David Jones, artist and poet (1895-1974) begins his PREFACE TO THE ANATHEMATA :

'I have made a heap of all that I could find.' (1) So wrote Nennius, or whoever composed the introductory matter to Historia Brittonum. He speaks of an 'inward wound' which was caused by the fear that certain things dear to him 'should be like smoke dissipated'. Further, he says, 'not trusting my own learning, which is none at all, but partly from writings and monuments of the ancient inhabitants of Britain, partly from the annals of the Romans and the chronicles of the sacred fathers, Isidore, Hieronymous, Prosper, Eusebius and from the histories of the Scots and Saxons although our enemies . . . I have lispingly put together this . . . about past transactions, that [this material] might not be trodden under foot'. (2)

(1) The actual words are coacervavi omne quod inveni, and occur in Prologue 2 to the Historia.
(2) Quoted from the translation of Prologue 1. See The Works of Gildas and Nennius, J.A.Giles, London 1841.


31 May 2014

prim cal do rage


NOT TO BE MISSED! IF YOU DID MISS PRIMITIVE CALCULATORS ON RAGE THIS MORNING THEN DONT MISS THEM TONIGHT. MELBOURNES VERY OWN

CLICK IMAGE TO ENLARGE 
MORE bL/HA HERE (TOTE JAN 2009) AND HERE (MMoP MAY 2009)
AND DEFINITELY HERE
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31 MAY 2014
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https://www.youtube.com/watch?v=8J4hZ-hO-_I
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AS PERFORMED BY TAR_M 
TO THE MEANIES (MELB 1988-)
CLASSIC 10% WEIRD

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27 May 2014

LOGOS/HA HA : MASTERPIECE

         
Today, we received requests from two Australian Art Museums seeking donations for acquisitions. 

From QAGOMA for a "striking portrait" by Ben Quilty, Sergeant P, after Afghanistan 2012.

And from the National Gallery of Australia for this:



The National Gallery of Australia Foundation is proud to present a significant and charming painting, Benjamin Duterrau's An infant of Van Diemen's Land 1840, that we hope to acquire for the national art collection through the Masterpieces for the Nation Fund, now in its eleventh year.  However, this acquisition will only be possible with your generous support. 

Everyone’s life can be enriched through art. Through the national collection, stories can be told, experiences can be shared and the cultural landscape of Australia is enriched in perpetuity. The Masterpieces for the Nation Fund is an annual appeal that gives all Australians the opportunity to make a valuable contribution to the development of the national art collection. In order to tell a full and diverse story of our Nation’s art, the Gallery endeavours to acquire works of art that have originated from every Australian state and territory. 

Since 2003,  the Masterpieces for the Nation Fund has allowed the Gallery to acquire numerous major works of art, such as Florence Fuller’s serene Western Australian landscape A golden hour c1905, William Robinson’s torrid Queensland rainforest scene Twin Falls and Gorge 2000 and Nora Heyson’s beautiful Self Portrait 1932 from South Australia. This year, we look to our most Southern state, Tasmania, with Benjamin Duterrau’s memorable portrait.

An infant of Van Diemen's Land 1840 shows a robust Australian child with sweet, rosy cheeks sitting firmly on the ground playing with a cup and ball toy in a Tasmanian setting. She is dressed in white muslin, a late Regency-style dress with a bonnet, apt clothing for the Australian summer. She smiles, has alert blue eyes, and seems to be happily posing for this painting, which has little of the conventional sentimentality of many child images. The infant is depicted looking intently at a little bird (possibly a juvenile Flame Robin or a Tasmanian Thornbill) on the branch of a tree, an endearing companion to the little girl. Nearby there is a cool expanse of water. Beside her, springing from the ground, are self-conscious depictions of distinctly local Tasmanian plants—a white flag iris (the upper flower), Australian bluebells (below), spiny-headed mat rush or sedge and a white paper daisy. Above her, there are the leaves and yellow flowers of what is probably a wattle tree. In this way the artist made sure that his subject was recognisably ‘an infant of Van Diemen’s Land’. Certainly, the painting suggests Tasmania to be a safe and bountiful natural playground and her inhabitants to be healthy and free to play—in bare feet, as they might not have done back in cold, more restrictive England.

Donations above $2 are tax deductible. Contributions will be acknowledged in Artonview magazine and the National Gallery of Australia Foundation Annual Report.  Please help us to continue to develop the national art collection for the enjoyment of all Australians by making a contribution in support of Benjamin Duterrau’s engaging An infant of Van Diemen’s Land,1840.

Today's brochure of request refers to this object, in each of its three headlines, as a "masterpiece" : 
- Masterpieces for the Nation Fund 2014
- In pursuit of a masterpiece
- Help us bring an Australian colonial masterpiece into the national art collection.

