instruments of change
by Anny Ballardini
Dedicated to Bill Lavender
for his admirable intuitions
Instruments of change
pre_ contemplation
:
a mirror
clothes
shoes
jobs
studies
behaviors
students
professors
families
countries
languages
neighborhoods
towns
villages
cars
pictures
weather
seasons
light & darkness
clouds or mist
imaginative or deceptive action
hope & despair
colors
words
thoughts
:
thoughts
:
perceptive thoughts _ feelings
intuitive speculative thoughts _philosophical
instinctive reactive thoughts _animal
technical deductions _experienced cognition
in/correct formulation of desire
synthetic chemical recovery
biologically engineered
what the price of compulsory change
the strength of meditative balance
in an ever-increasing shift to the upper/retreating - step
the next step
_tomorrow_ /_now_
_revision of the past_ re-interpretation new glimpses never-seen scenes
_remade projection of the future_
life or death
black or white
contemplation
detach in distinct involvement
distant from the origin/al & from the remake of the previous
the same eyes that see
project different parts of the same
of the ever-changing static surrounding
to the receptive mind
in the pulsating head
the slowly moving skull
through its well assembled cracks
:
the fragility of life
its crevices
breakableness of things
fragmentation of the self
a phoenix
a phenomenal inception
a late transcription
a full Plutonic recovery
to face again
dark Plutonic algae
slashing from deepest nightmares
liquid determination
disquieting against stagnation
discrepantly in dissonant sounds
to the perturbing innovative in/action
(stasis)
fall
foundation
creation
formulation
intruments _means
les caves de Lascaux
caves to hide
to pray in fear
terrorized by human and animal beasts
heart beat deafening _blood_ can’t almost breathe
plough spade clod oxen the cold the heat
Jean François Millet’s Angelus (1859)
a pitchfork planted in the earth
the wheelbarrow resting
outlined in the distance the bell-tower
over one third occupied by the sky
the two vertical central figures are in deep prayer
they thank God for their children
for having given them this day
for their parents their relatives
for the potatoes and cabbage they will eat
she might also thank for the sky the air
the birds the light freshness & sweetness
for what she sees for what will be
for her being tired for her long vests
I don’t know what he thinks in those heavy shoes
outgrown trousers and jacket
but his shirt is white and he has taken off his hat
they are resting at the Musée du Louvre
we pass by and breathe again
Un paysan se repose sur la boue (1863)
after L’homme à la boue (1860-62)
talks of Pirandello
when Ciaula the boor discovers the moon
he was sent out of the mine
to get something they needed
stops /was not supposed to/
looks up at the sky surprised and smiles
Le paysan wears such big boots
in Félix Bracquemond's etching
J-F. Millet (Man with a hoe) wanted each blade of grass
masterly drawn
in this flat dried out land _the sky
over half the painting
is the background for his square head
short forefront big nose cracked lips
sunken eyes & cheeks
could I zoom in his hands I would see
Siqueiros’ work_ probably a better work.
Antonio Fontanesi rève in bucolic landscapes
Like sheaves of straw the women in April
on the meadows of Volpedo
Giuseppe Pellizza da Volpedo honored Millet
just means
501. “The purpose of language is to express thoughts.” – So presumably the purpose of every sentence is to express a thought. Then what thought is expressed, for example, by the sentence “It’s raining”?-
Ludwig Wittgenstein
Philosophical Investigations
The miserable life of Kathe Kollwitz
WW I and II took her son* and her grandson with them
the Nazis bombed her home
wo/men's despair
etching and emery abrasing
death :::::
in Ein Weberaufstand (the riot of the weavers)
the man on the right _hat in his hands_ can’t stand up right
one woman in front of him in black _hers the face of demise
the other curled down over the corpse of her man
_/people conspiring in dirty taverns
spider webs entwined with quick lines one into the other
to indicate levels of darkness
_/her Plowman drags in a last almost horizontal effort
a wheelbarrow, him element of the field -striped like the horizon
_/in the sky of one of the seven papers for the War of the Farmers
the black flag high in the sky wants the naked woman
scythes and arms raised
_/another woman but fiery
when they attack
the face of a kid in the first row his foot naked
another distinguishable face is sick & dumb
another the image of deprivation and mean
they are a storm of straight and curved lines legs arms
a disruptive force
under the incitement of Fury’s command
_/the vertical captives
as a bunch of matches
carved-in hands shirts pants
* Peter, buried in the Vladslo German Cemetery, Diskmuide, Belgium, with The Mourning Parents, two statues by KK. and a cross now in the Flanders Fields Museum in Ypres, Belgium.
Kathe Kollwitz b. July 8, 1867 in Königsberg, East Prussia - d. April 22, 1945 in Moritzburg
It is behind the screen of the word that the truly fundamental characteristics of human language often appear.
André Martinet
The Word
or behind a screen of paint
of watercolor or of an etched line
pencil drawn lines
lives living from the past
in extreme fragile loneliness
the written word delineating a history
several histories innumerable histories
shaping one of our leveling histories
we histories of the ones to come
… but languages, as they change the symbols, also modify the ideas which the symbols express. Minds are formed by language, thoughts take their color from its ideas.
Jacques Derrida
Of Grammatology (p. 170)
transcendental observation
a framework within another framework
within another framework
transparencies of different consistencies
the substance of which ether is
(visible to few invisible to most)
im/material coagulations stiffen structures
unnatural junctures / holes through which entities are abducted
the action of a healing hand /mind
works on and beyond what is visible /imaginable
strengthens the course of being
straight as organ pipes
inside which sequences of Self are kept
the original vertical shrine
time _present _illusion
of understanding
of having understood
of expressing
of having expressed
the dangers of a sign signifying a signified
of one language
of thinking of knowing what is inside a mind
Desire desires the exteriority of presence and of non presence.
This exteriority is the matrix.
Jacques Derrida
Of Grammatology (p. 167)
Liberty is therefore perfectibility
Jacques Derrida
Of Grammatology (p. 183)
expressive means
In Candle Dancers skin is pink hair thick red_black eyes & lips _red
moving disorderly undoing forms too long fingers to paint frenzy
Rousseau’s naïve strokes to let Mary die in Egypt a lion kneeling
his masks in still lives are faces _his faces are masks _gruesome
his landscapes are human beings his beings spots of color
green with red with white with lemon yellow with blue with orange
die Brűcke wanted him & the second Blaue Reiter _Paul Klee
saw _the falcon_ in him _the Lied the mole the dolmen
yellow or red skin for wild dances the Expressionist transformed
in etchings, the oil density of it, watercolors _unpainted pictures
violet skies and melon hills blue fields transparent flowers
the son of Caravaggio who loved Leonardo
b.8/7/1867 on a farm in North Schleswig near Nolde _ d.4/15/1956
fated
(answer to a poem by Brenda Regan)
stylized tension running from him to her
from her to him from him to her
attraction _magnetic _touching of fingers
projection /in forceful waves _projecting
feigned detachment to keep e/motion under control
fated _when what will be is consumed at first sight
"Matter, color and sound in motion are the phenomena whose simultaneous development
makes up the new art".
