Today is UN World Poetry Day

Honour Roll
yes, mate, on a roll

From our office pin-ups,
Bea Miles of Sydney (1902-1973)

Bea with one of her shingles offering ...

Excited 

IRRATIONAL TALKS 

ON MANY SUBJECTS

8/- 2/- 4d 6d 3½d

 

A second of her shingles
     

S H A K E S P E A R E

POETRY & PROSE

Recited 

RATIONAL TALKS ON

MANY SUBJECTS

3/-  2/-  1/-  6d
 
Another from the streets of Sydney
around that time, Arthur Stace (1884-1967).
He wrote Eternity.

Arthur Stace               

Closer to home,

this hermit scrabbler from Mr D 

in yesterday's mail ...

Irezumi Sengai 

... followed by this, today.

Irezumi Sengai 

Also in 0ur UNWPD letter box today

two wave signed

see sea rider writer pages

from Bob ...

Robert MacPherson 

... and the usual fine line in Op Ed additions.

Robert MacPherson 

Plus, an ACT redaction edition postcard 
from Spare Room 33 ...

Spare Room 33 : Special Edition 1

Never before have so many incredible diamonds, emeralds
and other precious stones 
been seen 
] see : Der Blaue See See Writer ( 
in Australia. 
Cartier: The Exhibition 
showcases more than 300 spectacular items,
with loans from royal families,
celebrities
and the astonishing Cartier Collection itself,
 in exquisite settings such as royal tiaras,
necklaces, brooches and earrings. 

-  from NGA website

... and this
red action

from TAR
after Issa
  

Theatre of the Actors of Regard 

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

         

            LOGOS/HA HA

   

See See Writer

c ^c

The term power was used by the Greek mathematician Euclid for the square of a line.^[1] Archimedes discovered and proved the law of exponents, 10^a 10^b = 10^a+b, necessary to manipulate powers of 10.^[2] In the 9th century, the Persian mathematician Muhammad ibn Mūsā al-Khwārizmī used the terms mal for a square and kahb for a cube, which later Islamic mathematicians represented in mathematical notation as m and k, respectively, by the 15th century, as seen in the work of Abū al-Hasan ibn Alī al-Qalasādī.³

In the late 16th century, Jost Bürgi used Roman numerals for exponents.^[4]

Early in the 17th century, the first form of our modern exponential notation was introduced by Rene Descartes in his text titled La Géométrie; there, the notation is introduced in Book I.^[5]

Nicolas Chuquet used a form of exponential notation in the 15th century, which was later used by Henricus Grammateus and Michael Stifel in the 16th century. The word "exponent" was coined in 1544 by Michael Stifel.^[6] Samuel Jeake introduced the term indices in 1696.^[7]  In the 16th century Robert Recorde used the terms square, cube, zenzizenzic (fourth power), sursolid (fifth), zenzicube (sixth), second sursolid (seventh), and zenzizenzizenzic (eighth).^[7] Biquadrate has been used to refer to the fourth power as well.

Some mathematicians (e.g., Isaac Newton) used exponents only for powers greater than two, preferring to represent squares as repeated multiplication. Thus they would write polynomials, for example, as ax + bxx + cx³ + d.

Another historical synonym, involution,^[8] is now rare and should not be confused with its more common meaning.

In 1748 Leonhard Euler wrote "consider exponentials or powers in which the exponent itself is a variable. It is clear that quantities of this kind are not algebraic functions, since in those the exponents must be constant."^[9] With this introduction of transcendental functions, Euler laid the foundation for the modern introduction of natural logarithm as the inverse function for the natural exponential function, f(x) = e^x.

- wikipedia

 Wassily Kandinsky, Der Blaue Reiter, 1903

c ^c

see ^see

"See See Rider", also known as "C.C. Rider", "See See Rider Blues" or "Easy Rider", is a popular American 12-bar blues song, originally recorded by Gertrude "Ma" Rainey in 1924. The song uses mostly traditional blues lyrics to tell the story of an unfaithful lover, commonly called an easy rider: "See see rider, see what you have done," making a play on the word see and the sound of easy.

Origins of the term : The term see see rider is usually taken as synonymous with easy rider. In dirty blues songs it often refers to a woman who had liberal sexual views, had been married more than once, or was skilled at sex. Although Ma Rainey's version seems to refer to "See See Rider" as a man, one theory is that the term refers to a prostitute and in the lyric "You made me love you, now your man done come," "your man" refers to the woman's pimp. So, rather than being directed to a male "easy rider," the song is in fact an admonition to a prostitute to give up her evil ways.^[11] [12]

There are further theories:
- Easy rider was sometimes used to refer to the partner of a hypersexual woman who therefore does not have to work or pay for sex.^[11] [12]
- Another theory is that the term easy rider sometimes originally referred to the guitar hung across the back of a travelling blues singer.^[13]
- Other sources indicate that C.C. Rider refers to either early "church circuit" traveling preachers who did not have established churches or "county circuit" riders who were attorneys following a circuit judge.^[14] [15]

- wikipedia

 
  

cc ^cc

see see ^{see see}

This traditional blues song was originally recorded as 'C.C. Rider' by William Lee Conley, or as he was better known, Big Bill Broonzy, in the 1920s. Ma Rainey made it popular in 1925 as the 'See See Rider Blues', and both Ma Rainey and Big Bill's versions are much slower than Elvis' version.