Cranium scratching. When we hear the word masterpiece we reach for our fallback positions : 
- "Unsheathe your dagger definitions."(JJ)
- The Two Truths : relative and absolute, co-existing

Is this a masterpiece? Was Benjamin Duterrau a master? The wordage in support doesn't make the case :  
- He is admired today for his bold, naive style
- This delightful and naive painting...
- This robust Australian child with sweet, rosy cheeks...

We are not told the work's price, nor how much is being sought from us at this time of our supposed National Economic Crisis. A quick online search shows it was sold in London at Christie's Australian Art auction last September for £73,875 ($AU118,717).

Seen from the Centrelink queue, that's a change-of-life amount; but it's not a lot in the relativity of Art World Prices. Especially for a Masterpiece.

We presume, despite the words below, that the object has already been acquired by the NGA
... we hope to acquire for the national art collection through the Masterpieces for the Nation Fund, now in its eleventh year. However, this acquisition will only be possible with your generous support.
and therefore that this is a promotional or support-building exercise of some sort? If so, is this choice of object a reflection of the NGA's estimation of their audience? Is this the current dredging level of our national aspiration? Masterpieces for the Nation - whither Blue Poles?

Don't get us wrong, we do like this pic:
We like images of regard. 
This is an image of regard.
We like this.

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Sometimes we like figures of allegory.
This may or may not be one of those.
We like the cup and ball Instrument of the Passion that the infant holds.
It appears to mean everything to us/HA HA

 

We like lots of things for lots of reasons, and for reasons unknown. But just because we like things doesn't make them Masterpieces.
LOGOS/HA HA : buy it if they want, of course, but at a time when so much debased LANGUAGE and so little VISION (now there is a curious word) emanates from the ACT (another curious word use) do we really need this unnecessary resort to... MASTERPIECE?
        

     
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22 May 2014

Best Bait Ever!

     
We record today as the date we first heard, from an online journal editor, the term CLICK BAIT

Yesterday's irresistible lure ] lesson ( was the weirdly perverse Best Budget Ever! on YouTube

Don't you hate it when someone says : 
Click on the image below if you want to laugh like a fish or rage like a...

https://www.youtube.com/watch?v=LU1bheQT5kE&feature=youtu.be
image courtesy : Theatre of the Actors of Regard
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21 May 2014

Half a proposition :


It's an overcast Saturday in Melbourne. 

By invitation, we arrive at the Carlton Football Ground, each in our own way to play a part in Raafat Ishak's filming of Half a proposition for a banner march and a black cube hot air balloon.


       
Raaf and your correspondent are no strangers to AFL footy and had planned (before the Half A Proposition schedule became too full) to attend last night's game between the Bombers and the Sydney Swans. 

However, for many of those at Half A Proposition this was their first visit to an AFL arena.

So, let the game begin.
      
        
Many thoughts amidst the fun. Observing Raff's players by their physical effort and good humour keep these two breath-filled cubes afloat in this decommissioned football theatre, memories over-lapped of the recently deceased Melbourne identity, Keith Dunstan. 

Journalist and general bon-vivant, in 1967 Dunstan founded his alternative AFL : Anti-Football League. Their logo depicts a football that will not bounce.

                                        
Dunstan was very theatrical in his promotion of alternatives (including cycling) to the Melbourne football obsession. In 1972, he staged his own AFL counter-ritual at the holy of holies, the MCG :


      
Leaving the ground after Half a proposition... your correspondent noticed on the Wall of Legends a large number 2o above the name Geoff Southby. Inducted in 2000 into the Australian Football Hall of Fame and the Carlton Football Club Hall of Fame, in 2013 Geoff's CFC status was further elevated to that of Legend. Back in 1964, we shared a school desk together...
             

       
Below, as on-field Daruma Muralists in this 1971 pea-souper at Junction Oval, Geoff Southby (20) and Paul Shanahan (38) gaze into the void.
                     

      
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18 May 2014

The Label Setters


3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x 3 x             
    
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16 May 2014

Color Field Regard

          
A large crowd of Color Field enthusiasts attended last night's performance at Civic Hall by some local members of Theatre of the Actors of Regard.
        

            
This 90 minute tableau vivant took as inspiration : someone looking at the reproduction below ] with white trim ( of Mark Rothko's 1956 painted fabric, Orange and Yellow.
          
    
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15 May 2014

The problem with Bean Counters : Regarding buttons, gaiters and The Cost of War


This timely article by Tim Thornton, published in yesterday's 'The Age' :

The problem with the way we educate economists : click here
Neoclassical economists control the curriculum, but a global wave of protest might change that soon.


courtesy : The Debt Collection  
 
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14 May 2014

We, the Economy

    
I, the Entity ] vertical, yellow deep (


     
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13 May 2014

When is a stereotype not a stereotype?

