G.F. Händel - Sarabande - Copernicus Chamber Orchestra, Horst Sohm

Terance LIndall's John Milton's Paradise Lost Opera is now in complete form

The opera was created using AI programs to animate Mr. Lindall's art. 

He writes: "AI becomes even more capable, more can be done. The lyrics for the opera are mine based upon my Acrostic Paradise Lost."

Expect revisions in future. 

  

Investigation

Ed Emshwiller - Galactic Derelict

Happy Thanksgiving

Allegorical: juxtaposition and hyperbole--a celebration of great literature

 

by Gerard DuBois

 

Turn your eyes inside and dig the vacume...

Thucydides - Pericles' Funeral Oration

Most of those who have spoken here before me have commended the lawgiver who added this oration to our other funeral customs. It seemed to them a worthy thing that such an honor should be given at their burial to the dead who have fallen on the field of battle. But I should have preferred that, when men's deeds have been brave, they should be honored in deed only, and with such an honor as this public funeral, which you are now witnessing. Then the reputation of many would not have been imperiled on the eloquence or want of eloquence of one, and their virtues believed or not as he spoke well or ill. For it is difficult to say neither too little nor too much; and even moderation is apt not to give the impression of truthfulness. The friend of the dead who knows the facts is likely to think that the words of the speaker fall short of his knowledge and of his wishes; another who is not so well informed, when he hears of anything which surpasses his own powers, will be envious and will suspect exaggeration. Mankind are tolerant of the praises of others so long as each hearer thinks that he can do as well or nearly as well himself, but, when the speaker rises above him, jealousy is aroused and he begins to be incredulous. However, since our ancestors have set the seal of their approval upon the practice, I must obey, and to the utmost of my power shall endeavor to satisfy the wishes and beliefs of all who hear me.

I will speak first of our ancestors, for it is right and seemly that now, when we are lamenting the dead, a tribute should be paid to their memory. There has never been a time when they did not inhabit this land, which by their valor they will have handed down from generation to generation, and we have received from them a free state. But if they were worthy of praise, still more were our fathers, who added to their inheritance, and after many a struggle transmitted to us their sons this great empire. And we ourselves assembled here today, who are still most of us in the vigor of life, have carried the work of improvement further, and have richly endowed our city with all things, so that she is sufficient for herself both in peace and war. Of the military exploits by which our various possessions were acquired, or of the energy with which we or our fathers drove back the tide of war, Hellenic or Barbarian, I will not speak; for the tale would be long and is familiar to you. But before I praise the dead, I should like to point out by what principles of action we rose ~ to power, and under what institutions and through what manner of life our empire became great. For I conceive that such thoughts are not unsuited to the occasion, and that this numerous assembly of citizens and strangers may profitably listen to them.

Our form of government does not enter into rivalry with the institutions of others. Our government does not copy our neighbors', but is an example to them. It is true that we are called a democracy, for the administration is in the hands of the many and not of the few. But while there exists equal justice to all and alike in their private disputes, the claim of excellence is also recognized; and when a citizen is in any way distinguished, he is preferred to the public service, not as a matter of privilege, but as the reward of merit. Neither is poverty an obstacle, but a man may benefit his country whatever the obscurity of his condition. There is no exclusiveness in our public life, and in our private business we are not suspicious of one another, nor angry with our neighbor if he does what he likes; we do not put on sour looks at him which, though harmless, are not pleasant. While we are thus unconstrained in our private business, a spirit of reverence pervades our public acts; we are prevented from doing wrong by respect for the authorities and for the laws, having a particular regard to those which are ordained for the protection of the injured as well as those unwritten laws which bring upon the transgressor of them the reprobation of the general sentiment.

And we have not forgotten to provide for our weary spirits many relaxations from toil; we have regular games and sacrifices throughout the year; our homes are beautiful and elegant; and the delight which we daily feel in all these things helps to banish sorrow. Because of the greatness of our city the fruits of the whole earth flow in upon us; so that we enjoy the goods of other countries as freely as our own.

