Callous audacity hides a.deep cave or

I appreciate your contributions a great deal. And no, you’re talkin’ at a level I can most often get my nose too.

But them fat fingers, and what is left behind that stands for a coherent thought after you hit the submit button, sets me back a ways. The problem, it is too me, is much larger then it appears to you.

Sometimes, as a result, a whole paragraph goes right out the window. Tough, when that frames the context on which your next thought depends.

I think the above is important. But You are on point.
And since May be as me, as pertaining to You, to most. In about an hour. My ignition went out, so it will take me that long.appearances, I will make a new attempt.

Give me a keyboard and ten fingers to use… any time. If my thinking process were as limiting as a phone’s touch screen, I’d have never gotten past 1rst grade. On a phone I’d be like…

c u l8er.

I don’t have large hands but my thumbs cross the space of three keys. I wouldn’t participate on a forum if that were my only interface.

Ok.

So it is with slow deliberation I go.

As earlier suggest.

Given. That.

The difference between potential and actual(not necessarily real), is mostly consistent with artistic merit, an indifference to the Muse, who is still harbored in the deepest cave.

The potential difference is like Ives’unanswered question, not like a Kierkegaard squeamish of a sickness unto death, but a real power of the need to transcend the ideal.
If the ideal is not traversed, overcome, then it will block the hug her layers of consciousness to manifest.
Art for it’s own sake will be always divided between the subject and the object/ objective, to traverse that distinction.

That is why s truly enlightened person once said, 'don’t worry, the object of a particular piece is not my creation, but also yours, or whoever wishes to transpire in it.

But questioing the difference, is like removing the seventh veil of actuality and the potential difference will be canceled out.

Nothing left, to the imagination, that is robbed by the actuality.

The model will always by a model, living as a model example, in a boring certain reality, enjoyed merely in retrospect. The objective will cut the model from the image, the imagination will diffuse into a subliminal repetition, again with reference to Kierkegaard, a repetition which can only be rid of by appeal to the highest symbol, by desperation of the unbearable lightness of pain: God.
The gilded middle ages were present in the mystery of spiritual anguish,
the beauty evolving from the common beast.
Potential and real abstraction are merely reminiscent of the question, do you see a half filled glass, or, one that is half empty.

Way out? Of course there is, the image has to prevail over it’s constitution, but without covering it. They must blend somewhere in the psyche, and set down some manner of foundation upon something can be built.

Enlightened dadaism. Neo-Dada artists adhered to Marcel Duchamp’s premise that works of art (objects) are intermediaries in a process that the artist begins and the viewer completes.
Seeing is forgetting the name of the thing one sees. To set aside the “object”, is to see “it”.
The light, the hand, the shadow, are not separate.

Or to burn it, where there remains not even the remote possibility of recreating it objectively.

Good one!

Signed: Johnny Rotten

I think you may have mistaken the context. Did Duchamp ever critique the result of the viewers completion? How did you expect someone who has studied art to respond. I haven’t thought of Dada as an art movement in a long time, but the moment you conjoined the two, Dadaism jumped to mind.

Signed: Johnny Rotten?

Meno, or Orbie sure.

To burn an effigy is all the material object is. That is why you can’t See IT until you forget its name. But like you stated IT is reborn in every moment. Fire can’t destroy IT.

I am speaking from a faith in IT as an atheist. IT doesn’t require an objective name. I recognize IT as IS. And IT doesn’t solve my problems. A printer or otherwise. What else is left but dIy. I am missing a heart, IT finds that for me, but, i, still, have to, See IT.

Mowk,

Perhaps, but then dada
has been diluted to irrelevance, and although the manyform artifacts have been constructed in various contexts, so as to give abstract expressionism a putative meaning, the object has been lost as focii. The relative meaning depends on the installation.
Duchamp 's not having doubt in the unity and balance between the expression and it’s reception, however, the definition of the object to relational status within which such interphase manifests, lost it’s original intention. No one can see through the object as a an objective, intensional work, it shows more light through socially lit up trajectories of relevance.

