History Lesson
Posted by ben on 11 Oct 2007 at 12:59 pm | Tagged as: books, essays, poetry
The history of the infinite circle (no, not that infinite circle), from the Corpus Hermeticum to Borges. Don’t miss the Paul Klee material. (This information will come in handy.)
http://www.ningyoushi.com/ProductDetails.asp?ProductCode=JJ002
“Such taxonomies, though, consider only the surface of the Dead C’s music without letting its reverberating waves pass through the ears, over the cerebellum, and through the body. It is very, very easy to listen to the Dead C’s caustic, even ugly ruckus–its rusty guitar tones, impudent percussion thunder, and vaguely apocalyptic worldview–only with the brain, consigning the band to a branch in the constantly twisting tree of experimental-rock dorkage. But it is far more rewarding to permit its crumbling, contagious energy to ripple though every cell of the body until its witty dissonance and gorgeous abrasiveness resonate as lusciously as a favorite painting. Quite simply, the Dead C makes beautiful, sensuously alive music. It only sounds like broken instruments being played through a broken PA by some seriously broke-minded blokes.”
http://www.furious.com/Perfect/deadc.html
http://en.wikipedia.org/wiki/Konx_om_Pax
Kokoro or shin (both 心): among the most difficult of the conceptual elements of Noh, kokoro describes the internal state of mind in which the self is thought to be both formless and total. It appears to be related to the more mainstream Japanese notion of mushin.
In interviews, Sill said the spiritual hunger that drove her to seek the ‘dark peace’ also drove her to express her pain in song. Her discovery of religious and theosophical literature, as well as magic, gave her new subjects to sing about, too.
With amusing pomposity, Sill informed the NME that her three principal influences were Pythagoras, Bach and Ray Charles.
…
‘My music is really magnified four-part choral style,’ Sill told the Los Angeles Herald-Examiner. ‘It gets to people’s emotional centres quickly. That’s why all church music is in four-part choral style.’
The Observer | OMM | The lost child
Art and Reality. Art is higher than reality, and has no direct relation to reality. Between the physical sphere and the ethereal sphere there is a frontier where our senses stop functioning. Nevertheless, the ether penetrates the physical sphere and acts upon it. Thus the spiritual penetrates the real. But for our senses these are two different things—the spiritual and the material. To approach the spiritual in art, one will make as little use as possible of reality, because reality is opposed to the spiritual. Thus the use of elementary forms is logically accounted for. These forms being abstract, we find ourselves in the presence of an abstract art.
Piet Mondrian
Reality is “stupid”
Žižek
LeWitt repeatedly set strict limits that allowed for infinite variety. Jorge Luis Borges, in an essay tracing the various manifestations of a single thought across time and literature, arrived at a final summation that also describes the work of LeWitt, “an infinite sphere whose center is everywhere and whose circumference is nowhere.”
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