The White Manifesto, early 1940s Argentina
Lucio Fontana
anterior _spatial
the visual master of sign
introduces the slash series
canvases torn through
thorns
vertical cuts
for an art of the space age
_first _second _third _technical Manifesto of Spatialism
Stephen Hawking’s black holes
in his eyes’ vision
dotted /trimmed his work
slits on white on red on green on blue
on dark _dark on dark _fluorescent neon lights
perforations
in ’33 a white room
with white canvases
each with one vertical slash
(see here)
the lack of means
Boccioni depicted the death of men (1908)
in the mine disaster of Radbod in Westphalia
for the magazine L’Illustrazione Italiana
the horizontally laid white corpses a plugged in
semi-circular line the slight shape of a semi-heart
women and children as if sucked by the wind
from top right _he had studied Kandinsky_
their voluminous clothes swaying
marked by heavy stripes reaching down to earth
children lost staring calling out to the void
a woman in black sustained by another crying inside
the unruly vortex of ghosts seizes the mourning crowd
the outline
the sketch
474. I shall get burnt if I put my hand in the fire: that is certainty.
That is to say: here we see the meaning of certainty. (What it amounts to, not just the meaning of the word “certainty.”)
Ludwig Wittgenstein, Philosophical Investigations
Lorenzo’s Viani’s oils witness the cold he suffered in Paris
the bread he did not eat the wine he was able to drink to keep warm
now _one of the best masters of the early Novecento_ they say they say*
not then when he repeatedly begged to enter la Ruche, au 15ième arrondissement
finally they let him get inside the rounded three-storey building
he collected cardboards in the streets
with charcoal at candlelight he drew
broken volumes thickly bordered – black his color
they mention: Apollinaire, Chagall, Léger, Max Jacob, Delaunay, Soutine,
even Modigliani, Brancusi, the Mexican Rivera, but not Viani among the famous guests
Viani was proud _starved rather than ask
he recorded every no
every door shut
one of his books (Paris, Florence 1925) was on La Ruche
that wonderful building for painters in need.
In memoriam, Lorenzo Viani, Viareggio, November 1, 1882 – Ostia, November 2, 1936
It is not the body of the sign that acts, for that is all sensation, but rather the signified that it expresses, imitates, or transports.
Jacques Derrida, Of Grammatology
il est bon d’aimer
I was looking for his book
could remember it was red
“lettres à Théo”
lettres à Théo, I started repeating mentally
as if calling it _the book, him _the author
a book I could read only outside
at a bar with a coffee while waiting for the appointment with the dentist
first shelf _second _third _chair, fourth shelf
here it is _the way I remembered it:
Vincent Van Gogh
Lettres à son frère Théo
Les Cahier Rouges, Grasset
my past reverence for books
few underlined points with a pencil
“[…] Il est bon d’aimer autant que l’on peut, car c’est là que gît la vraie force, et celui qui aime beaucoup accomplit de grandes choses et en est capable, et ce qui se fait par amour est bien fait ; […]
Si l’on continue à aimer sincèrement ce qui est vraiment digne d’amour, et qu’on ne gaspille pas son amour à des choses insignifiantes et nulles et fades, on obtiendra peu à peu plus de lumière et l’on deviendra plus fort »
Amsterdam 3 avril, 1878
signed : Vincent (121).
Antonin Artaud recorded what happened
Van Gogh: The Suicide Provoked by Society
too many interested in his death
the presence of a man disturbing
thick men’s disruptive roughness
business leaders move worlds around
a man who loved who looked for who _God
painted the brightest sky from the backyards
in Antwerp in 1885
saturated yellow & a tinge of rose
his potato eaters
in a filthy hovel charcoal burning a kerosene lamp from the black ceiling
two couples and a girl
she serving dark liquid from a teapot
potatoes and barley
thick the impasto _ Venus’ position in his paintings
starry nights _ red vineyards _les champs de blé _les champs de blé
and Prussian blues covering half his canvas
clouds part of the earth part of the sky
earth following the atomic movement of air
shaped by it or earth in its thickness projected into the sky
le ciel orageux _sa force d’âme _his determination
le semeur au soleil couchant (1888) is part of the sun
as wheat is his home the blue field the yellow path
the sun yellower than the wheat centered and round
the third eye
and flowers _dans un vase de cuivre (1887) _shoes
_gardens _ his room _olive trees _roses _ irises _boots
self-portraits _sunflowers _lilac bushes
_miners’ wives with coal (pencil and ink on striped paper, Etten, 1881)
__young man kneeling (Etten, 1881)
_lottery office (here are our ancestors, see who they are : Den Haag, 1882)
_(disquieting) study of trees (Den Haag, 1882)
_girl at cradle (Den Haag, 1883)
look at this painting: _lane of poplars with figure (Neunen, 1884)
how couldn’t he repeatedly ask if god existed
_reformed church of Neunen with churchgoer (Neunen, 1884)
continue, it is good for our souls
thanks to Antonio Leitão, Department of Mathematics
Federal University of Santa Catarina
Vincent Willem van Gogh, b. March 30, 1853 in Groot-Zundert bei Breda in the Southern Netherlands – d. July, 29, 1890 in Auveers-sur-Oise.