Then, again, our military training is in many respects superior to that of our adversaries. Our city is thrown open to the world, though and we never expel a foreigner and prevent him from seeing or learning anything of which the secret if revealed to an enemy might profit him. We rely not upon management or trickery, but upon our own hearts and hands. And in the matter of education, whereas they from early youth are always undergoing laborious exercises which are to make them brave, we live at ease, and yet are equally ready to face the perils which they face. And here is the proof: The Lacedaemonians come into Athenian territory not by themselves, but with their whole confederacy following; we go alone into a neighbor's country; and although our opponents are fighting for their homes and we on a foreign soil, we have seldom any difficulty in overcoming them. Our enemies have never yet felt our united strength, the care of a navy divides our attention, and on land we are obliged to send our own citizens everywhere. But they, if they meet and defeat a part of our army, are as proud as if they had routed us all, and when defeated they pretend to have been vanquished by us all.

If then we prefer to meet danger with a light heart but without laborious training, and with a courage which is gained by habit and not enforced by law, are we not greatly the better for it? Since we do not anticipate the pain, although, when the hour comes, we can be as brave as those who never allow themselves to rest; thus our city is equally admirable in peace and in war. For we are lovers of the beautiful in our tastes and our strength lies, in our opinion, not in deliberation and discussion, but that knowledge which is gained by discussion preparatory to action. For we have a peculiar power of thinking before we act, and of acting, too, whereas other men are courageous from ignorance but hesitate upon reflection. And they are surely to be esteemed the bravest spirits who, having the clearest sense both of the pains and pleasures of life, do not on that account shrink from danger. In doing good, again, we are unlike others; we make our friends by conferring, not by receiving favors. Now he who confers a favor is the firmer friend, because he would rather by kindness keep alive the memory of an obligation; but the recipient is colder in his feelings, because he knows that in requiting another's generosity he will not be winning gratitude but only paying a debt. We alone do good to our neighbors not upon a calculation of interest, but in the confidence of freedom and in a frank and fearless spirit. To sum up: I say that Athens is the school of Hellas, and that the individual Athenian in his own person seems to have the power of adapting himself to the most varied forms of action with the utmost versatility and grace. This is no passing and idle word, but truth and fact; and the assertion is verified by the position to which these qualities have raised the state. For in the hour of trial Athens alone among her contemporaries is superior to the report of her. No enemy who comes against her is indignant at the reverses which he sustains at the hands of such a city; no subject complains that his masters are unworthy of him. And we shall assuredly not be without witnesses; there are mighty monuments of our power which will make us the wonder of this and of succeeding ages; we shall not need the praises of Homer or of any other panegyrist whose poetry may please for the moment, although his representation of the facts will not bear the light of day. For we have compelled every land and every sea to open a path for our valor, and have everywhere planted eternal memorials of our friendship and of our enmity. Such is the city for whose sake these men nobly fought and died; they could not bear the thought that she might be taken from them; and every one of us who survive should gladly toil on her behalf.

I have dwelt upon the greatness of Athens because I want to show you that we are contending for a higher prize than those who enjoy none of these privileges, and to establish by manifest proof the merit of these men whom I am now commemorating. Their loftiest praise has been already spoken. For in magnifying the city I have magnified them, and men like them whose virtues made her glorious. And of how few Hellenes 1 can it be said as of them, that their deeds when weighed in the balance have been found equal to their fame! I believe that a death such as theirs has been the true measure of a man's worth; it may be the first revelation of his virtues, but is at any rate their final seal. For even those who come short in other ways may justly plead the valor with which they have fought for their country; they have blotted out the evil with the good, and have benefited the state more by their public services than they have injured her by their private actions. None of these men were enervated by wealth or hesitated to resign the pleasures of life; none of them put off the evil day in the hope, natural to poverty, that a man, though poor, may one day become rich. But, deeming that the punishment of their enemies was sweeter than any of these things, and that they could fall in no nobler cause, they determined at the hazard of their lives to be honorably avenged, and to leave the rest. They resigned to hope their unknown chance of happiness; but in the face of death they resolved to rely upon themselves alone. And when the moment came they were minded to resist and suffer, rather than to fly and save their lives; they ran away from the word of dishonor, but on the battlefield their feet stood fast, and in an instant, at the height of their fortune, they passed away from the scene, not of their fear, but of their glory.

