boy any beholder possessed by The Bride. Combined notion of icon and action of painting, Eastern and Western Church Of Art considered One. Both authors divided big picture into partitions, icon on top painting below.

    Burial of Count Orgaz El Greco response to Raphael-Duchamp all-in-one conception of image. Thoroughly prepared started out icon painter included members of social élite of contemporary Toledo, learnt from Venetian art like Duchamp integrated Cemetery of Uniforms and Liveries in his Large Glass.

    El Greco feat of ingenuity in Iberian context: only three or four of attendees actually observe transcendental commotion above their heads. Not possessed stay completely cool. What surrealism amounts to: cool amidst outlandish events. Cf embedded transcendence of everyday doings in The Flanders, not much to write home about still intense.

    Sancho Panza not disturbed by extravagant behavior or his master nor were Dali and Buñuel disturbed behaved much like Sancho Panza in regard to their own eccentrically plastic performances on film in paint.

    [2876]

    Caravaggio handheld lantern and Artemisia brush-stroke much same act of painting. Reaching out and towards in act of illumination.

    [2877]

    Glenn Gould keyboard prepared for shallow kick back action control exact effortless Mozart recordings distinct and clear as tap dance floor does the work. As if Mozart keyboard likewise prepared, reflecting one another in mirror of mind dancing together no telling who mirrors whom, an à quatre mains mirror experience across centuries. Cf drawing and indian ink brushwork completely revealing, shallow touch action by definition. Cf smear of tubed paint often enough hiding application anonymous like finish of lacquer. When coincidence occurs freedom of dancing hand absorb scene without hesitation: Bada Shanren 1650-1705. And Rembrandt. Paper does the work.

    [2878]

    Pioneer Plaque into outer space greeting card to comrade spirit if anywhere. Could have picked The Large Glass for same mission, similar in kind of information but more subtle. Imagine us at receiving end, plaque would teach us nothing we did not already know while The Glass would make us recognize souls from depth of light-millenia. Are we not at receiving end of far-reaching mission?

  • [2879]

    Foot tapping jazz and walking the blues.

    [2880]

    Algorithm sequence of actions basic step is step back as in re-set when stuck at wrong turn. Wrong turn erasures of Beethoven sketch for score rather stepping-stone stuckness. Does not erase and annihilate but remain part of structure. Late Coltrane improvisation brings that calligraphy right out in the open of sounding space. Never clean slate rather process of sedimentation. On/off and reset, either different in kind or collapse. As in unplugging device. Relate to point of departure one can and cannot reach. In Coltrane last recorded live performance glimpse of My Favorite Things, his first recording on tenor saxophone from 1960, start of long musical journey stretching all the way to open end.

    [2881]
    Come pavement meet white stick zigzag sound and all, advance step by step where seeing eyes trapped by anything unheard of even far away. Cf. Raphael Transfiguration. As well as Velázquez Hilanderas: blind seer of vision un-supported by orientation white stick or not.
     
    'Portrait' and 'landscape' picture formats escape the square best saved for paving. Portrait and landscape loaded squares stimulating lateral and vertical thinking respectively.
     
    The Transfiguration, two storey construct of a picture like Duchamp Large Glass: different floors, different parts of story. Cf. Velázquez disposition of foreground/background: silhouette arrangement divide distance in depth like former two difference of floors as of building. Means Velázquez occasion division-of-vision through suite of rooms that unfold themselves on passing through. Much same critical presence though, of being same time elsewhere: woman absorbed in absence, on the one hand, and boy in seizure, state of ecstasy, on the other (Merriam-Webster: ‘from ex- out + histanai to cause to stand’. Remember Duchamp noting: EAU & GAZ A TOUS LES ÉTAGES.
     
    Imagine stand at lower edge of Transfiguration, or at lower edge of Large Glass, laid down on their back flat on floor. Then height would be depth like in case of Las Hilanderas. In fact, that is how Duchamp started The Glass: shooting paint-dipped matches with toy gun into region of plate-of-glass laid out on floor and beyond reach of ordinary tools of painter such as paintbrush.
    [2883]

    Does not reading this sign trap traveler confused and astray? Same sign in signpost warehouse would not because exempt from map of traffic. Books in libraries how does one know if they should be read forwards or backwards in order to make sense?

    [2884]

    Smile signalled by lips beamed by eyes. With hidden lips eyes hardly smile. With hidden eyes lips look contorted by words. When eyes talk they are chambers of resonance of what vocally transmitted. The play Not I, Beckett words of 'moving mouth with the rest of the stage in darkness'. As TV production radical. Suppose all news readers on TV since they are deputy 'Not I' readers.

  • [2885]

    Collection of Bach toccatas by Gould. No humming for accompaniment. Of course, the word t o c c a t a does it not say 'only touch'? Cf pieces of glassware studied in the dark timbre of cautious carress. Would not humming put veil of damping over crispness of toccata? Hmmm... Heard some humming after all.

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