for centuries to come
like a rhinoceros
robust scales covering its body
the relatively small mountain from the classroom window
stands out against the lapis lazuli white-striped sky
like an overpowering whale
(my students working on their tests)
oval, convex lines, deep cracks, unevenly broken up
now a warrior defending his tribe standing boldly out of the forest
his shield in his right arm
behind him a mute fearful congregation
etched in Campigli’s refined geometrical lines
the slightest change of light forges new shapes
now the notched corrugated rim of a plateau
with an oval jewel tucked in the middle
a stone girdle and its opaque broche to lock it
thick scales of frozen chocolate grated by a god
with a crunchy central almond boulders like nuts
gigantic bats deep in their sleep cover the fringes
or rounded almost pink Magritte’s doves at rest
one clustered to the other as if in want of warmth
against what by now seems a sunny day
preceding what will be soon spring
haggard swallows arrowing through the air
the urancient face of a lion nostrils wide open
betray what seems immobile detachment
behind him a lioness rests _shut protruding eyelids
hide us from her terrifying sight
and in the background an Etruscan profile
and behind him someone else in the opposite position
and behind again a cat
Egyptian-like the sequence in its stratified perspective
on the left of the rounded gear mating with the woods
part of the carousel of studded figures adorning it
a rhomboid rugged spinning top
the long neck of a giraffe resting against this gigantic toy
perfectly & roundly cut its spinning point
the crevice in-between forms a huge dark cave
in front of which _greeting the Sun in its mid-morning ascension
and for centuries to come
a single detached vertical slab
his right arm raised
and in the evening his left one.
delays through means
taste of cigarettes in my mouth
sensation of lack of sleep
heaviness in walking
in my head lungs
brilliant day - sun invading _successful light
one hour and back
appointments and blocks
thousands of times
a timetable ticking in thoughts
over and over glimpsing at my watch
coming out of tunnels
from a hard encircling sandstone
from passages of years one into the other
on thawed muddy mental streets
from Xmas fake failed merriness of shopping
unsolved stories with lawyers
entangled & forced relationships
today
still different from yesterday
still in a hurry
running /just running and running/ cannot breathe /skidding from the sidewalk into the street to cross it without watching /climbing the long flight of steps /can’t breathe /almost sliding under the tall arcades /dragging a heavy suitcase /the loudspeakers screaming /running /pushing myself over the breaking point /the platform /7_8_ 10_12 /last effort keep it going just don’t think keep it going /when I arrive the train has just left
recurrent dream in my teens and youth
concatenations
[…]
Religion teaches that the soul can exist when the body has disintegrated.
[…]
The human body is the best picture of the human soul.
[…]
Ludwig Wittgenstein, Philosophical Investigations, Part II, iv.
concatenations
linking rings
evolution, devolution, progression, regression
cogwheels of a clock
calibrating civilized time
coordinates sliding through associations
built on preset longitudes and latitudes
erroneous _right?
_personal_
a limited personal
forged on pre-established concatenations
memorized conventions
projected representations of our selves
individual freedom
is this a notion
I am asking
"At first [the Greeks] adopted not only the characters of the Phoenicians, but also the direction of their lines from right to left. Later it occurred to them to proceed as the plowman, that is, writing alternately from left to right and right to left. Finally, they wrote according to our present practice of starting each line from left to right. This development is quite natural. Writing in the furrow fashion is undoubtedly the most comfortable to read. I am even surprised that it did not become the established practice with printing; but, being difficult to write manually, it had to be abandoned as manuscripts multiplied."
Rousseau, Essay quoted by Derrida, Of Grammatology, page 288.
V
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almost leveled hills a sweetly moving flatland and his feet walking the distance
Toledo caught his eye
that particular light
the river forging the land _deeply _quietly
what air was there to be breathed
by the man from Crete called Il Greco (later El Greco)
Domenikos Theotokopoulos
it was Santo Domingo el Antiguo who came to rescue him
after his passage through Venice and Rome
(Tintoretto, Raffaello, Michelangelo, Correggio, Parmigianino, …
after his masters :
his mannerism
what can catch the sight of an atheist?
the quality of forms _his preference to cold colors_
the _colors_ of nightmares
the vertical perspective _the oval verticality of his artwork
down to the repeated elongated models characterizing his lines
the same stylized development of his figures (of which he is not master)
some chiaroscuros have to be noticed
El Greco, b. 1541, Candia, Crete, Republic of Venice, 1541, d. April 7, 1614, Toledo, Spain
But the perfection of elongated forms
is not Il Greco’s creation
his Master already shone
with the most beautiful Madonna with Long Neck (1534-40)
Parmigianino his name
you can distinguish his work anywhere
look at the beauty of the child
his sweetest face
the marvelous grace of the young children
golden their curls, their intelligent eyes
the perfection of Madonna’s breast
fully rounded turgid ready to offer her milk
her longest fingers protecting her soul
to supply for the needs of her child
there is no Il Greco after Il Parmigianino
as per chiaroscuro
: : : : :
Caravaggio
cacemphaton
"I -ablatio or aphaeresis for _HI is used metaphorically to greet empathically because since I am talking to you - you see me and I empathically absorb your projection thus I instead of HI - this to avoid aporias
or acrostically speaking
a
cacozelia of
restrictio &
orcos (onomatopoeic composing) all this might give me a
syncope st’tt’ring a figure of self saying
tautologia (not a taxis but an acrostic _topographically in repetitio of title
irony in an inter se pugnantia just for the
climax climax not that I wish wish or
accimus /to go to sleep _just do not need to sleep
litotes
litotes
Y is this a mistake? No, no figures starting with Y (anthypophora)
My antirrhesis is not an elenchus, or an erotema as the last line of the acrostic (simile) rather a metastasis that stems from procatalepsis and leads to ennoia. This as a parlipsis.
With the spirit of Theophrastus & Demetrius (see a vocative, Ah…!) leisurely seated at my right and Cicero and Quintilian (see second vocative in repetitio, Ah, Ah…! _hopefully not a battologia_) over-leisurely seated at my left ::
:: rounded blue grapes silk cushions gentle scent in descriptio ::
: stumbling in virtues and vices of style and with limited kairos at disposal, better in this hysteron proteron, this the chronographia,
I stay in prolepsis,
Yours
marc chagall
"I am out to introduce a psychic shock into my painting, one that is always motivated by pictorial reasoning: that is to say, a fourth dimension."
"Mario Pachi" (1943-2001)
It was difficult for me to find the money for the entrance ticket to museums
or to go to the theater, but Mario Pachi was there
one evening he rehearsed for me his Xmas farce in his bedroom _we have never been lovers
I remember pleading him to stop - tears streaming down - my belly incapable of breathing literally hiccupping to gulp some air
_I was his Annina
that is why I cannot remember how I got to Marc Chagall’s exhibit at Palazzo Pitti in Florence (June 5 – September 30, 1978)
Marc Chagall works on people who can perceive
his is a special touch that gets through his work
or I might be wrong
a fourth dimension
: : : : Chagall, Mario Pachi, Joel Weishaus:
Sent: Wednesday, February 21, 2007 9:59 PM
Subject: Re: chagall
When I was living in San Francisco, late one night, feeling depressed about how my writing was going, and questioning myself as to why I was a poet at all, walking around the city, I came upon an art gallery that was still open. There was a Chagall print hanging in the back, and as soon as I saw it all my questions disappeared, and I felt happy again, knowing I was spending my life doing the right work.
