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Wednesday, January 02, 2008

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CLICK ON THIS IMAGE

CLICK ON THIS IMAGE

YOU WILL BIG MAKE IT

YOU WILL BIG MAKE IT



...................................then................................................


...........................................YOU WILL BE AT THE TAPU POINT





for ALAN SONDHEIM "... il miglior fabbro..."


..........................................ART THAT IS DIFFERENT ...................................................



-------When the tohunga of old wished to execute a piece of carving, we are told that he went away by himself for days or perhaps a week. He devoted himself to working out details of the work to be done – not on parchment or bark, but in his mind. When the vigil of tapu contemplation was completed, his carving was alive in his mentality. It was part of him. I think that even today the--------







.....................................TAMA ITI.............................................



.........................................HA!!.....................................................






…………… result of this ferment was that many artists – embarked on an extended inquiry into the meaning and purpose of art











-------When the tohunga of old wished to execute a piece of carving, we are told that he went away by himself for days or perhaps a week. He devoted himself to working out details of the work to be done – not on parchment or bark, but in his mind. When the vigil of tapu contemplation was completed, his carving was alive in his mentality. It was part of him. I think that even today the--------












……………One result of this ferment was that many artists – Boltanski amongst them – quit painting and embarked on an extended inquiry into the meaning and purpose of art.

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If a seer disregarded a rule of tapu, he at once lost his power of second sight and became kahupo, or spiritually blind—that is, he would be unable to see the portents and signs by means of which the gods warn man of dangers that threaten him, and enable him to peer into the future. It is a singular fact, and one frequently noted by European sojourners among the natives, that a Maori can “die whenever he wants to,” as some put it. This means that when a native believes that he is stricken by, say, a spell of black magic he is almost assuredly doomed, and will not live long.

The word tapu is often explained as bearing the meaning of “sacred,” but that may be said to be one of its minor or secondary meanings. The term always implies a prohibition, and the rules of tapu are practically a series of prohibitions. A tapu place is a probibited place; a tapu person is a person who must keep aloof from others; a tapu house cannot be used for common purposes, as cooking or eating. To pollute any tapu place or person, as by

contact with cooked food, is a serious matter, and places the offender in a very dangerous predicament. It is dangerous because he has offended the gods, and until he has, through the services of a tohunga, placated such gods, his life is in danger. Another phase of tapu is represented by such conditions as are termed “unclean” in the Scriptures. The gods represent the vital power and force of all tapu, they are the backbone of the system, and fear of the gods was the strongest force in Maori life.

The removal of a condition of tapu from place or person was an act that involved some peculiar ceremonies and the recitation of certain formulae. These acts of purification were deemed to be of great importance, and indeed were absolutely necessary, so genuine was the belief in the powers of supernormal beings. The ceremonial lifting of tapu from a newly constructed fortified village or a new house was an impressive act, and included some remarkable ritual chants. The release of a bird during such a rite finds its parallel in India, and tapu was a marked feature of the cultus of Zoroaster, as it is of Indian religions.

The condition of tapu of so pronounced a form as to prevent a person touching food with his hands was not an uncommon occurrence in Maoriland. Such a person was helpless at meal-times, and had to be fed by another, while he had to be particularly careful to avoid pollution of his tapu, a misfortune that might entail the most serious consequences. The head was the most tapu part of a person, and should a very tapu person happen to scratch his head with his fingers, that hand at once became useless, and could not be used until purified—i.e., rendered noa, or free of tapu. If such a person blew a fire in order to make it burn, that fire was thereby rendered tapu, and could not be used for any ordinary purposes. Tapu represents the mana or power of the gods, and is not to be trifled with. It may be said to have possessed a moral force that no other system or institution could have exerted. Montgomery puts this well in his Religions, Past and Present: “Taboo is an important aspect of the phenomena of religion, influencing primitive ethical and social behaviour in general to an extent that makes it in some regions as broad a concept as that of religion itself.”


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------- -------------- ----- ---------------- ---- - --- -------------- ---

he spoke of "light" as other men might speak of "god" in the presence of "god"
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http://www.artsjournal.com/man/
http://www.artsjournal.com/man/
http://www.artsjournal.com/man/


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possibly food pits on Maungarei - the whole mountain was shaped for defence and around were huge areas of cultivations - at the Panmure Basin (also a volcano) waka were made) - the voices
------------------------------------------------
you are looking at living history and living art

-------------you are at a tapu point


................................... Maungarei -Mt Wellington, Panmure, Auckland


the land is moulded in the making in the making the land is moulded in the making the making














moulded in the making in the making
moulded in the making in the making
moulded in the making in the making
moulded in the making in the making


__________________________________________________________________


turn the turn the turn the turn the



human


''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''many …………. Ideas …… eye


,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,multiplex approaches








------------------------------------------------------------------



WORD in a modern poem is a SUBSTANCE, and OBJECT, sui generis, and uses machine parts and textured surfaces.....


triangle strangle the triangle trinanngle [sculpt] I AM








we remember Bach, and his holy

enrichment of the dark.





