Even though I have long been grudgingly hep to St. Augustine’s game, I still like this quote, but that’s mainly because again, despite my hepness, I still dig him.
Archive for July, 2010
By God, but that’s a lovely girl!
More lovely than I’ve ever met.
So virtuous, so decent, yet
A touch of sauciness as well!
Her lips so red, her cheeks so bright —
All my life I’ll not forget that sight.
(Johann Wolfgang von Goethe, Faust, Act I, Scene 10, 2609–15.)
Bella Argento. You have just been blinded. With Science.
The good doctor was such a cute baby. Boys. Please keep an eye on your drug use — it does exact a toll.
Ich bin mehr als einmal trunken gewesen, meine Leidenschaften waren nie weit vom Wahnsinn, und beides reut mich nicht: denn ich habe in meinem Maße begreifen lernen, wie man alle außerordentlichen Menschen, die etwas Großes, etwas Unmöglichscheinendes wirkten, von jeher für Trunkene und Wahnsinnige ausschreien musste.
giant picture via blogbroadway right here on the wordpress.
I have been more than once intoxicated, my passions have always bordered on extravagance: I am not ashamed to confess it; for I have learned, by my own experience, that all extraordinary men, who have accomplished great and astonishing actions, have ever been decried by the world as drunken or insane.
(Johann Wolfgang von Goethe, The Sorrows of Young Werther.)
via subwayphilosophy right here on the wordpress.
“The best way to keep children at home is to make the home atmosphere pleasant — and let the air out of the tires.”
Oh, you. Seriously, though?, I believe she may be right on this one. Certainly my parents lit out of their hometown as fast as they could. I, on the other hand, not only romanticize their hometown but truly believe that I have never been happier anywhere other than the town in which I presently live.
I have found myself returning to this “home” again and again to live as an adult because I feel genuinely that my eyes are offended by sights other than the ones I love so well here (country drives, quiet campgrounds, familiar trees and rocks in the middle of fields off the highway — these are like guideposts for exploration of my own soul) and the companionship of familiar places and faces; what interests me is that friendohs who have lived around here longer than I and never much anywhere else seem to take toward my town the same attitude my parents did to theirs: can’t wait to leave, consider it bougeois, boring, etc.
I don’t know if it is so much a case of familiarity breeding contempt as it is of inconsistency bringing longing for roots.
How sad that got. I’m sorry.
This actually happened.
In 1967, La mujer murcielago (The bat woman) was released? unleashed? visited upon the Spanish-speaking world like a biological weapon?
This hot ticket is Maura Monti, who played the titular Bat woman. The story is not about anyone familiar from the DC universe or the television series, but rather centered on making a race of gill people.
All caps have been via catwomanfan. Super-fat-bat-thanks. Check her out!
Bonus Italian poster art because I have The Technology:
She has a masculine spirit, and is another sort of woman from us housewives and seamstresses. She is great, steadfast, resolute. A majestic woman! I should dread to appear before her.
(Johann Wolfgang von Goethe, Egmont. Act III, Scene 2.)
Oh, no, she is another sort and majestic.
The selection of screencaps of Immortal Beloved on the net we call inter is so shitty that I feel I have no choice but to remedy the dearth myself sooner than later. Look for it in the quite near future By Name
When the play Egmont debuted in 1787, Jam Master LVB, known to lesser mortals as “Beethoven,” was pretty danged impressed indeedy and, around 20 years later, set Egmont to music. No Big Deal. (except yes.)
The afore-promised celebrity criticisms of the Farbenlehre.
“Wake up, Dr. S — there is science afoot!” via.
Goethe delivered in full measure what was promised by the title of his excellent work: data toward a theory of colour. They are important, complete, and significant data, rich material for a future theory of colour. He has not, however, undertaken to furnish the theory itself … but really postulates it as a phenomenon, and merely tells us how it originates, not what it is.
(Arthur Schopenhauer, Über das Sehn und die Farben/On Vision and Colors. 1810.)
Which fact we have already seen well-defended by my b’loved Werner H. so I will not dwell on Schopenhauer’s criticism other than to say I generally like the things he has to say on just about any subject and agree with him here as usual.
A Russian artist and one of the famous Blue Four, Kandinsky is the father of abstract painting and was an instrumental theorist and professor for the Bauhaus before the National Socialists destroyed a bunch of their compositions. Kandinsky taught the most basic design courses at Bauhaus and used Goethe’s color wheel in his avant-garde art theory lectures. Also, note the hotness. Girls Like a Boy Who Reads [scathing criticisms of Nazis and protests against the public destruction of his art which eventually lead him to flee to Paris ahead of persecution by said Nazis]!
“Farbenkreis zur Symbolisierung des Menschlichen Geistes und Seelenlebens,” Goethe, 1809. This is the aforementioned color wheel that art rebel hottie Wassily Kandinsky would use in lecture.
Can you lend me the Theory of Colours for a few weeks? It is an important work. His last things are insipid.
(Ludwig van Beethoven, Conversation-book, 1820.)
Love how he goes from wanting to read Goethe because he considers his work important to “His last things are insipid.” Man, Beethoven had such an attitude.
