Tag: books

friday: figs and chords

Posted on Posted in meaning, overnight notes, paradox lostTagged , ,

[A cord is a long flexible string or rope, often made of thinner pieces woven together. A chord is “three or more musical tones played together.”

how multiple meanings can multiply intent . 

The fig tree is about choices of paths .. Sylvia Plath […I saw myself sitting in the crotch of this fig-tree, starving to death, just becaus I couldn’t make up my mind which of the figs I would choose. I wanted each and every one of them, but choosing one meant losing all the rest, and, as I sat there, unable to decide, the figs began to wrinkle and go black, and, one by one they plopped to the ground at my feet….]

and, taking a break from my fig tree thinking I returned to a question about musical chords ..arriving at :

nick drake… success after death.. finding the commercial in the commercial . The time for memory selling the past .. The acoustic over automobile speakers … mechanized memory .

https://youtu.be/fBdbRoSrWr4?si=-S9K02k4Qc3OPSir

Even successful artists carry doubts. Success is never fully sustaining. Success never reduces doubt among the most creative artists.

[ often grouped with existentialist thinkers, Camus consistently rejected the existentialist label, insisting that his philosophy of the absurd was distinct from both Kierkegaard’s leap of faith and Heidegger’s ontology of Being. Instead, Camus argued that the confrontation between humanity’s “appetite for meaning” and the universe’s “unreasonable silence” constituted the absurd, which must be lived with clarity rather than resolved by appeal to transcendence ]

— https://www2.hawaii.edu/~freeman/courses/phil360/16.%20Myth%20of%20Sisyphus.pdf

Camus, Albert, The Myth of Sisyphus, Translated by Justin O’Brien, Penguin Books, London (1955) ISBN 978-0-14-102399-1

Monthday

Posted on Posted in minimum daily requirement, overnight notes, visual mindTagged , , , ,

As the month rolls over, I charge the ‘tronics carried on my walks. These guys are a decade old, which seems forever. The covers are wearing. Adhesives failing, but only to a point, a physical pressure point — where my hand has made a mark. The cliche of using objects.

I have multiple batteries which I cycle thru the charge-use cycle. Much of the work from these serve as prompts — training my eye-foot coordination. If my digital comp skills were better, my time in chair more patient, then I would use them in extended form. As soon as I write that, I feel the need to grow. Plant myself into learning, meaning, disciple into effort until a solution happens. Perhaps.

A bit of Burke’s [5/5/1897 – 11/19/1993] grammar: the PENTAD — act, scene, agent, agency, and purpose

  • act: “names what took place, in thought or in deed”
  • scene: “the background of the act, the situation in which it occurred”
  • agent: “what person or kind of person performed the act”
  • agency: “what means or instruments he used”
  • purpose: though not formally defined like the others, this is the motive.

Osborn expands this: “… a truly rigorous attempt to account for a single work on the grounds of poetics alone should force recognition that it is necessary to go beyond poetics-in-particular to language-in-general…”

Back to Burke: ““any nomenclature necessarily directs the attention into some channels rather than others. This can be obvious, such as how different academic subjects direct the attention, or more subtle. Burke illustrates the latter point with an example of how photos of the same objects using different color filters reflected and deflected his attention in different ways, depending on the filter “ [ concept is: terministic screens]

Ref:

  • Osborn, Neal J. “Toward the Quintessential Burke.” The Hudson Review 21.2 (1968): 320.
  • Burke, Kenneth. Language as Symbolic Action: Essays on Life, Literature, and Method. (Berkeley: University of California Press, 1966) 16.

Theory will not make pictures. The obvious reason I take walks is to enter the think, walk, do momentums.

Your turn.