Such was the end of these men; they were worthy of Athens, and the living need not desire to have a more heroic spirit, although they may pray for a less fatal issue. The value of such a spirit is not to be expressed in words. Any one can discourse to you for ever about the advantages of a brave defense, which you know already. But instead of listening to him I would have you day by day fix your eyes upon the greatness of Athens, until you become filled with the love of her; and when you are impressed by the spectacle of her glory, reflect that this empire has been acquired by men who knew their duty and had the courage to do it, who in the hour of conflict had the fear of dishonor always present to them, and who, if ever they failed in an enterprise, would not allow their virtues to be lost to their country, but freely gave their lives to her as the fairest offering which they could present at her feast. The sacrifice which they collectively made was individually repaid to them; for they received again each one for himself a praise which grows not old, and the noblest of all tombs, I speak not of that in which their remains are laid, but of that in which their glory survives, and is proclaimed always and on every fitting occasion both in word and deed. For the whole earth is the tomb of famous men; not only are they commemorated by columns and inscriptions in their own country, but in foreign lands there dwells also an unwritten memorial of them, graven not on stone but in the hearts of men. Make them your examples, and, esteeming courage to be freedom and freedom to be happiness, do not weigh too nicely the perils of war. The unfortunate who has no hope of a change for the better has less reason to throw away his life than the prosperous who, if he survive, is always liable to a change for the worse, and to whom any accidental fall makes the most serious difference. To a man of spirit, cowardice and disaster coming together are far more bitter than death striking him unperceived at a time when he is full of courage and animated by the general hope.

Wherefore I do not now pity the parents of the dead who stand here; I would rather comfort them. You know that your dead have passed away amid manifold vicissitudes; and that they may be deemed fortunate who have gained their utmost honor, whether an honorable death like theirs, or an honorable sorrow like yours, and whose share of happiness has been so ordered that the term of their happiness is likewise the term of their life. I know how hard it is to make you feel this, when the good fortune of others will too often remind you of the gladness which once lightened your hearts. And sorrow is felt at the want of those blessings, not which a man never knew, but which were a part of his life before they were taken from him. Some of you are of an age at which they may hope to have other children, and they ought to bear their sorrow better; not only will the children who may hereafter be born make them forget their own lost ones, but the city will be doubly a gainer. She will not be left desolate, and she will be safer. For a man's counsel cannot have equal weight or worth, when he alone has no children to risk in the general danger. To those of you who have passed their prime, I say: "Congratulate yourselves that you have been happy during the greater part of your days; remember that your life of sorrow will not last long, and be comforted by the glory of those who are gone. For the love of honor alone is ever young, and not riches, as some say, but honor is the delight of men when they are old and useless.

To you who are the sons and brothers of the departed, I see that the struggle to emulate them will be an arduous one. For all men praise the dead, and, however preeminent your virtue may be, I do not say even to approach them, and avoid living their rivals and detractors, but when a man is out of the way, the honor and goodwill which he receives is unalloyed. And, if I am to speak of womanly virtues to those of you who will henceforth be widows, let me sum them up in one short admonition: To a woman not to show more weakness than is natural to her sex is a great glory, and not to be talked about for good or for evil among men.

I have paid the required tribute, in obedience to the law, making use of such fitting words as I had. The tribute of deeds has been paid in part; for the dead have them in deeds, and it remains only that their children should be maintained at the public charge until they are grown up: this is the solid prize with which, as with a garland, Athens crowns her sons living and dead, after a struggle like theirs. For where the rewards of virtue are greatest, there the noblest citizens are enlisted in the service of the state. And now, when you have duly lamented, every one his own dead, you may depart. 

David and Goliath (1960) - Directed by Ferdinando Baldi and Richard Pottier - Starring Ivica Pajer and Orson Wells

Consumer Decision in an Ancient Republic

Imagine dressing to visit

A Main St. television store

Where a salesman in a suit

Offers his polite and friendly pitch

A dilation upon the joys of color...

Spectrums rendered by electron beams 

Transfusing Red, Green and Blue

Into wonderful worlds of diapson form

You indicate a salient feature to your wife

Who is not sure, but interested, tell her more... 

You say you shall write a poem about it 70 years

Later--assuming you were alive then and now--

Such the final line is a "Zen-esque" Haiku insight:

The color looks grand

It feels right, does it not, dear?

Nostalgia refracts

 

Contemporay intersections in and out of context; or what do we see in each other's eyes?

Ambivalent and conflicted, maybe?

Otto Dix (1891-1969) Girl on a Sunday, 1925. Oil/canvas, 83.2x66 cm. Kunstsammlungen Chemnitz, Museum Gunzenhauser

Where will Captain Tomorrow take you today?

