pisse not upon their ashes.

'Tis opportune to look back upon old times, and contemplate our Forefathers. Great examples grow thin, and to be fetched from the passed world. Simplicity flies away, and iniquity comes at long strides upon us. We have enough to do to make up our selves from present and passed times, and the whole stage of things scarce serveth for our instruction. A compleat peece of vertue must be made up from the Centos of all ages, as all the beauties of Greece could make but one handsome Venus.

When the bones of King Arthur were digged up⁹, the old Race might think, they beheld therein some Originals of themselves; Unto these of our Urnes none here can pretend relation, and can only behold the Reliques of those persons, who in their life giving the Laws unto their predecessors, after long obscurity, now lye at their mercies. But remembring the early civility they brought upon these Countreys, and forgetting long passed mischiefs; We mercifully preserve their bones, and pisse not upon their ashes.

tupilaq

BioHashing generates a vector of bits starting from the biometric feature set and a seed which represents the "Hash key".
On the following day, many sledges went out to search for Artuk. And they found him, far out on the ice, torn to pieces, as is the way with those whom the spirits have punished for refusing to observe the customs of their forefathers. And the son, who was bound to the sledge, had not been touched, but he had died of fright.

vulva | vultus

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Apotropaic patterns [Gell] are demon –traps, in effect, demonic fly-paper.

Pattern and multiplicity operate like this

Bringing about attachment between people and objects

 

 

in short there is a choice between vulva and vultus, genitals and face, two fantastical equivalents... 

 patrimony - dad's 'diamond' in blue, wedgwood - design 63 - apothecary jar

denuded

 Spoliation entails a forcible transfer of ownership. The spoliated object [animal, person, monument or culture] is denuded of its portable assests [skin, wealth, ornament, artistic patrimony] and the assets - the spolia - are taken as booty or salvaged. Spolia are survivors of violence, about which they might be mute [if they bear no visible signs] or eloquent.

kinney / reuse value


The fact is that history and prehistory, united in origin, at a certain point separate irrevocably:
In the history of every organism there comes the time in which the boundaries which separate it from the world are not any longer subject to change. In this moment, prehistory and emergence-history (Entstehungsgeschichte) separate from history. Thence the similarity that likens this moment to death, and the ease with which we can identify, in any history in the usual sense of the term, the signs of a history of decadence (Verfallsgeschichte). Verfallsgeschichte dissolves the bonds that prehistory had created between elements ... If, therefore, in the realm of things that have a life and a historical efficacy, one has to distinguish between their pre-historical epoch and the historical one, it is prehistory which lays the foundations of their historical efficacy (ibid., p. 53).
Not only prehistory and history are distinct and nonetheless connected: the historical efficacy of a phenomenon itself is inseparably linked to this distinction.

agamben / philosophical archaeology / 2009 / overbeck

a broadside panegyric

Peake, Robert (active 1635-died 1667) Robert (later Sir Robert) Peake was son of the print publisher William Peake. In 1635 he and William jointly published The Booke of five Columnes at their house near Holborn Conduit. On William's death in 1639 (Edmonds, Burlington Magazine, 118 (1976), p. 79), Robert inherited and continued the business. He published the finest prints of the early 1640s: sixteen early Faithorne plates, as well as one by Glover (Hind III 233.22), Edward Pierce's set of friezes of 1640, Hollar's set of three-quarter-length Seasons of 1641 (Pennington 610-3), and several portraits of personalities in the Civil War, many as small ovals that were probably used as badges of allegiance. In a letter to Pepys of 26 September 1690, Evelyn stated that the man 'who had the most choice' of prints was Mr Peake of Holborn Conduit (H.C. Levis, Extracts from the Diaries and Correspondence of J. Evelyn and S. Pepys relating to Engraving (1915), p. 84). Peake was associated with Archbishop Laud in the production of a set of small plates designed to illustrate Bibles (see G.Henderson, 'Bible illustration in the age of Laud', Transactions of the Cambridge Bibliographical Society, 8 (1982), pp. 178ff.). In 1642 Peake closed his business in order to join the Royalist army. He arrived at Basing House as Lieutenant-Colonel on 31 July 1643 with William Faithorne serving as his ensign. As a soldier Robert had a glittering career, which culminated in his being knighted by Charles I at Oxford on 27 March 1645 (Vertue I p. 71 from Symonds ms). In October he was taken prisoner at the siege of Basing House, and a box of unspecified copper plates was found among his possessions. He was first imprisoned at Winchester House, then in Aldersgate, and was later exiled for refusing to take the oath of allegiance to Cromwell. He returned to England at an unknown time, and became vice-president and leader of the Honourable Artillery Company. He died in 1667, and was buried in St Sepulchre's. His will (Edmonds p. 133) shows that he had wished to spend the vast sum of £500 on his funeral, but that the Great Fire had consumed his 'houses and tenements at Holborn Conduitt' so that he had to reduce the sum to £200. His fame was such that a broadside panegyric was published on his death (BL 82 l.8(27)).

