"In a career that began in 1976, she won nine Tony Awards
and helped bring 'Equus,' 'Amadeus' and the work of
Edward Albee to the New York stage."
McCann reportedly died at 90 yesterday.
From this journal yesterday —
"In a career that began in 1976, she won nine Tony Awards
and helped bring 'Equus,' 'Amadeus' and the work of
Edward Albee to the New York stage."
McCann reportedly died at 90 yesterday.
From this journal yesterday —
The photo of Lauren German from “Standing Still” (2005) in the
previous post suggests some related material for comedians:
The above character-creator name “Neil Gaiman” occurs here
in a post from June 2013 —
The above footnote refers to . . .
More merriment: Lauren German in a video of the related song
“Another One Bites the Dust.”
For Richard Marks, a film editor who reportedly died unexpectedly
at 75 in New York City on New Year's Eve —
Click to enlarge the inset.
… Continues.
"OK Baby, let's go dancing."
— Amy Adams in "American Hustle"
Click image below for some backstory.
Happy birthday to Uma Thurman.
"Now I wanna dance, I wanna win.
I want that trophy, so dance good."
"C'est la vie , say the old folks.
It goes to show you never can tell."
(Continued from yesterday's posts, "Object of Beauty"
and "Amy's Shadow")
A winner of a Nobel Prize for X-ray crystallography stands
at the head of the New York Times obituary list today.
In memoriam —
X-Ray Vision "Crystal Engineering in Kindergarten," by Bart Kahr:
"If the reader is beginning to suspect that Froebel’s Click images for some backstories. |
Some further background:
The Times follows yesterday's egregious religious error
with an egregious scientific error:
"The technique developed by Dr. Karle and Herbert A. Hauptman,
called X-ray crystallography, is now routinely used by scientists…."
Karle was reportedly born in 1918, Hauptman in 1917.
Wikipedia on the history of X-ray crystallography:
"The idea that crystals could be used as a
diffraction grating for X-rays arose in 1912…."
The Nobel Foundation:
"The Nobel Prize in Physics 1914 was awarded to
Max von Laue 'for his discovery of the diffraction of
X-rays by crystals.'"
"The Nobel Prize in Physics 1915 was awarded jointly to
Sir William Henry Bragg and William Lawrence Bragg
'for their services in the analysis of crystal structure
by means of X-rays.'"
(Continued from St. Michael's Day 2010 and Groundhog Day 2011)
From an obituary of playwright Doric Wilson in this afternoon's online New York Times—
In the early 1960s Mr. Wilson was one of the first resident playwrights at Caffe Cino— a coffeehouse considered by many to be the original Off Off Broadway performance space— on Cornelia Street in Greenwich Village. Four productions by Mr. Wilson were staged there in 1961. Among them were “And He Made a Her,” in which Eve, of Adam and Eve, discovers that men objectify women, and “Now She Dances,” a caustic reshaping of Oscar Wilde’s trials for “gross indecency” in the 1890s as the story of Salome and John the Baptist….
Related material— Salome in this journal.
See also "Braids" from the date of Wilson's death.
From this journal —
Wednesday, Dec. 17, 2008The Dance
(continued) “… physicists are doing more than ‘discovering the endless diversity of nature.’ They are dancing with Kali….” Gary Zukav, |
A photo from that same day—
Related material: The links from this journal given above —
Harvard '64 and continued.
From a search in this journal . . .
Also related, but only very personally and indirectly, to Iceland . . .
“At the still point . . . .” — T. S. Eliot
Harold Bloom "Stevens may be playful, yet seriously so, in describing desire, at winter's end, observing not only the emergence of the blue woman of early spring, but seeing also the myosotis, whose other name is 'forget-me-not.' Desire, hearing the calendar hymn, repudiates the negativity of the mind of winter, unable to bear what Valéry's Eryximachus had called 'this cold, exact, reasonable, and moderate consideration of human life as it is.' The final form of this realization in Stevens comes in 1950, in The Course of a Particular, in the great monosyllabic line 'One feels the life of that which gives life as it is.' But even Stevens cannot bear that feeling for long. As Eryximachus goes on to say in Dance and the Soul:
Valéry's formula for reimagining the First Idea is, 'The idea introduces into what is, the leaven of what is not.' This 'murderous lucidity' can be cured only by what Valéry's Socrates calls 'the intoxication due to act,' particularly Nietzschean or Dionysiac dance, for this will rescue us from the state of the Snow Man, 'the motionless and lucid observer.'" |
"…at the still point, there the dance is…." — T. S. Eliot
St. Bridget's Still Point … June 25, 2020 —
Roots!
More recently . . .
"Jigs are indispensable in the machining process.
They help guide and hold workpieces to a specified
location, thus ensuring that any drilling or tapping
will be accurate."
See also, in this journal, "the notation 'as' " …
"At the still point, there the dance is." — T. S. Eliot
At the still point… from the film "Absolute Power" :
Photo credit – Graham Kuhn
I’ve heard of affairs that are strictly plutonic,
But diamonds are a girl’s best friend!
“… the true sense of
‘Let be be the finale of seem’
is
‘let being become the conclusion or denouement of appearing to be’….”
— Wallace Stevens, letter to Henry Church, June 1, 1939
Update of 6:21 PM ET:
Related remark from The New York Times today —
“In a 2000 interview with the newspaper Libération ,
Mr. Dupond set forth his credo as an artist:
‘To please, seduce, divert, enchant;
I feel that I have only ever lived for this.’”
“datePublished”:”2021-03-13T17:02:01.000Z”,
“headline”:”Patrick Dupond, French Ballet Virtuoso, Dies at 61″
“At the still point, there the dance is.”
— Thomas Stearns Eliot
Suggested tune for Emma Brown —
“Send me the pillow
that you dream on”
“At the still point . . . .” — T. S. Eliot
Candle from Sense8 , Season 1, Episode 1: “Limbic Resonance” —
“At the still point….” — T. S. Eliot
This post was suggested by the date — Jan. 2, 2019 —
of a YouTube video —
. . . and by a Log24 post, “Wolf as Lamb,” on that date.
