Scroll/ers of TAR

click image to enlarge 

The work is not signed by the artist, but it bears numerous inscriptions, seals and signatures from its subsequent owners — including the seals of the Southern Tang emperor Li Yu, the Song theorist Mi Fu, and the Qianlong Emperor — show that it passed through the hands of many collectors over the following 1,200 years.

The original drawing, some 12 inches (30 cm) square, was later mounted on a 20 feet (6.1 m) long handscroll to provide sufficient space for the seals and inscriptions.

- Wikipedia  

The original drawing...

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

     

Untitled Document + Ehh (a sound)

click image to enlarge  

FIAPCE  -1973-  

The work is not signed by the artist, but it bears numerous inscriptions, seals and signatures from its subsequent owners — including the seals of the Southern Tang emperor Li Yu, the Song theorist Mi Fu, and the Qianlong Emperor — show that it passed through the hands of many collectors over the following 1,200 years.

The original drawing, some 12 inches (30 cm) square, was later mounted on a 20 feet (6.1 m) long handscroll to provide sufficient space for the seals and inscriptions.

- Wikipedia  

The later form (Ehh, below), with remnants of several seals still visible, was acquired by Colin Laverty in 1973.

Verso inscriptions :

  TITLE : Ehh (Ehh is a sound, NOT a word.)

  COMPLETED ON 27/1/'73 AT FIAPCE (Ph.FOSTERVILE 1)

FIAPCE  -1973-   

Below, as exhibited by Geoffrey Hassall at Sydney in 2017.

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FIAPCE  -1973-   

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Tethers of TAR

The work is not signed by the artist, but it bears numerous inscriptions, seals and signatures from its subsequent owners — including the seals of the Southern Tang emperor Li Yu, the Song theorist Mi Fu, and the Qianlong Emperor — show that it passed through the hands of many collectors over the following 1,200 years.

The original drawing, some 12 inches (30 cm) square, was later mounted on a 20 feet (6.1 m) long handscroll to provide sufficient space for the seals and inscriptions.

It later came into the collection of Sir Percival David, and was bought by the Metropolitan Museum in 1977, funded by the Dillon Fund.

- Wikipedia  

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ontoLOGOS/HA HA : SEARCH is a land grab

    

Gordon : SEARCH is a land grab, right now. And once we grab all the land, then we can think about incorporating more code.

Joe : Cam's got a point. The current model isn't scalable. The three of us can't keep up with the expansion. But we shouldn't add more code. We should add more people.

Gordon : How many? I mean, we can't pay everybody in Necco Wafers. You know, hiring an engineer is one thing...
Joe : What's our strongest section?
Gordon : Probably comedy.
Joe : Exactly. Haley loves comedy, so it's our most thorough, well-organized section.
Gordon : Well, then, we need experts. You know, someone -- someone who's obsessed with like...
Joe : Sports.
Gordon : ...sports.
Joe : Exactly. We need more Haleys.
  
SIX WEEKS LATER : Joe and Gordon are interviewing for staff 'experts' ...

Katie : : Yeah, the -- the best thing a-about a PhD in Library Science is I get to call myself a "bibliothecographer."
Joe : So you were a photography archivist at Chicago Art Institute.
Gordon : Th-That sounds cool.
Katie : Eh, hypothermic, actually, I survived exactly one winter. I'm a California girl. But not in the David Lee Roth kind of way.
Joe : Can you, uh -- Can you give us an example of your methodology? For instance, how do you organize your CDs?
Katie : Well, my, um -- my brother is really into metal, and I helped him manage his collection.
I put all of the death metal CDs on one shelf, from the simple bands like Obituary and Cannibal Corpse on the left, to melodic and technical death in the middle, eh, followed by death/black and grind/death and death crossovers, and then I put the industrial death, folk death, and barely-death, uh, at the end.
And -- And then, the next shelf was for black metal, uh, through the whole Norwegian scene, like Mayhem and Burzum, through the un-black and then the not-really-black-but-sorta-fits, like Cradle of Filth. 

And -- Oh, do -- Um, do you want me to keep going? The-There's Raunchy Power --
Joe : No, that's perfect.
Gordon : Raunchy Power?
Joe : Most people just alphabetise.
[Chuckles]
Gordon : You sure this was your brother's collection?
Katie : Uh-huh.
Joe : Okay, one final thing -- How would you list a website about "barks"?
Katie : Depends if you mean dog noise, tree layer, root beer -- that's Barq's with a "q" -- or boat.
[Laughs]
Gordon : Wait. "B-Bark" is a boat?
Katie : Mm-hmm. Uh, technically, it's a sailing ship with three or more masts.
Gordon : Huh. We don't even know the answer to our own trick question.
Joe : Dr. Katie Herman, you are officially hired as Comet's Chief Ontologist.
Katie : Perfect. [Laughs] 

Halt and Catch Fire 

Tonya and Nancy : Season 4 Ep 4

   

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interface

 

Halt and Catch Fire S2 Ep9  

Bosworth: What's that?
Cameron: Oh, this is...our next interface.
See these quick link boxes?
They'll kick users right over to their favorite area.
I've already started coding it.

