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.
"What a performance!"
barry@OffTheBench
"Third Season - Must End Soon!"
prompter@TAR
"Just one more black square day in Australian art!"
Mr.D@TheCentenarian
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old angels young angels feel alright
on a warm San Franciscan night
- 'San Franciscan Nights'
Eric Burdon & The Animals, 1967
Yesterday, hereabouts, a transport of young angels passed by
Today, another such sighting :
Paul Klee's Angelus Novus (New Angel) 1920,
spiriting to Venice to see what the summoning fuss is all about
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What a beaut. Mrs Chook with bonnet and apron, her bird's head umbrella tucked under her wing as she looks at this semi-attached poster. Its lower part is pinned to the fence, the upper part directly to the postcard's image-space.
Lovely back view : behind the poster, behind the fence, behind the semi-detached. Behind this postcard (verso) this verse : to Miss M Bishop,
with loving wishes from PJ.
Theatre of the Actors of Regard
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Behind Mrs Chook's boots, too. See :
Printed in gold, the rectangular projection-space with the monogram RTS (Raphael Tuck & Sons), supported on an easel and with an artist's palette and brushes (Artistic Series) in the foreground.
Do you see all that?
And did you see this?
Well, "Made you look you dirty chook!"
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A Man Held review: Christian Capurro's mobile phone images at Centre for Contemporary Photography
Above is the online headline of the review of you
by Robert Nelson in The Age today.
The opening paragraph :
If I show you a picture in a book, you look into the image and ignore my thumbs. Your brain tells you to enter the world in the picture and disregard my random jitters. Unconsciously, you experience a desire to hold the book yourself, so that your own body-vibrations are normalised.
The closing paragraph :
Shot on your posh digital camera, you wouldn't think twice about the images: they'd just stay on your hard disk as a record for a chance to boast that you'd captured such beauty. But like Capurro, Koller holds something fragile in his hands, trembling with uncertainty, unfixed, transient, evanescent with that hazy improbability that aesthetic experience shares with life itself.
A Man Writ review : here
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In response to the previous post, T writes :
'A twig is just a deterritorialised branch' thus spake deleuze & guattari.
That clinches it : of the ready contenders for the next post, this c.1984 crazy de\|/territorialised HAND SPACE image must get the nod.
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twig (1)
noun
1. a slender shoot of a tree or other plant.
2. a small offshoot from a branch or stem.
3. a small, dry, woody piece fallen from a branch:
a fire of twigs.
4. Anatomy. one of the minute branches of a blood vessel or nerve
Related forms
twigless, adjective; twiglike, adjective
Origin : before 950; Middle English; Old English twig, twigge, orig. (something) divided in two; akin to Old High German zwīg (German Zweig), Dutchtwijg; compare Sanskrit dvikás double
Arbor scientie venerabilis et celitus illuminati patris Raymundi Lulii Maioricensis, Lyon 1515.
twig (2)
verb, British (used with object), twigged, twigging.
1. to look at; observe:
Now, twig the man climbing there, will you?
2. to see; perceive:
Do you twig the difference in colors?
3. to understand.verb (used without object), twigged, twigging.
4. to understand.
Origin :
1755-65 < Irish tuigim I understand, with English w reflecting the offglide before i of the velarized Irish t typical of southern Ireland
Charles Darwin, sketch of the origin of species - notebook B (1837)
twig (3)
noun, British
1. style; fashion.
Origin :
1805-15; origin uncertain
Dictionary.com Unabridged. Based on the Random House Dictionary, © Random House, Inc. 20155.
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After yesterday's post, a mention of HAND SPACE seems long overdue.
HAND SPACE
HAND SPACE is an exhibition space, founded in the spirit of the bare-foot doctor service.
HAND SPACE is a human architecture, functioning as a passage for the display, employment and flow (exchange) of contemporsary "objecture".
HAND SPACE exhibits/exhibitions are available at all times to the enerrgies of ananlysis and criticism.
HAND SPACE is intended as a simple, shared tool, at once illustrating and questioning the forces and relationships that support and maintain our daily living.