Peake, William (fl. 1626-died 1639) All previous writings on the Peake family have been made obsolete by Mary Edmond, who has worked out the family tree ('Limners and Picturemakers', Walpole Society, 47 (1978-80), pp. 129-33). She shows that there were three generations of the family in the publishing business. The eldest was the well-known painter Robert Peake (c.1551-1619), who held the position of Serjeant-Painter to James I jointly with John de Critz, and was also painter to Prince Henry. It was he who leased a house at Holborn Conduit from the Saddlers' Company, whence he published a number of books, such as the 1611 translation of Serlio's First Book of Architecture, which he dedicated to Prince Henry (Harris cat.817). The blocks used to illustrate this were imported from the Continent where they had first been used in Antwerp c.1540. William was his eldest son, and was also trained as a painter. Like all generations of the family he was a freeman of the Goldsmiths' Company. On his father's death in 1619 he inherited the shop at Holborn Conduit next to the Sun Tavern at the bottom of Snow Hill. Although he presumably took over his father's illustrated book publishing business, there are no signs of his acting as a publisher of single sheet prints before 1626. His address appears on a large number of ex-Humble plates. One of them (Hind II 265.45) has a date 1626 which suggests that the transfer took place in this year. In 1635 the engraver William Faithorne was apprenticed to him, and at an unknown earlier date the painter William Dobson. William published various sets of Senses, Complexions, Worthies etc. by Cecill and Glover.

http://www.bpi1700.org.uk/resources/directory_publishers_P.html 

good father bad father

images found while teaching

What use does the Symbolic have?

When Jean Hyppolite asks: "What use does the Symbolic have?" Lacan answers: "The Symbolic, the Imaginary and the Real are useful in giving its meaning to a particularly pure symbolic experience, that of analysis." Since the symbolic dimension is the only dimension that cures, "The symbolic order is simultaneously non-being and insisting to be, that is what Freud has in mind when he talks about the death instinct as being what is most fundamental: a symbolic order in travail, in the process of coming, insisting in being realised."

A four-term structure maps the Real, the Imaginary and the Symbolic as replacing the second Freudian topography: ego/id/superego. Two diagonals intersect, while the imaginary rapport links a (the ego) to a' (the other), the line going from S (the subject, the Freudian id) to A (the Other) is interrupted by the first one. The Other is difficult to define: it is the place of language where subjectivity is constituted; it is the place of primal speech linked to the Father; it is the place of the absolute Other, the mother in the demand. The Other makes the subject without him knowing it. 

1954-1955 Le séminaire, Livre II: Le moi dans la théorie de Freud et dans la technique de la psychanalyse

freedom from hunger planet

The Revolution must not be fetishised.
The Mission Is Terminated

lake of the ingots of gold

One of the most singular things that we have been told about the island of Zabaj, is that which concerns one of its former kings. This king was called the Maharaja. His palace faced onto a thalaj which emanates from the sea; one means by thalaj an estuary resembling those which the Tigris forms when it passes by Baghdad and Basra, an estuary which the salt water of the sea invades at high tide and which is fresh at low tide. This water formed a small lagoon adjoining the palace of the king. Every morning the steward is brought before the king and offers him an ingot of gold in the form of a brick. Each brick weighs a certain number of mann, the amount of which is not known to me. Next, in the presence of the king, the steward throws this brick into the lagoon. At high tide, the water covers this brick and all the other bricks which are piled there, so that they cannot be seen, and when the water goes down, the bricks appear and shine in the sun. When the king gives an audience he sits in a room which overlooks the lake with his face turned towards the water. This custom must never be interrupted: every day a golden brick is thrown into this lake and as long as the king lives, the bricks are not touched.
At his death, however, his successor extracts the bricks without leaving any. They are counted and melted down, and the gold is distributed to the princes of the royal family, both men and women, to their children, their officers and their eunuchs, in proportion to their rank and the prerogatives attached to their various functions. Any which remains is given to the poor and the sick. They take care to make a record of the golden bricks and their total weight. It is written down that so and so, the king, had reigned so many years, and they had thrown so many bricks into the royal lake, and weighing so much; and that after his death these bricks had been divided up amongst the court and the royal family. lt was a great honour for the king who had reigned the greatest number of years and had amassed the greatest number of golden bricks. 