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re. putting erasure under erasure ) and still they come

Sous rature is a strategic philosophical device originally developed by Martin Heidegger. Usually translated as 'under erasure', it involves the crossing out of a word within a text, but allowing it to remain legible and in place. Used extensively by Jacques Derrida, it signifies that a word is "inadequate yet necessary";^[1] that a particular signifier is not wholly suitable for the concept it represents, but must be used as the constraints of our language offer nothing better.

In the philosophy of deconstruction, sous rature has been described as the typographical expression that seeks to identify sites within texts where key terms and concepts may be paradoxical or self-undermining, rendering their meaning undecidable.^[2][3] To extend this notion, deconstruction and the practice of sous rature also seek to demonstrate that meaning is derived from difference, not by reference to a pre-existing notion or freestanding idea.^[4]

- Wikipedia

Iconoclasm (from Greek: εἰκών, eikṓn, 'figure, icon' + κλάω, kláō, 'to break')^[i] is the social belief in the importance of the destruction of icons and other images or monuments, most frequently for religious or political reasons. People who engage in or support iconoclasm are called iconoclasts, a term that has come to be figuratively applied to any individual who challenges "cherished beliefs or venerated institutions on the grounds that they are erroneous or pernicious."^[4]

Conversely, one who reveres or venerates religious images is called (by iconoclasts) an iconolater; in a Byzantine context, such a person is called an iconodule or iconophile.^[5] Iconoclasm does not generally encompass the destruction of the images of a specific ruler after his or her death or overthrow, a practice better known as damnatio memoriae.

- Wikipedia

Cultural Revolution : With the Circular of May 16, 1966, Mao Zedong launched the political struggle against his enemies which he called 'monsters and demons', that is, all those who opposed the control of the Party and the Communist ideology: intellectuals, the rich, landowners, counter-revolutionaries and followers of the various religions. After the editorial in the People's Daily on June 1, "Sweep away all the monsters and demons", the Red Guards launched a violent campaign by arresting and persecuting all members of these categories.

Name and Shame  

This was followed by the campaign to eradicate the 'Four Olds', old traditions, old customs, old culture and and old ideas and ideal reiterated in the Red Guards mass demonstration in Tiananmen Square on August 18, celebrated with the full support of Mao Zedong. From then on, the Red Guards stepped up their attacks: 

the followers of religions become one of their main targets.

- Asian News

Cancellation print : Following completion of the edition the plate, stone or stencil is defaced so it cannot be identically printed again. Lithographic stones are usually ground down; silkscreen stencils are cleaned for reuse of the screen. Etching plates and wood and lino cut blocks can be scored from corner to corner, or have holes drilled in them, an impression is then made and this is called a ‘cancellation print’.

- Etching House

Why this lot today? Yesterday, this proof of cancellation etching plate and print were auctioned in Melbourne. It set us off and running...

Lot 3096 

LIONEL LINDSAY, NORMAN 1918, I) ETCHING, PROOF IMPRESSION, 20.5 X 15CM, II) ORIGINAL ETCHING PLATE (SCORED), 21 X 14.5CM
NOTE: THE ORIGINAL ETCHING PLATE WAS SCORED UPON COMPLETION OF THE EDITION AND THIS PROOF ETCHING WAS PRODUCED BY THE ARTIST AS EVIDENCE TO CONFIRM ITS DEFACEMENT
Estimate $600-800

Sold for $600

TAR and not TAR  

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Four Standard Stoppages : Duchamp · Sales · Howard

Three Standard Stoppages
or
Tinned Chance: Trois stoppages etalon

Marcel Duchamp

Original Version: 1913-14, Paris
The Museum of Modern Art
Katherine S. Dreier Bequest, 1953
complex construction of multiple parts inside wood box
129.2 x 28 x 23 cm

7.30 (ABCTV yesterday, 2021.08.18) 

John Howard, former PM of Australia : 

"... so on that criterion, the mission, whatever may be said of it, has not been a failure."    

Leigh Sales : 

"Well, if you look, though, broadly at what the War on Terror achieved : Iraq, disaster; Afghanistan, disaster; terrorism morphed and changed; and we have seen more terrorist attacks around the world, regardless of where they originated from; we’ve seen home grown terror motivated by the ideologies of ISIS and so on. The War on Terror was supposed to make the world a safer place and again, by that yardstick, the War on Terror was a failure, wasn't it?"   

John Howard : 

"Well, you’re changing the yardstick."

