The title is from a post of July 27.
From earlier posts (Feb. 20, 2009) —
| Emblematizing the Modern
Note that in applications, the vertical axis of T.S. Eliot:
“Men’s curiosity searches past and future |
Midrash for LA —
Saturday, September 5, 2020
Poetry 101: “Do Not Block Intersection”
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Friday, April 20, 2018
Time and Money
|
Emblematizing the Modern
Note that in applications, the vertical axis of the Cross of Descartes often symbolizes the timeless (money, temperature, etc.) while the horizontal axis often symbolizes time. T.S. Eliot
“Men’s curiosity searches past and future |
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Tuesday, March 3, 2009
Tuesday March 3, 2009
Straight
“For every kind of vampire,
there is a kind of cross.”
there is a kind of cross.”
— Thomas Pynchon in
Gravity’s Rainbow
This entry is continued
from yesterday evening,
from midnight last night,
and from an entry of
February 20 (the date
four years ago of
Hunter Thompson’s death)–
“Emblematizing the Modern“–
|
Emblematizing the Modern
Note that in applications, the vertical axis of the Cross of Descartes often symbolizes the timeless (money, temperature, etc.) while the horizontal axis often symbolizes time. T.S. Eliot:
|
“I played ‘Deathmaster’ straight….
The best villains are the ones who are
both protagonist and antagonist.”
— The late Robert Quarry
The best villains are the ones who are
both protagonist and antagonist.”
— The late Robert Quarry
“Selah.”
— The late Hunter Thompson
Yesterday afternoon’s online
New York Times:
Today’s online New York Times:
Footnote
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Tuesday March 3, 2009
Midnight
in the Garden
continues
in the Garden
continues
Click poster for details.
Click image for details.
Related material:
The three entries here on
the date of Quarry’s death:
A Kind of Cross, and
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Friday, February 20, 2009
Friday February 20, 2009
The Cross
of Constantine
mentioned in
this afternoon's entry
"Emblematizing the Modern"
was the object of a recent
cinematic chase sequence
(successful and inspiring)
starring Mira Sorvino
at the Metropolitan
Museum of Art.
In memory of
Dr. Hunter S. Thompson,
dead by his own hand
on this date
four years ago —
There is
another sort of object
we may associate with a
different museum and with
a modern Constantine …
See "Art Wars for MoMA"
(Dec. 14, 2008).
This object, modern
rather than medieval,
is the ninefold square:
It may suit those who,
like Rosalind Krauss
(see "Emblematizing"),
admire the grids of modern art
but view any sort of Christian
cross with fear and loathing.
For some background that
Dr. Thompson might appreciate,
see notes on Geometry and Death
in this journal, June 1-15, 2007,
and the five Log24 entries
ending at 9 AM Dec. 10. 2006,
which include this astute
observation by J. G. Ballard:
"Modernism's attempt to build a better world with the aid of science and technology now seems almost heroic. Bertolt Brecht, no fan of modernism, remarked that the mud, blood and carnage of the first world war trenches left its survivors longing for a future that resembled a white-tiled bathroom."
Selah.
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Friday February 20, 2009
Emblematizing
the Modern
the Modern
|
The following meditation was inspired by the recent fictional recovery, by Mira Sorvino in "The Last Templar," of a Greek Cross — "the Cross of Constantine"– and by the discovery, by art historian Rosalind Krauss, of a Greek Cross in the art of Ad Reinhardt. |
|
Note that in applications, the vertical axis of the Cross of Descartes often symbolizes the timeless (money, temperature, etc.) while the horizontal axis often symbolizes time. T.S. Eliot:
"Men’s curiosity searches past and future |
There is a reason, apart from her ethnic origins, that Rosalind Krauss (cf. 9/13/06) rejects, with a shudder, the cross as a key to "the Pandora's box of spiritual reference that is opened once one uses it." The rejection occurs in the context of her attempt to establish not the cross, but the grid, as a religious symbol:
|
"In suggesting that the success [1] of the grid
[1] Success here refers to
three things at once: a sheerly quantitative success, involving the number of artists in this century who have used grids; a qualitative success through which the grid has become the medium for some of the greatest works of modernism; and an ideological success, in that the grid is able– in a work of whatever quality– to emblematize the Modern." — Rosalind Krauss, "Grids" (1979) |
Related material:
Time Fold and Weyl on
objectivity and frames of reference.
See also Stambaugh on
The Formless Self
as well as
A Study in Art Education
and
Jung and the Imago Dei.
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