TAR : To Apprehend Relativity

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

  

  
  

Twombly of the AssisTARed Readymade

Theatre of the Actors of Regard 

Let  ][ ---- )(  

equal

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A Person Looks At A Work Of Art/

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LOGOS/HA HA

     

TAR (Théâtre des Acteurs qui Rient) presents

Canned LaughTAR  

 

Theatre of the Actors of Regard 

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 A Person Looks At A Work Of Art/

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Mark of the Year (1960)

Theatre of the Actors of Regard
presents

Mark of the Year (1960)
Awarded to Elena Palumbo-Mosca

Theatre of the Actors of Regard 

Trends in Aussie Rules 

Towards Anthropometric Registration 

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 LOGOS/HA HA

  

Re. relations

Theatre of Ambient Relations  

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 LOGOS/HA HA

     

Postcard received

from J&M travelling abroad, 

of Mondrian’s ‘Composition with Yellow Lines’ (1933)

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

     

Theatre of Eclipse

        

Theatre of the Actors of Regard  

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 LOGOS/HA HA

    

     

Vale Jean-Luc Godard (1930-2022)

   

Theatre of the Actors of Regard 

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A Person Looks At A Work Of Art/

someone looks at something...

  

LOGOS/HA HA

        

      

      

breakthrough : The Wounded Logos

The header to this blog refers to an historian's "inner wound". 

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.

Judeo-Christian mythoLOGOS/HA HA has many such breaches and wounds, each requiring identification, acceptance and application of the correct salve. 

In the beginning was the Word... 

     Historians are the trustee re-porters of the word.

Logos : the Speaking into Being of the World. 

     Nennius, lisps the Word : I have lispingly put together

LOGOS/HA HA

And the Word was made flesh : on the Cross, Christ the Logos is five times wounded : his hands, his feet and his side are pierced. The Five Wounds of Christ. In this depiction of the Crucifixion by Jean the Black, Jesus the Labelled - INRI - points to the wound in his side. As God is His Witness, so also two angels, mother Mary and 'brother' James.

Theatre of the Actors of Regard  

A few pages forward in that volume (The Prayer Book of Bonne of Luxembourg, before 1349, collection of The Met, New York), the illuminator depicts that side wound... 

...aureola-like, mandorla-like (below), vulva-like too, surrounded by the Instruments of the Passion.

We are new to that wound image, so add it here to the heap as we recall also that the inside of the breach of this 1995 two panel broken-word LOGOS (below) is also painted red. From its first exhibition, the cover of the 1995 cataLOGOS/HA HA :

It is now in the collection of the Art Gallery of NSW :

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

        

      

     

First catch your self.

Who are You: Australian Portraiture

National Gallery of Victoria | The Ian Potter Centre: 

NGV Australia 23 Jun - 1 Aug 2022 

memo review by Rex Butler, 25 Jun 2022

Self-portrait 

see : First catch your self.

after misquotation: ‘First catch your hare.’

A proverbial warning against overconfidence, often thought to have originated in a recipe for hare soup in Mrs Glasse’s The Art of Cookery Made Plain and Easy (1747) or Mrs Beeton’s Book of Household Management (1851). It does not appear in either book, although Mrs Glasse’s book does have the instruction ‘Take your hare when it is cased [=skinned].’ In more general terms, this appears to be a common formulation. The Spirit of Farmers’ Museum (1801) has: ‘How to dress a dolphin, first catch a dolphin.’

A source from a much earlier period, the medieval Latin treatise De legibus et consuetudinibus Angliae, traditionally attributed to the lawyer Henry of Bratton, has the sentence, ‘It is commonly said that one must first catch the deer, and afterwards, when he has been caught, skin him.’

The self is an individual as the object of its own reflective consciousness. Since the self is a reference by a subject to the same subject, this reference ...

Self - Wikipedia

Self – individuality, from one's own perspective. To each person, self is that ...

Outline of self - Wikipedia

memo : A memorandum (abbrev.: memo; from the Latin memorandum est, "It must be remembered") is a written message that is typically used in a professional setting. Commonly abbreviated "memo," these messages are usually brief and are designed to be easily and quickly understood.

