David Jones, artist and poet (1895-1974) begins his PREFACE TO THE ANATHEMATA :

'I have made a heap of all that I could find.' (1) So wrote Nennius, or whoever composed the introductory matter to Historia Brittonum. He speaks of an 'inward wound' which was caused by the fear that certain things dear to him 'should be like smoke dissipated'. Further, he says, 'not trusting my own learning, which is none at all, but partly from writings and monuments of the ancient inhabitants of Britain, partly from the annals of the Romans and the chronicles of the sacred fathers, Isidore, Hieronymous, Prosper, Eusebius and from the histories of the Scots and Saxons although our enemies . . . I have lispingly put together this . . . about past transactions, that [this material] might not be trodden under foot'. (2)

(1) The actual words are coacervavi omne quod inveni, and occur in Prologue 2 to the Historia.
(2) Quoted from the translation of Prologue 1. See The Works of Gildas and Nennius, J.A.Giles, London 1841.

30 December 2017

TAR, huh, yeah What is it good for


Buried within the question recently explored by Felicity D. Scott, ‘Who is the festival for?’ is the rapidly fading possibility of the public.  ...

first published today at MEMO REVIEW
read full article here 

Giles Fielke is working on a PhD presenting a counter-modern history which looks at the artist organisation of discrete images, in the Art History department of The University of Melbourne. In particular his research focusses on works by Hollis Frampton and Harun Farocki and the question of the search. He is a founding member of the Artist Film Workshop <http://artistfilmworkshop.org> and regularly publishes writing on contemporary art and film

from emaj online journal of art

TAR ] Theatre of the Actors of Regard (
after Edwin sTARr
TAR, huh, yeah 
What is it good for
Absolutely nothing
TAR, huh, yeah
What is it good for
Absolutely nothing
Say it again, why'all
TAR, huh, good god
What is it good for
Absolutely nothing, listen to me ...
after songwriters Barret Strong and Norman Whitfield

A Person Looks At A Work Of Art/
someone looks at something...