Sunday, 22 March 2015

waiting for the eclipse / lincoln's inn fields

beyond the north wind...

monument / burgess park

carpaccio / augustine / anachronism

Sir Joshua Reynolds PRA (1723-1792) Studio Experiments in Colour and Media, oil on canvas, c. 1770s-1780s

This canvas, onto which Reynolds has 'arranged specimens of various pigments for experimental purposes' was bought by the RA in 1878. It was originally presented to Sir Thomas Lawrence by its previous owner, who had lived in Reynolds' house in Great Newport Street and had preserved a number of these experimental canvases. It disappeared after Lawrence's death, reappearing again in the late-nineteenth century.

Saturday, 21 March 2015

and if I scan thee right, Thou needs must well remember how I aped Creative nature by my subtle art.

ARGUMENT.—Dante, at the desire of Virgil, proceeds onward to the bridge that crosses the tenth gulf, from whence he hears the cries of the alchemists and forgers, who are tormented therein; but not being able to discern anything on account of the darkness, they descend the rock, that bounds this, the last of the compartments in which the eighth circle is divided, and then behold the spirits who are afflicted by divers plagues and diseases. Two of them, namely, Grifolino of Arezzo, and Capocchio of Siena, are introduced speaking.




Menocchio said: "I have said that, in my opinion, all was chaos, that is, earth, air, water, and fire were mixed together; and out of that bulk a mass formed – just as cheese is made out of milk – and worms appeared in it, and these were the angels.

regeneration chic

"O thou! who with thy fingers rendest off
Thy coat of proof,


the handicraft version / slipware sua cuique persona

FTW! collection

Thursday, 19 March 2015

Chun | On Software, or the Persistence of Visual Knowledge

Software has become a commonsense shorthand for culture and hardware a shorthand for nature. (In the current debate over stem cell research, stem cells have been called “hardware.”Historically software also facilitated the separation of pattern from matter, necessary for the separation of genes from DNA.
In our so-called postideological society, software sustains and depoliticizes notions of ideology and ideology critique. People may deny ideology, but they don’t deny software—and they attribute to software, metaphorically, greater powers than have been attributed to ideology. Our interactions with software have disciplined us, created certain expectations about cause and effect, offered us pleasure and power that we believe should be transferable elsewhere. The notion of software has crept into our critical vocabulary in mostly uninterrogated ways. By interrogating software and the visual knowledge it perpetuates, we can move beyond the so-called crisis in indexicality toward under-
standing the new ways in which visual knowledge is being transformed and perpetuated, not simply displaced or rendered obsolete


(╯°□°)╯︵ ┻━┻

Sunday, 15 March 2015

chiltern house albany rd 14 March