Form follows function, form suspends function, structure suspends form...

unknown

 

Arnold Schoenberg: Pierrot Lunaire

"Lateral Modernity"

Any theoretical discussion is incomplete without some consideration of "Lateral Modernity", which is best defined through its use in responding to a range of important critical topics, thus:

Lateral Modernist Considerations

Practical Criticism

Lateral Modernity says: “Disregarding a text’s outside context is impractical, while inner-contexts, so-styled, are properly material for the arena of Psychoanalytic Criticism (see below).”

Cultural Studies

Lateral Modernity says: “The context of socio-cultural environment is incomplete without a full consideration of the text’s historical context(s).”

Formalism

Lateral Modernity says: “Language and technical skill are ‘adequate' measures of artistic merit, though aesthetic considerations need to be empowered though lateral movements to alternative aesthetic criteria. Kant’s aesthetic notions reflecting universalizability and the 'categorical imperative', as standards for arriving at critical measure, should be properly mitigated by taste, reader-response, and a meta-study of general and specific critical receptions.”

Reader-response

Lateral Modernity says: “Any reader’s response to (reaction and interpretation of) a text is a valuable source for critical study; however, the construction of near- or almost-readers approximating any reader’s response also serve to scale the importance and context of any such response.  In these ways, rubrics of understanding can augment the reader-response agenda so as to yield important insights regarding understanding, which is after all a key outcome in the assessment of any text—including (indeed underscoring) both primary and secondary textual materials.”

The New Criticism

Lateral Modernity says: “While formal and structural elements serve to build a superstructure for analysis, emotional and moral (or ethical) elements remain the key fields where aesthetic assessments are ultimately concluded.”

Psychoanalytic Criticism

Lateral Modernity says: “The assessments of neuroses and other abnormal signifiers amongst characters, authors and contextualizing historical actors in synchronic and diachronic contexts are of paramount importance; yet comparative psychological (and often psychiatric) analyses of critical voices and texts also are necessary to preserve the legitimacy (or, better, the appearance of the legitimacy) of any comprehensive Psychoanalytic Criticism.”

Marxist Theory

Lateral Modernity says: “Class relations, sociological ideals, class struggle, alienation, political will, and reformist ideals require a litmus test—perhaps in the form of a classroom 'struggle session' in order to tease out possible biases on the part of students, professors, and assessment personal who are invited into the classroom (or who are asked to produce studies for peer-review journals and/or that respond to administration’s mission to insure the integrity and uninterrupted flow of institutional revenue streams).

Post-modernism

Lateral Modernity says: “Unified narratives can be pluralistic through the acknowledgement that, as Nietzsche says, ‘There are no facts, only interpretations”, which requires also knowledge of the French language, French art, and French humor, as is demonstrated HERE. Considerations of Delacroix in the context of sensationalist aesthetics and vulgar tastes, as well as a study of pantomime artists with  painted faces, striped shirts, suspenders and black berets also augment an appreciation for Postmodernism as a proletarian process (example: street art) as well as the highly important critical performances favored by committed students in the classroom, who are then motivated to attend emotionally moving (and thus meaningful) struggle sessions on raised platforms out-of-doors.”

Post-structuralism  

Lateral Modernity says: “Signs and symbols in texts (or any art) can be moved laterally so as to expose latent “universal truths” that obscure the on-going—indeed vitally interminable—activity of critical assessment (anyway, so far as it is conducted in the middlebrow magisterium that is after all the key concern of the post-structuralist, at least as of this writing).”

Deconstruction

Lateral Modernity says: “In picking apart a text’s ideas or arguments, one can crucially neglect the function of language in the genesis of ‘concepts’ that after all render meaning at least possible insofar as the role that ‘concepts’ must and do play in identifying, securing and maintaining a place in the institutional revenue stream.

Postcolonial Theory

Lateral Modernity says: “Western thought no longer dominates the discussion in literature and art, while colonialism remains a construction whose usefulness has transformed the discussion to the political arena, where—beyond shrewd and adroit messaging, virtue signaling and departmental ingratiation—the subject is now meaningless in theoretical terms; while, indeed, disagreement with this formulation remains a racist carry-over from the outrageous “judgmental” character of Western discourse.”

Feminist Criticism

Lateral Modernity says: “The most effective exposition of progressive feminist activity is not achieved through the rote recitation of feminist theories, but rather through the celebration of notable feminist scholars who have produced these self-same theories.  Thus, rather than repeating theoretical concepts, critics are encouraged to forcefully pronounce important names; for example, Virginia Woolf, Elaine Showalter, Hélène Cixous, and so on.”