Once rock bands took a hold of the song, they sped it up a bit. Both The Animals and Mitch Ryder & The Detroit Wheels covered the song (as both 'See See' and 'C.C'. respectively). LaVern Baker's 1962 version is sped up, too, but it's also bluesy.

Elvis' version is maybe the most energetic version of them all.

   - For Elvis Fans Only

   - Traditional Music Co.

see : Wayne Cochran & the C.C. Riders

see : cc ^{Theatre of the Actors of Regard}

  

meta-punitive exponentiation ^{meta-unitive exponentiation}

Theatre of the Actors of Regard  

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

         

LOGOS/HA HA

TAR presents : in see

"Unquestionably the founding work of minimalism in musical composition, Terry Riley's In C (1964) challenges the standards of imagination, intellect, and musical ingenuity to which "classical" music is held. Only one page of score in length, it contains neither specified instrumentation nor parts. Its fifty-three motives are compact, presented without any counterpoint or evident form. The composer gave only spare instructions and no tempo. And he assigned the work a title that's laconic in the extreme. At the same moment of its composition, Elliott Carter was working on his Concerto for Piano, a work Stravinsky was to hail as a masterpiece. Having almost completed Laborinthus II, Luciano Berio would soon start the Sinfonia. Karlheinz Stockhausen had just finished Momente. In context of these other works, and of the myriad of compositional styles and trends which preceded them, In C stands the whole idea of musical "progress" on its head. 

Forty years later, In C continues to receive regular performances every year by professionals, students, and amateurs, and has had numerous recordings since its 1968 LP premiere. Welcoming performers from a vast range of practices and traditions, from classical to rock to jazz to non-Western, these recordings range from the Chinese Film Orchestra of Shanghai -- on traditional Chinese instruments -- to the Hungarian 'European Music Project' group, joined by two electronica DJs manipulating the Pulse. In C rouses audiences while all the while projecting an inner serenity that suggests Cage's definition of music's purpose -- "to sober and quiet the mind, thus making it susceptible to divine influence." 

Setting the stage for a most intriguing journey into the world of minimalism, Robert Carl's Terry Riley's In C argues that the work holds its place in the canon because of the very challenges it presents to "classical" music. He examines In C in the context of its era, its grounding in aesthetic practices and assumptions, its process of composition, presentation, recording, and dissemination. By examining the work's significance through discussion with performers, composers, theorists, and critics, Robert Carl explores how the work's emerging performance practice has influenced our very ideas of what constitutes art music in the 21st century."

- an introduction to Terry Riley's In C (Studies in Musical Genesis, Structure, and Interpretation) by Robert Carl

.  .  .  .      

TAR presents : in see

go online to Terry Riley's "In C"

open as many copies of that page as you wish to have numbers of players in your performance

arrange your orchestra like so, for easy access

Now, click/play/vary as you wish :

Regard (rubato)

Theatre of the Actors of Regard 

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

         

 LOGOS/HA HA

 
 

2018 Sydney Biennale

The 2018 Biennale of Sydney opens today :

SUPERPOSITION: Equilibrium & Engagement

curated by Artistic Director Mami Kataoka

from 16 March – 11 June 2018

Marco Fusinato's Constellations is at Carriageworks

"Expanding on his interest in the physicality of noise and gestural action, Marco Fusinato's Constellations incorporates a purpose-built, freestanding wall and an invitation to the audience. Visitors encounter a baseball bat attached to the structure with a long steel chain. They may pick up the bat and strike the wall once….

Following are the residual dents and marks speckled across the wall like a constellation of stars."

 detail

 A Person Looks At A Work Of Art/
 someone looks at something...

 LOGOS/HA HA

  

TAR sends...

Theatre of the Activists of Regard (Paris) 

Activists Pressure Louvre to Drop Oil Company Sponsorship with Die-in

Benjamin Sutton / Hyperallergic

On Monday morning, visitors to the Louvre were treated to an unexpected spectacle as a group of activists fell to the floor in front of Théodore Géricault’s famous painting, The Raft of the Medusa (1818–19), extending its vivid scene of disaster on the high seas into the gallery. The performance protest was created by Libérons le Louvre, and as more performers keeled over, others listed the current endeavors of one of the Louvre’s most visible corporate sponsors, energy giant Total.

“Total, Alberta, Canada,” began one chant, alluding to the French multinational’s activities in western Canada. “Tar sands...