Memorandum - Wikipedia 

Rex writes :

... Equally, in Who Are You, in an insightful and quite moving selection, the curators include John Nixon’s Self Portrait (Non-Objective Composition) (Yellow Cross) (1990) at the entrance to the fourth room of the show. It’s a cross that now serves, of course, as something of a memorial to Nixon, who died in 2020. In fact, we would suggest, after an initial avant-garde moment inspired by Communism and the Russian Suprematists, sometime in the early ’90s Nixon pursued an equally radical “immanence”: his work is not any more about changing the world but preserving it. The one-day shows, the artist-run spaces, the collaborations, the incessant productivity: Nixon’s practice operates as much as anything as a kind of diary that sought to record or better embody the circumstances in which it was originally made and exhibited. It was just the little art world that gathered around it: Melbourne in the ’90s, 2000s, and 2010s. The different dispositions of similar-looking objects were the attempt to hold together a fragile and precarious moment in time, of which Nixon was the centre. And it is exactly in this sense that Nixon’s works are self-portraits or autobiographical, the very image of his life. He just is his work.

But again—and this is perhaps the real memorial that Nixon’s work now represents—the function of art as a record of its time, its place, its people, as any kind of image of who we are, is coming to an end. The true equivalent to Nixon’s work today—think here of someone like Peter Tyndall—is keeping a blog, posting on Instagram or tweeting with its potentially limitless subscribers.

see also : self-portrait as 

detail

A Person Looks At A Work Of Art/

someone looks at something...  

LOGOS/HA HA

   

One taste.

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

       

     

     

the mark of self

Special comments : Vasubandhu, Treatise on Buddha Nature

"All non-Buddhists, in their various ways, conceive of and grasp a self in those things that lack self; namely the five aggregates (form, sensation, perception, volition, consciousness). Yet these things differ from what one grasps as the mark* of self; therefore, they are eternally lacking in self.

*substance, permanence, independence

However, with the wisdom of Thusness, all Buddhas and Bodhisattvas realize the perfection of not-self in all things. Because this perfection of not-self and that which is seen as the mark of not-self** are not different, the Tathagata says that this mark of the eternal not-self is the true, essential nature of all things. It is because of this that the perfection of not-self is called True Being."

**insubstantiality, impermanence, dependence on causes and conditions

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

       

     

   

How long is a string of questions?

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

       

     

   

DirecTAR

  

Brian Taylor calling the final minutes of the 2022 Anzac Day clash between The Bombers and The Magpies at the MCG : “They’re all pointing. Verbaleyesing directions.”

Saraha, Sarahapa, Sarahapāda (or, in the Tibetan language མདའ་བསྣུན་, [danün], Wyl. mda' bsnun The Archer), (circa 8th century CE) was known as the first sahajiya and one of the Mahasiddhas. The name Saraha means "the one who has shot the arrow.".^[1]  According to one, scholar, "This is an explicit reference to an incident in many versions of his biography when he studied with a dakini disguised as a low-caste arrow smith. Metaphorically, it refers to one who has shot the arrow of non duality into the heart of duality."^[2] - Wikipedia 

"Everything without exception

shares the nature of open space,

and never moves from it at any time.

Space is called 'open space',

but in its essence, nothing at all exists.

It is neither existent nor nonexistent,

nor not existent and not nonexistent -

it transcends any other domain of illustration.

Thus, mind, open space, and the nature of reality are not separate in the slighest."

- Saraha 

Theatre and the Arrow of Regard  

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 A Person Looks At A Work Of Art/

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 LOGOS/HA HA

        

re. Visible means of support (#7)

  Not even nuthin'  (J.S.)

FIAPCE at AGSA (-1987-)  

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 A Person Looks At A Work Of Art/

 someone looks at something...

  

 MISSING PAINTING

 (History of Art)

 LOGOS/HA HA

  

        

The Solid Valise

Theatre of the Actualisation of Regard   

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 A Person Looks At A Work Of Art/

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 LOGOS/HA HA

    

The punktuaTAR

punkTAR 

1. The act or an instance of punkTARing.
2. A hole, cut, TeAR or breakthrough created by a sharp object/ion. 
    e.g. There were two small puncTARs in his arm where the snake's fangs had pierced the skin.
3. (specifically) A hole in a tracTAR tyre, causing the tyre to deflate. 
    e.g. On the way back we got a punkTAR, and we were stuck at the roadside for three hours until help arrived.