Social realism gains momentum, while the absurd becomes fixated in early manifested urgency between two horrendous wars of psychic hemorrhage.

The modern and the postmodern generation has been blinded by a neuroasthenic filling of senses. There is no absurdity that can popularly defeat the extreme quantification of the expression. It lost its mystical conflict, it has become what it has been presented as such, it is what it is.

But what then, is it, really?

But then, dada lives for ever, and the world is still deaf and dumb and absurd as ever!.

The Muses should inspire us again. That is what I meant, and it is Sadr they do no longer do.!

Maybe this us the missed context you mentioned-

Is it the Muses fault no one is paying attention? Troughs full of water. And all the horses stand in the way of anyone who wishes to drink.

Sad in an understatement.

Because they were led there, yet they have to make up their minds to drink.
No wonder it was whipped on occasion.

They had blinders on, and thought themselves irrational, or worse, for self flagellation, says lag n er to pitche r

Nowdays any Muse would redact from self exposure.

Said in overstatement.

ERATO was one of the nine Mousai (Muses), the goddesses of music, song and dance. In the Classical era, when the Mousai were assigned specific literary and artistic spheres, Erato was named Muse of erotic poetry and mime, and represented with a lyre. Her name means “lovely” or “beloved” from the Greek word eratos.

FAMILY OF ERATO
PARENTS
ZEUS & MNEMOSYNE (Hesiod Theogony 75, Apollodorus 1.13, Diodorus Siculus 4.7.1, Orphic Hymn 76)

OFFSPRING
KLEOPHEME (by Malos) (Isyllus Hymn to Asclepius)

CLASSICAL LITERATURE QUOTES
Hesiod, Theogony 75 ff (trans. Evelyn-White) (Greek epic C8th or C7th B.C.) :
“The Mousai (Muses) sang who dwell on Olympos, nine daughters begotten by great Zeus, Kleio (Clio) and Euterpe, Thaleia (Thalia), Melpomene and Terpsikhore (Terpsichore), and Erato and Polymnia (Polyhymnia) and Ourania (Urania) and Kalliope (Calliope).”

Isyllus, Hymn to Asclepius (trans. Frazer, Vol. Apollodorus) (Greek poet C4th or 3rd B.C.) :
“Father Zeus bestowed the hand of the Mousa (Muse) Erato on Malos [eponymous lord of Malea] in holy matrimony (hosioisi gamois.) The pair had a daughter Kleophema (Cleophema), who married Phlegyas, a native of Epidauros (Epidaurus); and Phlegyas had by her a daughter Aigle (Aegle), otherwise known as Koronis (Coronis), whom Phoibos (Phoebus) [Apollon] of the golden bow beheld in the house of her grandfather Malos, and falling in love he got by her a child, Asklepios (Asclepius).”
[N.B. This hymn was engraved on a limestone tablet unearthed at the shrine of Asklepios in Epidauros. According to the inscription the poet consulted the Delphic Oracle for approval before publishing this genealogy of the god Asklepios.]

Plato, Phaedrus 259 (trans. Fowler) (Greek philosopher C4th B.C.) :
“When they [the grasshoppers] die they go and inform the Mousai (Muses) in heaven who honours them on earth. They win the love of Terpsikhore (Terpsichore) for the dancers by their report of them; of Erato for the lovers.”

Pseudo-Apollodorus, Bibliotheca 1. 13 (trans. Aldrich) (Greek mythographer C2nd A.D.) :
“Mnemosyne [bore to Zeus] the Mousai (Muses), the eldest of whom was Kalliope (Calliope), followed by Kleio (Clio), Melpomene, Euterpe, Erato, Terpsikhore (Terpsichore), Ourania (Urania), Thaleia (Thalia), and Polymnia.”