"At the still point of the turning world. Neither flesh nor fleshless;
Neither from nor towards; at the still point, there the dance is,
But neither arrest nor movement. And do not call it fixity,
Where past and future are gathered. Neither movement from nor towards,
Neither ascent nor decline. Except for the point, the still point,
There would be no dance, and there is only the dance."
— T. S. Eliot, Four Quartets
See also a recurrent image
from this journal —
See …
At the Still Point … (February 12, 2008)
For Balanchine's Birthday (January 9, 2007)
Go Set a Structure (Various dates)
and …
The title refers to Frederick Seidel and
to a post of April 29, "At the Still Point."
From yesterday —
Another remark on "still light" —
" . . . After the kingfisher's wing
Has answered light to light, and is silent, the light is still
At the still point of the turning world." — Four Quartets
Note the page number, 168, in the above quote from Capobianco.
From another page 168,* a reproduction of a title page —
"In quella parte del libro…."
* In Jewel Spears Brooker's book
T.S. Eliot: The Contemporary Reviews ,
Cambridge University Press, 2004
Epigraphs from Parallelisms of Complete Designs
by Peter J. Cameron (Cambridge University Press, 1976)
Introduction
Through the unknown, remembered gate
When the last of earth left to discover
Is that which was the beginning
(T. S. Eliot: Little Gidding)
I The existence theorem
Here the impossible union
Of spheres of existence is actual
(T. S. Eliot: The Dry Salvages)
II The parallelogram property
A condition of complete simplicity
(Costing not less than everything)
(T. S. Eliot: Little Gidding)
III Steiner points and Veblen points
You say I am repeating
Something I have said before. I shall say it again.
Shall I say it again?
(T. S. Eliot: East Coker)
IV Edge-colourings of complete graphs
And hollyhocks that aim too high
Red into grey and tumble down
(T. S. Eliot: East Coker)
V Biplanes and metric regularity
Two and two, necessarye conjunction,
Holding eche other by the hand or the arm
Whiche betokeneth concorde.
(T. S. Eliot: East Coker)
VI Automorphism groups
At the still point of the turning world. Neither flesh nor fleshless;
Neither from nor towards; at the still point, there the dance is,
But neither arrest nor movement.
(T. S. Eliot: Burnt Norton)
VII Resolutions and partition systems
… fiddle with pentagrams
Or barbituric acids, or dissect
The recurrent image into pre-conscious terrors .. .
(T. S. Eliot: The Dry Salvages)
See a Haaretz story commemorating the Feb. 14,
1917, birthday of a crystallographer.
Related material in this journal —
At the Still Point (June 15, 2013):
The illustration is for those who, like Andy Magid and
Steven Strogatz in the March 2014 AMS Notices,
enjoy the vulgarization of mathematics.
Backstory: Group Actions (November 14, 2012).
"Everything's coming up Snow White."
For Charlize:
"Snow, Glass, Apples," by Neil Gaiman
* See Saturday's post At the Still Point
Backstory: The two previous Log24 posts
Raiders of the Lost Aleph (May 14) and
The Crying of Bucharest (May 15).
The following sequence of images was suggested by
Peter Woit's May 16 post "One Ring to Rule Them All."
Also from Devil's Night 2008:
From the May 16 Nobel Symposium talk discussed in
Woit's "One Ring to Rule Them All":
Related material:
All Souls' Day at the Still Point (Nov. 2, 2003) and
Frodo and the Oxford Murders (Oct. 13, 2011).
(Continued from 2 PM ET Tuesday)
“… the object sets up a kind of frame or space or field
within which there can be epiphany.”
— Charles Taylor, "Epiphanies of Modernism,"
Chapter 24 of Sources of the Self
(Cambridge U. Press, 1989, p. 477)
"The absolute consonance is a state of chromatic plenitude."
"… the nearest precedent might be found in Becky Sharp .
The opening of the Duchess of Richmond's ball,
with its organization of strong contrasts and
display of chromatic plenitude, presents a schema…."
— Scott Higgins, Harnessing the Technicolor Rainbow:
Color Design in The 1930s , University of Texas Press,
2007, page 142
Note the pattern on the dance floor.
(Click for wider image.)
"At the still point…" — Four Quartets
Last evening's Geometry of the Dance discussed
a book on the Norwegian mathematician
Niels Henrik Abel. The post dealt with the group
S4 of 24 permutations of a 4-element set.
"In that open field
If you do not come too close, if you do not come too close,
On a summer midnight, you can hear the music…."
— The dance in Four Quartets
For a summer midnight related to the group S4,
see Midnight in Oslo from last August.
"At the still point…." — T. S. Eliot
"…a dance results." — Marie-Louise von Franz
"At the still point…" — T. S. Eliot
In memory of David L. Waltz, artificial-intelligence pioneer,
who died Thursday, March 22, 2012—
The following from the First of May, 2010—
Some context–
"This pattern is a square divided into nine equal parts.
It has been called the 'Holy Field' division and
was used throughout Chinese history for many
different purposes, most of which were connected
with things religious, political, or philosophical."
– The Magic Square: Cities in Ancient China,
by Alfred Schinz, Edition Axel Menges, 1996, p. 71
Wednesday, February 1, 2012
Politics
|
Related material—
See also At the Still Point (a post in memory of film editor Sally Menke).
"… if you will, a cha-cha on the floor of the Grand Hotel Abyss."
— Harvard student's essay on Jack Nicholson in the ballroom of "The Shining"
"At the still point, there the dance is."
— Four Quartets
Related material on the transition from "Do" to "Be" on Friday, October 21st—
Happy birthday to Amy Adams
(actress from Castle Rock, Colorado)
"The metaphor for metamorphosis…" —Endgame
Related material:
"The idea that reality consists of multiple 'levels,' each mirroring all others in some fashion, is a diagnostic feature of premodern cosmologies in general…."