 
Tonight, the Treasurer Joe Hockey will present his first Budget for the Abbott coalition Government. Given the leaks and predictions of 'savage cuts and broken promises', Parliament House, Canberra, has been dubbed for this event The House of Pain.
    
Commonly described as an Economic Rationalist, Hockey has been warning the people of Australia that 'the Economy is in crisis'; that 'the Age of Entitlement is over' and, as a consequence, that 'we must all do some heavy-lifting'.

On Friday last, having sent The Budget to print, Treasurer Joe Hockey and Finance Minister Mathias Corman with their cuban cigar props re-staged the epiLOGOS/HA HA scene from Boston Legal.
       
         
When is a stereotype not a stereotype? Compare the above with this postcard image from a hundred years ago. Form follows function, or what?


       
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10 May 2014

DAS BOOT Sans Frontières

    
As part of NEXT WAVE and DAS BOOT ...
             


... the boots of the Theatre of the Actors of Regard car fleet were opened to The Public today.
       


"If you would just stand there, please."
       

click image to enlarge LABEL
        

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DING AN SICH/HA HA
   

      

06 May 2014

DAS BOOT

  
extract from :  

more advertisements at ...
try again : more advertisements at ...

       
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05 May 2014

SERF SELFIES and the EYE-CON O' ME

         
In recent months, we've noted a number of fresh re-views of Capital and Economy.

The first of these was in a TV documentary series about attitudes to sex, in different countries. In the Cuba episode, the investigator while speaking with a group of women made an aside reference to "advertising". The woman being interviewed did not know what an advertisement was, and had difficulty understanding the explanation. (A shock moment of re-cognition, as when driving through East Germany in 1992 and 'seeing' an absence of advertisements.) An older woman in the group explained it very simply : "Advertising is commercial propaganda."
        

          
Since then, the publication in March of Capital in the Twenty-First Century by Thomas Piketty, a professor at the Paris School of Economics.

Thomas Piketty: the French economist bringing capitalism to book  by Larry Elliott, Economics Editor at The Guardian, 3 May 2014
     

        
And today we've been listening on ABC.RN to another French contributor, Peter Szendy, who is presently in Australia to give a series of lectures :
Peter Szendy : The Aesthetic Supermarket for Thinking Out Loud: The Sydney Lectures in Philosophy and Society at the State Library of NSW.
       
Lecture 1 :
From the department store to the shopping mall: cinema and its markets - Monday 5 May
Lecture 2 :
The value of images - Wednesday 7 May
Lecture 3 :
The commodity gaze - Friday 9 May


Today's radio program Peter Szendy : The new iconomy of images and exchange can be listened to online at The Philosopher's Zone. Recommended!

"This is what I would call Iconomic Capitalism"
- Peter Szendy
        

           
stilled image of "Spiritual" movement
frames-per-second
frames-perception
The Ladder of Divine Ascent
Eastern Orthodox ikon at Saint Catherine's monastery, Mt Sinai.


Into the mix, our own economy graphic statement :
     
 

stilled image of "Economy" movement
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04 May 2014

Why are Australian postage stamps so uninspired and dull?


We get lots of mail from our correspondents in France. 

Here's a corner of stamps, not atypical, received from France last week.

      
One coincides with the (28 April) anniversary of the Day of Remembrance of the Victims of the Holocaust.

Another, the post-WW2 project for a united Europe.
        
 
Often we receive a mix of such stamps on any one envelope - a mix of dates, a mix of subjects, a mix of considered arrangment too - from senders who care about the exchange of signs. 

Here also is a block of six from 1986 that celebrate French cinema and the Theatre of the Actors of Regard. 

From the NY Times Nov 1986 :

The French now have a sheetlet of 10 stamps to commemorate the 50th anniversary of La Cinematheque Francaise, the French institution that includes a museum as well as a film projection theater. The French sheetlet was issued Sept. 22. It illustrates scenes from 10 French films and honors their directors.

The films are ''Vampires'' (Louis Feuillade), ''The Novel of a Cheater'' (Sacha Guitry), ''The Baker's Wife'' (Marcel Pagnol), ''The Belles of the Night'' (Rene Clair), ''Golden Cap'' (Jacques Becker), ''Grande Illusion'' (Max Lindner and Jean Renoir), ''The Mirror with Three Faces'' (Jean Epstein), ''Love Cry'' (Jean Gremillon), and ''The Wild Child'' (Francois Truffaut) 

          

     
And what about Australian stamps? Thoughts arise of a favorite Mike Brown work :  
The Little Sheep, 1972. 
      

     
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01 May 2014

            
        
   
       
           
             
The Escape Caption
            
        
   
       
           
           


Theatre of the Actors of Regard (London, 1951)  

             
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