..........................................who would maketh the globes of Time?.....................


+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

In the rumours of the lost rooms
And the passages of the ice aged
Heart of the old young world,
Confusion heaps on confusion.
He is a subtle postman comes,
And light laughs
In the corner of his garden’s face,
Hinting that behind,

And in his singular brain,
His envelope encloses
His moral mind, folded,
And impossible to undo
With your voice only.

And, then, you ask:
What is this inside this
And that which resides in that?

Nothing will ever reply,

Even the silence is a lie:

But we struggle,
Stone by bloody stone -
Stunned by our words,
Dumbed by the casual
Horror: numbed by our love,

Bitter, alone in this pacing place:

Alone in this light tormented place.


But night falls in the footfalled
Halls, where the monks tread
In holy mesmery. What are these monks?

Scribing the passages
Of time and what they think has been
Or what will come,
What tricks of fear
That grow the ghosts
Who stretch and die

That more blood be shed.

Fools! But so beautiful
Are their miraculous brains, so subtle:

That we remember Bach, and his holy
enrichment of the dark.










which mysteriously persists in the midst of other meanings




...........................................mortality of form ?



....................................the dirty but possible windows



the dead fly on the window sill




........................Ravel and Te Kooti and Tama and the music











kahupo, or spiritually blind—that is........ unable to see the portents and signs by means of which the gods warn man of dangers that threaten .... and enable to peer into the future.

...........................................It is a singular fact
______________________________________________________-




we must learn - we must try to learn - we must be humble





xxxxxxxxxxxxxxxxxxxxxxxx................night falls in the footfalled
......................................................................Halls, where the monks tread
......................................................................In holy mesmery.

For language is never innocent: words have a second-order memory which mysteriously persists in the midst of other meanings


------- the impossibility of…………… eyes


_______________- _____________________ - _______________ -





language is never innocent


Room 112



-------When the tohunga of old wished to execute a piece of carving, we are told that he went away by himself for days or perhaps a week. He devoted himself to working out details of the work to be done – not on parchment or bark, but in his mind. When the vigil of tapu contemplation was completed, his carving was alive in his mentality. It was part of him. I think that even today the--------





kahupo, or spiritually blind—that is, he would be unable to see the portents and signs by means of which the gods warn man of dangers that threaten him, and enable him to peer into the future. It is a singular fact



,, ,, , ,, ,, , , , ,,,, ??????????????????


================ who was the Postman???!!!


================ who was the Postman???!!!


……………One result of this ferment was that many artists – Boltanski amongst them – quit painting and embarked on an extended inquiry into the meaning and purpose of art.



and who couldn't undid the folded thing???!! [hehe!!!]


..........Tout ce que je sais d’une femme qu’est morte est ce que je n’ai pas connue


Writing is thus essentially the morality of form



For language is never innocent: words have a second-order memory which mysteriously persists in the midst of other meanings


------- the impossibility of…………… eyes


---------------------------------------many things will be fascinate



turn the turn the turn the turn the

turn the turn the turn the turn the

turn the turn the turn the turn the

turn the turn the turn the turn the


turn the turn the turn the turn the

turn the turn the turn the turn the

turn the turn the turn the turn the

turn the turn the turn the turn the




human


''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''many …………. Ideas …… eye


,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,multiplex approaches



s e c o n d-o r d e r ................ m e m o r y




I

……………………..we are not who we are…………………


-------When the tohunga of old wished to execute a piece of carving, we are told that he went away by himself for days or perhaps a week. He devoted himself to working out details of the work to be done – not on parchment or bark, but in his mind. When the vigil of tapu contemplation was completed, his carving was alive in his mentality. It was part of him. I think that even today the--------


................................................................turn the turn the turn the


a go

/////////////////////////////\\\\\\\\\\\\\\\\\\\angled discrepancy whose

''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''posited lot is pricked forth as say (integer) in one on seven

wherefore the night could well

manoeuvre into shifting whose later dissumulation

or dissimulation (category 3A) has been noted, and collated

as heretofore indicated in accordance with



....................................the dirty but possible windows



the dead fly on the window sill




........................Ravel and Te Kooti and Tama and the music




.............................................Turn the scroll!


A thousand pounded years

………………………………piano tinkling


soft!

a beautiful tomb of light?


-------When the tohunga of old wished to execute a piece of carving, we are told that he went away by himself for days or perhaps a week. He devoted himself to working out details of the work to be done – not on parchment or bark, but in his mind. When the vigil of tapu contemplation was completed, his carving was alive in his mentality. It was part of him. I think that even today the--------


language is never innocent


------------------the Left Hand


GHASTLY GREAT WAR


- - - - - - - - - - - - - - - -SOLDATEN STIRBEN!

language is never innocent


we who are not who we are and .... " ....le dereglement de la sense......"