Apollonius Rhodius, Argonautica 3. 1 ff (trans. Rieu) (Greek epic C3rd B.C.) :
“[The poet invokes the Muse Erato as he begins the tale of the love of Jason and Medea :] Come, Erato, come lovely Mousa (Muse), stand by me and take up the tale. How did Medea’s passion help Iason (Jason) to bring back the fleece to Iolkos (Iolcus).”

Strabo, Geography 8. 30. 20 (trans. Jones) (Greek geographer C1st B.C. to C1st A.D.) :
“And further, the poem entitled Rhadine–of which Stesikhoros (Stesichorus) [poet C7th-6th B.C.] is reputed to be the author–, which begins, ‘Come, thou clear-voiced Mousa (Muse), Erato, begin thy song, voicing to the tune of thy lovely lyre the strain of the children of Samos.’”

Diodorus Siculus, Library of History 4. 7. 1 (trans. Oldfather) (Greek historian C1st B.C.) :
“Hesiod even gives their [the Mousai’s (Muses’)] names when he writes : ‘Kleio, Euterpe, and Thaleia, Melpomene, Terpsikhore and Erato, and Polymnia, Ourania, Kalliope too, of them all the most comely.’
To each of the Mousai (Muses) men assign her special aptitude for one of the branches of the liberal arts, such as poetry, song, pantomimic dancing, the round dance with music, the study of the stars, and the other liberal arts . . . For the name of each Mousa (Muse), they say, men have found a reason appropriate to her: . . . Erato, because she makes those who are instructed by her men who are desired and worthy to be loved.”

Orphic Hymn 76 to the Muses (trans. Taylor) (Greek hymns C3rd B.C. to 2nd A.D.) :
“Daughters of Mnemosyne and Zeus . . . Kleio (Clio), and Erato who charms the sight, with thee, Euterpe, ministering delight : Thalia flourishing, Polymnia famed, Melpomene from skill in music named : Terpsikhore (Terpsichore), Ourania (Urania) heavenly bright.”

Ovid, Fasti 4. 190 ff (trans.Boyle) (Roman poetry C1st B.C. to C1st A.D.) :
“I [the poet] have much to ask [of Rhea] ‘Give me, goddess, someone to interview.’ Cybele saw her erudite granddaughters [the Mousai (Muses)] and made them help . . . So Erato–Cytherea’s [Aphrodite’s] month [April] fell to her, since she is named from tender love.”

Propertius, Elegies 3. 3 (trans. Goold) (Roman elegy C1st B.C.) :
“The nine Maidens, each allotted her own realm, busy their tender hands on their separate gifts : . . . another [Erato] with both hands plaits wreaths of roses [i.e. the flower of love].”

ANCIENT GREEK & ROMAN ART
Thumbnail Portraits of the Nine Muses
Z20.2 Portraits of the Nine Muses
Greco-Roman Cos Floor Mosaic A.D.

Thumbnail Portraits of the Nine Muses
Z20.3 Portraits of the Nine Muses
Greco-Roman Trier Mosaic C3rd A.D.

Thumbnail Symbols of the Nine Muses
Z20.4 Symbols of the Nine Muses
Greek Elis Floor Mosaic C1st

.
Theoi Project © Copyright 2000 - 2017 Aaron J. Atsma, Netherlands & New Zealand

Make it a tripysh:

Poetry by empty pool
Remanded by neighbor used to be so nice
To empty pool
Emty pool says he, that was before,
Empty pool we can No luxuriate cause mosquitoes
The muses have you though
Now when in delirium the coming of winter but still topically accented by
An orange liquor in water

Still,

Still goes the wicked night
This house may
Be gone as in the wind

The pool empty, the eggs hatch not.

Others above please trim sycamore the view is gone

The yet another by shady pool and he meant shady in the prejoritive.

Unaccustomed, like the sweet thang who pressing on my breast’s inclave,
Into unending pressure of pain and guilt,

What of
Can’t say
Can’t say
Really can’t

My darling elentine hush hush dear

Another place and time down the street further down,

Much

Much much further there is a speck of a tiny soul in feel responsible,

While he says he died for me so cutting, though we could morning stroll on Einstein’s beach, merely leaving me with a trifle, maybe just stuffing this chicken to absolve by delineation,
Search me, the muse is but a poem
A place in an oasis of a country

Turning epic

How could he surmised the efforts of programmed reticence turned blatant liability, as to suggest ominous decolletage of a purposeful gating (dam(n)ing of surveying rhythms.