— Scholarly paper on "Correlative Cosmologies"
"How many layers are there to human thought? Sometimes in art, just as in people’s conversations, we’re aware of only one at a time. On other occasions, though, we realize just how many layers can be in simultaneous action, and we’re given a sense of both revelation and mystery. When a choreographer responds to music— when one artist reacts in detail to another— the sensation of multilayering can affect us as an insight not just into dance but into the regions of the mind.
The triple bill by the Mark Morris Dance Group at the Rose Theater, presented on Thursday night as part of the Mostly Mozart Festival, moves from simple to complex, and from plain entertainment to an astonishingly beautiful and intricate demonstration of genius….
'Socrates' (2010), which closed the program, is a calm and objective work that has no special dance excitement and whips up no vehement audience reaction. Its beauty, however, is extraordinary. It’s possible to trace in it terms of arithmetic, geometry, dualism, epistemology and ontology, and it acts as a demonstration of art and as a reflection of life, philosophy and death."
— Alastair Macaulay in today's New York Times
SOCRATES: Let us turn off the road a little….
— Libretto for Mark Morris's 'Socrates'
See also Amy Adams's new film "On the Road"
in a story from Aug. 5, 2010 as well as a different story,
Eightgate, from that same date:
The above reference to "metamorphosis" may be seen,
if one likes, as a reference to the group of all projectivities
and correlations in the finite projective space PG(3,2)—
a group isomorphic to the 40,320 transformations of S8
acting on the above eight-part figure.
See also The Moore Correspondence from last year
on today's date, August 20.
For some background, see a book by Peter J. Cameron,
who has figured in several recent Log24 posts—
"At the still point, there the dance is."
— Four Quartets
Tracking Shot
Related material—
See also this journal's September 2009 posts.
This post was suggested by today's previous post and by today's NY Lottery.
For some background to the ioncinema.com post numbered 4210 above,
see, in conjunction with the page headed "Azazel" linked to here earlier today,
the ioncinema.com post numbered 5601.
“Stranger, dreams verily are baffling and unclear of meaning, For two are the gates of shadowy dreams, But in my case it was not from thence, methinks, Translation by A.T. Murray, in two volumes. Quoted in a press release for the film "Two Gates of Sleep." |
From the post numbered 460 in this journal—
At the still point… from the film "Absolute Power" :
Photo credit – Graham Kuhn
I’ve heard of affairs that are strictly plutonic,
But diamonds are a girl’s best friend!
A comment yesterday at Peter Woit's weblog—
Glenn says:
March 14, 2011 at 8:49 pm
Perhaps John G. Cramer’s prediction will come true after all?
http://en.wikipedia.org/wiki/Einstein%27s_Bridge_(book)
Of course, in that case, the proof would exist on a world-line
inaccessible to any living observer.
New York Lottery—
Related material:
From the weblog of Cramer's daughter Kathryn on Feb. 28—
For 928. see the two posts from last year's 9/28 in this journal—
"the predicate* of bright origin"
— A phrase of Wallace Stevens quoted here yesterday
One origin, noted here on January 25—
This commemorated the death of noted discographer Brian Rust.
Rust appears in today's New York Times obituary index—
Also in today's obituaries: artist Alan Uglow, who reportedly died on January 20.
A link ("Noland") from this journal on that date leads to… a geometric origin.
“At the still point, |
What Stevens's "predicate" is, I do not know.
Eliot's predicate would seem to be "still."
Related material— The dance from "Pulp Fiction"** illustrated here
on the Feast of St. Michael and All Angels last year.
* Some background for the Hall of Philosophy (yesterday's post)—
"Unity of the Proposition" at Wikipedia and at Oxford University Press.
** A flickr.com page gives examples. (The link is thanks to The Ghost Light).
The above asterisk, from the Tahoma font, suggests
a figure from "Diablo Ballet" (Jan. 21, 2003)—
“At the still point, |
Another asterisk figure,
from Twelfth Night 2010—
Todo lo sé por el lucero puro
que brilla en la diadema de la Muerte.
At the Still Point…
Headline from a weblog at
the Atlanta Journal-Constitution—
8:07 AM March 24, 2010–
Obama, Netanyahu doing
a complicated little dance
Related recent quotation here–
See also
Today's New York Times on a current theatrical presentation of The Great Gatsby—
"Throughout the show, the relationship between what is read and its context keeps shifting, with the real world finally giving way entirely to the fictive one."
"This fella's a regular Belasco."
David Brown, producer. Brown died on Monday.
From The Diamond as Big as the Monster in this journal on Dec. 21, 2005–
"At the still point, there the dance is.” –T. S. Eliot, Four Quartets
Eliot was quoted in the epigraph to the chapter on automorphism groups in Parallelisms of Complete Designs, by Peter J. Cameron, published when Cameron was at Merton College, Oxford.
“As Gatsby closed the door of ‘the Merton College Library’ I could have sworn I heard the owl-eyed man break into ghostly laughter.” –F. Scott Fitzgerald
Related material: Yesterday's posts and the jewel in Venn's lotus.
ALLURE |
at The New York Times.
For previous notes on
allure at the Times, see
St. Luke’s Day, 2008,
and its links.
Teaser at the top of
this afternoon’s Times’s
online front page:
“Vampires Never Die:
In our fast-paced society,
eternity has a special
allure.” (With fanged
illustration)–
Yesterday’s afternoon entry was
related to both the July 13th death
of avant-garde artist Dash Snow
and the beauty of Suzanne Vega.
A reference to Vega’s album
“Beauty & Crime” apppeared here
on the date of Snow’s death.
(See “Terrible End for an
Enfant Terrible,” NY Times,
story dated July 24.)
The Vega entry yesterday was, in
part, a reference to that context.
In view of today’s Times
teaser, the large picture of
Vega shown here yesterday
(a detail of the above cover)
seems less an image of
pure beauty than of, well,
a lure… specifically, a
vampire lure:
What healthy vampire
could resist that neck?
To me, the key words in the
Times teaser are “allure”
(discussed above) and “eternity.”
