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.


06 December 2019

Community Circle

Theatre of the Actors of Regard  

Hepburn Community meeting in Daylesford Town Hall on Tuesday evening to discuss draft changes to Hepburn Shire's 
Local Laws. TAR representative PT speaking : see text below

Regarding
Local Law 5.3
Dangerous and Unsightly Land

I propose that the word “unsightly” be removed from Local Law 5.3 and that it NOT be used in any draft or future Local Law.

Currently, Local Law 5.3 is as follows :

The owner or occupier of premises must not allow the premises to be unsighty

In this clause, "unsightly" means any land on which :

(1) Unused excavation material or general household waste is present and in view.          

(2) Any other thing that has substantial adverse visual amenity impact to the general public in context with the surrounding area.

Draft Local Law 4.3.1 is proposed to replace Local Law 5.3 and is as follows :

The owner or occupier of land must not cause or allow that land:

(a) to be unsightly; or

(b) to be kept in a manner which is dangerous.

NOTE: For the purposes of this clause, the term unsightly means land which contains:

(a)  unconstrained rubbish such as paper, cardboard, plastic bags, styrene, house hold rubbish, second hand containers;

(b) second hand timber or second-hand building material;

(c) discarded, rejected, surplus or abandoned solid or liquid materials; 

(d) graffiti;
*that hoary old chestnut
80 PUNKS IN THIS VILLAGE AND A FEW HIPPIES
Bakers Delight OPEN 7 DAYS

Unofficial 'community' mural and bakery signage on wall of Daylesford supermarket car park

HEPBURN DEMOCRATIC CLUB scrolled on street-frontage wall of the old Macaroni Factory at Hepburn Springs.
(Why don't you all f-fade away - 'My Generation', The Who)

(e) anything being built which is left incomplete and constitutes a detriment to the appearance of the surrounding area

THE T-REX : a long-stalled Shire project in central Daylesford

(f) any other thing making the land visually repugnant; or

(g) detrimental to the general amenity to the area but excludes an enclosed building or structure on the land which complies with regulations made under the Building Act 1993 or the Planning and Environment Act 1987.

.  .  .  .

It’s a truism that beauty is in the eye of the beholder.

So too is ugliness in the eye of the beholder.

So also, to quote the draft law, unsightliness, visual repugnance and detriment to appearance.

Is it really thought wise that the Shire should legislate all subjective appearance?

Others have long advised otherwise.

This is Matthew, chapter 18 (KJV) :

"Woe unto the world because of offences! for it must needs be that offences come; but woe to that man by whom the offence cometh!
...if thine eye offend thee, pluck it out, and cast it from thee: it is better for thee to enter into life with one eye, rather than having two eyes to be cast into hell fire."

And this is 8th century Shantideva :

"Where would there be leather enough to cover the entire world? With just the leather of my sandals, it is as if the whole world were covered. Likewise, I am unable to restrain external phenomena, but I shall restrain my own mind. What need is there to restrain anything else?"

Accordingly, I move that the term “unsightly” be removed from all Local Laws, to be substituted with the term “sight-seeing”. And that “sight-seeing” be represented NOT as the touristic seeing of this or that sightly place or unsightly object; rather that the term “sight-seeing” be offered to all, residents and visitors alike, as an invitation to look within and without. To visit the make-do construction sites our own individual acts of seeing the world into being : to witness in wonder the well-spring of our streaming projections of ‘sightliness’ and ‘unsightliness’.


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LOGOS/HA HA


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01 December 2019

HAND SPACE : Label Tree sampler




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29 November 2019

bLACK FRIDAY


bLACK MASS SALES STRATEGY 

click image to enlarge  

click image for the full scene  
Theatre of the Actors of Regard  
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28 November 2019

TARbor


Some fortunate someone acquired this Robert Rooney painting at the D&H auction in Melbourne last night. 

Lot 111
ROBERT ROONEY
(1937 – 2017)
SCHOOL ARTS STORMS: BIG RED TREE, 2002
synthetic polymer paint on canvas
118.5 x 178.5 cm
signed, dated and inscribed with title verso: 

ROBERT ROONEY / SCHOOL ARTS STORMS: BIG RED TREE / SEPTEMBER 2002 / …



Earlier in the day we further photographed the site of last week's storm upon on the local oak.
  

