Prelude to a Mattress Dance

The above "Take This Waltz" review is dated July 5, 2012.

Related material from posts of July 5, 2012 —

     .

The Tesseract Timeline:
Where The Cube Has Been In The …
www.cinemablend.com › news › the-tesseract-timeline-…
Mar 13, 2019 – With HYDRA. In 1942, Johann Schmidt, a.k.a.
the Red Skull, arrived in Tønsberg to procure the Tesseract
from an ancient church. While he …

Related material from posts tagged Aqua
(suggested by a name in the previous post) —

Lene from Tønsberg —

See also the Verwandlungslehre  link from the previous post
and The Hassenfeld Legacy (for Harlan Kane).

Related material:  A Harvard Crimson  story on a student who died
this morning from injuries he received in a fall from a building
near the New England Aquarium in Boston. He reportedly fell around
midnight on the night of April 5-6, Saturday-Sunday.

Here are links to two posts from The Fish Tank  blog in The
Harvard Ichthus — from 2013 March 9 and 2013 March 16—
that are apparently by this same student.

See also the link to a Harvard-related psychiatrists’ paper in
The View from Lone Pine, a Log24 post from Saturday evening.

For Terry Gilliam

See also, from the the above uploading date, Taylor Made,
with its linked-to passage from a book by Charles Taylor.

For some more recent background, see

• "Fallen" in this journal,
•  the film by that name,
• Wednesday evening's execution in Virginia, and
• Wednesday afternoon's Treasure Hunt

The King and the Corpse, pp. 265-266:

"… the goddess at last bodily appeared to him, dark and slender, hair hanging free, and standing on the back of her tawny lion. He gave her greeting. And Kali, 'The Dark One,' addressed him with the voice of a
 

cloud of thunder: 'For what reason have you called? Make known your wish. Though it were unattainable, my appearance would guarantee its fulfillment.'"
 

Final Arrangements
continued:

Elements:

PIERO DORAZIO   (1927 – 2005)

Aquatint, 1982   Plate 9.5 x 9 cm | Sheet 24 x 16 cm   99 copies signed and numbered   from 1/99 to 99/99,   15 from I/XV to XV/XV   Copy 11/99   Printed by Renzo Romero, Rome.   This artwork accompanies the book   Staras by Guido Ballo,   edition Galleria Rizzardi, Milan (1982).     — Edizioni l’Obliquo, Galleria di Grafica

“Elegant.” — The Daily Telegraph

3/16 Continued

The New Yorker, issue dated March 7, 2005, on Hunter S. Thompson:

“… his true model and hero was F. Scott Fitzgerald. He used to type out pages from ‘The Great Gatsby,’ just to get the feeling, he said, of what it was like to write that way, and Fitzgerald’s novel was continually on his mind while he was working on ‘Fear and Loathing in Las Vegas,’ which was published, after a prolonged and agonizing compositional nightmare, in 1972. That book was supposed to be called ‘The Death of the American Dream,’ a portentous age-of-Aquarius cliché that won Thompson a nice advance but that he naturally came to consider, as he sat wretchedly before his typewriter night after night, a millstone around his neck.”

— Louis Menand

“I hope she’ll be a fool — that’s the best thing a girl can be in this world, a beautiful little fool.”
— Daisy Buchanan in Chapter I of The Great Gatsby

“Thanks for the tip, American Dream.”
— Spider-Girl, in Vol. 1, No. 30, March 2001

Log24.net, Feb. 21, 2005:

What is Poetry, Part II —

Gombrich vs. Gadamer

Excerpts from
Tetsuhiro Kato on

Gombrich and the
Hermeneutics of Art

Kato on Gombrich

“… according to Gombrich, an image is susceptible to become a target for ‘symbol detectives’…. But the hidden authorial intention… ([for example]… astrology, recalling the famous warning of Panofsky [1955: 32]), almost always tends to become a reproduction of the interpreter’s own ideological prejudice. Not to give into the irrationalism such psychological overinterpretation might invite…. we have to look for the origin of meaning… in…  the social context…. The event of image making is not the faithful transcription of the outside world by an innocent eye, but it is the result of the artist’s act of selecting the ‘nearest equivalence’… based on social convention….”

Kato on Gadamer 

“For [Gadamer], picture reading is a process where a beholder encounters a picture as addressing him or her with a kind of personal question, and the understanding develops in the form of its answer (Gadamer 1981: 23-24; Gadamer 1985: 97,102-103).  But, it must be noted that by this Gadamer does not mean to identify the understanding of an image with some sort of ‘subsumption’ of the image into its meaning (Gadamer 1985: 100). He insists rather that we can understand an image only by actualizing what is implied in the work, and engage in a dialogue with it. This process is ideally repeated again and again, and implies different relations than the original conditions that gave birth to the work in the beginning (Gadamer 1985: 100).

What matters here for Gadamer is to let the aesthetic aspect of image take its own ‘Zeitgestalt’ (Gadamer 1985: 101).”

Example (?) — the Zeitgestalt
of today’s previous entry:

See, too,
 The Quality of Diamond.

Kato’s References:

Gadamer, Hans-Georg. 1981. “Philosophie und Literatur: Was ist die Literatur?,” Phänomenologische Forschungen 11 (1981): 18-45.

Gadamer, Hans-Georg. 1985. “Über das Lesen von Bauten und Bildern.” Modernität und Tradition: Festschrift für Max Imdahl zum 60. Geburtstag. Ed. Gottfried Boehm, Karlheinz Stierle, Gundorf Winter. Munchen: Wilhelm Fink. 97-103.

Panofsky, Erwin. 1955. Meaning in the Visual Arts: Papers in and on Art History. New York: Anchor.

Five Easy Pieces
for Lee Marvin’s Birthday

Midnight Cowboy

A Last Hurrah for Harold C. Schonberg, New York Times music critic (not to be confused with Arnold Schoenberg, composer):

“His criticism of music he disliked could be harsh, and in a valedictory essay published at the time of his retirement as senior critic, he explained himself unrepentantly.

‘I thought the serial-dominated music after the war was a hideously misbegotten creature sired by Caliban out of Hecate, and I had no hesitation in saying so,’ he wrote. ‘Nor has it been proved that I was all wrong. Certain it is that the decades of serialism did nothing but alienate the public, creating a chasm between composer and audience.'”

The serialist composer Arnold Schoenberg, on the other hand, wrote:

“I believe what I do and do only what I believe; and woe to anybody who lays hands on my faith. Such a man I regard as an enemy, and no quarter given!”

Schoenberg

To which the appropriate reply is:

“Here’s a quarter, call someone who cares.”

— Travis Tritt, CowboyLyrics.com

Harold C. Schonberg