For both allure and eternity
in the same picture
(with interpretive
symbols added above)
see this journal on
January 31, 2008:
This image from “Black Narcissus”
casts Jean Simmons as Allure
and Deborah Kerr, in a pretty
contrast, as Eternity.
For different approaches to
these concepts, see Simmons
and Kerr in other films,
notably those co-starring
Burt Lancaster.
Lancaster seems to have had
a pretty good grasp of Allure
in his films with Simmons
and Kerr. For Eternity, see
“Rocket Gibraltar” and
“Field of Dreams.”
For less heterosexual approaches
to these concepts, see the
continuing culture coverage of
the Times— for instance, the
vampire essay above and the
Times‘s remarks Monday on
choreographer Merce Cunningham–
who always reminded me of
Carmen Ghia in “The Producers”–
Related material:
“Dance of the Vampires”
in “At the Still Point”
(this journal, 1/16/03).
Hotel Puzzle by John Tierney "Russell Crowe arrives at the Hotel Infinity looking tired and ornery. He demands a room. The clerk informs him that there are no vacancies…."
|
Footprints from California today
(all by a person or persons using Firefox browsers):
7:10 AM
http://m759.xanga.com/679142359/concepts-of-space/?
Concepts of Space: Euclid vs. Galois
8:51 AM
http://m759.xanga.com/689601851/art-wars-continued/?
Art Wars continued: Behind the Picture
1:33 PM
http://m759.xanga.com/678995132/a-riff-for-dave/?
A Riff for Dave: Me and My Shadow
2:11 PM
http://m759.xanga.com/638308002/a-death-of-kings/?
A Death of Kings: In Memory of Bobby Fischer
2:48 PM
http://m759.xanga.com/691644175/art-wars-in-review–/?
Art Wars in review– Through the Looking Glass: A Sort of Eternity
3:28 PM and
http://m759.xanga.com/684680406/annals-of-philosophy/?
Annals of Philosophy: The Dormouse of Perception
4:28 PM
http://m759.xanga.com/641536988/epiphany-for-roy-part-i/?
Epiphany for Roy, Part I
6:03 PM
http://m759.xanga.com/641949564/art-wars-continued/?
At the Still Point: All That Jazz
6:22 PM
http://m759.xanga.com/644330798/where-entertainment-is-not-god/?
Where Entertainment is Not God: The Just Word
7:14 PM
http://m759.xanga.com/643490468/happy-new-yorker-day/?
Happy New Yorker Day– Class Galore
7:16 PM
http://m759.xanga.com/643812753/the-politics-of-change/?
The Politics of Change: Jumpers
Introduction
For details of the story,
click on the images.
Chapter I:
Chapter II:
Chapter III:
and the following quotation:
"There is no landing fee in Avalon,
or anywhere else in Catalina."
This morning’s entry quoted Ezra Pound:
“The first credential we should demand of a critic is his ideograph of the good.”
Dance critic Clive Barnes died Wednesday. Pound may have whispered his advice in St. Peter’s ear when Barnes stood before the Janitor Coeli at heaven’s gate. If so, another angel may have whispered in the other ear,
“Vide Forever Fonteyn.”
Movie-Teller
"… maybe it was McCain's role as 'movie-teller' that he cherishes most– the man who used to narrate the plots of films to his fellow PoWs in the compound. 'I must have told a hundred movies,' says McCain. 'Of course I don't know a hundred movies– I made them up.'"
— The Guardian, quoted here on McCain's birthday, August 29, 2006. (McCain's birthday nine years earlier was the date of Judgment Day in "Terminator 2.")
A story from McCain's
birthday this year:
"Hail Sarah!"
— Newsweek
"At the still point,
there the dance is."
— Erich Heller, quoted here
on August 25, 2008
(Feast of St. Louis)
Related material:
St. Sarah's Day,
See also the remarks of St. Augustine and others on time (August 28 entry) and, from May 24, a song hook thanks to Cyndi Lauper: |
* Also known as smoke and mirrors.
“At the still point,
there the dance is.”
— T. S. Eliot,
quoted here in the entry
of 2:45 AM Friday
In memory of
Eugenio Montejo,
Venezuelan poet who
died at around midnight
on Thursday night:
From an obituary:
In one scene, Sean Penn’s character quoted a line from a 1988 poem by Montejo. It reads: ‘The earth turned to bring us closer. It turned on itself and in us, until it finally brought us together in this dream.'”
Related material:
A link in the entry of
2:45 AM Friday to
“The Cha-Cha-Cha Theory
of Scientific Discovery”
and a news story from the
Cannes Film Festival
dated May 18, 2007,
that features Inarritu:
"Harvard seniors have
every right to demand a
Harvard-calibre speaker."
— Adam Goldenberg in
The Harvard Crimson
"Look down now, Cotton Mather"
— Wallace Stevens,
Harvard College
Class of 1901
For Thursday, June 5, 2008,
commencement day for Harvard's
Class of 2008, here are the
Pennsylvania Lottery numbers:
Mid-day 025
Evening 761
Thanks to the late
Harvard professor
Willard Van Orman Quine,
the mid-day number 025
suggests the name
"Isaac Newton."
(For the logic of this suggestion,
see On Linguistic Creation
and Raiders of the Lost Matrix.)
Thanks to Google search, the
name of Newton, combined with
Thursday's evening number 761,
suggests the following essay:
PHILOSOPHY OF SCIENCE:
|
Perhaps the Log24 entries for
the date of Koshland's death:
The Philosopher's Stone
and The Rock.
Or perhaps the following
observations:
On the figure of 25 parts
discussed in
"On Linguistic Creation"–
"The Moslems thought of the
central 1 as being symbolic
of the unity of Allah. "
— Clifford Pickover
"At the still point,
there the dance is."
— T. S. Eliot,
Harvard College
Class of 1910
"Whiteman's concept of the 'true form of jazz,' even as late as 1924, was the original Dixieland Jazz Band's 1917 recording of… Livery Stable Blues, with which he opened the program." —The New York Times
For another sort of livery stable blues, see Readings for Candlemas (Log24, Feb. 2, 2008).
