Friday, August 10, 2018

pick a soul (ass you wish)

Musée Picasso, Paris/jan 2018, all pictures by A/Z (for more see here); 
Image from Alfred Hitchcock's Vertigo (1958);
Medieval mosaic, from Lisa Randall's Warped Passages (but contrary to what she seems to say, the effect is three- not two-dimensional);
Hypercube rotating (Noll/Bell Labs, 1966);
The Hypercube: Projections and Slicings (Banchoff's & Strauss, 1978);
Dancing with the Virtual Dervish (Diane Gromola, Yacov Sharir 1991-94);
"The Great Abyss Inframince" (by A/Z, for more see here);
"Deve ter uma outra vida!" (Danuza Leão in Glauber Rocha's The Age of the Earth);

"La mère contient alors les angoisses destructrices et, tel un objet contenant, elle étaie l'intégration du moi... Klein glisse du terme de moi à celui de self qui comprend non seulement le moi mais toute la vie pulsionnelle... unité dynamique et néanmoins hétéroclite... un sujet qui se fait et se défait dans les crises entre le surmoi et ses objets..."
J. Kristeva (Le génie féminin 2)
"'Joëlle Cabarus a une sorte de dignité, parce qu'elle sait se taire. Une femme de silence.' Qui disait cela, déjà? Cette impossible Marie-Paule Longueville, bien sûr. Qu'est-ce qu'elle a pu devenir? Une galerie à Londres, paraît-il."
Joëlle (Les Samouraïs)

"When Futurism and Cubism appeared, many psychiatrists said that Futurists and Cubists suffered from a morbid disruption in the ability to perceive phenomena as a whole... Critics tried to compare all new forms of art to a series of illnesses... Now they attribute them to class illness, saying it is bourgeois, mystical, idealistic, and, most importantly, incomprehensible to the masses..." 
Kazimir Malevich, The World as objectlessness (Hatje Cantz 2014)
"Ce n'est plus le monde de l'astral, c'est celui de la création directe qui est repris ainsi..."
A. Artaud
"Le People prenait une attitude stalinienne en réclamant une littérature bien-pensante. Hitler aussi voulait de l'art moral: Picasso ne lui semblait-il pas malade, et les impressionnistes débiles? Reprendre les mêmes slogans moralistes, mais, cette fois, d'un point de vue soi-disant de gauche, revenait au même..."
Olga (Les Samuraïs)
"Sauf deux ou trois exceptions qu'il est inutile de nommer, la plupart des artistes sont, il faut bien le dire, des brutes très adroites, de purs manoeuvres, des intelligences de village, des cervelles de hameau. Leur conversation, forcément bornée à un cercle très étroit, devient très vite insupportable à l'homme du monde, au citoyen spirituel de l'univers."
C. Baudelaire

"With their Neo-Impressionist broken brushstrokes strongly suggesting particulate emissions, both Picasso's and Boccioni's paitings suggest the interpenetration of figures and a vibrating, ether-filled space in a state of continuous cohesion and dissolution" (Linda Dalrymple Henderson, ˜Reintroduction˜, The Fourth Dimension and Non-Euclidean Geometry in Modern Art, revised edition, MIT Press, 2013, p 25).
***Linda Henderson (translates and) quotes this very interesting passage of Poincaré: "... apart from the data of sight [involving already convergence and accommodation of the two ocular globes] and touch, there are other sensations which contribute as much and more than they to the genesis of the notions of space... muscular sensations. The corresponding frame constitutes what may be called motor space [which] would have as many dimensions as we have muscles..." (Henderson, p 185).
Actually, it would perhaps be even more interesting to think in terms of a neural net and muscle fibres. Just very few fibres need to be ignited through the net while the many others stay static (a gravitational champ), in an electrical process that perhaps involve just 4 dimensions, or a kind of spatialization of time through the moving of a tesseract (or at least I think one feels something like that while, for instance, playing the piano).
The fourth dimension would already be present in the third, powerful but very subtle. Hinton sustained that dimensions interpenetrate, and in A Primer of Higher Space, Bragdon says that "whatever the number of dimensions in space, everything must have that number of dimensions too."  In his Four-dimensional vistas, we read "let us remove ourselves in imagination only far enough from the earth for human beings thereon to appear as minute moving things... insects infesting an apple... [they] have a freedom of which the larger unit [the earth] is not possessed... with each transfer of our attention from greater units to smaller, we appear to be dealing with a power of movement in an additional dimension... It has been suggested that in the infinitely minute of organic bodies there is a power of movement in the fourth dimension."
Duchamp talks about the inframince...
Then, instead of trying to get out from Plato's cave, why not plunging into it, where less is (infinitely) more (& never a bore)?!

***In order to experience more about how 4th dimensional objects can be projected onto a 3rd dimensional space,  see Drew Olbrich's The Fourth Dimension app. I don't know him personally, but I have a strong intuition he might be a reincarnation of Rose Sélavy or even Hinton (Drew is also available on twitter).
See also:
- View from Berthe Trépat's apartment;
- Audrey Hempburnt Haunted by...
- en profane: Orsay & Centre Pompidou;
- l'oeuvre &/ou le vrai oeil;
- Eglises Paris & nearby;
- liste des déclencheurs musicaux;
- Piano Playing (Kochevitsky);
- liste des figures du chaos primordial;
- The Doors of Perception & the learned foolery of research;
- Dark Consciousness;
- Netherlands (Amsterdam, Utrecht);
- Warszawa;
- Buenos Aires;
- Córdoba;
- Montevideo;
- Spooky Blue;
And Also:
- Kinds & Phantasmagoria circa 1900;
- my translation into Portuguese of Timothy Lenoir's Instituting Science;
- the essay in which I analyse the sound of Steve McQueen's Hunger (2008) with some notions I got from Michel Chion, and the errata.list for the same publication;

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