-Joel
"We all know that a good person can be a bad artist. But no one will ever be a genuine artist unless he is a great human being and thus also a good one."
dark enormous rooms
few visitors I tried to avoid
black wooden supports as frames
and showers of colors
stories and stories
entwining one with the other
is this Chagall? I asked myself
I love it
Nobody seems to remember that thousands of American soldiers fought in Italy from July 1943 to April 1945. The first surrender of the German Army to Allied Forces happened in Italy. Many Americans died in my country, and it's very sad to realize that in almost every remembrance of WW2 they are always forgotten, also by their own country. I live in Florence, center Italy. Not far from here ran the Gothic Line, the last German defense line, against which Allies fought for seven long and terrible months. Names like Mount Altuzzo, Futa Pass, Giogo Pass, Mount Battaglia, Livergnano ("Liver n' onion"), Castel d'Aiano, and other ones had to be familiar to any American, but are not, and it's very sad. I'd like here to say hello to all GIs who fought in Sicily, Cassino, Anzio, Tuscany, the North Appennines and North Italy. Mario Pachi, Italy
Mario Pachi <pachi@dada.it>
Florence, Italy - Tuesday, August 24, 1999 at 00:03:09 (EDT)
I can remember his apartment, in a tiny street in Florence, one single car could hardly drive through, the old rounded brass bell, and those rooms - not similar to a shotgun - a more gut-like design, they opened onto a narrow corridor he embellished with long liberty style flowers, or was it me who wished to do it for him, maybe the former. And he loved history. He assembled model soldiers, guns, uniforms, tanks, cars, ambulances, horses, flags, trumpets, the First World War, but also the Second, and the War of Independence, …, and then painted them. Buried by history books he wrote erotic stories to have some income in-coming in the months he was not traveling through Italy from stage to stage, this when I lived in Florence.
Marc Chagall, b. July 7, 1887, Vitebsk, Russia; d. March 28, 1985, Saint-Paul de Vence.
The eternal return
silent, sitting on a stone
for days and years
legs crossed
he saw the eternal return
over and over again
The Neophyte by Gustave Doré
drown down by the snooze_i_ness
of repetition _habit _imprinted knowledge
day after day after day after day
the snoring choir begins
nothing but a tickling effect
for our neophyte
all light
projected in his clean outfit
smell of goat milk
beardless & callow
he’ll make of the day
more than 300 gathered for fifty years
_the impossibility of understanding_
[…] This is the paradox-- that to understand is to know the impossibility of understanding.
Bill Lavender
or to understand by glimpses
to forget
to go back and see the crater
to try to remember
with snowflakes slowly settling
to have the courage to face
the cunningness to see
and the swiftness to escape
this for meta-physicality and unbelief
to continue living
or with Thomas Aquinas
we can proceed by analogy
_similar to_
through Samuel Beckett
we have reached nothingness
lacking natural virtues: prudence, temperance, justice and fortitude
as they are set by supernatural ones: faith, hope & charity
and there is nothing determinate to its act
by forcing an end
(I know it is right for a superior common good)
I convey and am conveyed to a misleading understanding
existentialism
(postmodernism
structuralism
deconstruction)
tout-court projects us naked into the battlefield
in front of the impossibility of understanding
our rescue/survival resides in fleeing when faced with violent acts
in partaking with the good
literary criticism extends to life
and to a law/justice in the hands of lawyers
set by laws distant from truth*
“What is “familiarly known” is not properly known, just for the reason that it is “familiar.” When engaged in the process of knowing, it is the commonest form of self-deception, and a deception of other people as well, to assume something to be familiar, and to let it pass [gefallen zu lassen] on that very account. Knowledge of that sort, with all its talking around it [Hin- und Herreden] never gets from the spot, but has no idea that this is the case… To display [auseinanderlegen] an idea in its original [ursprüngligh] elements means returning upon its moments, …”
Hegel quoted by Gayatri Chalkrvorty Spivak in his preface to Of Grammatology by Jacques Derrida
*“fatta la legge trovato l’inganno” (once drawn a law found is the way to infringe it)
Italian saying
The Confusion of Tongues*
I made of tongues my income
green tongues red violet blue-striped
Impressionist tongues mother & father tongues
tongues of resistant sails or Cubist ones
engraved by Doré* entwined sautées
existentialist and Chagall’s fiddling ones
Mallarmé Van Gogh Mozart Lautréamont
tongues and tongues snowing from above
growing glowing from below soprano and mezzo
Venite exultemus domino (Psalm 95)
Jean-Joseph de Mondonville
*The Confusion of Tongues (1865)
___interrupted___
Klee and Max Ernst, this what I can see in his first paintings
a drifting and scattering _the over-abundance
when extremes meet
ok _then there’s Picasso’s Guernica
& the dripping
he doesn’t say much about it
just that _you have to be in it_
as if we did not know
the rest probably added
by those who wanted him famous
who knows _that is usually the way it goes
he drank _sordidly
maybe out of shock
or maybe his nature
that layering of drops
dripped interrupted lines
strata of holed gauze
enamel aluminum oil
string nails plaster glass
ink brush sticks he poured the entire can
onto the canvas splattered industrial color
ash cigarette butts matches
he was poisoned by it
suffocated in it
crashed
Jackson Pollock b. January 28, 1912 in Cody, Wyoming; d. August 11, 1956 in Springs, New York.
central city
concrete
central city
city lights
electric light bulbs neon billboards
movies ads synthetic sub/divisions
muffled continuous chaos noise
no grass
not a branch
to indicate seasons
mild cold hot in asynchronous movements
concrete
asphyxiatingly
caged
masked
beings
wrapped
food
the heart of earth
extracted to light
in the city
central
electric
concrete
_this on earth_
wings
Let the whinny of Pigeons’ wings trigger similar strains
from elm to Triangulum.