Humphrey Carpenter in The Inklings, his book on the Christian writers J. R. R. Tolkien, C. S. Lewis, and Charles Williams, says that
"Eliot by his own admission took the 'still point of the turning world' in Burnt Norton from the Fool in Williams's The Greater Trumps."
— The Inklings, Ballantine Books, 1981, p. 106
Today's Birthdays: …. Actress-dancer Leslie Caron is 76…. Movie director Sydney Pollack is 73…. Dancer-choreographer Twyla Tharp is 66. –AP, "Today in History," July 1, 2007
The Diamond
in the Mandorla
…da ist der Tanz;
Doch weder Stillstand noch Bewegung.
Und nenne es nicht Beständigkeit,
Wo Vergangenheit und Zukunft sich sammeln.
|
|
to put one's back into something |
bei etwas Einsatz zeigen |
to up the ante |
den Einsatz erhöhen |
to debrief | den Einsatz nachher besprechen |
to be on duty |
im Einsatz sein |
mil.to be in action | im Einsatz sein |
to play for high stakes |
mit hohem Einsatz spielen |
"Nine is a very
powerful Nordic number."
— Katherine Neville,
The Magic Circle
Related material:
"At the still point,
there the dance is"
and
Related material:
Log 24, Sunday, January 29, 2006,
and links in the previous entry–
A Contrapuntal Theme and
Good Will Writing.
Beauty is momentary in the mind– The body dies; the body’s beauty lives. — Wallace Stevens, |
In the box-style I Ching
Hexagram 34,
The Power of the Great,
is represented by
.
Art is represented
by a box
(Hexagram 20,
Contemplation, View)
.
And of course
great art
is represented by
an X in a box.
(Hexagram 2,
The Receptive)
.
“… as a Chinese jar still
Moves perpetually
in its stillness”
“… at the still point,
there the dance is.”
— T. S. Eliot
A Jungian on this six-line figure: “They are the same six lines that exist in the I Ching…. Now observe the square more closely: four of the lines are of equal length, the other two are longer…. For this reason symmetry cannot be statically produced and a dance results.” |
For those who prefer
technology to poetry,
there is the Xbox 360.
(Today is day 360 of 2005.)
For the feast of
St. Francis Scott Key Fitzgerald
From Fitzgerald’s The Diamond as Big as the Ritz:
“Now,” said John eagerly, “turn out your pocket and let’s see what jewels you brought along. If you made a good selection we three ought to live comfortably all the rest of our lives.”
Obediently Kismine put her hand in her pocket and tossed two handfuls of glittering stones before him.
“Not so bad,” cried John, enthusiastically. “They aren’t very big, but– Hello!” His expression changed as he held one of them up to the declining sun. “Why, these aren’t diamonds! There’s something the matter!”
“By golly!” exclaimed Kismine, with a startled look. “What an idiot I am!”
“Why, these are rhinestones!” cried John.
From The Hawkline Monster, by Richard Brautigan:
“What are we going to do now?” Susan Hawkline said, surveying the lake that had once been their house.
Cameron counted the diamonds in his hand. There were thirty-five diamonds and they were all that was left of the Hawkline Monster.
“We’ll think of something,” Cameron said.
“A disciple of Ezra Pound, he adapts to the short story the ideogrammatic method of The Cantos, where a grammar of images, emblems, and symbols replaces that of logical sequence. This grammar allows for the grafting of particulars into a congeries of implied relation without subordination. In contrast to postmodernists, Davenport does not omit causal connection and linear narrative continuity for the sake of an aleatory play of signification but in order to intimate by combinational logic kinships and correspondences among eras, ideas and forces.”
— When Novelists Become Cubists:
The Prose Ideograms of Guy Davenport,
by Andre Furlani
“T.S. Eliot’s experiments in ideogrammatic method are equally germane to Davenport, who shares with the poet an avant-garde aesthetic and a conservative temperament. Davenport’s text reverberates with echoes of Four Quartets.”
“At the still point,
there the dance is.”
— T. S. Eliot, Four Quartets,
quoted in the epigraph to
the chapter on automorphism groups
in Parallelisms of Complete Designs,
by Peter J. Cameron,
published when Cameron was at
Merton College, Oxford.
“As Gatsby closed the door of
‘the Merton College Library’
I could have sworn I heard
the owl-eyed man
break into ghostly laughter.”
CUERNAVACA, Mexico – Spanish singer Gloria Lasso, who made her name recording romantic ballads in Latin America and Paris, died in her sleep on Sunday at her home in Cuernavaca. She was 83.
Today's Harvard Crimson–
"Pudding Show Features
From yesterday's entry,
"At the still point,
Xanadu (1980) For related material, see
Balanchine's Birthday (1/9/03)
|
For more Harvard humor,
see The Crimson Passion.
Balance
"An asymmetrical balance is sought since it possesses more movement. This is achieved by the imaginary plotting of the character upon a nine-fold square, invented by some ingenious writer of the Tang dynasty. If the square were divided in half or in four, the result would be symmetrical, but the nine-fold square permits balanced asymmetry."
— Chiang Yee, Chinese Calligraphy, quoted in Aspen no. 10, item 8
"'Burnt Norton' opens as a meditation on time. Many comparable and contrasting views are introduced. The lines are drenched with reminiscences of Heraclitus' fragments on flux and movement…. the chief contrast around which Eliot constructs this poem is that between the view of time as a mere continuum, and the difficult paradoxical Christian view of how man lives both 'in and out of time,' how he is immersed in the flux and yet can penetrate to the eternal by apprehending timeless existence within time and above it. But even for the Christian the moments of release from the pressures of the flux are rare, though they alone redeem the sad wastage of otherwise unillumined existence. Eliot recalls one such moment of peculiar poignance, a childhood moment in the rose-garden– a symbol he has previously used, in many variants, for the birth of desire. Its implications are intricate and even ambiguous, since they raise the whole problem of how to discriminate between supernatural vision and mere illusion. Other variations here on the theme of how time is conquered are more directly apprehensible. In dwelling on the extension of time into movement, Eliot takes up an image he had used in 'Triumphal March': 'at the still point of the turning world.' This notion of 'a mathematically pure point' (as Philip Wheelwright has called it) seems to be Eliot's poetic equivalent in our cosmology for Dante's 'unmoved Mover,' another way of symbolising a timeless release from the 'outer compulsions' of the world. Still another variation is the passage on the Chinese jar in the final section. Here Eliot, in a conception comparable to Wallace Stevens' 'Anecdote of the Jar,' has suggested how art conquers time:
Only by the form, the pattern,
Can words or music reach
The stillness, as a Chinese jar still
Moves perpetually in its stillness."