Lucio Fontana, Spatial Concept (1949-1950) Tate Gallery

punkTARation 

1. A set of symbols and marks which are used to clarify meaning in text by separating strings of words into clauses, phrases and senTARnces.
    e.g. Different languages have different rules for punkTARation.
2. The act or an instance of punkTARating   

    e.g.

punktuaTAR 

1. A person who punkTARs.

2. A system of punkTARation. 

    e.g. The punktuaTAR states, Let each punkTAR equal :

Theatre of the AcupunkTAR of Regard     

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 A Person Looks At A Work Of Art/

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 LOGOS/HA HA

    

After all, what's a good meta- for?

Yesterday :

Ouroborology : a quantum wave as a mythical snake.

Today :

The Chan Master as Ilusionist : 

Zhongfeng Mingbe's Huanzhu Jiaxun 

by NATASHA HELLER 

University of Califonia, Los Angeles 

One day when the illusory man was occupying an illusory room, resting on an illusory seat and grasping an illusory whisk, his illusory disciples came and gathered like a cloud. Someone asked, "Why is the pine tree straight? Why are brambles crooked? Why is the swan white and the crow black?" 

-  Tianmu Zhonfeng heshang guanglu

WHEN THE YUAN-DYNASTY monk Zhongfeng Mingben ( 1263-1323), or his literary stand-in, "the illusory man" (huanren), picked up what he termed his "illusory whisk" (huanfu) at the beginning of his "Huanzhu Jiaxun"  (The family instructions of "Illusory Abiding"), he evoked the performance of the Chan master and the intellectual history of the metaphor "illusion." ...

Theatre of the Actors of Regard   

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 A Person Looks At A Work Of Art/

 someone looks at something...

   

 LOGOS/HA HA

      

What I learned, or ...

definition : in a "dictionary", "letters" linked to (verb e.g. "produce") "words"; "words" and their "meanings" linked to (verb e.g. "realise/realize/

real-eyes") a "definition".

e.g.

"Unsheathe your dagger definitions. Horseness is the whatness of allhorse."

(James Joyce, Ulysses)

Physics, Art, Mathematics, Science: Hidden Connections. 

A conference marking Sir Michael Berry’s 75th Birthday

By Maggie Simmons on April 19, 2016

Sir Michael Berry, IOP Publishing’s most prolific author, and long-time Editorial Board member on JPhysA, had a conference held in his honour on Friday 1 April 2016. This was a joint celebration of not only his 75th birthday, but also 50 years of working at the University of Bristol. Colleagues and friends gathered for the occasion and shared their fond memories of not only his academic achievements, but also his diverse range of interests and supportive nature. Here are some of the highlights:

Berry’s Law : ‘nothing is ever discovered for the first time’

Professor Eric Heller described his pleasant drive across the English countryside with Michael. This sedate outing rapidly picked up pace when Eric mentioned he may have read a paper describing something similar to the Berry Phase. Michael promptly accelerated from 90-130 km/h as he had plans in the evening and wanted to read this paper as soon as possible. The pleasant drive may have reached a rapid end, but Eric emphasised Michael’s continuous support and encouragement for him, despite them technically being in ‘competition’.

Ouroborology : a quantum wave as a mythical snake.

Professor Jon Keating, Chair of the Heilbronn Institute for Mathematical Research, gave an insight into his thought processes in choosing to apply for a PhD under Michael’s supervision. The high quality of the research was a given, but it was the supportive and conducive atmosphere that tipped the balance. Most importantly was the unconventional nature of Michael – a photo of him in an Indian tunic held a lot of weight.

The decision proved correct and Jon found himself to not be constrained by field in his research; taking, just as Michael does, inspiration from science, art and music. Disappointingly, not all of these themes took off, and the term ‘ouroborology’ coined by Michael for a quantum wave – reflective of the mythical snake ‘ouroboros’ eating its tail – is not commonly used despite appearing in ‘Riemann’s zeta function: a model for quantum chaos?’ (Berry, 1985).

Bores, frogs and rainbows

Dr Matin Durrani, Editor of Physics World, highlighted some of Michael’s more disparate interests. In his own words, he delights in ‘uncovering down-to-earth or dramatic and sometimes beautiful examples of abstract mathematical ideas: the arcane in the mundane’. A long-time contributor to Physics World, Sir Berry is a journalist’s dream as he intertwines expertise in mathematics to natural world phenomena and art to name a few. His love of tidal bores, application of mathematical singularities to rainbows and of course his joint IgNobel for a levitating frog provide ample opportunities for articles of more general interest.

click image to enlarge   

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 LOGOS/HA HA