"You got your demons and you got desires
Well, I got a few of my own" — Song lyric
Click the above box for a related New Yorker article.
See also, in this journal, Baudelaire and Psychonauts.
Friday, April 28, 2023
Baudelaire and the Psychonauts
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Friday, July 8, 2011
Baudelaire, Your Shiny Friend
Google Translate version of a recent Norwegian art review—
Josefine Lyche show is working on the basis of crop circles occur in Pewsey, Wiltshire in England for exactly one year ago on 21 June. Three circulars forms of aluminum quote forms from the field in England. With this as a starting point invites Lyche viewer to explore the sacred shapes and patterns through painting, floor work and sculpture. In the monumental painting "Wisdom Luxury Romance" draws Lyche lines to both Matisse and Baudelaire in his poem
From the artist's website, JosefineLyche.com—
WISDOM LUXURY ROMANCE
From elsewhere—
Related material—
From Antichristmas 2002— Aluminum, Your Shiny Friend.
From Sept. 22, 2004— Tribute… in the context of
today's previous entry and of the conclusion of the story
that later became Childhood's End —
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Sunday, February 25, 2024
Alan David Perlis, 1943-2015
See as well https://www.dignitymemorial.com/obituaries/
homewood-al/alan-perlis-6727050.
Related non-literary "Transforming Shapes" aesthetics:
Related Log24 posts: http://m759.net/wordpress/?s=Perlis+Shapes.
Related Alabama material — The Forrest Gump sketch on
last night's Saturday Night Live.
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Tuesday, October 10, 2023
Strange Restaurant
For those less than charmed by the Baudelaires of
A Series of Unfortunate Events . . .
"Modern society, once it is somewhat more settled . . .
will also have its calm, its corners of cool mystery . . . ."
Detective Cruz enters Planck's Constant Café in "The Big Bang."
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Friday, September 29, 2023
Wednesday, January 19, 2022
Monday, July 22, 2019
From the Church of Synchronology*
From this journal on September 16, 2013 —
|
"La modernité, c’est le transitoire, le fugitif, le contingent, la moitié de l’art, dont l’autre moitié est l’éternel et l’immuable." — Baudelaire, "Le Peintre de la Vie Moderne," IV (1863) "By 'modernity' I mean the ephemeral, the fugitive, the contingent, the half of art whose other half is the eternal and the immutable." — Baudelaire, "The Painter of Modern Life," IV (1863), translated by Jonathan Mayne (in 1964 Phaidon Press book of same title) |
Also on September 16, 2013 —
* See that term in this journal.
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Sunday, July 17, 2016
Sunday School
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Monday, September 15, 2014
A Seventh Seal
This post was suggested by the two previous posts, Sermon and Structure.
Vide below the final paragraph— in Chapter 7— of Cameron’s Parallelisms ,
as well as Baudelaire in the post Correspondences :
Comme de longs échos qui de loin se confondent
Dans une ténébreuse et profonde unité….
— Baudelaire, “Correspondances “
A related image search (click to enlarge):
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Monday, September 16, 2013
Fleur de Derrida*
The above news item seems to exemplify Baudelaire's (and Murdoch's)
notion of contingency —
|
"La modernité, c’est le transitoire, le fugitif, le contingent, la moitié de l’art, dont l’autre moitié est l’éternel et l’immuable." — Baudelaire, "Le Peintre de la Vie Moderne," IV (1863) "By 'modernity' I mean the ephemeral, the fugitive, the contingent, the half of art whose other half is the eternal and the immutable." — Baudelaire, "The Painter of Modern Life," IV (1863), translated by Jonathan Mayne (in 1964 Phaidon Press book of same title) |
Thanks to the late Marshall Berman for pointing out this remark of Baudelaire.
(All That Is Solid Melts Into Air , Penguin edition of 1988, p. 133)
* For this post's title, see Language Game in this journal on 9/11,
the morning of Berman's reported death.
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Friday, February 3, 2012
Unusual Suspects
"… 'Mes chers frères, n'oubliez jamais,
quand vous entendrez vanter le progrès des lumières,
que la plus belle des ruses du diable
est de vous persuader qu'il n'existe pas!'
Le souvenir de ce célèbre orateur
nous conduisit naturellement vers le sujet des académies,
et mon étrange convive m'affirma qu'il ne dédaignait pas,
en beaucoup de cas, d'inspirer la plume, la parole et la conscience
des pédagogues, et qu'il assistait presque toujours en personne,
quoique invisible, à toutes les séances académiques."