— F. O. Matthiessen, The Achievement of T.S. Eliot,
Oxford University Press, 1958, as quoted in On "Burnt Norton"
“A corpse will be
transported by express!“
(Ideograms for Guy Davenport;
see also previous entry.)
“At the still point,
there the dance is.”
— T. S. Eliot
Illustration from
Tuesday, April 22, 2003:
Temptation
|
The Star |
|
Related material:
The Devil and Wallace Stevens
In Memory of
Guy Davenport
From the day Davenport died:
“At Merton College, Oxford,
he wrote the first thesis on Joyce
to be accepted by the university.”
From a very informative essay
on Davenport’s aesthetics:
“T.S. Eliot’s experiments
in ideogrammatic method
are equally germane to Davenport,
who shares with the poet
an avant-garde aesthetic and
a conservative temperament.
Davenport’s text reverberates
with echoes of Four Quartets.”
— Andre Furlani
“At the still point, there the dance is.”
— T. S. Eliot, Four Quartets,
quoted in the epigraph to
the chapter on automorphism groups
in Parallelisms of Complete Designs,
by Peter J. Cameron,
published when Cameron was at
Merton College, Oxford.
See also
Elegance.
Romantic Interaction
continued…
(See previous entry.)
From today's Harvard Crimson:
"Pudding Show Features
Wild West Theme"
From yesterday's entry,
a tribute to Olivia Newton-John:
"At the still point,
there the dance is."
— T. S. Eliot
Xanadu (1980)
For related material, see
Balanchine's Birthday (1/9/03)
and Deep Game (6/26/04).
Romantic Interaction
(See previous entry.)
"At the still point,
there the dance is."
— T. S. Eliot
For Olivia Newton-John
on her birthday,
at 1:11:11 pm EDT
"Keep me suspended in time with you;
Don't let this moment die.
I get a feeling when I'm with you
None of the rules apply.
But I know for certain
Goodbye is a crime;
So love if you need me,
Suspend me in time."
— Olivia Newton-John in Xanadu
A Living Church
"Plato has told you a truth; but Plato is dead. Shakespeare has startled you with an image; but Shakespeare will not startle you with any more. But imagine what it would be to live with such men still living. To know that Plato might break out with an original lecture to-morrow, or that at any moment Shakespeare might shatter everything with a single song. The man who lives in contact with what he believes to be a living Church is a man always expecting to meet Plato and Shakespeare to-morrow at breakfast. He is always expecting to see some truth that he has never seen before."
— G. K. Chesterton, Orthodoxy
C. P. Snow on G. H. Hardy in the foreword to A Mathematician's Apology:
"… he had another favourite entertainment. 'Mark that man we met last night,' he said, and someone had to be marked out of 100 in each of the categories Hardy had long since invented and defined. STARK, BLEAK ('a stark man is not necessarily bleak: but all bleak men without exception want to be considered stark')…."
S. H. Cullinane on religion and Hollywood:
"If the incomparable Max Bialystock were to remake 'Up Close and Personal,' he might retitle it 'Distant and Impersonal.' A Google search on this phrase suggests
a plot outline for Mel Brooks & Co."
In memory of
producer Ray Stark,
an excerpt from that plot outline:
The Oxford University Press summary of
God:
Myths of the Male Divine,
by David Leeming and Jake Page
"They [Leeming and Page] describe the rise of a male sky God as 'the equal to, the true mate, of Goddess, who was still associated with Earth.' In the Iron Age, the sky God became more aggressive, separating from the Goddess and taking his place as the King God, as Zeus, Odin, and Horus. Ultimately he emerged as the creator, a more distant and impersonal force. Here Leeming and Page also illuminate an important trend–a sense that the divine is beyond gender, that it permeates all things (as seen in the Chinese Tao and En Sof of the Kabbalah). They see a movement in the biography of God toward a reunion with the Goddess."
As for the Goddess, see
(December 17, 2002).
Stark, a saint among Hollywood producers, died yesterday, January 17. If, as Chesterton might surmise, he then met Plato and Shakespeare in Heaven, the former might discuss with him the eternal Platonic form of the number 17, while the latter might offer the following links on Stark's new heavenly laptop:
This concludes the tribute to Stark. For a tribute to Bleak, click here.
Natasha’s Dance
“… at the still point, there the dance is….”
“… to apprehend — T. S. Eliot, Four Quartets |
It seems, according to Eliot’s criterion, that the late author John Gregory Dunne may be a saint.
Pursuing further information on the modular group, a topic on which I did a web page Dec. 30, 2003, the date of Dunne’s death, I came across a review of Apostol’s work on that subject (i.e., the modular group, not Dunne’s death, although there is a connection). The review:
“A clean, elegant,
absolutely lovely text…”
Searching further at Amazon for a newer edition of the Apostol text, I entered the search phrase “Apostol modular functions” and got a list that included the following as number four:
Natasha’s Dance:
A Cultural History of Russia,
which, by coincidence, includes all three words of the search.
For a connection — purely subjective and coincidental, of course — with Dunne’s death, see The Dark Lady (Jan. 1, 2004), which concerns another Natasha… the actress Natalie Wood, the subject of an essay (“Star!“) by Dunne in the current issue of the New York Review of Books.
The Review’s archives offer another essay, on science and religion, that includes the following relevant questions:
“Have the gates of death
been opened unto thee?
Or hast thou seen the doors
of the shadow of death?”