Ronald Johnson, Beam 6, The Musics
the wings of planes follow a narrower roar in sight scanned by the ticking of time
the muffled flowing of oceans cut by acute screams of gulls
diamonds floating on crested surfaces Tethys’ necklaces twinkling
minute embroidery of Pluto’s armor
wings welcome me to sleep open wide when I wake up into the white
of wings is swift thought's ethereal substance
wings of glyphs perched on Gothic spires vertiginous in their ravenous flight
down organ pipes up to blue asteroids
Sunday morning
there are no Sundays
there have been none
Sunday the day to pick up with studies
the day to do the laundry
the day to fill in the gaps to improve on the job
the day to finish off the work of the previous week
the day to start leveling down the work of the following week
the only day to study
the day to clean up
the day to think you can still get up early because it is anyhow a Sunday
but there were Sundays
Sundays on which I put a map in my pocket and went out by bike into the city
to explore the empty streets of New Orleans while people were sleeping
to walk and walk and walk in the grey empty dampness of a Heidelberg winter
in the sunny barrios of Buenos Aires
to sleep longer into a free morning and have brunch with an English family with sections of the Sunday paper
or with an Irish one and then head out into the wind on dark wet fields careful not to step into the dung
or on the Elba Island from the balcony the sea mounting to the sky blue against blue
sweetest green figs your skin turning gold
or in Tuscany's Maremma in a house of rock that looked down onto the old narrow town of stone
or further down to Saturnia and bathing under the full moon in the warm waters of the sulphur river
there were Sundays when my father brought me to walk all the streets of New York
to say hello to the gods in all the churches of New York
and to the animals in the zoo
& to the people in the streets
or a Sunday like today
with the window already open
new tiny buds pushing out into light
a Sunday of peaceful souls
_the times as they are
my friend astrologer says:
current Saturn_Neptune & Uranus_Jupiter under stress
my friend poet sings with a chorus of the Moon's eclipse disasters
my other friend poet talks of Haitian zombies
on a poetry list vomit and witchcraft come out
the Hermit looks for himself in the darkness
Pluto from way below digs up Law
astronomers decided He is not a Planet
they don’t know _they don’t know
Me, William the Shadow
(an answer to Mollie Day by using the same character and the neck cut with a double axe)
Me, William The Shadow,
The Prince of Shadows
Today, March 4, 2007, at 00.05am
To husband and wife who detached my neck
With a double axe
I have split their members from their trunks, let them scream at the moonlight
With the precision of the surgeon that destroyed my mother I have slowly carved their forefront
And pulled off their scalp now hanging out of my window with the remains of their son
Feast for the black Ravens my friends
The Eagle lurking
For her I have a surprise, their puffy grandchildren will see the Moon tonight
This is not my revengeful Spirit
Fate the King
Dooms without soul
Observation
if you observe your own grief, which senses do you use to observe it? A particular sense; one that feels grief? Then do you feel it differently when you are observing it? And what is the grief that you are observing –is it one which is there only while it is being observed?
‘Observing’ does not produce what is observed. (That is a conceptual statement.)
Again. I do not “observe” what only comes into being through observation. The object of observation is something else.
[…]
Are the words “I am afraid” a description of a state of mind?
Ludwig Wittgenstein, Philosophical Investigations, II, ix
Johannes Brahms and Gustav Mahler were friends who popped in at home
benefactor of Rainer Maria Rilke and Georg Trakl
Ludwig Wittgenstein observes surrounded by suicides
He is asking and I answer
When I observe my own grief I use my sight, better my metaphysical sight and my perception
My grief hits me physically, I feel pain, it involves my perception
Yes, I feel it differently when I observe it
It is my grief observed and therefore distanced from me because I am observing it
It is one which is there only while it is being observed sometimes
Some other times I am able to perceive it and to observe it at the same time
The words “I am afraid” are a description of a state of mind
They can also be a description of a perception
They can also be a description of a physical reaction due to a specific event
Like the trembling of your body
In my case my hands sometimes shake and I stop breathing
I am also prone to states of paralysis when I am afraid
____compassion
"Compassion is the foundation of all peaceful thoughts and actions."
His Holiness, the Dalai Lama
On two lines:
Compassion is the foundation
of all peaceful thoughts and actions.
On three lines:
Compassion is the foundation
of all peaceful thoughts
and actions
On four lines:
Compassion
is the foundation
of all peaceful thoughts
and actions
On eight lines:
Compassion
is
the foundation
of
all
peaceful thoughts
and
actions
remake:
I
is
and
peace
thoughts
action
is
and
compassion
the foundation
IIIIIIIIIIIIIIIIIIIIIIIIIII
*_*_*_*_*_*_*_*_*_*_*
Rodin
(answer to a poem by Todd Lundbohm)
Rodin
is a name
that leads me
to Sufi stories
________________________________________________
ignorance & greed
is what I would compare
to the statue Rodin
never did
or left there in a tangle of wiring lines
on a scrap of paper trodden on by the Maestro
almost engraving the sky /
Life seen through the eyes of Utrillo
seems just clean, windmills, bathing establishments,
white streets, white cupolas, light grey pavements,
houses the color of pastel carnation as if waking up in their teens
people walking, no cars, trucks,
the eyes two dark dots, the nose one, the mouth a longer line
the perspective of the windows and doors is absurd
like a stubborn child he makes them straight while respecting
the zooming of streets and houses to their vanishing points
a patched sky _the branches of trees embroidering
almost engraving it
as if predestined, he was born in Montmartre - Maurice Utrillo born Maurice Valadon (son of Suzanne Valadon) December 25, 1883 – November 5, 1955
ship of rain
The groom’s amour
in the airy aura of aurora
an aroma without armor
raw from the jars iris your hour
from Japan or Spain in a raisin
in a shay of moon
morphing souring rays of ruin
from the puma’s origin
pious in impairing pains
the opus of opium in the imago
joins in a yoga union
the ashy song of wine in jays
jams the piano’s moans
on the ship of rain awash
under the Wain’s poise
THE WARS
the Erinyes
▲
:
the
furies
in their
revengeful
invasion of Olympus
suck in their viscous bat wings
Jupiter’s might _night’s watchful ever-moving
serpents chain Mother Earth _a continuously fainting Venus close to
her departing point to Hades at their horrifying sight burps up beauty clotted with
blood _through skilled surgeons they cut off both arms and legs to Cupid
his arrows and bow rotting with his flesh _they lobotomize
Mercury & damn Uranus’ noble & inventive soul by
turning his genius to boiling pitch _invite
Mephistofeles to their gruesome
banquet::::::::::::::::::::::///:::
◊
*
roasted generals
◊
*
sauté meet-balls of kids
◊
*
grilled entrailles of young virgins
◊
*
croquettes of soldiers
◊
*
according to the context of the wars half the world joins the truculent party
with the change of guards the other starved half appears hungry & smiling to celebrate with their terrifying
hosts
a good third is always present
pacifists are sliced down raw and served
as hors-d’oeuvres with a cold dry Chardonnais
in long fluted crystal glasses glittering in eternal shine
“Samuel Tuke [1784-1857], in his Report on the Condition of the Indigent Insane, gives the details of a complicated system devised at Bethlehem to control a reputedly dangerous madman: he was attached by a long chain that ran over the wall and thus permitted the attendant to lead him about, to keep him on a leash, so to speak, from outside; around his neck had been placed an iron ring, which was attached by a short chain to another ring; this latter slid the length of a vertical iron bar fastened to the floor and ceiling of the cell. When reforms began to be instituted at Bethlehem, a man was found who had lived in this cell, attached in this fashion, for twelve years.”
