Log24

Thursday, October 17, 2019

Annals of Architectural Theory

Filed under: General — Tags: , — m759 @ 6:16 PM

Related material — See Jencks and
some other Log24 posts now tagged

Dancing About Architecture.

Dance of the Fire Temple

Filed under: General — Tags: , , — m759 @ 10:13 AM

The previous post, Tetrahedron Dance, suggests a review of . . .

A figure from St. Patrick's Day 2004 that might
represent a domed  roof 

Inscribed Carpenter's Square:

In Latin, NORMA

 and a cinematic "Fire Temple" from 2019 

In related news . . .

Related background "e. e. cummings" in this  journal.

Tetrahedron Dance

Filed under: General — Tags: , , , — m759 @ 9:42 AM

John Lithgow in "The Tomorrow Man" (2019)

" connect the dots…."

IMAGE- 'The geometry of the dance' is that of a tetrahedron, according to Peter Pesic

Saturday, March 12, 2016

Dancing about Architecture

Filed under: General — Tags: , , — m759 @ 12:00 PM

(Continued from November 26, 2002.)

Tuesday, November 26, 2002

Tuesday November 26, 2002

Filed under: General — Tags: — m759 @ 10:23 AM

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 Carpenter cites an “unpublished journal of Mary Trevelyan (in possession of the author).”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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