Saturday, September 29, 2018

“Ikonologie des Zwischenraums”

Filed under: Uncategorized — Tags: , — m759 @ 9:29 AM

The title is from Warburg. The Zwischenraum  lines and shaded "cuts"
below are to be added together in characteristic two, i.e., via the
set-theoretic symmetric difference  operator.

Some small Galois spaces (the Cullinane models)

Saturday, September 15, 2018

Eidetic Reduction in Geometry

Filed under: Uncategorized — Tags: , — m759 @ 1:23 AM

"Husserl is not the greatest philosopher of all times.
He is the greatest philosopher since Leibniz."

Kurt Gödel as quoted by Gian-Carlo Rota

Some results from a Google search —

Eidetic reduction | philosophy | Britannica.com

Eidetic reduction, in phenomenology, a method by which the philosopher moves from the consciousness of individual and concrete objects to the transempirical realm of pure essences and thus achieves an intuition of the eidos (Greek: “shape”) of a thing—i.e., of what it is in its invariable and essential structure, apart …

Phenomenology Online » Eidetic Reduction

The eidetic reduction: eidos. Method: Bracket all incidental meaning and ask: what are some of the possible invariate aspects of this experience? The research …

Eidetic reduction – New World Encyclopedia

Sep 19, 2017 – Eidetic reduction is a technique in Husserlian phenomenology, used to identify the essential components of the given phenomenon or experience.

Terminology: Eidos

For example —

The reduction of two-colorings and four-colorings of a square or cubic
array of subsquares or subcubes to lines, sets of lines, cuts, or sets of
cuts between the subsquares or subcubes.

See the diamond theorem and the eightfold cube.

* Cf. posts tagged Interality and Interstice.

Friday, September 14, 2018

Warburg at Cornell, Continued

Filed under: Uncategorized — Tags: — m759 @ 9:29 AM

Warburg at Cornell U. Press

See also Epiphany 2017 —


Filed under: Uncategorized — Tags: — m759 @ 1:00 AM


I Ching Geometry search result

Underlying the I Ching  structure  is the finite affine space
of six dimensions over the Galois field with two elements.

In this field,  "1 + 1 = 0,"  as noted here Wednesday.

See also other posts now tagged  Interstice.


Thursday, September 13, 2018

Iconology of the Interstice

Filed under: Uncategorized — Tags: — m759 @ 6:25 AM

The title is from the 2013 paper by Latsis in the previous post.


The symmetries of the interstices at right underlie
the symmetries of the images at left.

Godard and Interality

Filed under: Uncategorized — Tags: , — m759 @ 12:14 AM

The previous post, "One Plus One," suggests some further
art-historical remarks on interality

From Third Text , 2013, Vol. 27, No. 6, pp. 774–785 —

"Genealogy of the Image in Histoire(s) du Cinéma : Godard, Warburg and the Iconology of the Interstice"

By Dimitrios S. Latsis

* * * * P. 775

My discussion will focus on the significance of the concept of the ‘space in-between,’ its importance for Godard’s work and its role in a relational historiography of images more broadly. I hope to corroborate how Godard functions as a twenty-first century archaeologist of the moving image, constructing a meta-cinematic collage that, while consisting of an indexing of (almost exclusively) pre-existing filmic samples, ends up becoming a hybrid work of art in its own right. Godard, in the final analysis, expands the Warburgian programme of iconology into that of a cinematographic iconology of the interstice.

* * * * P. 777

Godard conceives of the image only in the plural, in the intermediate space between two images, be it a prolonged one (in  Histoire(s)  there are frequent instances of black screens) or a non-existent one (superimposition, co-presence of two images on screen). He comments: ‘[For me] it’s always two, begin by showing two images rather than one, that’s what I call image, the one made up of two’ [18] and elsewhere, ‘I perceived . . . cinema is that which is between things, not things [themselves] but between one and another.’ [19]

18. Jean-Luc Godard and Youssef Ishaghpour, "Archéologie du cinéma et mémoire du siècle," Farrago ,Tours, 2000, p. 27. The title of this work is reflective of the Godardian agenda that permeates Histoire(s) .

19. Jean-Luc Godard, "Introduction à une véritable histoire du cinéma," Albatros , Paris,1980, p. 145

* * * * P. 783 —

If it is in ‘the in-between’ that thought is born, then for Godard cinematography as ‘a form that thinks  . . . was born with the advent of modern painting.’ [62]

62. Godard and Ishaghpour, op. cit., pp 45–46.

* * * * P. 785

Warburg commented on the signification of the black spaces that he placed between images in his analysis of the network of intervals in  Mnemosyne , by quoting Johann Wolfgang Goethe’s dictum ‘the truth inhabits the middle space.’ [68] This citation induces a feeling of déjà-vu for the viewer of Histoire(s). The link was not missed by Warburg himself, as one of his diary entries testifies: ‘We can compare this phenomenon [the iconology of the interval] to that of the cinematic montage, the domain of the interpretation is an intervallic one.’  [69]

68. Warburg,  Mnemosyne , pp 135–146.

69. Warburg is quoted in Didi-Huberman, L’image survivante, p. 503. (Georges Didi-Huberman, L’image survivante. Histoire de l’art et temps des fantômes selon Aby Warburg , Minuit, Paris, 2002)

Wednesday, September 12, 2018

One Plus One

Filed under: Uncategorized — Tags: — m759 @ 11:10 AM




Tuesday, September 11, 2018

Art-Historical Narrative

Filed under: Uncategorized — Tags: , — m759 @ 2:40 PM

Art history from Galerie St. Etienne

Summer Solstice Notes

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