Michel Foucault, Madness & Civilization, Chapter 3: The Insane
“That is, on one hand madness is immediately perceived as difference: whence the forms of spontaneous and collective judgment sought, not from physicians, but from men of good sense, to determine the confinement of a madman; and on the other hand, confinement cannot have any other goal than a correction (that is, the suppression of the difference, or the fulfillment of this nothingness in death); whence those options for death so often to be found in the registers of confinement, written by the attendants, and which are not the sign of confinement’s savagery, its inhumanity or perversion, but the strict expression of its meaning: an operation to annihilate nothingness.”
Michel Foucault, Madness & Civilization, Chapter 4: Passion and Delirium
translated by Richard Howard
\\\___the difference___///
_ isolated _killed _
a repeated human tendency
whoever was blest blast by power
as ol’ crippled history has shown
will make of this rule
its
reaping action
together with dumbness granted by consumption
the production of desire & the ennui of it
stock markets’ targets
Pound’s bankers equaled only by yuppies
The family is therefore introduced into the production of desire and will perform a displacement, an unparalleled repression of desire commencing with the earliest age of the child. Social production delegates the family to psychic repression.
Deleuze & Guattari
Anti-Oedipus : Capitalism and Schizophrenia
AFTER Ronald Johnson
the mind become its own subject matter:
bent ambient
(all meaning is an angle)
sampling
the optimum play at any one moment spray of curvature
falling off toward the edge great gold sunflowerhead of photons
sum of sun and moon
in array the flicker of diamond-lattice pattern
against a complex dappled back-
ground also moving.
Ratio is all.
Beam 25, A Bicentennial Hymn
Ronald Johnson, Ark
the mind become its own subject matter:
missiles & tanks
(all power is meaning)
killing
the optimum play at one moment blood of Man
falling off toward the edge great red puppyhead of atoms
sum of greed and lust
in array the flicker of hormone-adrenaline pattern
against a complex economic back-
ground also moving.
Ratio is all.
Ed elli: «O frate, andar in sù che porta?
(Then he: “My brother, of what use to mount,*)
Dante, Purgatorio, Canto V, (Belacqua)
SUICIDE & ECONOMICS _ OIL & WAR _ PRURIENT LUST
Suicide bombers are a virtually an unstoppable weapon because they camouflage in traffic and there are no efficacious systems to intercept them. This weapon is extremely “democratic” and potentially available to all because explosive can be easily made from fertilizer and anybody can provide the means to transport it. Consequences, even if limited to just one attack, can be devastating also in terms of damage caused to economy.
A part of humanity reacts by attacking in a violent way the society that refuses them; we therefore have to deal with this social reality in architecture, too.
Mike Davis, critical investigator of social phenomena
sing for us who stay
who can still sing
after what we've seen
sing with us for us
who stay to sing
*
This is the way the world begins, the world begins,
wrestling the old ineffable to Bosch’s amazing white giraffe
-or St. Rousseau
intent a symmetry of whisker.
love itself is a kind of mirage nesting it all
together. Around a center
BEAM 30, The Garden
Ronald Johnson
*
Right wing; 147 x 66cm
the head of a cat _its ears two truncated legs, better: the extension of the ears are legs plunged into the black pitch above which there is a bridge_ from its mouth two protruding naked legs are climbed up by a snake toward a swollen stomach
the card of the fool on a tiny rusted sandy island: a naked man running to the right his head turned down to see the beast struggling to bite his right hip, the tail of the four-legged monster a branch with only one burnt brown winter leaf _an ermine, its dotted coat, looks back scared at the action protecting the left leg of the man escaping
a woman is sinking in the pitch
a man turned upside down held by a black hooted man twice his size on the bridge
another naked man accompanied by a walking deer and an owl-disguised fat man maybe ten times the captive
a naked green woman, her spinal column worn on her back continues with a tail, is climbing a ladder towards an enormous bird-turtle looking down from the tower
the naked soldier pierced by a lance rides a beatific ox, a helmet on his head, in his left hand a chalice and somewhere on the ox a saucepan or maybe a black turned upside-down helmet
he is greeting with his right hand some red being inside the door with a wooden beam in his hands
on his left on the terra earth a monster with green butterfly wings, the face of a lion and two human arms and hands on all fours
behind him three figures, a buck with the snout of a cock/cat
a rounded orange/brown couple of eyes staring out of veils
and a black probably multi-winged being no features are to be seen
a green being, half siren, one wing, rounded orange head and a short viper-like tail quietly observes the scene
in the middle a naked virgin, her hands tied behind her back, dead or asleep
in the background on the left hands of soldiers _a shining helmet
the tower is peacefully being constructed by a black guy on an unfinished scaffolding
a priest / sorcerer dressed in black on his head a fish with a tail and the head of a serpent, is reading a book
another three toed black figure is listening to him while holding a stake on top of which a squirrel is comfortably seated
in the background against the sky on fire the ruins of a house with a tailed red monster visible protruding out of the outline of the building against the sky holds a long pole with a hanged man burning
in the middle foreground another black building on fire, another pole, this time with an enormous black saucepan
never be on your own: see Bosch’s joining the Brotherhood of Our Lady and The Extraction of the Stone of Madness (The Cure of Folly) c. 1475-80; Oil on board, 48 x 35 cm (18 7/8 x 13 3/4"); Museo del Prado, Madrid
animals lived with men
just boil and roast _vegetables & animals when you are hungry _human beings when at war _human beings to show the other human beings that Judgment is close
Hieronymus Bosch (real name: Jeroen van Aken) c. 1450 – August, 1516
by Hieronymus Bosch after 1490
see the difference with Hans Memling’s St. John (1474)
the younger of the two sons of thunder
James the Greater his brother
on the Greek island of Patmos
to write his book of revelations
where the Roman convicts were
_the exiled_ like him
by Titus Flavius Domitianus (95 AC)
with his eagle
1:9. I, John, your brother and your partner in tribulation and in the kingdom and patience in Christ Jesus, was in the island which is called Patmos, for the word of God and for the testimony of Jesus.