Theatre of the Arborists of Regard  
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26 November 2019

Performed by a storm | Observed by a cloud


The local oak
at the end of winter

Too large for a single snap


FIAPCE Fotos  
now it's the end of spring


Theatre of Animist Regard  
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23 November 2019

tribuTARy


/ˈtrɪbjʊT(ə)Ri/
noun: tribuTARy; plural noun: tribuTARies

1.
a flow or flower flowing into a larger flow, flower or anthoLOGOS/HA HA
e.g.
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Similar :
headflower, branchflower, feederflower, sideflower, creekflower
influent, confluent, affluent, effluent

2.
HISTORICAL
a person or state ] see ( that pays tribute ] flow ( to another state or ruler ] see (
e.g. tribuTARies of the Holy See*

*Every see is considered holy. In Greek, the adjective "holy" or "sacred" (ἱερά transliterated as hiera) is constantly applied to all such sees as a matter of course. In the West, the adjective is not commonly added, but it does form part of an official title of two sees: besides the Holy See, the Bishopric of Mainz (the former Archbishopric of Mainz, which was also of electoral and primatial rank) bears the title of "the Holy See of Mainz" (Latin: Sancta Sedes Moguntina).


Theatre of the Actors of Regard  
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 A Person Looks At A Work Of Art/
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20 November 2019

~ ~ ~ ~ ~ ~ Never the same river ~ ~ ~ ~ ~ ~


Part 2 of the exhibition Never the same river is at Anna Schwartz Gallery until 21 December 2019.


 Theatre of the Actors of Regard                                 John Nixon
                    wall installation by Denton Corker Marshall                  
Never the same river is a thought that flows to us from the Western side of the mountain, from Greece, Heraclitus of Ephasus.
 
Heraclitus of Ephesus (Ἡράκλειτος, Herakleitos; c. 535 BC – 475 BC) was a Greek philosopher, known for his doctrine of change being central to the universe, and for establishing the term Logos (λόγος) in Western philosophy as meaning both the source and fundamental order of the Cosmos. - Wikipedia

Heraclitus believed the world was somehow in accordance with
Logos (literally, "word", "reason", or "account"). He also believed the world was ultimately made of fire. He was committed to a unity of opposites and harmony in the world. He was most famous for his insistence on ever-present change, or flux or becoming, as the characteristic feature of the world, as stated in the famous saying No man ever steps in the same river twice as well as Panta rhei, everything flows. This aspect of his philosophy is contrasted with that of Parmenides, who believed in being, and that nothing changes. Both had an influence on Plato and thus on all of Western philosophy. - Wikipedia


FIAPCE (-2019-)  
Flowing down the Eastern slopes, from Lao Tzu through to the present Hong Kong anti-Beijing resistance movement, Be as waterFrom the 
Tao Te Ching :

        Nothing is weaker than water,
      But when it attacks something hard
      Or resistant, then nothing withstands it,
      And nothing will alter its way.


Let the rivers flow ] to the see ( a Daylesford Community Banners Project : carried in the 1982-83 Daylesford New Year's Eve Parade in support of the Franklin Blockade and against the proposed damming of Tasmania's wild Franklin River.


  from Anti-Oedipus by Deleuze and Guattari, written in pencil
  on one of the canvas panels :


     Desiring-machines are binary machines, obeying a binary law or set of rules governing associations: one machine is always coupled with another. The productive synthesis, the production of production, is inherently connective in nature: "and . . ." "and then . . ." This is because there is always a flow-producing machine, and another machine connected to it that interrupts or draws off part of this flow (the breast—the mouth). And because the first machine is in turn connected to another whose flow it interrupts or partially drains off, the binary series is linear in every direction. Desire constantly couples continuous flows and partial objects that are by nature fragmentary and fragmented. Desire causes the current to flow, itself flows in turn, and breaks the flows. "I love everything that flows, even the menstrual flow that carries away the seed unfecund."* Amniotic fluid spilling out of the sac and kidney stones; flowing hair; a flow of spittle, a flow of sperm, shit, urine that are produced by partial objects and constantly cut off by other partial objects, which in turn produce other flows, interrupted by other partial objects. Every "object" presupposes the continuity of a flow; every flow, the fragmentation of the object. Doubtless each organ-machine interprets the entire world from the perspective of its own flux, from the point of view of the energy that flows from it: the eye interprets everything—speaking, understanding, shitting, fucking—in terms of seeing. But a connection with another machine is always established, along a transverse path, so that one machine interrupts the current of the other or "sees" its own current interrupted.

*Henry Miller, Tropic of Cancer, Ch. 13. See in this same chapter the celebration of desire-as-fully-expressed in the phrase: ". . . and my guts spilled out in a grand schizophrenic rush, an evacuation that leaves me face to face with the Absolute." 

