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.
SPECIAL "MIDDLE-OF-THE-ROAD" ISSUE
collection FIAPCE
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FRENCH
rangement
ENGLISH
arrangement
noun
arrangement, classification
Ikebana (生け花, 活け花, "arranging flowers" or "making flowers alive") is the Japanese art of flower arrangement. It is also known as Kadō (華道, "way of flowers").
Kadō is counted as one of the three classical Japanese arts of refinement, along with kōdō for incense appreciation and chadō for tea and the tea ceremony.
Artists of the Kanō school such as Sesshū Tōyō (1420–1506), Sesson, Kanō Masanobu, Kanō Motonobu (1476–1559), and Shugetsu of the 16th century were lovers of nature, so that ikebana advanced in this period a step further than temple and room decoration and commenced in a rudimentary way to consider natural beauty in floral arrangement. At this time ikebana was known as rikka.
This same age conceived another form called nageirebana. Rikka and nageirebana are the two branches into which ikebana has been divided. Popularity of the two styles vacillated between these two for centuries. In the beginning, rikka was stiff, formal, and more decorative while nageirebana was simpler and more natural...
- Wikepedia
TARkado is a more recent development, a confluence of Kadō and Theatre of the Actors of Regard. Nature ranged in the painted world. It originates from country Victoria.
TARkado
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something beginning with c

Theatre of Antarctic Regard
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Tauts Arise
I taut I taw a puddy tat a-creeping up on me
I did, I taw a puddy tat as plain as he could be
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inscription by free pencil movement
inscription by HAND SPACE
inscription by Theatre of the Actors of Regard
fpm HAND SPACE TAR
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TAR thoughts arise : relax
TAR thoughts arise : relax
TAR thoughts arise : relax
TAR thoughts arise : relax
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TAR + TAR = TAR
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Theatre of the Actors of Regard
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There is nothing you can see that is not a flower;
there is nothing you can think that is not the moon.
- Matsuo Basho
translation R H Blyth
If it flows
it's a flower
- poeTAR
translation FIAPCE
Theatre of the *Anthos of Regard
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*florilegium : from Renaissance Latin flōrilēgium,
calque of Ancient Greek ἀνθολογία
(anthología, “flower-gathering”)
(compare English anthology),
so called because flowers were used as symbols
of the finer sensibility of literature. (Wikipedia)
Wednesday 27 March, 1-2pm
G104, Building G
Monash Art, Design and Architecture
Monash University, Caulfield Campus
FREE /// All welcome
A Centre for Everything will discuss their project for MUMA’s international group exhibition Shapes of Knowledge in relation to global shifts in art and activism that have influenced their work. Maps of Gratitude, Cones of Silence and Lumps of Coal explores how the fossil fuel industry ingratiates itself to the Australian public. The project adopts A Centre for Everything’s signature triadic formation, bringing together the topics of Ice Coal, Data Networks and Collective Activity to converge in generative and revealing ways.
A Centre for Everything is an independent creative and pedagogical project that engages individuals and communities to learn, create, discuss and eat together founded by artists Will Foster and Gabrielle de Vietri. Their collaborative events bring together diverse topics through performances, presentations, workshops, readings, discussions, demonstrations, critiques and meals. Recurring themes include active responses to current political issues, game-play and its application to wider modes of social behaviour, collective creativity, and the intersection of artistic, social and pedagogical thinking.
A Centre for Everything are participating in Shapes of Knowledge at Monash University Museum of Art, 9 February – 13 April 2018.
Image: A Centre for Everything, Solar circles, Crepe circles &
Munari’s circles 2015.
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