Queer Theory

Lateral Modernity says: “The interrogation of gender roles through identifying the lens of sexual orientation and gender identity is facilitated though a conversation that is inoffensive—this is primary.  Repeating important names (see Feminist Criticism above), underscoring one’s commitment to sexual (and gender) liberation and the exercise thereof… also are important descriptive and expository factors.”

Critical Race Theory

Lateral Modernity says: “While studies in literature and the arts remain guiding critical foci, the revenue streams made possible through possessing a law degree over and above a degree in Critical Race Theory should not be overlooked.”

Critical Disability Theory

Lateral Modernity says: “Racist and ableist views attend the examination of ableist social structures, though such analyses remain ineffectual without the support of adjacent and attending critical theories, which are too numerous to list here, though the above expositions of Lateral Modernist Considerations, properly considered, serve as nascent foci for exercising good work, progressive action and effective reform.”

Herbert Marcuse leading collective action

Retreat into a "new" Antiquarianism on the cusp of the Space Age, continued (the imagry of pre-space-age scientific fantasy offered as a possible index for describing, gauging, and explaining the "meaning" of irrational aspirations and/or neuroses)

Art by Frank R. Paul

Text and texture in the post-philosophical struggle for meaning suspended in the midst of the existential crisis confronting Western Civilization: the spectre of a morality play for theorists titled "Retreat into an 'Antiquarian' Enthuseasm"

The Presocratic moment eclipsed by an intervening reflection

What is the secret and why are they guarding it... just what is Pollock documenting here? (Indeed, is painting "documentation"?)

Jackson Pollock - Guardians of the Secret, 1943. Oil on canvas, 48" × 75" @ SFMOMA

Dinosaur screams and dragon howls (with theological public service announcement at 6:29)

Aesthetics and Meditation (a meditation)

artist unknown

Remembering Titus Andronicus at Central Park

I saw Titus Andronicus at Shakespeare in the Park in NYC; this was possibly 1989.  Kate Mulgrew (Star Trek's Captain Janeway) played Tamora, the wicked mother and Queen of the Goths. Good grief! She played it to the hilt!  Horrifically sinister! After the play when the actors playing her two evil sons, Demetrius and Chiron, came out for their bow, everyone in the audience boo'd.  Nearly angrily! Then everyone--the audience, the two evil sons, the entire cast--burst into laughter. It was probably the most fun I have ever had at play.  Moreover underscoring that Aristotle is absolutely right about drama and catharsis!

HERE, form the New York Public Library Digital Collections, are more stills from that wonderful production.

Moving scenes from a major metropolitan art museum (attribution in video #5)

 

 

 

 

 

  

"The World is too Much with Us" by William Wordsworth

The world is too much with us

Getting and spending, we lay waste our powers;—

Little we see in Nature that is ours;

We have given our hearts away, a sordid boon!

This Sea that bares her bosom to the moon;

The winds that will be howling at all hours,

And are up-gathered now like sleeping flowers;

For this, for everything, we are out of tune;

It moves us not. Great God! I’d rather be

A Pagan suckled in a creed outworn;

So might I, standing on this pleasant lea,

Have glimpses that would make me less forlorn;

Have sight of Proteus rising from the sea;

Or hear old Triton blow his wreathèd horn.

The Birth of Triton William Hilton (1786–1839)

But could hearing Triton blow his wreathèd horn sustain us? And for how long? Soon we might wish the world to return... And anyway, it will.

Clearly, we need to apply some highbrow common sense to this problem. Hmm... Considering our miraculous condition, wouldn't writing a poem about Triton or painting his picture be more exciting--sustaining--than hearing him blow that horn, which anyway is most unlikely?  To paint that painting, to write that poem, we must be in the world, for it is the only place where such things happen.  Q.E.D.

New Measures of Contextual Understanding: #21 The Social Engineer behind the Social Engineers - or an Allegory of a Tautology that is Either a Tautology or is Not a Tautology

"Mystic balm of healing in her train..."

Mistress of peace is she, who quiet brings,
And mystic balm of healing in her train,
Who drops Sleep's magic feather from her wings
To soothe a tired world's weariness and pain.

                         from “The Night” – Clark Ashton Smith

 

"Allegory of Night" (1891; oil on canvas; height: 70 cm (27.5 in), width: 54.5 cm (21.4 in)) by Léon Frédéric (Belgian, 1856 – 1940)