— Baudelaire, "Le Joueur Généreux"
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Wednesday, October 5, 2011
Hermenautics
"Educated people— with some exceptions, like Nader— like to explore the senses, and indeed many of your humanities courses (like the one UD ‘s teaching right now about beauty, in which we just read Susan Sontag’s “Against Interpretation,” with its famous concluding lines: In place of a hermeneutics, we need an erotics of art ) feature artworks and ideas that celebrate sensuality."
This suggests a review lecture on the unorthodox concept of lottery hermeneutics .
Today's New York Lottery—
A quote suggested by the UD post—
"Sainte-Beuve's Volupté (1834) introduced the idea of idler as hero (and seeking pleasurable new sensations as the highest good), so Baudelaire indulged himself in sex and drugs."
— Article on Baudelaire by Joshua Glenn in the journal Hermenaut
Some reflections suggested by Hermenaut and by the NY evening numbers, 674 and 1834—
(Click images to enlarge.)
Cool Mystery:
Detective Cruz enters Planck's Constant Café in "The Big Bang."
As for the midday numbers—
For 412, see 4/12, and for 1030, see 10/30, Devil's Night (2005).
For further background, consult Monday's Realism in Plato's Cave.
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Friday, August 12, 2011
Into the Woods
"What’s best about us, I hope, is that we teach them
the ‘forest of symbols,’ to borrow deliberately from
a poem called ‘Correspondences,’ by Baudelaire."
— The late Stanley Bosworth, founding headmaster
of St. Ann's School in Brooklyn
Bosworth died Sunday.
Related material—
- Saturday's Correspondences,
- Sunday's Coordinated Steps, and
- Monday's Organizing the Mine Workers.
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Monday, August 8, 2011
Organizing the Mine Workers
From this journal on Saturday, August 6, 2011—
Comme de longs échos qui de loin se confondent
Dans une ténébreuse et profonde unité….
— Baudelaire, "Correspondances " (in The Flowers of Evil )
From the New York Times philosophy column "The Stone" earlier that day—
"… a magnificent and colorful parade of disorganized and rhapsodic thoughts"
— Baudelaire
From Uncle Walt— (See yesterday's "Coordinated Steps")—
For a better organized, less rhapsodic parade, see Saturday's Correspondences.
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Saturday, August 6, 2011
Correspondences
Comme de longs échos qui de loin se confondent
Dans une ténébreuse et profonde unité….
— Baudelaire, “Correspondances ”
From “A Four-Color Theorem”—
Figure 1
Note that this illustrates a natural correspondence
between
(A) the seven highly symmetrical four-colorings
of the 4×2 array at the left of Fig. 1, and
(B) the seven points of the smallest
projective plane at the right of Fig. 1.
To see the correspondence, add, in binary
fashion, the pairs of projective points from the
“points” section that correspond to like-colored
squares in a four-coloring from the left of Fig. 1.
(The correspondence can, of course, be described
in terms of cosets rather than of colorings.)
A different correspondence between these 7 four-coloring
structures and these 7 projective-line structures appears in
a structural analysis of the Miracle Octad Generator
(MOG) of R.T. Curtis—
Figure 2
| Here the correspondence between the 7 four-coloring structures (left section) and the 7 projective-line structures (center section) is less obvious, but more fruitful. It yields, as shown, all of the 35 partitions of an 8-element set (an 8-set ) into two 4-sets. The 7 four-colorings in Fig. 2 also appear in the 35 4×4 parts of the MOG that correspond, in a way indicated by Fig. 2, to the 35 8-set paritions. This larger correspondence— of 35 4×2 arrays with 35 4×4 arrays— is the MOG, at least as it was originally defined. See The MOG, Generating the Octad Generator, and Eightfold Geometry.
For some applications of the Curtis MOG, see |
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Friday, June 9, 2006
Friday June 9, 2006
Ursprache Revisited
"Rilke's poems operate at this balancing point between openness and closure, between centripedal and centrifugal motion, the poem being all symbol and being all object. Rilke developed the inwardness of poetry begun in Baudelaire and refined in Mallarmé into new depths of self-referentiality. Verinnerlichung was the term for this transmutation from outer to inner…."
— Rainer Maria Rilke: Life and Work,
by Jeremy Robinson
Related material: Herbert Silberer on Verinnerlichung in Problems of Mysticism and the Log24 entry Figures of Speech of 10 AM Wednesday, June 7– the date of death of theatrical agent Howard Rosenstone. See also the work of playwrights Donald Margulies and William Finn, clients of Rosenstone.