	Surely there is a vein for the silver, and a place for gold [where] they fine [it].
	Iron is taken out of the earth, and brass [is] molten [out of] the stone.
	He setteth an end to darkness, and searcheth out all perfection: the stones of darkness, and the shadow of death.
	The flood breaketh out from the inhabitant; [even the waters] forgotten of the foot: they are dried up, they are gone away from men.
	[As for] the earth, out of it cometh bread: and under it is turned up as it were fire.
	The stones of it [are] the place of sapphires: and it hath dust of gold.
	[There is] a path which no fowl knoweth, and which the vulture's eye hath not seen:
	The lion's whelps have not trodden it, nor the fierce lion passed by it.
	He putteth forth his hand upon the rock; he overturneth the mountains by the roots.
	He cutteth out rivers among the rocks; and his eye seeth every precious thing.
	He bindeth the floods from overflowing; and [the thing that is] hid bringeth he forth to light.
¶	But where shall wisdom be found? and where [is] the place of understanding?
	Man knoweth not the price thereof; neither is it found in the land of the living.
	The depth saith, It [is] not in me: and the sea saith, [It is] not with me.
	It cannot be gotten for gold, neither shall silver be weighed [for] the price thereof.
	It cannot be valued with the gold of Ophir, with the precious onyx, or the sapphire.
	The gold and the crystal cannot equal it: and the exchange of it [shall not be for] jewels of fine gold.
	No mention shall be made of coral, or of pearls: for the price of wisdom [is] above rubies.
	The topaz of Ethiopia shall not equal it, neither shall it be valued with pure gold.
	Whence then cometh wisdom? and where [is] the place of understanding?
	Seeing it is hid from the eyes of all living, and kept close from the fowls of the air.
	Destruction and death say, We have heard the fame thereof with our ears.
	God understandeth the way thereof, and he knoweth the place thereof.
	For he looketh to the ends of the earth, [and] seeth under the whole heaven;
	To make the weight for the winds; and he weigheth the waters by measure.
	When he made a decree for the rain, and a way for the lightning of the thunder:
	Then did he see it, and declare it; he prepared it, yea, and searched it out.
	And unto man he said, Behold, the fear of the Lord, that [is] wisdom; and to depart from evil [is] understanding.

new scientist seals

Cave paintings in Malaga, Spain, could be the oldest yet found – and the first to have been created by Neanderthals.

Looking oddly akin to the DNA double helix, the images in fact depict the seals that the locals would have eaten, says José Luis Sanchidrián at the University of Cordoba, Spain. They have "no parallel in Palaeolithic art", he adds. His team say that charcoal remains found beside six of the paintings – preserved in Spain's Nerja caves – have been radiocarbon dated to between 43,500 and 42,300 years old.

That suggests the paintings may be substantially older than the 30,000-year-old Chauvet cave paintings in south-east France, thought to be the earliest example of Palaeolithic cave art.

The next step is to date the paint pigments. If they are confirmed as being of similar age, this raises the real possibility that the paintings were the handiwork of Neanderthals – an "academic bombshell", says Sanchidrián, because all other cave paintings are thought to have been produced by modern humans.

Neanderthals are in the frame for the paintings since they are thought to have remained in the south and west of the Iberian peninsula until approximately 37,000 years ago – 5000 years after they had been replaced or assimilated by modern humans elsewhere in their European heartland.

Until recently, Neanderthals were thought to have been incapable of creating artistic works. That picture is changing thanks to the discovery of a number of decorated stone and shell objects – although no permanent cave art has previously been attributed to our extinct cousins.