The surge prevented blutntlyby force, the rutm without it’s emission so practiced by the faultless oratorio of seminal expression.

No none of that. The pool guy comes over says don’t refill without fixing the pump or getting a new one, but they will return next time.

The trees bowing into the pool of desire, they now their leaves combining, and agelessly vampiric, they reflect much, everything, like drowning in their antimony.

The willow, gently weeps, as reflect the nuance of mystical pine of the sacred heart.

Oh, muse let me not, your leave be of my own sorrowful deliverance.

Once that tyke had been witnessed by a single owl, for a day or more, his predecessors soul to expire and to inhale again it’s velvet green vapor of desire. For informed now he may be a harbinger of souls.

To Mowk
Who still goes Dada from gaga.

youtu.be/VJDJs9dumZI

I get some sense Meno_ that you are unhappy with me on some grounds. A little poking I feel from your remarks aboard.

Go Mowk, You are giving me a reversal complex, no only AMI not unhappy, but unreservedly and unabashedly can claim a complete surprise, as to what made You think that.

The feeling is beginning to crawl up my spine, that at times I am expressing too burrowed in thoughts that I may be totally unaware of.

To tell You the truth, my survival depends on total acceptance of every body and mind.

Please rest without further ado, and I am no exception to be concerned about whether I may have said or omitted to say something.

But as a parting shot, deep caverns may harbor insidious and uncommon content.

See you give me a big old fat hug and when I least expect it you plunge your dagger in my side. Caught a bit of kidney there. I should have brought my dagger to the knife fight.

Every artist is obsessed with the thing of their obsession. Objects, ideas anti-objects anti-ideas. You can see a fair amount of what a society thinks by what artists are obsessed with. Barometers. Artist Memo_ [sic] you’re OK in my book. Like I got a book.

Mowk said,

“Every artist is obsessed with the thing of their obsession. Objects, ideas anti-objects anti-ideas.”

Exactly

Objectivity entails being able to think both sides, consistent with variable possibilities , that come into conflict and only if the matrix of their commonality can strive to overcome their differences.

If such was not the case, conflict would be unthinkable and posited into unconscious affects.

Guess that’s why I’m not an artist.

I can’t guess.
You’re closed to possibilities, perhaps.
Maybe art is dead, along with the gods, for art needs transcendence that opens the floodgates through which the belief in the impossible becomes possible.

Maybe art is dead as a venue, but not as an absolute end of momentary experience of it. (It’s absolute transcending of it’s imminance)

To the curious a Muse isn’t required. A monkey is more curious then a taught human.

But the monkey is most resembling to man of all primates, and the muse merely draws up the frames*that may evolve the curious into the real possibility of being thought.
Being thought changes
curiously odd work
of art into the
tought
Man.

*If, science to be an art.

“Bonobos Join Chimps as Closest Human Relatives” sciencemag.org/news/2012/06 … -relatives

What, you just make this shit up as you go along?

Science isn’t to be an art.

Art expresses intuition subjectively, science explores phenomenon objectively.

Yes, I intuit it, as I made it up
Why Art And Science Are More Closely Related Than You Think

Consumer Tech

Has an art ever become a science?

Answer by Dave Featherstone, Professor of Biology and Neuroscience

Science = art. They are the same thing.

“Both science and art are human attempts to understand and describe the world around us. The subjects and methods have different traditions, and the intended audiences are different, but I think the motivations and goals are fundamentally the same”

More to the point:

OPINION & REFLECTION
Science and aesthetics – two complementary views of the world

According to Kyiv-based genetics student Anastasiia Semenova, scientists “still seek and create aesthetic elements in science”. Here she shares some reflections after reading the book To Explain the World: The discovery of modern science by Nobel laureate Steven Weinberg.