Ego Iohannes frater vester et particeps in tribulatione et regno et patientia in Iesu fui in insula quae appellatur Patmos propter verbum Dei et testimonium Iesu
I, your brother John and partaker in sorrow and in rule and in patience in Jesus was on the island because of the verb of God and the witness of Jesus (Apocalypse Chapter 1) (my translation)
according to :
Hans Burgkmair (1508)
Hans Baldung Grien (1511)
Titian (1547)
Tobias Verhaecht (1598)
Diego Rodriguez de Silva y Velàzquez (c.1618)
Nicolas Poussin (c.1644)
Gustave Doré (1866?)
the vision comes from the right
Giotto di Bondone (c. 1267 – January 8, 1337)
has him seated leisurely in the center of the island with allegorical figures rotating around him
by association
see the sky
see the browns
see the colors : rust and icy blue
when observing St. John on Patmos by Bosch
my attention goes to The Virgin of the Rocks by Leonardo (c. 1491-1508)*
Bosch’s work is more diluted
daylight in the Netherlands compared to the one in Florence
the sky is wide and open
a square triangle
1) the apex is the full moon embroidered by clouds in which the Virgin is sitting on a newly-born moon
2) the angel with futuristic butterfly insect-like wings the features of an ephebe
with a girl-like suasive pose holding a scroll
her right hand indicating the sky
3) St John traces with his mantle part of the oblique side ending
4) with the small coleopterous: two skinny legs with feet & numerous toes
an innocuous sting prologed into a thin tail, rounded belly, wings
the white face of an old man wearing glasses
the square angle, bottom left wants 5) the eagle
between the eagle and the small monster on the earth
6) a fountain pen
the triangle is also outlined by the shape of the central hill
7) one tree frames the painting on the right
dark greens, blues, Prussian blues for the top of the sky
his long cloak on his long garments - light red
he is writing, his eyes turned to the vision, as if deciphering
or as if conversing _receiving, his facial expression relaxed
his eyes confident, his posture at ease.
the painting is also horizontally divided
the upper part with cold colors, the lower warm
in two perfect halves on the right side
earth rises towards the sky on the left
John the Divine
The painting has a painted reverse side
the use of colors as if it was a photograph on sepia paper
John the man is in his cave
trapped in the earth against his vision
on the right of the circle
the first of the seven scenes
in the center _circle within the circle_ the eagle _its wings spread
landing on the rock-island from the womb-cave of it a fire above the water
above the center the triangle of the mountain with the three crosses
and Christ in the middle against the sky
starting from the right scenes with the life of Jesus
up to his burial _top right above John’s cave
John the Evangelist
*not to confuse St. John the Baptist with St. John the Evangelist, the former beheaded by Herodias after Salome’s request, as her mother wanted.
An excerpt on Leonardo's interpretation of the Twelve Apostles and the Last Supper .
From the Book of Revelations or the Apocalypse by Saint John the Divine:
APOCALYPSE
revelation and signified
the word and the testimony
soever seen
prophecy peace
seven spirits witness
the earth clouds an eye
pierced
alpha and omega
the beginning and the end
an island
see
write a book
seven candlesticks
golden girdle
flame of fire
fine brass in burning furnace
seven stars
sharp two-edged sword sun shines
first and last
have the keys of death and hell
hand labor patience evil endured
tried tribulation ten days
crown of life
children’s manna a white name
prophetess
a rod of iron vessel of a potter broken
morning star
ear hear
what the said
watchful full
observe life before
shut a door open
strength
dwell
your crown
a pillar in the temple
of heaven
of creation
jasper
rainbow round about an emerald
four and twenty seats
four and twenty sitting
gold lightnings and thunders
as sea of glass
CRYSTAL
eyes
a lion _a calf _ a man _an eagle
six wings of day and night
glory
created
the right hand in seven seals
worthy the root
of ancients
fell harps
sung saying a tongue on earth
thousands loud faces
opened a bow red sword
scales the wine and the oil
Death ___souls of slain___ dwell
earthquake black sackcloth
green wind
departed dens
come to stand?
a tree ascending from the sun
living with the sea
a hundred forty-four thousand signed the children
twelve thousand
twelve thousand
twelve thousand
twelve thousand
number of palms
living
they? they?
they robes them white
day dwells
waters wipe away
censer incense ascended
fire cast sound
hail mingled with earth
green
star a torch
of the fountain
the moon for the night
one eagle flying through reason
locust power scorpion power struck
horses running over
Apollyon the sixth
loose the bound in
Euphrates
in the vision
hyacinth of brimstone
heads of lions
horses to serpents
rest
silver and stone
see hear walk
clothed with a cloud
pillars open
longer
in the days
honey
a reed
two olive trees
will finish the abyss
in the streets of sepulchers
in the birth of diadems
loved
the dragon the desert
carried away upon the sand
a leopard in admiration
speaking
over
the book
ear hear
sword sword
a lamb spoke as a dragon
healed
signs
unto earth in men
signs in sight should
give life to image
freemen
wisdom
the number of a man + him
six hundred sixty-six
sescenti sexaginta sex
harping no lie
patience
follow them
the Son in his hand
reaps the harvest
the clusters of the vineyard
the grapes are ripe
ways ages
magnify art
judgments are open
for ever
pour out
prophets
glory
dark tongues of kings
in Hebrew angels
Babylon exceedingly
inhabited
mountains
have one design
are called
elect
faithful
the cup mingles a queen in one day
the smoke
precious stones, pearls, fine linen, purple and silk, scarlet
vessels of ivory
cinnamon
the fruits of soul
gilt with gold
shipmaster and mariners
Alleluia
the supper of words
are the spirit
white judge
a flame of fire
sprinkled with THE WORD
birds gather
a chain
first camp
a bride for her husband
the light
as crystal
high
on the east
on the north
on the south
on the west
the first foundation
jasper, sapphire, chalcedony, emerald, sardonyx,
sardius, chrysolite, beryl, topaz, chrysoprasus, jacinth, amethyst
transparent glass
the street yielding the leaves
light of the lamp
the words of prophecy
still
sanctified
to render
the morning star
oF LIFE
Amen
Note:
I followed the translation on this site and cut out words (See Ronald Johnson's PALMS or RADI OS):
Ballardini
-ini is a common suffix
ballard has music and dance
baller=dancer / from high violin notes
in twirling beams of assonating vowel sounds
as _socia _tions from far away times also in tragedy our
humor _keen ear seizing dumb false notes tickles us into laughter
Leonardi
from Lion Heart
valiant & trustful your Crown
Courage with Mars Juno in action
many coats of arms depict your Lion
he looks ahead _danger from the left_
Lionardo da Vinci
I almost make myself laugh
to write a poem on Leonardo
I did read his notes
copied his self-portrait
copied some faces made by him
his precise repeated quick
intelligent concentrated stroke
years ago
last night
I enjoyed going back to Vasari
and to his marvellous and divine Lionardo da Vinci :
He delighted much in horses and also in all other animals, and often when passing by the places where they sold birds he would take them out of their cages, and paying the price that was asked for them, would let them fly away into the air, restoring to them their lost liberty.