Socrates Corinth Democracia

Socrates turns his back to Plato, who has made him write whatever he wanted while pretending to receive it from him

jerome appears to augustine

image stands in for face, sign stands in for image

The descendants of every man who had borne a curule office were entitled to an image of that person, and at the funeral of every member of a family thus ennobled, all the images to which the ius imaginum entitled him, were produced and formed the most important part of the procession. As many as three hundred are said to have been displayed at the funeral of one person. The mind is immediately struck with the resemblance which this custom bears to that, which arose after the introduction or armorial bearings, of exhibiting at the funerals of the noble the banners and pennons to which the laws of arms entitled them, and the testimonies of their high descent and honourable connections.

Encyclopaedia heraldica

The ius imaginis is a Roman custom that (1) allowed a member of the nobility to have a wax mask (imago) of himself that would be handed down to descendants and (2) granted the privilege of a public funeral at state expense. At the funeral, the imago would be worn by an actor in the procession. The actor would also wear the clothing and insignia of the highest office and play the part (persona) of the deceased. [Incidentally, persona is the term for theatrical mask. The personae covered more than the face; the imagines, only the face.] Other actors would play the role (also, personae) of ancestors and wear their masks.

To obtain the ius imaginis right required obtaining one of the curule magistracies:

• curule aedile,
• praetor,
• censor, or
• consul.
• 
  
• 
  
• Although often called death masks, since they were used in funerals, the imagines are now thought to have been life masks, made during the lifetime of the office holder, if possible.

  Ancestral maps were displayed in the cupboards (armaria) of the family atrium, and were considered symbols of high status. They were displayed during special festivals and public sacrifices, as well as in funerals and in the atrium.

  Pollini says there is substantial evidence that the wax ancestral mask began in the second half of the 4th century B.C., after the passage of the Lex Licinia Sextia [367 B.C.] requiring that at least 1 consul be plebeian and later laws that led to the creation of a new, plebeian nobility. By obtaining a curule office, such a plebeian became a noble, a novus homo, and entitled to the ius imaginis. This was also the time the Senate first sanctioned theatrical performances (ludi Scaenici), which is worth noting, given the theatricality involved in the funeral parade.

  Source:
  Performing Death: Social Analyses of Funerary Traditions in the Ancient Near East and Mediterranean #13 "Ritualizing Death in Republican Rome: Memory, Religion, Class Struggle, and the Wax Ancestral Mask Tradition's Origin and Influence on Veristic Portraiture." John Pollini, University of Southern California.

quince

'Papa! what's money?'

On one of these occasions, when they had both been
perfectly quiet for a long time, and Mr Dombey only
knew that the child was awake by occasionally
glancing at his eye, where the bright fire was
sparkling like a jewel, little Paul broke silence
thus:
'Papa! what's money?'
The abrupt question had such immediate reference to
the subject of Mr Dombey's thoughts, that Mr Dombey
was quite disconcerted.
'What is money, Paul?' he answered. 'Money?'
'Yes,' said the child, laying his hands upon the
elbows of his little chair, and turning the old face
up towards Mr Dombey's;
'what is money?'
Mr Dombey was in a difficulty. He would have liked
to give him some explanation involving the terms
circulating-medium, currency, depreciation of
currency', paper, bullion, rates of exchange, value
of precious metals in the market, and so forth; but
looking down at the little chair, and seeing what a
long way down it was, he answered:
'Gold, and silver, and copper. Guineas, shillings,
half-pence. You know what they are?'


Charles Dickens / Dombey and Son / Chapter 8

unknown watchman / unknown painter / 1560

remember : them : that wache. and ward for you : their prince : and : realme : and suche. as doo' wythe, blvdy, swets : ofte tymes, deserve to gayne :























LAYING A GHOST (12 S. iii. 504). The
service as performed at Castle Acre in Norfolk,
early in the nineteenth century, consisted in
requisitioning the services of three of the
neighbouring clergy, who read in rotation
verses of Scripture, the ghost also reading
and keeping pace with them. If the clerics
managed to get a verse ahead, their power
was established and - the ghost laid.

suspect

one eyed jacks

Das Sächsische Stammbuch - Mscr.Dresd.R.3

saxony lineage via BibliOdyssey