Three images stand in Berlin’s Gemäldegalerie in a kind of silent disproportion to one another, as though the museum had accidentally opened a breach and allowed three distinct ontological climates to coexist without mediation. One gets immediately caught in their differing ways of breathing—one swollen with movement, one suspended in inward gravity, one abruptly turned…
Author: polymorph
Style Brisé (II): Style Luthé—After Derrida’s “Cinders”
The tuning of the Baroque or—at least until Weiss—French lute does not merely cipher its technical disposition to produce music in a certain way, but sets forth a peculiar ontology of music itself—one that slips away from the familiar grammars of linear melody and architectural harmony, opening instead onto a more unstable field where sound…
Style Brisé (I): Modernity’s Musical Ghost
“Searching (for) limits” beyond those previously assigned and “getting rid of the glue” that held everything together in organic fashion: these are the expressions Richard Taruskin employs to characterize two distinct, though broadly contemporaneous, aesthetic responses within post-Wagnerian European music. The first, associated with the German tradition of Mahler, Strauss, and ultimately Schoenberg, sought to…
A Note on Brancusi’s Sleeping Muse
… But what is a Sleeping Muse? What is a slumbering Muse? A Muse—that is, she from whom inspiration flows: perhaps fitfully for us, yet without interruption when seen from her own side; she who therefore abides within herself in a state of perpetual wakefulness; who inhabits that realm as we shall never be able…
Ontologies of the Fragmentary
The greatness and the misery of an era—each of them probably containing both in similar proportion—can certainly be measured in different ways. One such way consists in examining the richness or poverty of its ideas not only with regard to their number, but also to their complexity; and this, in turn, depends, at least in…
Butō and Art’s Future
It is incredible that, after about 700 years of discussing on art’s essence and pushing its boundaries further and further – sometimes in extremely interesting ways, other times in less compelling fashion – we have ended up in turning art into either allegory or imitation.(*) For both are merely forms of re-presentation, and re-presentation has…
Thought as Music: Sappho
μάτρι ἀγάπατᾳ μοι In this concise two-part essay, I explore how specific prosodic qualities do not merely influence but fundamentally construct content in early (i.e., archaic or pre-classical) Greek thought – whether musical-poetic (Sappho) or aphoristic-philosophical (Heraclitus). In Sappho’s case, by prosodic qualities I mean, in particular, metric length and breathing, rhythmic phrasing and musical…
Aphrodite’s Wounded Hand
Ancient Greek pair of eyes made of bronze, marble, frit, quartz, and obsidian. 5th century BCE or Later. Metropolitan Museum, New York. Object 1991.11.3a, b I A fresh look at Greek mythology requires perhaps that we view its gods (θεοί) both as those who offer us a deeper “insight” into things – for with just…
On Contingency & Worlding
Assuredly, reality’s laws, which Meillassoux interprets exclusively through physics’ lens (thereby bracketing biology) could be otherwise. But partly. Here, they are X; elsewhere, they are Y or Z or something else. Yet in their making many different factors, and types of causes, coalesce, some of them being contingent, others being necessary instead, and they do…
Four Notes on Plato… Upstream
Hypercomplex: there is probably no better adjective to describe Plato’s thought; and this explains, too, why it is so very easy to lose sight of what it invites us to reflect on and ponder, which is nothing different from thought’s endless beginning, meandering itineraries, and inner paradoxes. But then, how can one speak of essentialism…