beaumes de venise :(

it derives from the image of a blue towel on a wooden door against a white wall

Robinson, which of the lakes do I prefer?

… the ultimate foundation upon which the Brummell phenomenon rested was the commodification of the real…
In a period that submitted hyporitically to the elephantiasis of ornament, the absence of every kind of bad conscience with respect to objects explains the almost ascetical sobriety of Beau's wardrobe and his foundation of the criteria of elegance on elusive nuances, like the accidental folds of a cravat. The technique of tying a cravat - worthy of a Zen master- invented by Brummell was rigorous in its elimination of any intentionality: it is realted that his valet Robinson could be seen every evening emerging from the dressing room, his arms laden with with barely wrinkled neckwear. 'They are our failures' he would explain. Beau himself, who some of the greatest poets of modernity have not disdained to consider their teacher, can, from this point of view, claim as his own discovery the introduction of chance into artwork so widely practiced in contemporary art . Agamben / stanzas / 53

morgan fisher / standard gauge
















остранение - defamiliarization - Shklovsky - Art as Device -- politicised by Brecht as Verfremdungs technik - alienation - estrangement - the fundamental character of a work of art - distancing being the key attribute of the uncanny.

crossings foldings holes

The Intertwining / the chiasm


'A figural situation denotes a gesture of framing, cutting-out, a distinction of an outline of a surface or a platform, a form within a form, a form around a form; therefore the figural dynamics contains a bilateral movement from a form to a plat-form and back from the platform to a form. Erich Auerbach, Figura
…
In his Physics, Aristotle defined the Topos as the inner surface of a thing which contains another moving thing. The figure occurs at the borderline between a moving thing and another thing through which the former passes.

[platfrom / l'aplat / field]

Adi Efal/ The two faces of the figure: plastic and philological 2010