he was
variable and unstable
in arithmetic he surprised his master _ played the lute _ a good geometrician _ modeling _
making while a boy some laughing women's heads, and some heads of children which seem to have come from a master's hand
mills _ presses _ tunneling _ levers _ cranes
inventing inventing
and many of these drawings are still scattered about
curious
Lionardo was so pleased whenever he saw a strange head or beard or hair of unusual appearance that he would follow such a person a whole day, and so learn him by heart, that when he reached home he could draw him as if he were present
an improviser
music
oh _ but lazy !
It is said that the prior of the place was very importunate in urging Lionardo to finish the work, it seeming strange to him to see Lionardo standing half a day lost in thought; and he would have liked him never to have put down his pencil, as if it were a work like digging the garden.
Leonardo went to the prince:
He reasoned about art, and showed him that men of genius may be working when they seem to be doing the least, working out inventions in their minds, and forming those perfect ideas which afterwards they express with their hands
Leonardo, the man whose genius was undisputed
and wanted things sooooo big
He began it, but made the model of such a size that it could never be
completed.
precise _ exacting
would not let murmurs spread
work
work
and work
he couldn’t stand Michelangelo
the anatomist
converted to religion
shortly before
he died at the age of 75
we have been mourning him so far
bucolic
The town is getting empty_ cars flash by in their rushing sounds
school is off for the Easter holidays
kids in the street_ their voices heard through an open window
a gush of wind with smog blows in the scent of spring flowers perfume on my hands
as if the blackbirds were playing on the meadows along the river
jumping their black round eyes alert from clod to clod their beaks picking earth
the big black austere crow on the tall tree when seen
spreads its black blue shining wings and mysteriously hides under the leaves
villages on the side of the mountains seem bucolic pictures in children’s books
the tall belfry green around patches of blossoming trees white pink rose
an explosion of yellow catches your breath bunches of forsythias against ancient walls
saturated blue milky violet heavy clusters of wisteria hanging from old twisted branches
small aedicules with their smiling saints curled up under a tiny protruding roof
niches for icons niches for wandering souls who still have time for a couple of violets
our outside façade in these days that leaves space for liquid sounds in dry air
comfort of a solid table of warm air of projections of promises without rain
REMAKE
_rain_
in aedicules
flash for façade
wings pink explosion
street clod picking earth
mountain leaves projections
clusters violet twisted ancient walls
breath blossoms by blue black spread
solid sounds seen green scent along hands
picture warm souls violet without under promises
mysteriously rose smile seeming round sides
and yellow saturated tall against comfort
crow tree from river clod liquid curl
rushing hanging in branches
patch pink roof protrude
air space scent
milky niche
_rain_
REMAKE
rain
façade
flash
sides
rose
scent
liquid
branch
black
n
i
c
h
e
roof
a
n
c
i
e
n
t
spread
i
c
o
n
l
e
a
v
e
s
greengreengreengreengreengreen
ACKNOWLEDGMENTS
My acknowledgments go to: the primitive men, Jean François Millet, Pirandello’s Ciaula, Félix Bracquemond, Antonio Fontanesi, Pellizza da Volpedo, Ludwig Wittgenstein, Käthe Kollwitz, Peter Kollwitz, André Martinet, Jacques Derrida, Emil Nolde, Brenda Regan, Paul Klee, Caravaggio, Leonardo da Vinci, Lucio Fontana, Stephen Hawking, Boccioni, Lorenzo Viani, Apollinaire, Marc Chagall, Léger, Max Jacob, Delaunay, Soutine, Modigliani, Brancusi, Siqueiros, Rivera, Vincent and Théo Van Gogh, Antonin Artaud, Antonio Leitão, Campigli, Jean Jacques Rousseau, El Greco, Tintoretto, Raffaello, Michelangelo, Correggio, Il Parmigianino, Theophrastus, Demetrius, Cicero, Quintilian, Mario Pachi, Joel Weishaus, the WW2 American Soldiers, my father, Gustave Doré, Bill Lavender, Samuel Beckett, Hegel, Cayatri Chalkrvorty Spivak, Cubism, Impressionism, Mallarmé, Mozart, Lautréamont, Jean-Joseph de Mondonville, Max Ernst, Picasso, Jackson Pollock, Ronald Johnson, Pluto, Mollie Day, Johannes Brahms, Gustav Mahler, Rainer Maria Rilke, Georg Trakl, His Holiness the Dalai Lama, Rodin, Tod Lundbohm, Maurice Utrillo, Suzanne Valadon, the Erinyes, the Olympus, Jupiter, Mother Earth, Venus, Cupid, Mercury, Uranus, Mephistopheles, Hades, Michel Foucault, Ezra Pound, Ronald Johnson, Dante, Belacqua, Virgil, Mike Davis, Hieronymus Bosch, Hans Memling, St. John the Divine, James his brother, Titus Flavius Domitianus, H. Burgkmair, Hans Baldung Grien, Titian, Tobias Verhaecht, Diego Rodriguez de Silva y Velàzquez, Nicolas Poussin, Giotto, the Virgin, St. John the Baptist, Herodias, Salome and her mother, Apollyon, Mars, Juno, Leonardi & Ballardini, Giorgio Vasari, the saints in the aedicules, Wikipedia, and to all those who have loved me and have shared part of my way through.
The title: Instruments of Change is taken from a line of Ronald Johnson’s ARK. Several links bring to my blog, for each painting quoted I tried to respect the relative acknowledgments or I direct you to the main page.
© Anny Ballardini