He was such a crazy deaf grump by the time he died. Amazing and bittersweetly comical that a creative genius was also so churlish and curmudgeonly — like he genuinely made other peoples’ lives hard despite bringing beautiful music in to our world. The generosity of his composition and fame in the wide world is so jarring in juxtaposition with his infliction of discomfort and temper on the people close to him. The complexity intrigues me and also amuses me somehow but makes me sad too. That reminds me: I need to plan an Immortal Beloved Movie Moment.
Shit, now I’ve given over most of the last entry on Theory of Colours to talking about Beethoven. What can you do. Thoughts happen.
I’m not so sure. This seems like one of those things people get on magnets or coffee mugs. I’m not feeling this quote as much as the others I’ve been using, but I wanted something generically twee to accompany the delightful twee picture, whose credit I have lost. Sorry if this quote super-duper speaks to you, but I’m more of a light-my-soul-on-fire kind of a journeyer and I find this a little too sitting indian style suspended above a koi pond for my taste. Some day I will tamp down this ferocity and mature and grow more zen and finally gain the knowledge I claim to want … but apparently not today.
A caricature is putting the face of a joke on the body of a truth.
If we keep the eyes open in a totally dark place, a certain sense of privation is experienced. The organ is abandoned to itself; it retires into itself.
If we pass from a totally dark place to one illumined by the sun, we are dazzled.
(Johann Wolfgang von Goethe, Zur Farbenlehre/Theory of Colours, 1810 transl. Charles Eastlake. John Murray Publishing: 1840. pp. 3-5.)
Goethe Month: Theory of Colours, Day 5 — Goethe vs. Newton and a whole lot of Heisenberg with bonus Fermi hotnessJuly 20, 2010
A famously uncertain doc.
Goethe’s colour theory has in many ways borne fruit in art, physiology, and aesthetics. But victory — and hence, influence on the research of the following century — has been Newton’s. (60).
(Werner Heisenberg, “Bermerkungen zur Theorie der Vielfacherzeugung von Mesonen.” Die Naturwissen-schaften Vol. 39. 1952)
Heisenberg was deeply interested in Goethe’s Farbenlehre. He delivered a lecture in 1941 on the differences between Goethe’s and Newton’s color theories, in which he essentially argued that both were right but that what Goethe had done was outline very specifically and accurately the phenomenon of human perception of the spectrum, while Newton’s thrust was more toward definition and demonstration of the spectrum’s essence and proveable existence itself.
The views Heisenberg espoused of Goethe’s experiments being valid insomuchas they are observably repeatable and scientifically sound have fortunately come to be the modern perception of Goethe’s color theory research — that Goethe was accurately exploring the definition of a physiological, human sense of color and drew credible conclusions about colors and the human eye.
Prior to a re-surge of interest in Goethe’s color theory that began in the 1930′s and was legitimized largely by Heisenberg’s lecture and writing, Goethe’s work had been suffering for most of the 19th century and early part of the 20th century under something of a cloud of suspicion due to his theory’s eclipse by Newton’s with popular physicists. In his book Goethe Contra Newton, British physicist and scholar Dr. Dennis Sepper beautifully describes the shadow of early, dichotomous criticism which hung over Goethe’s Farbenlehre and was part of a larger debate in science:
A characterological or typological trait of the poet prevents him from grasping the real essence of science. On the other hand, the scientist must, to some extent, be open to the demands of spirit, and science is fundamentally part of a grand ethical quest. Goethe’s apparent inability to grasp the essence of Newton’s science reveals the chief differences between those who cultivate imagination and human truth and those who pursue objective truth in nature.
(Sepper, Dennis L. “The Critical Dilemma.” Goethe Contra Newton: Polemics and the Project for a New Science of Color. Cambridge: University Press, 1988. 6.)
I feel like these different thrusts of firstly poetry and science, and secondly the science of physiology and psychology, faith and beauty-based, rather than a perception of a more “hard” science are completely exemplified in the above shot.
A flock of pigeons takes off from the steps of the Hagia Sophia cathedral in Istanbul.
Here is hard, natural science, pure biology, that is also poetry — a bird in flight — and all against the backdrop of human faith as symbolized by the cathedral, which is furthermore situated in one of the oldest cities in modern existence, through which millions of human feet have passed. That is one fucking deep picture of pigeons. Am I right?
That was fun. I think I’ll suss out and post up some other famous critical responses a different day.
Home is the place where, when you have to go there, they have to take you in.
I hope they do not find it too much a chore with me — I’m bringing biscotti, pignolas, and a little kid half of them have never seen.
I am happily and firmly ensconced once more in the land of crick gypsies by now, I reckon. It’s a comfortable place to be. To go from the tony cabins on the lake in to the deep woods and see assorted family is my favorite transition to make. In the case of these photo choices, I need to defend what people from “Down South” (ie: anything below Boise) seem to consider to be the overabundance of prefab and mobile homes in the fam’s neck of the woods. I was born and bred in the briar patch and let me tell you it’s a good thing, not a white trash thing. Here’s what it means to me:
Parker Posey via suicideblonde. Isn’t she lovely?
It means it’s a place where people actually understand that less house and more land is the way it ought to be, and not an endless pursuit of the opposite in the very antonym of the symbiosis which our Earth deserves. It is a move against space-waste and toward conservation of personal resources. I say yay to trailers and have actually said for many years that my ideal house, once my child(ren?) had grown and gone, would be not even a singlewide but a small camper or lite RV on some land by a river.
I know, I know: I will have plenty of time for that when I’m living in a van down by the river. But really.