Watch video here (1'46")

photo by Libérons le Louvre  

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

         

 LOGOS/HA HA


  

Department to Count the Moon

Malcolm Tucker : Yeah. 'Julius Nicholson is a hugely respected advisor. He now has a wide ranging brief and his blue-sky vision and helicopter-thinking will enable this government to go, in his own phrase, beyond delivery and beyond that'. That's the line, ok? And if he does stick his baldie head round your door and comes up with some stupid idea about policemen's helmets should be yellow or let's set up a department to count the moon, just treat him like someone with Helzheimer's disease, you know? Just say 'yes, that's lovely, that's good, we must talk about that later', ok?

- The Thick of It : Episode #2.2 (2005)

Fosterville Institute of

 Applied & Progressive 

Cultural Experience   

presents  

Department to Calculate 

Distances of Portraits 

from Surfaces of the Earth 

 Theatre of the Actors of Regard - photo David van Dam

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

         

 LOGOS/HA HA

 

Everything flows

On Monday, The Shape of Water won the Oscar for Best Picture.

Theatre of the Actors of Regard 

On Wednesday, we read in Seamus Heaney's Seeing Things :

    Everything flows. Even a solid man, 
    A pillar to himself and to his trade, 
    All yellow boots and stick and soft felt hat

    Can sprout wings at the ankle and grow fleet 
    As the god of fair days, stone posts, roads and crossroads, 
    Guardian of travelers and psychopomp.

    'Look for a man with an ashplant on the boat,' 
    My father told his sister heading out 
    For London, 'and stay near him all night 

    And you‘ll be safe.' Flow on, flow on 
    The journey of the soul with its soul guide 
    And the mysteries of dealing-men with sticks! 

 - Seamus Heaney : Seeing Things | Squarings | Crossings | xxvii

Yesterday, Buxton Contemporary opened to the public with The shape of things to come.

Janelle Monae version 

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

         

 LOGOS/HA HA

Knock, knock...

The school of hard knocks (see article below) was Assumption College, Kilmore.

Laurie Balmer was in my class at ACK (1965-1968). His younger brother Bernie a year or two below, perhaps in my brother's class.

A similar event to the one Bernie Balmer tells in John Sylvester's article in The Age, today, happened in my first week at Assumption. 

We were having breakfast in the junior refectory. Each of us at our designated table and position. Laurie F. was seated beside me. The Brother known as 'Tex' was in charge that morning, walking around from table to table. As he passed us, he said to Laurie, who was putting a spoonful of cereal into his mouth, "Hold your spoon properly”, and punched him in the jaw, breaking one of Laurie’s teeth. No retribution, no consequence : get on with your meals. No surprise, after four years of this boarding school environment, the 25 years of such nightmare scenes that followed.

The Royal Commission into Institutional Responses to Child Sexual Abuse was not charged to investigate such mere violence.

At a Bendigo Writers Festival event last year, Ray Mooney (former inmate of Pentridge prison, now a novelist, screenwriter, playwright and lecturer in creative writing) spoke about his time in Pentridge wherein he continued to have nightmares about his time as a boarder at St Patrick’s, Ballarat. When he awoke from these, he was always relieved, he said, to find that he was only in Pentridge. 

That conversation with  author and journalist Jenny Valentish can still be heard at ‘Big Ideas’ (ABC.RN) :

http://www.abc.net.au/radionational/programs/bigideas/second-chances/9200480

Bernie the Attorney came from the school of hard knocks

John Silvester

Saturday Age

10 March 2018

  

If Bernie wasn’t born with a keen sense of justice, he developed it while still a teenager when he became the victim of a stitch-up that has left a scar.

In year 11 at Assumption College the students complained the milk tasted off: ‘‘The cows were feeding on capeweed, which makes the milk bitter.”

Already known for his gift of the gab, Balmer's fellow students elected him to raise the subject and so he suggested to a Brother he take a sip to find out for himself.

Rather than agreeing to what seemed a perfectly reasonable request, ‘‘he punched me, putting me teeth through my lip''.

It was a major mistake. Balmer was a big lad who could hold his hands up (he would later become Australian University Heavyweight Boxing Champion) and he dropped the bully Brother.

While he was only defending himself, he was forced to leave under threat of expulsion. It still burns that some who knew the truth failed to stand up for him and perhaps that is one of the reasons he became a seven-day-a-week defence lawyer, often giving a voice to those who desperately need one.

(The wheels of justice do move slowly. The Brother in question has now run into legal troubles of his own.)

https://www.theage.com.au/national/victoria/bernie-the-attorney-came-from-the-school-of-hard-knocks-20180307-p4z393.html

  

FIAPCE  

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

         

 LOGOS/HA HA

  

Addendum opportunity for the wonderful Blossom Dearie

My Attorney Bernie (words by Dave Frishberg)
Live at Jazzclub Fasching, Stockholm

https://www.youtube.com/watch?v=wFQ8fUqd81I