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An appreciation : Celebrating the 40 Year Anniversary of Lama Yeshe at The Great Stupa

In December 2000, I showed my father the site of the Great Stupa to-be. We stood at one of its four entrances, in front of us the hill cleared of bush and levelled. Three vast circular trenches had been dug for the footings, no building had yet begun. I described to him the antecedent Great Stupa in Tibet and the immediate plan for this site.

New to such things in Buddhism, but having supported and followed the completion (1895-1977) of the Sacred Heart Cathedral on the hill overlooking Bendigo, and wherein he had married my mother, he considered what was before him and said: "So, they're going to make a masterpiece out of nothing." 

In this 40th anniversary video, Ian Green re-tells the story of Lama Yeshe visiting the site of the now Great Stupa of Universal Compassion outside Bendigo, central Victoria. In 1981 Lama Yeshe traveled from Tibet to Australia and met with Ian Green and Garrey Foulkes and laid down his master plan for the entire site.

https://stupa.org.au/  

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TAR ( rhymes with ...

Oh, the grand old Duke of York
He had ten thousand men;
He marched them up to the top of the hill,
And he marched them down again...

Oh, young motorist of our town,
as your birthday sun didst set,
You drove down one side of the street,
And you drove back up the other (wind assisted)

When they were up, they were up,
And when they were down, they were down,
And when they were only halfway up,
They were neither up nor down.

click to enlarge  

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Saut de retour du vide (Paris-Tokyo)

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act + react [ act + react (( act + react {{{

Faith Kipyegon of Kenya has just won the Women's 1500m gold medal with a new Olympic record of 3:53.11

at the Tokyo 2020 Olympics. We witnessed this on a commercial television app, a sub-screen on our computer desktop screen.

Faith Kipyegon then collected a Kenyan flag from her supporters in the stadium. Olympic television media showed us this.

Then, she knelt low upon the track and covered herself with the flag. Watching here as she appeared to disappear there, it seemed like a magic trick. So unexpected. Would a flight of black doves emerge?

The television camera continued to record and the Media Centre editor decided to stay with this scene as a stills photographer rushed in. Five times, we clicked command + shift + 3 

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The Getting of Wis(r)dom

We recently referenced Philip Brophy's MeMO report on his own Golden Ticket tour of the NGV Chocolate Factory.

Theatre of the Actors of Regard  

NGV Triennial 2020 installation view of Refik Anadol (designer); Refik Anadol Studio, Los Angeles (design studio) Quantum memories 2020. Commissioned by the National Gallery of Victoria, Melbourne. Proposed acquisition with funds donated by Loti & Victor Smorgon Fund and Barry Janes and Paul Cross, 2020 © Refik Anadol. 

Photo: Tom Ross

Many current TV advertisements are also about reviewing the wisdom of our views. Here's Wayne, looking as if at his own bee-bearded bonce, wondering if he can smash and grab some easy money, honey.

Theatre of the Advertisements of Regard   

Voice-over Man advises :

Wayne, Wayne, Wayne ... careful there, big fella.

Sure, there’s a part of you thinking, 'Free honey’.
But we want to talk to the other part, your smart part.
It knows that checking your credit score without affecting it
is a good decision. Easy now...
Chorus sings : wis(e)r

So, why is Wayne now looking at the back of his hammer-become-screen-device? Because he is still required to act stupid; because it is we who are fixed on that screen (and this screen) to the wisr owl logo.

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il n'y a pas de hors-texte

there is no outside-text

- Jacques Derrida, De la grammatologie (1967)
                                 Of Grammatology (transl G. Spivak, 1976)

 FIAPCE (-1977-)  

 Hakuin (1686-1769)  

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La Grande Bouffe < blow-out

Philip Brophy in this weekend's MeMO review :

          Everyone simply loved it. State politicians stood in front of it (like every moron in Melbourne) to have their photo taken. The NGV website has a short promo discussing its curatorial purchase and placement. But do you think I could find anyone anywhere to critically engage with this work, short of reprising the NGV’s sound-bytes or Anadol’s own assertions? Am I second-guessing that most MeMO readers saw it, hated it and can’t bring themselves to even remember it? Maybe therein lies the core of the problem: how screen culture’s increasing leakage of totemic and monumental art commissions constitutes a critical drowning-out of discursive engagement.

Theatre of the Actors of Regard  

NGV Triennial 2020 installation view of Refik Anadol (designer); Refik Anadol Studio, Los Angeles (design studio) Quantum memories 2020. Commissioned by the National Gallery of Victoria, Melbourne. Proposed acquisition with funds donated by Loti & Victor Smorgon Fund and Barry Janes and Paul Cross, 2020 © Refik Anadol. 

Photo: Tom Ross

As above, so below :

     TARist

     projection-space

     words

 Yosa Buson (1716-1784) ink paper scroll digital reproduction regard

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