     Hence the coupling that takes place within the partial object-flow connective synthesis also has another form: product/producing. Producing is always something "grafted onto" the product; and for that reason desiring-production is production of production, just as every machine is a machine connected to another machine. We cannot accept the idealist category of "expression" as a satisfactory or sufficient explanation of this phenomenon. We cannot, we must not attempt to describe the schizophrenic object without relating it to the process of production.


  Richard Lindner, 'Boy with Machine' (1954)

      ... The satisfaction the handyman experiences when he plugs something into an electric socket or diverts a stream of water can scarcely be explained in terms of "playing mommy and daddy," or by the pleasure of violating a taboo. The rule of continually producing production, of grafting producing onto the product, is a characteristic of desiring-machines or of primary production: the production of production. A painting by Richard Lindner, "Boy with Machine," shows a huge, pudgy, bloated boy working one of his little desiring-machines, after having hooked it up to a vast technical social machine—which, as we shall see, is what even the very young child does.


Theatre of the Actors of Regard  
before and after 'Boy with machine' (Lindner)  
 detail
 A Person Looks At A Work Of Art/
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 LOGOS/HA HA


   

18 November 2019

The Inter-lock-uTAR


Bosse de Nage, on secondment to bLOGOS/HAHA 


click images to enlarge  

Theatre of the Actors of Regard  
detail
A Person Looks At A Work Of Art/
someone looks at something...
  
LOGOS/HA HA


 

16 November 2019

<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< !


Theatre of the Actors of Regard
presents

click photo to enlarge 

photographer Kate Nash/Black Inc. 
Theatre of the Actors of Regard         
 Doug Hall                                                         Anna Schwartz
 detail
 A Person Looks At A Work Of Art/
 someone looks at something... 
 LOGOS/HA HA


11 November 2019

Chatterbox : A Two Lip Mania


“Anuses on Stems”? Parisians React to Jeff Koons’s Gift to the City :

Hyperallergic spoke with Parisians and tourists to hear their opinion of the artist’s controversial gift to the city, a monumental “Bouquet of Tulips.” 


Theatre of the Actors of Regard 
detail
A Person Looks At A Work Of Art/
someone looks at something...
  
LOGOS/HA HA
   
Editors view : 

Void Mother is abundant, the equal of our ceaseless impregnations. Those who see "anuses on stems" probably have shit for brains. Nothing wrong with that : cause and effect.

HAND SPACE view : 
       

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05 November 2019

meta-TAR


This 1960 painting - Lambda 2 - by Morris Louis goes to auction at Sotheby's New York next week :

SEEING IN COLOR: ABSTRACTION FROM A DISTINGUISHED NORTH AMERICAN COLLECTION

The scarf and the second coat...


Theatre of the Actors of Regard 
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04 November 2019

screeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeened


Mills College Art Museum Presents In Plain Sight and Invites Deep Looking

 castaneda/reiman, installation view of Untitled Landscape (system 
 and structure), 2019. Printed drywall and metal, wood.

Theatre of the Actors of Regard 
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 A Person Looks At A Work Of Art/
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 LOGOS/HA HA


   

01 November 2019

Mass Movement : To and From a Critique of Pure Critique


Under the JSTOR category Education & Society, this image was run today under the article headline The Critique of Pure Marathon by Amanda Parrish Morgan.
   

Funambulist thoughts cross the meta-way 
from that image to the work of John Brack,  
from his Collins St, 5p.m. to his tabletop     
mass movements of pen|cils
  

 John Brack, Collins St. 5p.m. 1955                      Collection NGV


 John Brack, Crossing, 1978                    Collection Monash Uni

Another stage along the way...


 John Brack, Departure and Arrival, 1980


Theatre of the Actors of Regard  
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 A Person Looks At A Work Of Art/
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 LOGOS/HA HA


   

27 October 2019

Three Views of Emptiness ] TAR in the gallery of C.T.Loo ( and One View of Emptiness

  

  Photographs by Nina Leen (1950) published in LIFE Magazine.
Theatre of the Actors of Regard  
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 A Person Looks At A Work Of Art/
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 LOGOS/HA HA


   

25 October 2019

I Spent Three Hours Staring at an Anthill


I Spent Three Hours Staring at an Anthill
by James MacDonald
JSTOR : 21 October 2019


  from Collected Papers on Ants, 1905  via Wikimedia Commons
Theatre of the Actors of Regard  
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21 October 2019

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18 October 2019

Sayed Mirwais Rohani


MEDIA RELEASE - Refugee Action Coalition Sydney

MANUS REFUGEE SUICIDES IN BRISBANE : OFFSHORE DETENTION CLAIMS ANOTHER VICTIM


A 32 year-old mentally-distressed Afghan refugee, Sayed Mirwais Rohani, has committed suicide in Brisbane. The Afghan doctor jumped to his death from the 22nd floor of a Brisbane hotel on Tuesday, 15 October.

