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.


18 February 2018

Rage, rage, rage




On Rage last night, 
Billy and Zach of Hockey Dad included in their beaut selection Ariel Pink's 
'Dayzed Inn Daydreams'. It's a favourite here, too. 



Clip follows atypical senior citizen through life in Los Angeles

Ariel Pink has always obsessed over the afterlife of Seventies rock, beginning his career with a handful of home-recorded LPs that sounded like lo-fi transmissions arriving 30 years behind schedule. In the video for his new "Dayzed Inn Daydreams," the singer attempts visualizes this effect: Over the clip's five-and-a-half minutes, he shows an aging musician – part glam and part punk – ride the bus, shoot pool, visit a nursing home and perform onstage. At the end, the character hands a cigarette to and briefly chats with a girl named Angel.

Director Grant Singer went as far as to cast an actual aging musician – the former frontman of the L.A. band the Mau-Mau's – for the part. "The video is the story of a man, played by Rick Wilder, who was once the frontman of a band that existed decades ago," the photographer and filmmaker tells Rolling Stone. "Through a series of scenes depicting his everyday life, we tell his story."
 
- Nick Murray/Rolling Stone, January 26, 2015


Do not go gentle into that good night

Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.

Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.

Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.

Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.

Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.

And you, my father, there on the sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.


- Dylan Thomas


Theatre of the Actors of Regard 
Militia Company of District II under the Command of Captain Frans Banninck Cocq, also known as The Shooting Company of Frans Banning Cocq and Willem van Ruytenburch, but commonly referred to as The Night Watch (De Nachtwacht), is a 1642 painting by Rembrandt van Rijn. It is prominently displayed in the Rijksmuseum as the best known painting in its collection. 

Overnight, as the Rage Watch slept, Matrix Mitch sent from Rotterdam this poem by Seamus Heaney, from his 1991 volume 'Seeing Things'.

The visible sea at a distance from the shore
Or beyond the anchoring grounds 
Was called the offing.

The emptier it stood, the more compelled
The eye that scanned it.
But once you turned your back on it, your back

Was suddenly all eyes like Argus's.
Then, when you'd look again, the offing felt
Untrespassed still, and yet somehow vacated

As if a lambent troop that exercised 
On the borders of your vision had withdrawn
Behind the skyline to manoeuvre and regroup.


After that, over a late breakfast, comes a tribute on Compass (ABC.TV) to another Irish "searcher for truth", as Peter O'Neill is described on his tombstone. 


O'Neill in abode, un-armoured :


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



17 February 2018

LABELS R US


In the sketch proposal below for FIAPCE's 2013 contribution to MELBOURNE NOW, the National Gallery of Victoria's famous Weeping Man points to an installation of four Labels and meta-suspension
projection-space.


click image to enlarge 
And so it came
to pass.


AAA_Art Archive Australia 

FIAPCE  
 Label
            Title 
                     detail
                     A Person Looks At A Work Of Art/
                     someone looks at something... 
         
                     LOGOS/HA HA


  

16 February 2018

Et tu Titles R US?


Yesterday, Stage Name and the slippery seals [RR] of the artist/author/creator's name in translation.

Today, across the matrix way, the WOA untethered:

In fact, artists naming their own works at all is a fairly recent phenomenon; for hundreds of years, art historians used descriptions instead of official titles to identify specific works. It’s unclear when exactly naming an artwork became so important to the artist that created it, but these days, even WikiHow has a guide on “How to Title Your Work of Art.”

The extracts above and below are from
Six Famous Paintings that Were Given New Names
by Elena Goukassian in today's Hyperallergic.

Picasso ... called his 1907 painting Le Bordel Philosophique, or more simply, mon bordel. But in 1916, when it was displayed for the first time at André Salmon’s Salon d’Antin, Antin labelled it 
Les Demoiselles d’Avignon. Although the reference to the famous Carrer d’Avinyo brothels in Barcelona was clear, Picasso was annoyed by the prudishness of the word “demoiselles” (young ladies).


Theatre of the Actors of Regard 
Label
            Title 
                      detail
                      A Person Looks At A Work Of Art/
                      someone looks at something... 
         
                      LOGOS/HA HA


  

15 February 2018

TAR : Stage Name (transl.)


Three Seals of
Iron Beef Traffic Machine 


     


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


  

25 January 2018

Le Product Placement


Earlier today we were savouring this c.1890s French chromolithograph card.


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


A few hours later we read the following article.

Non, Merci! French Artists and Cultural Workers Reject Giant Jeff Koons Sculpture
In an open letter, 24 artists, curators, politicians, and more called for the costly and logistically complex project to be scrapped.
by Benjamin Sutton


Jeff Koons, “Bouquet of Tulips” (2016), polychromed bronze, stainless steel, and aluminum; sculpture dimensions: 34 ft 1 1/2 in, (38 ft 3 in with base); width: 27 ft 3/4 in; depth: 33 ft 4 3/8 in (image © Jeff Koons, courtesy Noirmontartproduction, 3D rendering of the work in situ)


HAND SPACE  
  detail
  A Person Looks At A Work Of Art/
  someone looks at something... 
         
  LOGOS/HA HA


  

23 January 2018

Sensory TAR



Theatre of the Actors of RichTAR  
  detail
  A Person Looks At A Work Of Art/
  someone looks at something... 
         
