From Linda Gregg‘s essay (2006) :
There are two elements in “finding” a poem: discovering the subject matter and locating the concrete details and images out of which the poems are built. In this instance, I do not mean the subject matter to be the ideas or subjects for poems. Instead, I am referring to finding the resonant sources deep inside you that empower those subjects and ideas when they are put in poems. For example, I am made of the landscape in northern California where I grew up, made of my father’s uninhabited mountain where my twin sister and I spent most of our time as small children with the live oak trees, the stillness, the tall grass, the dry smell of the hot summer air where the red-tailed hawks turned slowly up high, where the two of us alone at ten did the spring roundup of my father’s twenty-six winter-shaggy horses. Down below there were salmon in the stream that ran by our house, the life of that stream and the sound of it as we lay in our bunks at night, our goat and the deer standing silently outside in the mist so many mornings when we awoke. The elements of that bright world are in my poetry now when I write about love or Nicaragua or the old gods in the rocky earth of Greece, just as the Greek islands where I lived for almost five years resonate in the poems I write now about the shelter for abused women in Manhattan or how a marriage failed in New England—but not directly. They are present as essences. They operate invisibly as energy, equivalents, touchstones, amulets, buried seed, repositories, and catalysts. They function at the generating level of the poems to impregnate and pollinate the present—provoking, instigating, germinating, irradiating—in the way the lake high up in the Sierra mountains waters the roses in far away San Francisco.
In the deployed undercommons.
Also, Black Kant, black chant, N.H. Pritchard .
Another reference to Kant.
“All the richness of the imagination,” Kant cautions in the Critique of Judgement, “in its lawless freedom produces nothing but nonsense.”
Knowledge of Freedom by Fred Moten CR: The New Centennial Review Vol. 4, No. 2, phosphorescent memories (fall 2004), pp. 269-310
The School of Life on some pivotal moments in the development of Romanticism, adjusted the way we feel and look at the world – influencing thoughts on love, nature, industry and children.
Related : A longer piece on the shortcomings of Romanticism.
A plaque at Watts Towers Arts Center.
“One does not have to be a visual artist to utilize creative potential. Creativity can be an act of living a way of life and a formula for doing the thing.” Noah Purifoy
Text by Nick Romeo
Behavioural economics […] celebrated for identifying and analysing many of the core biases in human cognition.
Plato not only identified various specific weaknesses in human cognition, he also offered powerful proposals for how to overcome these biases and improve our reasoning and behaviour.
Plato’s dialogues dramatise the habits and processes that lead humans to false conclusions. He depicts people believing what they want or what they are predisposed to believe (confirmation bias); asserting whatever comes most readily to mind (availability bias); reversing their opinions about identical propositions based on the language in which the propositions are presented (framing); refusing to relinquish current opinions simply because these happen to be the opinions they currently possess (a cognitive version of loss aversion); making false inferences based on the size and representativeness of a sample of a broader population (representativeness heuristic); and judging new information based on salient current information (a version of anchoring).
Much more on Aeon.
How to Live Together: Novelistic Simulations of Some Everyday Spaces
Roland Barthes, 1976–1977. Translated by Kate Briggs, 2012.
Columbia University Press
How to Live Together …, a series of lectures exploring solitude and the degree of contact necessary for individuals to exist and create at their own pace.
…In this work, Barthes focuses on the concept of “idiorrhythmy,” a productive form of living together in which one recognizes and respects the individual rhythms of the other. He explores this phenomenon through five texts that represent different living spaces and their associated ways of life: Émile Zola’s Pot-Bouille, set in a Parisian apartment building; Thomas Mann’s The Magic Mountain, which takes place in a sanatorium; André Gide’s La Séquestrée de Poitiers, based on the true story of a woman confined to her bedroom; Daniel Defoe’s Robinson Crusoe, about a castaway on a remote island; and Pallidius’s Lausiac History, detailing the ascetic lives of the desert fathers.
Some Remarks by Lucy O’Meara.
Claude Coste le lundi 6 août 2012 à Lagrasse, dans le cadre du Banquet du livre d’été.
…Solitaire ou solidaire.
…successful idiorrhythmy via the writer(artist)’s life.
Madeleine Boschan – if ever before, far off, and listen. 2015. Galerie Bern Kugler.
Madeleine Boschan – Collectors Agenda. Website. IG.
Douglas Burnham elucidates Kant’s Critique of Judgment. Kant discussed aesthetic judgement, taste, beauty, claims leading to formalism, aesthetic ideas (leading to conceptualism and to formlessness), aesthetic experience, the sublime, genius and fine art. Also, Kant bridged aesthetics to ethics.
A refresher and/or necessary reading in relation to Duchamp’s Fountain. NSU Art Museum celebrates the centenary of Fountain. Fountain and the stories told about it seem to dramatize Critique of Judgment.
I would separate the valorization of Duchamp from the mythologizing of Fountain.
Baroness Elsa von Freytag-Loringhoven might need to be acknowledged.
Related – Burnham answers questions via AskPhilosophers.
Thoughts on humanism as an ongoing project questioning the nature of god and of humans, through poetry and science.
On poetic language.
On love generated from maternal space.
More videos and text.
Via Perverts at Cell Projects.