This article is a part of the February theme of Crastina: Science, poetry, and science poetry.

We often hear about science as a strict, serious, and complicated field, and of art as an irrational and easy way to look at the world. Yet it is amazing to see how often these thought-to-be opposite worlds cross over with the creation of greater ideas.
Science and poetry aren’t often thought about together, nor compared. This is understandable. The first thing that comes to mind when we talk about poetry is literary devices, like meter and rhyme, that are used to create poems. This, indeed, has little to do with recent scientific breakthroughs.

“The first scientists of Ancient Greece were, in fact, poets …”

But then we could talk about poetry in the wider sense, as a language used for aesthetic effect rather than rational and clear explanation of an idea. In this case, one may find that poetry and science aren’t that far apart.

The first scientists of Ancient Greece were, in fact, poets, as they wrote in poetry, vaguely proposing their theories. But they were also poets in the wider sense. They were not describing their experimental findings – instead, it was a mere speculation about how they thought the world might be organized. Their writing was not backed up with any data, they didn’t explain how they came up with their thoughts, and the content wasn’t meant to be taken literally. The importance of the Greek scientists was actually that they were looking for aesthetic explanations of things, preferring the world to be organized by artistic standards.

Now scientists do not write their research in poetry. In his book To Explain the World, Nobel laureate Steven Weinberg points out that “much of the writing of physicists barely reaches the level of prose”. Still, they seek and create aesthetic elements in science.

“Symmetry and balance also work for better impression on what is both rational and irrational within us …”

For example, the molecular level of life offers us countless opportunities, as described systems are often so complex, that they need to be simplified to be understood. Why not do that poetically, and go from rigid explanations to something less serious? When the idea is beautifully formulated, it makes it more believable and easier to understand, which some professors use to explain topic to their students. Science is indeed impossible without imagination, and the opportunity to interpret the information that is not meant to be taken literary boosts creativity and makes the learning process easier.

Aesthetic appreciation is not only in the text. I believe that progress of fluorescent labelling wouldn’t be so impressive if, while giving us the fantastic opportunity to see how life works on that level, it weren’t for how mesmerizing it looks under the microscope. Symmetry and balance also work for better impression on what is both rational and irrational within us, along with the colour scheme. Haven’t we all spent time choosing the right fonts and colours, and arranging images for posters and presentation slides? Visualisation itself is important and often crucial for explanation, but it is its appeal to our sense of beauty that makes it noticeable and memorable.

Overall, science and aesthetics – poetry, if you please – do not belong to the opposite sides, they’re interweaved in the search for new ideas about the world, and provide different prospectives on it.

Science and aesthetics – two complementary views of the world - February 6, 2017
FEBRUARY 6, 2017/0 COMMENTS/BY ANASTASIIA SEMENOVA

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Intuition is not new, it is the compilation, then the compression of prior learning. For Kierkegaard, aesthetics were of second tier to religion, and the connection between them is not tenuous. Metalhysics’ closure has basically been a slow and painful process, and aesthetic formalism has outlived it, even in terms of retaining it as it applies to the acquisition of theory through hypothesis.

Hypothesis, or a thesis below, translates literally into primordial sequential foundations to knowledge.

Someone along the line, had to intuit such formation, a good example is Meno, whereby intuitive knowledge made available mathematical theorems without reference to learning per as.
Mathematics possesses the same foundations pertaining to the principles of art, as it’s expression: vis. elements of depth, artistic distance, forms of balance, perspective, and the like. The poem has aesthetic structural relations as well, and science derives also from extensions from it’s basic meaning structure, generally: scio~know.
Does or can a poem , premordially anticipating scientific knowledge be an inspiration to later insights? Did not Jules Verne anticipate the very scientific objects which we occupy our life here, doing things faster, assuming more?

Is not the often talked about simulation of AI, do to implode in a generation or so, based on a calculus derived from musical harmonics?