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.
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Melbourne Now countdown – day 98
Peter Tyndall is a well-respected, and rather funny, conceptual artist, who has developed a number of tropes that engage with recursive relationships between art, language and meaning. Language shapes what is possible to know; at the same time meaning shapes and changes language. Art often brings other kinds of knowing into being; at the same time we don’t always know what art means. Contemplating and discussing a painting attaches meaning to it, although it was never a blato begin with (well, unless it was…).
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A Person Looks At A Work Of Art/
someone looks at something ...
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