Mirwais is the seventh Manus refugee death.

Mirwais was brought to Australia from Manus Island in 2017, as his mental health badly deteriorated following his detention on Manus Island in September 2013. He had been living in community detention in Brisbane for the last year.

The tragedy is shocking tale of deliberate abuse and neglect.

Mirwais had a medical degree from a Chinese university which is recognised by Australia. He completed his degree in English and spoke 6 languages. He offered to work in the Lorengau hospital for free and was moved out of the Lombrum detention centre on that basis. Despite being moved he was not allowed to work in the hospital.

As his mental health declined he was attacked, beaten and imprisoned.

His father, a refugee living in Britain, travelled to Manus Island in 2016 in an effort to have him released so Mirwais could join his parents in Britain. Peter Dutton refused the request on the basis that Mirwais was over 18.

There was a second attempt to try to get Mirwais to join his family in Britain after he was moved to Australia. That attempt also stalled with Peter Dutton and the Department of Home Affairs. His father visited Mirwais again in 2018.

“Manus Island, offshore detention and Peter Dutton are responsible for yet another refugee death,” said Ian Rintoul, spokesperson for the Refugee Action Coalition, “In 2010, Australian of the Year, Patrick McGorry, labelled detention centres ‘factories of mental illness’. Mirwais death is yet more evidence of the damage that offshore detention is doing. It’s time offshore detention was ended.”
.  .  .  .

"We extend our sympathies to the individual’s family. To ensure we respect their privacy, no further information will be released," a Home Affairs Department spokesperson said in a statement.

.  .  .  .   

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15 October 2019

Label-Crazed Triple-Gourd Void Vase Regard




Above, 19th century celadon crackle glazed porcelain gourd vase of good scale. This vase employs a delightfully pale shade of celadon glaze. The cracquelle surface is especially pleasing as it exists in two shades: jet black lines over much fainter and lighter crazing. 

Below, Label-crazed triple-gourd void vase regard.

FIAPCE  
 detail
 A Person Looks At A Work Of Art/
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14 October 2019

Picture Club


AGWA Foundation Picture Club

10.30am, Monday 21 October 2019

Don't miss the October edition of Picture Club, as the Guides lead Members on a fascinating and insightful tour of one of AGWA's newest exhibitions.

Meet us at the main reception desk before proceeding through to the Gallery for a deeper insight into a current display under the expert guidance of our Gallery Guides, followed by tea, coffee and conversation in the Foundation Clubroom.

Please RSVP by Sunday 20 October to foundation@artgallery.wa.gov.au

We also hope to see you on Monday 18 November, where we will be enjoying some festive cheer in the Foundation Clubroom as we celebrate the final Picture Club for 2019!



Theatre of the Actors of Regard  
ARTWORK CREDITS

Fritz Kos  Art Gallery of Western Australia 1979 (detail).
State Library of Western Australia. Sourced from the collections of the State Library of Western Australia and reproduced with the permission of the Library Board of Western Australia. (224275PD).

FIAPCE
           detail
           A Person Looks At A Work Of Art/
           someone looks at something...
  
           LOGOS/HA HA


13 October 2019

Knife Behind Back (continued)


A Monumental Canvas by Yoshitomo Nara Sells for $25 Million in Hong Kong, Shattering the Artist’s Previous Auction Record

It is the latest in a slew of artist records to be set at auction in Hong Kong.
Six bidders duked it out for a lengthy ten minutes to get their hands on Nara’s Knife Behind Back (2000), which ultimately sold for $24.9 million with premium. The artist completed the canvas—his largest ever to come to auction—the same year he returned to Japan after spending 12 years in Germany. In the painting, one of his trademark wide-eyed children stares out crankily at the viewer with one hand behind her back; only the title offers an ominous indication of what she is holding in her hand. 

  Peter Tyndall (c.1986) after Lucio Fontana (1964). Courtesy FIAPCE
Theatre of the Actors of Regard  
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 A Person Looks At A Work Of Art/
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 LOGOS/HA HA