From my December 31 entry:
In memory of
John Gregory Dunne,
who died on
Dec. 30, 2003:
For further details, click
on the black monolith.
All Souls' Day
at the Still Point
From remarks on Denis Donoghue's Speaking of Beauty in the New York Review of Books, issue dated Nov. 20, 2003, page 48:
"The Russian theorist Bakhtin lends his august authority to what Donoghue's lively conversation has been saying, or implying, all along. 'Beauty does not know itself; it cannot found and validate itself — it simply is.' "
From The Bakhtin Circle:
"Goethe's imagination was fundamentally chronotopic, he visualised time in space:
Time and space merge … into an inseparable unity … a definite and absolutely concrete locality serves at the starting point for the creative imagination… this is a piece of human history, historical time condensed into space….
Dostoevskii… sought to present the voices of his era in a 'pure simultaneity' unrivalled since Dante. In contradistinction to that of Goethe this chronotope was one of visualising relations in terms of space not time and this leads to a philosophical bent that is distinctly messianic:
Only such things as can conceivably be linked at a single point in time are essential and are incorporated into Dostoevskii's world; such things can be carried over into eternity, for in eternity, according to Dostoevskii, all is simultaneous, everything coexists…. "
Bakhtin's notion of a "chronotope" was rather poorly defined. For a geometric structure that might well be called by this name, see Poetry's Bones and Time Fold. For a similar, but somewhat simpler, structure, see Balanchine's Birthday.
From Four Quartets:
"At the still point, there the dance is."
From an essay by William H. Gass on Malcolm Lowry's classic novel Under the Volcano:
"There is no o'clock in a cantina."
Diablo Ballet
Thanks to Meghan for the following:
not going, not coming,
rooted, deep and still
not reaching out, not reaching in
just resting, at the center
a single jewel, the flawless crystal drop
in the blaze of its brilliance
the way beyond.
— Shih Te (c. 730)
It turns out that Shih Te ("Foundling") was the sidekick of Han Shan ("Cold Mountain"). Here are some relevant links:
Thoughts of Robert Frost (see past two days' entries) lead to "Two Tramps in Mud Time," which in turn leads to Jack Kerouac and Gary Snyder splitting wood in The Dharma Bums.
This in turn leads, via a search on "Kerouac" and "axe," to the sentence
"There's the grace of an axe handle
as good as an Eglevsky ballet,"
in Big Sur.
Kerouac taught me when I was 16 and he is still teaching me now that I am 60.
Searching for "Eglevsky ballet" leads to this site on André Eglevsky, his work, his life, and his children. A further search leads to his daughter Marina Eglevsky, who stages dance for the Diablo Ballet.
Marina Eglevsky and |
|
Those who feel the above is too "arty" for them may nevertheless appreciate the movie by the same name: "Born to Dance" (1936), starring Eleanor Powell and James Stewart.
In the larger metaphorical sense, of course, Powell and Eglevsky are both part of the same dance… at the "still point" described so well by Shih Te.
"just resting, at the center
a single jewel…"
"At the still point, |
|
From Marshall's Jewelers, Tucson — The ideal cut is a mathematical formula for cutting diamonds to precise angles and proportions to maximize the reflection and refraction of light. In addition to these ideal proportions, the polish and symmetry of the diamond is done to the highest standards also. Only then does it qualify to receive the American Gem Society (AGS) "triple zero" rating. A "zero" rating is the most perfect rating that the AGS gives evaluating the cut, polish, and symmetry of the diamond. When a diamond receives the "zero" rating for each of these areas, (cut, polish, and symmetry), it gets three "zeros," hence the "triple zero" rating. Because of this attention to detail, it takes up to four times longer to cut a diamond to these standards than an "average" diamond. You may choose to compromise on color or clarity but to ensure the most brilliant diamond you should not compromise on cut…. The "triple zero" ideal cut guarantees you a magnificent balance of brilliance, sparkle, and fire. |
Postscript of 1/25/03:
See also the obituary of Irene Diamond, ballet patron, for whom the New York City Ballet's "Diamond Project" is named. Diamond died on January 21, 2003, the date of the above weblog entry.
ART WARS
At the Still Point
“At the still point, there the dance is.”
— T. S. Eliot in Four Quartets
Humphrey Carpenter in The Inklings, his book on the Christian writers J. R. R. Tolkien, C. S. Lewis, and Charles Williams, says that
“Eliot by his own admission took the ‘still point of the turning world’ in Burnt Norton from the Fool in Williams’s The Greater Trumps.”
— The Inklings, Ballantine Books, 1981, p. 106
Carpenter says Williams maintained that
It is the Christian’s duty to perceive “the declared pattern of the universe” — the “eternal dance” of Williams’s story The Greater Trumps — and to act according to it.
— Paraphrase of Carpenter, pp. 111-112
“The sun is not yet risen, and if the Fool moves there he comes invisibly, or perhaps in widespread union with the light of the moon which is the reflection of the sun. But if the Tarots hold, as has been dreamed, the message which all things in all places and times have also been dreamed to hold, then perhaps there was meaning in the order as in the paintings; the tale of the cards being completed when the mystery of the sun has opened in the place of the moon, and after that the trumpets cry in the design which is called the Judgement, and the tombs are broken, and then in the last mystery of all the single figure of what is called the World goes joyously dancing in a state beyond moon and sun, and the number of the Trumps is done. Save only for that which has no number and is called the Fool, because mankind finds it folly till it is known. It is sovereign or it is nothing, and if it is nothing then man was born dead.”
— The Greater Trumps, by Charles Williams, Ch. 14
If we must have Christians telling stories, let them write like Charles Williams.
Note that although Williams says the Fool Tarot card has no number, it is in fact often numbered 0. See
See also Sequel — about the work, life, and afterlife of Stan Rice, husband of Anne Rice (author of The Vampire Chronicles) — and the following story from today’s N.Y. Times:
The New York Times, Jan. 16, 2003:‘Dance of the Vampires,’
|
The death and arrival at heaven’s gate
of The Producers‘ producer, Sidney Glazier,
on Dec. 14, 2002, is described in the web page
Eight is a Gate.