  LOGOS/HA HA



 

21 January 2018

Regardism


GERHARD RICHTER:              REGARDING RICHTER                FLOOR TALK – NATURE

1.30PM SUN 4 FEB 2018 
GOMA | GALLERY 1.1 THE FAIRFAX GALLERY | TICKETED

Join Abigail Bernal, Assistant Curator, International Art, QAGOMA, for a short talk in the exhibition exploring Richter's relationship to the art historical conception of Nature.
A valid 'Gerhard Richter: The Life of Images' exhibition ticket is required to attend this program | No bookings required.

Theatre of the Actors of Regard  

Theatre of the Actors of Regard  
  detail
  A Person Looks At A Work Of Art/
  someone looks at something... 
         
  LOGOS/HA HA


  

17 January 2018

Panelism


Panel : Reimagining the classics

Potter Museum of Art 

Saturday 20 January 1–2 pm 

A look at the past
through a contemporary lens with artists Angela Brennan, Michael Graf and Director of Geelong Gallery Jason Smith. Moderated by Potter Director Kelly Gellatly.

Join us as we look at artists who use museum/
gallery collections as inspiration for their work or respond to collections in some way. We will investigate a global trend where responses to collections are used to question existing narratives and historical positions or works are placed together to reveal different ideas. 

Free, all welcome. RSPV


The Ian Potter Museum of Art
The University of Melbourne
Swanston Street
Parkville VIC 3010
+61 3 8344 5148
potter-info@unimelb.edu.au


Smash Masters Panel Beaters
Auto Body Shop
Laverton VIC
(03) 9369 1407
https://smashmasters.com.au/


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


   

15 January 2018

- ] my ] ] moebius (( bias ( -


The Fosterville Institute of Applied & Progressive Cultural Experience has directed our attention to this article by Michel Bitbol at Academia.edu :

From :
The Monastery and the Microscope
Conversations with the Dalai Lama on Mind, Mindfulness, and the Nature of Reality
Edited by W. Hasenkamp & Janna White
Yale University Press, 2017


Chapter 7:
A Strange Loop of Relations: Phenomenology and experience. A study of consciousness (Michel Bitbol, PhD)

Scientific research and methods have traditionally supported the idea that the brain is the cause of consciousness. Michel argues, however, that the relationship is mutual and grounded in experience, creating a “strange loop of relations” where experience is primary, and the brain itself can be both an object of, and a basis for, experience. The subsequent discussion is an example of excellent interdisciplinary dialogue, with a vigorous and collegial debate about how much the materialist view can really tell us about conscious experience.

From that published article, this extract taster :

A Brain Seeing a Brain

Michel Bitbol : ...If we accept that, then the complete picture changes. We no longer have a one-way relation between the brain, which is basic, and consciousness, which is derivative. Instead we have a mutual relation between them. Moreover, their mutual relation is itself understood as a fact of experience. We have what I would like to call the strange loop of the relations between the brain and consciousness ; but a strange loop that is itself a fact of consciousness.

This strange loop was wonderfully expressed by Bertrand Russell, the great British philosopher of the 20th century. Russell said, “Men will urge that a mind is dependent upon the brain, or, with equal plausibility, that the brain is dependent upon the mind.” (14) Why did he say that? We know that there are experiments that show various correlations between the brain and the mind, and we know that we can trigger mental activities and experiences by stimulating the brain. Therefore we say that the mind might be dependent up on the brain. But we know also: (i) that we can transform the brain by mental training, and (ii) that the brain is an object of our experience. Therefore the brain is somehow also dependent upon the mind. The relation is mutual.

  
14 Bertrand Russell, Mysticism and Logic: And Other Essays 
(New York: Longmans,Green and Co, 1919), 136.


Figure 7.3
The strange loop of relations. At the left is an image of a brain that is seen by a person’s eye, which is connected to his or her brain. Thus, a representation of the small brain exists in the visual cortex of the person’s brain(right). Michel emphasizes the difference between our knowledge of the process of the brain “seeing” this figure, and the raw experience of seeing.


Let’s make a little thought experiment together about this strange loop. 

We see a wonderful thing on this picture (figure 7.3). We see a brain that is seen by an eye. The eye is the eye of somebody who has a brain. Therefore the picture of the brain is projected on the back of his or her brain cortex (the occipital cortex), and the person sees the brain.

We are now seeing a brain that is seeing a brain. But please notice that we are all outside the picture. Now, who is seeing the picture of a brain that is seeing a brain at this very moment? If I wait a little bit I’m sure somebody will tell me, “Oh it’s my brain that is seeing the brain that is seeing the brain.” Maybe. But to say this, you have to think for a few seconds. Initially, and immediately, all you had is an experience, your experience of seeing. When I stop and ask you who is seeing the brain that is seeing the brain, you first dwell in your experience and then make inferences from there to say that it is your brain. But even that belief — that it is your brain that is seeing the brain that is seeing the brain — is here and now a conscious experience. You see? At the present end of the series of visual perceptions, inferences, thoughts, and beliefs, there is an experience: an experience of perceiving, thinking, believing, but an experience in every case. Even your belief that your experience is underpinned by your brain is a present experience of yours!

What I am trying to do is bring you back to what you are now, at this very precise moment, not a thinker but an experiencer — an experiencer even of the thinking, an experiencer even of the idea that experience is underpinned by a brain. What there is now is experience, nothing else but experience. You believe that this is not the case, that there is now something other than experience? But even this belief is an experience!


- - ] - - - - ( - - 



FIAPCE  -1978-1985-  
  detail
  A Person Looks At A Work Of Art/
  someone looks at something... 
         
  LOGOS/HA HA


09 January 2018

Today's endless column...



 Constantin Brâncuși in his studio with various Endless Column(s) 


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