the logic of three kinds

So sometimes two might meet

Archive for the ‘lovers at dawn’ Category

Annulus

Posted by achresis on December 25, 2008

The first one believes in an external and therefore eternal domain of truth.  Or perhaps belief is too strong a word, for this is not even necessarily a question of faith: this domain is not a truth as such, a true thing or something true which one might say … but the idea of the ability of one (someone) to speak truth unencumbered by the twists of our prejudices and our antagonisms which (and no one would dare to contradict the following statement) inevitably arise during our adventures in space and time.  So outside these adventures: an overlook from which we can judge, measure, condemn or compare.

The second one sees this as the idealization of a true world set up against mundane experience, which everywhere accosts us, attacks us and sets our dreams to flight, an “illusory” world (the believers in truth believe) where nothing is but where everything only becomes, so that what was is already no longer and what is to be is not yet.  The second one doesn’t believe in the true world and therefore rejects too the illusory world and in this way plunges us in into the turmoil of drives and forces that return again and again incessantly with deceptive but crucial differences: instead of eternity, eternal return.

 

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Khovanshchina

Posted by achresis on June 27, 2007

Somehow the chief feudal tension between forces of religious fundamentalism and those of modernization is replicated in the twenty first century in a kind of science fiction become actual.  Tensions of this kind (are there any others?) must be defended against: whence the private armies, the wealthy militias and their neo-Machiavellis, operating in the give and take of world historical dramas. 

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The dawn breaks for the megacity and one can almost hear Moussorgsky as the first pale grey shows, an echo of a simple folk melody gradually extended as the flame of the sun merges with the toxic hues of a chemical atmosphere; and then the harmonies, developed at first into the conventional lushness of the rising sun, are subverted by dark peals evoking the tolling of bells perhaps signifying the boatman and the fraught passage to the isle of the dead. 

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Sunrise

Posted by achresis on June 12, 2006

This is more like it: a sunrise depicted as "faint and timorous, like a hope that all may yet be well."

Turner is often regarded as an impressionist before impressionism yet it's likely, I gather, that these were unfinished paintings produced during "live" demonstrations. Nevertheless the "unobstrusiveness of the mightiest light " that is suggested here remains (in Adorno's words) both "moving and overpowering."

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Sunrise

Posted by achresis on June 12, 2006

Adorno writes:

"The poverty of the sunrise in Richard Strauss' 'Alpine Symphony' results not only from its banal sequences but from its very splendour.  For no sunrise, even in mountains, is pompous, triumphal, imperial; each one is faint and timorous, like a hope that all may yet be well, and it is this very unobstrusiveness of the mightiest light that is moving and overpowering." (Minima Moralia 111).

If Adorno is right, and I tend to agree, then not only Strauss but several other composers (including Beethoven, Ravel and even Mahler) have caved in to the temptation (actually possibly the desire in enlarged form) to paint a sunrise triumphantly.  But Adorno is not, of course, attempting simple reflection here–it's irrelevant whether a sunrise is triumphal or faint and timorous.  What matters is the image of the world implied when a sunrise is offered as part of the immanent structure of a work of art.

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If your Breasts …

Posted by achresis on April 23, 2006

"If your breasts are too big
you will fall over
unless you wear a rucksack"

Ivor Cutler: 3 March, 2006 – R.I.P. (1923-2006)

If your Breasts

The Works of Ivor Cutler

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Eos

Posted by achresis on April 15, 2006

Well no one really knows: locked in forgotten histories and confused etymologies, ancient pagan rites, religions and modern ones too.  The whole oestrogen, easter, east, dawn, complex, lost irrecoverably in the forgetting out of which comes a myth laden historicity and dreams.  The ancient tomorrow.  The sun is coming.  It's time to get up and go.

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Before Sunrise

Posted by achresis on February 25, 2006

Enter Romeo and Juliet aloft at the window

Juliet: Wilt thou be gone? It is not yet near day.

It was the nightingale and not the lark,

That pierced the fearful hollow of thine ear;

Nightly she sings on yond pomegranate tree.

Believe me, love, it was the nightingale.

Romeo: It was the lark, the herald of the morn,

No nightingale. Look, love, what envious streaks

Do lace the severing clouds in yonder east.

Night’s candle’s are burnt out, and jocund day

Stands tiptoe on the misty mountain tops.

I must be gone and live, or stay and die. (3.v.1-11)

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Three Kinds

Posted by achresis on February 23, 2006

The Logic of Three Kinds organizes silently and invisibly the arrangements, the negotiations, the antagonisms and the romantic adventures of two kinds of logic that, it would seem, are forever out of sync. The logic of three kinds ensures that while the two remain forever out of sync they nonetheless can sometimes meet.

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