Here's the manifesto as scanned from ART & TEXT #2 (Winter 1981) where it was published among the various other gallery advertisements (Tolarno, Realities, Gallery A, Art Projects etc).
AAA_Art Archive Australia
That was accompanied by this HAND SPACE exhibit/exhibition :
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Yesterday a quick trip to Melbourne.
Conversation with Mr D for several hours - art, Australia, history, everything. Then to ACCA for Juliana Engberg in conversation with the artist designer bookseller and curator of NEW15 Matt Hinkley and three of the artists in that exhibition: Ash Kilmartin, George Egerton-Warburton, Kate Newby.
This is the last of Juliana's NEW@ACCA series. Over the period of her ACCA directorship, these annual presentations have formally introduced about 100 artists, she said. In April, Juliana will take on her own NEW role as Programme Director for the European Capital of Culture Aarhus 2017.
We remember when Juliana arrived at the Ewing & George Paton Galleries as the NEW assistant there. Here's Juliana with Christine (on the ladder) installing Daylesford Embroidered Banners, 1984.
'A day for little things, no doubt, but who would dare despise it?' (Zechariah 3:1-4:14)
NEW15 artist Kate Newby's contribution includes some 'pocket sculptures' (below) which she has given to the curator and her fellow artists, to be returned at the exhibition's conclusion with some reckoning of their play in the world over that time.
Ash Kilmartin showed me her Kate Newby pocket sculpture collection, held in trust, including a silver cast hairpin, along with some similar size findings and devisings of her own : Matt has divined here a distinctive zeitgeist sensibility. These we regarded and discussed.
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THE MIKE WALLACE INTERVIEW
Guest: Salvador Dali
19 April 1958
WALLACE: Good evening...Tonight we go after the story of an extraordinary personality. He's Salvador Dali, the great surrealist painter who sees the world through surrealist eyes. If you're curious to hear Salvador Dali talk about decadence, death and immortality, about his surrealist art, his politics and his existence before he was born,we'll go after those stories in just a moment. My name is Mike Wallace, the cigarette is Parliament.
WALLACE: ... About lecturing with your head enclosed in a diving helmet, why? why?
DALI: Because I think there is nothing like it. The audience understand Dali when penetrate in the bottom of the sea...
WALLACE: What's that?
DALI: Penetrate.
WALLACE: Penetrate ?
DALI: In the bottom of subconscient mean... sea... In- inside the sea.
WALLACE: Yes, down in the sea?
DALI: In the depth of the sub-conscious.
Theatre of the Actors of Regard presents
The Deep See ] after Salvador Dali (
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Theatre of the Actors of Regard presents
The Deep See ] after the previous moment (
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Theatre of the Actors of Regard
presents
The Proper Goose that Lied the Golden Egg
The Truth Lies
In the Past
In the Present
In the Future
- poeter
2015 Intergenerational Report
Authorised by The Government
Spoken by Karl Kruszelnicki
But first, this important announcement :
Fear of Change?
Try this Unchanged 1955 Advertisement !
FORM YOUR OWN VIEW :
Have you seen the Government's TV advertisement for the 2015 intergenerational spin cycle? With the actor 'Ask Dr. Karl' informing us, as if we are five year olds, about the idea of a P-L-A-N and how to pronounce it, this P-L-A-N, this projection, this tricked-up snake-oil sideshow performed to a cast of comatose C-I-T-I-Z-E-N-S. At the end of this ad for the online version, it says Form Your Own View. More about that after these scenes from H-E-R-E
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[Puppet Culture Framing System)
After the release of the Report :
Much criticism. In particular, serious concern that Climate Change is still given so little consideration:
'The Intergenerational Report underestimates climate threat: an open letter to the government signed by Australian environmental and climate scientists' : here
Before the release of the Report :
Criticism of the Report in advance of the Report
- highly recommended : Richard Denniss delivers The 2015 Manning Clark Lecture : listen here
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Post Script (15 April 2015) :
Intergenerational report: Dr Karl regrets campaign role and lack of climate focus
Broadcaster Karl Kruszelnicki says he mistakenly ‘thought that it would be an independent, bipartisan, non-political document’
