Friday, March 27, 2015


Chris Kraus points to a Spinoza quote as if an answer to nothing new under the sun -"Ambiguity," wrote Dutch philosopher Baruch de Spinoza, seeing it all two hundred years ago, "is the kingdom of the night."

Monday, March 02, 2015


 Febuary 28th 2015. This day should be declared nothing new under the sun day-a holiday for acts of novelty speculation and ventures into the unknown.

Bartleby and his refusal to be itemized.
Kant or Hume associating sublime with sight. Terance Mckenna in his notion of novelty. Nothing new under the sun, but what goes on beyond the jurisdiction of light?

this looks interesting-Philosophical Beauty: The Sublime in the Beautiful in Kant's Third Critique and Aristotle's Poetics Richard Gilmore Concordia College


A mid-17th century English ditty (a short, simple popular song)—much quoted in histories of ale and beer brewing in England—refers to 1525 as the year:
Hops, heresies, bays, and beer;
Came into England all in one year. Wiki on Baize

A loose association presents itself between the emerald color in the wizard of OZ and the prop of the curtain in that same movie. Baize is used for games of chance. Servants doors were covered with this wool for sound proofing. Altars are also covered with the same material. (Jane Austin's World blog)I sense a connection between this curtain of the temple as a veil and the revealing aspects of the concept of Aletheia

Video podcast on Vimeo about Heidegger's Aletheia


Wednesday, February 25, 2015

Wednesday, February 18, 2015

Grotto arigato Mr. Roboto


grotto (Italian grotta and French grotte) is any type of natural or artificial cave that is associated with modern, historic, or prehistoric use by humans. When it is not an artificial garden feature, a grotto is often a small cave near water and often flooded or liable to flood at high tide. The picturesque Grotta Azzurra at Capri and the grotto of the villa of Tiberius in the Bay of Naples are outstanding natural seashore grottoes. Whether in tidal water or high up in hills, they are very often in limestone geology where the acidity dissolved in percolating waterhas dissolved the carbonates of the rock matrix as it has passed through what were originally small fissures. Seekarst topographycavern. Wiki
association with Karst -apparitions of Mary/venus ocean and water. Cenotes and Maya divination rituals.

Bernadette Soubirous Millers daughter

old French door with a hole cut out for cats

Sunday, February 15, 2015


Schiller's connection of play with art was likely influenced by Kant's discussion of art in his Critique of Judgment (1790). In distinguishing "art" from "handicraft" Kant holds that "the First is called free, the other may be called industrial art. We look on the former as something which could only prove final (be a success) as play, i.e., an occupation which is agreeable on its own account; but on the second as labor."5 Art, like play, is autotelic as opposed to handicraft which works to produce something for a purpose other than the making.6 Kant calls upon "play" to make clear what he means by "soul" [Geist] in his discussion of what constitutes artistic genius. Some works of art are deserving of being called art in their demonstration of "taste," yet somehow they are "soulless." "Soul" is the animating principle in the mind. Soul is "that which sets the mental powers into a swing that is final, i.e., into a play which is self-maintaining and which strengthens those powers for such activity."7 In his discussion of the three divisions of the fine arts, Kant identifies one division as the "play of sensations" or the "beautiful play of sensations," by which he refers to music and the "art of color." By "play" Kant refers to "the effect of those vibrating movements upon the elastic parts of our body that can be evident to sense."8 In Kant's usage, play is "agreeable on its own account," that is, it is autotelic, and it designates a self-maintaining swing or harmony of vibrating
2See Elizabeth M. Wilkinson and L. A. Willoughby, translators and editors, Friedrich Schiller, On the Aesthetic Education of Man, in a Series of Letters (Oxford: At the Clarendon Press, 1967), p. clxxxvi and Susanne Millar, The Psychology of Play (Baltimore: Penguin Books, 1968), p.15.
3Johan Huizinga, Homo Ludens: A Study of the Play Element in Culture (Boston: The Beacon Press, 1950, trans. of 1944 German edition), p. 168.
4Huizinga's book may be cast in a much needed critical light once the discussion of play from Schiller to Derrida has been traced.
5Immanuel Kant, Critique of Judgement translated by J. C. Meredith (New York: Oxford University Press, 1973) as quoted in Mark Taylor Deconstruction in Context, p. 39.
6 Schiller here anticipates Baudrillard’s distinction between seduction and production. 7Ibid., p. 47. 8Ibid., p. 56.The Powerful Play Goes On 3 Friedrich Schiller to Jacques Derrida
movements. The association of play with vibrating or oscillating movement will be developed by others.
Schiller's Aesthetic Letters argue for the importance of aesthetic education, proposing that aesthetic education is essential to the realization of human potential. Foundational to his argument is Schiller's description of the two forces or impulses that drive human action, that define the human character. Schiller describes these two opposing forces in various ways. Analyzing the age in which he lived, heavily influenced by the French Revolution, Schiller felt that culture tended to bifurcate the individual placing him or her at odds within him or herself, with detrimental results,
either as savage, when feeling predominates over principle; or as barbarian when principle destroys feeling. The savage despises Civilization, and acknowledges Nature as his sovereign mistress. The barbarian derides and dishonors Nature, but, more contemptible than the savage, as often as not continues to be the slave of his slave.(IV.6)

The work most commonly cited since mid-twentieth century as the source or inspiration for contemporary studies of play is Johan Huizinga's Homo Ludens: A Study of the Play Element in Culture (1944). Huizinga cites Schiller only one time. In his chapter "Play-forms in Art," he equates Schiller's Spieltrieb, play drive, with the human propensity to ornament, which he exemplifies by a reference to doodling.3 Huizinga gives no evidence of having read more than the Fourteenth Letter and he misrepresents Schiller.4

Thursday, February 12, 2015

driving wheel

installations of enameled steel cutout shapes of nature scenes layered as in a pine forest, floating in acrylic tanks of neutral buoyancy installed on site-precarious balance potentially disturbed.

Movie of a hitchhiker that is given a bag of cadburry's chocolate from an easter basket but its just the tails because somebody believed the tail was devils work. The cadburry tales.

Tuesday, February 10, 2015

out out

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St. Augustine, Florida, United States
I spill ink ,it collects here.