..................Ou est-il? Ou es Rimbaud et Auden??




#######################GHASTLY GREAT WAR ___ grate



We are spreading apart but must not lose it


...................................Pound – old Pound



-------------------------------------------




and Jack said: “A thousand pounded years


---------------------------------------------------

----------------------------------------------------------- _____ i noted it jackski

It was FOR me or about me - but who am I?


--------------------------------------------------------------------

-------------------------- Si! I see. See sea, see or ‘c’ ….. wait.


………………………………….tohunga


//////////////////// could it be that I am inside


…………………a beautiful tomb of light?





>>>>>>>>>>>>>>>>>> “A ferocious work indeed.” <<<<<<<<<<<<<<<<<<





of him. I think that even today the--------



morality of form
morality of form
morality of form
morality of form
morality of form
morality of form
morality of form



……………One result of this ferment was that many artists – Boltanski amongst them – quit painting and embarked on an extended inquiry into the meaning and purpose of art.


************************************angled discrepancy


Tout ce que je sais d’une femme qu’est morte est ce que je n’ai pas connue




..................Writing is thus essentially the morality of form..........................




ially the m of ...orm
ially the m of ...orm
ially the m of ...orm
ially the m of ...orm


...................................................................mortality of form ??

who?

wh-?


........................................................................................................................................................................

4 comments:

Anonymous said...

Indeed, yep "word" IS a substance, oft abused. Happy NEw Year, Bill D.

Richard Taylor said...

Happy New Year! Billi Direnski!!


That is one of the things* I collaged - to a large extent at random when I began my The Infinite Poem (inspired in 1992 somewhat by the language poets and some long poems (Olson, Williams, Pound, Zukofsky, David Jones, Browning, Wordsworth, Silliman, Ronald Johnson, Blau du Plessis, Susan Howe, Beverly Dahlen, and many others) and in particular an essay by Charles Bernstein in Silliman's anthology of language poetry: "In the American Tree" - so it is in my book "Conversation with a Stone" it's interesting - I tried to make that collaged thing completely aleatory but something in myself or life itself - resisted and a kind of pattern or a "deep rhythm" emerged -the final quote being from the back of a paper back edition of Anne Frank's diary so it starts with Bo Weinberg (from Billy Bathgate by Doctorow) being dumped into the sea(!) and "ends" (it actually never ends (conceptually at least) and can be made or remade in any order) with the Holocaust - but that stage I was more interested in HOW things were being said (the textures of languages) than what they said "logically" or as ideas being true or not (who can ever know?) - I just liked the struggle or juxtaposition of ideas - so any ideas emerging were often fortuitous - but obviously when I choose "excerpts" it links in with what I am doing here which is a kind of visual approx to music -
a kind of endless symphony perhaps.
An infinitely long movie by Brakhage or someone - Len Lye perhaps.

I was also interested in various modern composers (not so much in listening to them but by their ideas) such as Cage, Stockhausen, Charles Ives, Varese - also the NZr
- I forget his name but he often uses the technique of interviewing himself as an opening gambit so to speak!! (Like Beckett's Krapp etc) I don't think he composes for other than people he knows to come to his place to "listen to" or experience his work...

Hence the repetitions. Of course I am constantly referring to the eye (symbolising so many things, personal and other), to death, to origins, to 'mystery', to art or "making" in general, and so on. So that quote is from - probably from a theoretical discussion of language poetry. Hence the concept that the language is itself - or the signifiers themselves, are, in themselves objects, "substance, sui generis..." - as everything is (or can be seen to be) in my view. So my whole project -my total Blog is (perhaps) substance...a continuous process...No poem or idea or image can be isolated..it or they CAN be but this is not necessary. Whatever - take the fragments or try to engulph the totality...

Perhaps even numbers are substance (whatever that is) except that this shouldn't divert people into too much numerology (for me in any case) - as numbers - while being things - also are mainly representative of quantity and so on - but time (or space-time) we know is a substance (esp. post Einstein).

I deliberately leave off where I get the "quotes" from and they are mixed with my own or are fragmented by myself for not so that sometimes I forget what I wrote myself and what was "stolen.

BTW the Postman is Baxter (he was one once) and Auden bewailed only having a "voice" to "undo the folded lie" in his poem to Yeats.

If anyone finds this is difficult or confusing (or even just stupid -it probably can be seen to be!) - don't worry I am never sure what I am talking about! But I keep talking in any case...

For me doing this is much like I used to make mud pies - very exciting (but probably meaningless and puerile to an observer -but "existentially exciting") but why I am doing it is irrelevant - while I am doing it in any case -
or I wouldn't do it!!

*I knew or felt that it was needed for the picture I have there

Anonymous said...

Hi Richard,
I'll write you an email in reply to this, assuming I can find yr address. If not I'll "collage" it in here.

Some sun today in Paris, but blewdy cold otherwise!

Bill D

Richard Taylor said...

Brett has my email
Cheers, Richard