For Margulies, see a review of "Brooklyn Boy"—
"It's like stringing beads on a necklace. By the time the play ends, you have the whole necklace. But it's not like a typical play, where you know where you're going at the end of Act I. In this case, you'll learn something in one scene that will make you realize Eric was lying in a previous scene. And the play is partly about the lies we tell each other, the lies we tell ourselves and the identity we project to other people." — Actor Robert Gomes
For Finn, see
circle-in-the-square.com.
circle-in-the-square.com.
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Sunday, January 16, 2005
Sunday January 16, 2005
Death and the
Spirit, Part II
Readings
Are you a lucky little lady
in The City of Light
Or just another lost angel…
City of Night
— Jim Morrison, L.A. Woman
Fourmillante cité,
cité pleine de rêves,
Où le spectre en plein jour
raccroche le passant
— Baudelaire,
Les Fleurs du Mal,
and
Notes to The Waste Land
"When you got the mojo, brother —
when you're on the inside —
the world is fantastic."
— Pablo Tabor in Robert Stone's
A Flag for Sunrise,
Knopf, 1981, p. 428
|
Now it was Avril's turn to understand and he was frightened out of his wits.
"The Science of Luck," he said cautiously. "You watch, do you? That takes a lot of self-discipline." "Of course it does, but it's worth it. I watch everything, all the time. I'm one of the lucky ones. I've got the gift. I knew it when I was a kid, but I didn't grasp it." The murmur had intensified. "This last time, when I was alone so long, I got it right. I watch for every opportunity and I never do the soft thing. That's why I succeed." Avril was silent for a long time. "It is the fashion," he said at last. "You've been reading the Frenchmen, I suppose? Or no, no, perhaps you haven't. How absurd of me." "Don't blether." The voice, stripped of all its disguises, was harsh and naive. "You always blethered. You never said anything straight. What do you know about the Science of Luck? Go on, tell me. You're the only one who's understood at all. Have you ever heard of it before?" "Not under that name." "I don't suppose you have. That's my name for it. What's its real name?" "The Pursuit of Death." |
Anagrams
In memory of Danny Sugerman,
late manager of The Doors:
Danny Sugerman
Photo by
Frank Alan Bella, 2002
"Mr Mojo Risin" = "Jim Morrison."
"Audible Era" = "Baudelaire."
"Bad Rumi" = "Rimbaud."
From the dark jungle
as a tiger bright,
Form from the viewless Spirit
leaps to light.
— Rumi, "Reality and Appearance,"
translated by R. A. Nicholson
(See also Death and the Spirit
from Twelfth Night, 2005, the date
of Danny Sugerman's death.)
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Tuesday, October 12, 2004
Tuesday October 12, 2004
The Last Enemy
(See April 30)
"I was also impressed… by the intensity of Continental modes of literary-critical thought….
On the Continent, studies of Hölderlin and Rousseau, of Poe, Baudelaire, Mallarmé and Rilke, of Rabelais, Nietzsche, Kafka, and Joyce, challenged not only received ideas on the unity of the work of art but many aspects of western thought itself. Derrida, at the same time, who for nearly a decade found a home in Yale's Comparative Literature Department, expanded the concept of textuality to the point where nothing could be demarcated as 'hors d'œuvre' and escape the literary-critical eye. It was uncanny to feel hierarchic boundaries waver until the commentary entered the text—not literally, of course, but in the sense that the over-objectified work became a reflection on its own status, its stability as an object of cognition. The well-wrought urn contained mortal ashes."
— Geoffrey Hartman, A Life of Learning
In memory of
Jacques Derrida and James Chace,
both of whom died in Paris on
Friday, Oct. 8, 2004… continued…
(See previous three entries.)
Orson Welles |
Mate in 2 |
"The last enemy
that shall be destroyed is death."
— Saul of Tarsus, 1 Cor. 15:26
Knight move,
courtesy of V. Nabokov:
Nfe5 mate
Knight:
Sir John Falstaff
(See Chimes at Midnight.)
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Wednesday, April 9, 2003
Wednesday April 9, 2003
Hearts of Darkness
Today's birthdays:
Charles Baudelaire, poet, b. 1821
Leopold II, King of Belgium, b. 1835
Tom Lehrer, mathematician, b. 1928
In view of these birthdays and of yesterday's entry quoting Eliot on "the Shadow," the following trilogy of links seems appropriate:
|
The Lamont Cranston: |
Nota bene:
Today is also the birthday of
Paul Robeson and J. William Fulbright,
shadows to respect.
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