Balanchine's Birthday
Today seems an appropriate day to celebrate Apollo and the nine Muses.
From a website on Balanchine's and Stravinsky's ballet, "Apollon Musagete":
In his Poetics of Music (1942) Stravinsky says: "Summing up: What is important for the lucid ordering of the work– for its crystallization– is that all the Dionysian elements which set the imagination of the artist in motion and make the life-sap rise must be properly subjugated before they intoxicate us, and must finally be made to submit to the law: Apollo demands it." Stravinsky conceived Apollo as a ballet blanc– a "white ballet" with classical choreography and monochromatic attire. Envisioning the work in his mind's eye, he found that "the absence of many-colored hues and of all superfluities produced a wonderful freshness." Upon first hearing Apollo, Diaghilev found it "music somehow not of this world, but from somewhere else above." The ballet closes with an Apotheosis in which Apollo leads the Muses towards Parnassus. Here, the gravely beautiful music with which the work began is truly recapitulated "on high"– ceaselessly recycled, frozen in time.
— Joseph Horowitz
Another website invoking Apollo:
The icon that I use… is the nine-fold square…. The nine-fold square has centre, periphery, axes and diagonals. But all are present only in their bare essentials. It is also a sequence of eight triads. Four pass through the centre and four do not. This is the garden of Apollo, the field of Reason….
In accordance with these remarks, here is the underlying structure for a ballet blanc:
This structure may seem too simple to support movements of interest, but consider the following (click to enlarge):
As Sir Arthur Quiller-Couch, paraphrasing Horace, remarks in his Whitsun, 1939, preface to the new edition of the Oxford Book of English Verse, "tamen usque recurret Apollo."
The alert reader will note that in the above diagrams, only eight of the positions move.
Which muse remains at the center?
Consider the remark of T. S. Eliot, "At the still point, there the dance is," and the fact that on the day Eliot turned 60, Olivia Newton-John was born. How, indeed, in the words of another "sixty-year-old smiling public man," can we know the dancer from the dance?
To Ophelia
at the Winter Solstice
Introduction
“There is one story and one story only
That will prove worth your telling…
… is it of the Virgin’s silver beauty,
All fish below the thighs?
She in her left hand bears a leafy quince;
When, with her right hand she crooks a finger, smiling,
How many the King hold back?
Royally then he barters life for love.
Or of the undying snake from chaos hatched,
Whose coils contain the ocean,
Into whose chops with naked sword he springs,
Then in black water, tangled by the reeds,
Battles three days and nights,
To be spewed up beside her scalloped shore?”
— Robert Graves, “To Juan at the Winter Solstice”
Illustrations
The Virgin’s Beauty
On the Beach
A Maiden’s Prayer
Answered Prayer
Dialogue
Act III Scene ii:
Hamlet Lady, shall I lie in your lap?
Ophelia No, my lord.
Hamlet I mean, my head upon your lap?
Ophelia Ay, my lord.
Hamlet Do you think I meant country matters?
Ophelia I think nothing, my lord.
Hamlet That’s a fair thought to lie between maid’s legs.
Ophelia What is, my lord?
Hamlet Nothing.
Ophelia You are merry, my lord.
Hamlet Who, I?
Ophelia Ay, my lord.
Quotations
“Do you know nothing? Do you see nothing? Do you remember nothing?”
— T. S. Eliot, “The Waste Land”
“At the still point, there the dance is.”
— T. S. Eliot, Four Quartets
“I know what ‘nothing’ means….”
— Maria Wyeth in Play It As It Lays
“How do you solve a problem like Maria?”
— Oscar Hammerstein II
“…problems can be solved by manipulating just two symbols, 1 and 0….”
— George Johnson, obituary of Claude Shannon
“The female and the male continue this charming dance, populating the world with all living beings.”
— Leonard Shlain, The Alphabet Versus the Goddess,
Penguin Arkana paperback, 1999, Chapter 17,
“Lingam/Yoni”
“According to Showalter’s essay*, ‘In Elizabethan slang, ‘nothing’ was a term for the female genitalia . . . what lies between maids’ legs, for, in the male visual system of representation and desire…. Ophelia’s story becomes the Story of O — the zero, the empty circle or mystery of feminine difference, the cipher of female sexuality to be deciphered by feminist interpretation.’ (222)* Ophelia is a highly sexual being…”
— Leigh DiAngelo,
“Ophelia as a Sexual Being“
S. H. Cullinane: “No shit, Sherlock.”
*Showalter, Elaine. “Representing Ophelia: Women, Madness, and the Responsibilities of Feminist Criticism.” Hamlet. Ed. Susanne L. Wofford. Boston: Bedford Books of St.Martin’s Press, 1994. 220-238.
Dénouement
Is that nothing between your legs |
See also The Ya-Ya Monologues.
Dancing about Architecture
The title’s origin is obscure, but its immediate source is a weblog entry and ensuing comments: “Writing about music is like dancing about architecture.”
A related quote:
“At the still point, there the dance is.”
— T. S. Eliot, “Burnt Norton” in Four Quartets
“Eliot by his own admission took ‘the still point of the turning world’ in ‘Burnt Norton’ from the Fool in Williams’s The Greater Trumps.”
— Humphrey Carpenter, The Inklings (1978), Ballantine Books, 1981, page 106. Carpenter cites an “unpublished journal of Mary Trevelyan (in possession of the author).”
The following was written this morning as a comment on a weblog entry, but may stand on its own as a partial description of Eliot’s and Williams’s “dance.”
Three sermons on the Fool card, each related to Charles Williams’s novel The Greater Trumps:
To Play the Fool,
Games “Not Unlike Chesse,” and
Charles Williams and Inklings Links.
“Here is the Church,
Here is the steeple,
Open the door and see all the People.”
For some architecture that may or may not be worth dancing about, see the illustrations to Simone Weil’s remarks in my note of November 25, 2002, “The Artist’s Signature.”
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