"… the 1964-65 competition was not even held."
— Dylan Loeb McClain in The New York Times , Nov. 3, 2020.
But in other games . . .
"The metaphor for metamorphosis no keys unlock."
— Steven H. Cullinane, November Seventh, 1986
"… the 1964-65 competition was not even held."
— Dylan Loeb McClain in The New York Times , Nov. 3, 2020.
But in other games . . .
"The metaphor for metamorphosis no keys unlock."
— Steven H. Cullinane, November Seventh, 1986
A David Mamet line from last night's 11:02 PM ET post —
"Something to do with an early computer." This suggests . . .
"The metaphor for metamorphosis no keys unlock." — Cullinane, 1986
See as well a different Franz.
Last Sunday:
A week later:
From a recent Instagram story —
A related ghost writer —
Update of 11:22 PM ET the same day (Sept. 19, 2021) —
"The metaphor for metamorphosis no keys unlock." — Cullinane, 1986
See as well a different Franz.
The metaphor for metamorphosis no keys unlock.
— Steven H. Cullinane, "Endgame"
* See Times Square Church in this journal and
the posts of July 2010. Related material:
A Monday night death —
The Key to All Mythologies in a Cartoon Graveyard
This is a sequel to yesterday's post Review, which
suggested a look at Lévi-Strauss's The Raw and The Cooked
in Derrida's “Structure, Sign, and Play," and then a look at the …
Financial Times of February 26, 2010 —
"The metaphor for metamorphosis no keys unlock."
"According to Vladimir Nabokov, Salvador Dalí
was 'really Norman Rockwell’s twin brother
kidnapped by gypsies in babyhood.'
But actually there were triplets: the third one is
Stephen King."
— Margaret Atwood, "Shine On,"
online Sept. 19, 2013
"The metaphor for metamorphosis
no keys unlock."
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
or: Catullus vs. Ovid
(Today's previous post, "Coxeter vs. Fano,"
might also have been titled "Toronto vs. Rome.")
ut te postremo donarem munere mortis
Explicatio
Image by Christopher Thomas at Wikipedia —
Unfolding of a hypercube and of a cube —
The metaphor for metamorphosis no keys unlock.
— Steven H. Cullinane, "Endgame"
The current New Yorker has a translation of
the above line of Catullus by poet Anne Carson.
According to poets.org, Carson "attended St. Michael's College
at the University of Toronto and, despite leaving twice,
received her B.A. in 1974, her M.A. in 1975 and her Ph.D. in 1981."
Carson's translation is given in a review of her new book Nox.
The title, "The Unfolding," of the current review echoes an earlier
New Yorker piece on another poet, Madeleine L'Engle—
Cynthia Zarin in The New Yorker, issue dated April 12, 2004–
“Time, for L’Engle, is accordion-pleated. She elaborated,
‘When you bring a sheet off the line, you can’t handle it
until it’s folded, and in a sense, I think, the universe can’t
exist until it’s folded– or it’s a story without a book.’”
(See also the "harrow up" + Hamlet link in yesterday's 6:29 AM post.)
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