Date: Sat, 21 Jun 1997 20:47:42 -0700
Subject: MB: Sur le stelle x-reeling, con violoncello con hors in gamba


+_______________________ [Art-tow a-way Zone] ________________________ -
 |		          P   A   R   T   2			      |
 |								      |
 |								      |
 |...and what would it feel like to gain a passage within the gods?   |
 |Like walking through a silhouette. From the house next door, a call |
 |is sent, about much and soft memory, from who awaits the fate of    |
 |the dead, who have circles performed above them, of wings spread,   |
 |and talons poised; there I return a welcome, and a turn st(y)le     |
 |on memory - where destiny is the density of disasters dusty air, as |
 |we are silouetted there as pure outline. "[S]ecret reign" enough?   |
 |Almost feels like that of Danae.				      |
 |	Then there is the cello. What produces sound by drawing the   |
 |bow across the strings, or by plucking the strings, all while it is |
 |leaning against the body, balanced by tighs; an outside ever so(wn) |
 |within. Yet there is the "privi" 'telos', or what is even clearly   |
 |without a "theos", or 'privy' to one. Tertium quid avec Todorov con |
 |Lacan, or "..Baltimore in the early morning."? (Lacan, "Of Structure|
 |as an Inmixing of an Otherness Prerequisite to Any Subject Whatever"|
 |Oct, 1966, see in _The Structuralist Controversy_, p. 186-200).     |
 |								      |
 |_______________________(Co-naissance) ______________________________| 
			       |
			       |
	Which brings it back to wish upon Sur-reelings, and maybe, (if 
they desire), to Luis Bunuel. Evoking enough? Lightness given? 'Only 
experienced', and that Moore said - and what if this liveability, as 
somatic-response-ability (see Socha) floods Magritte's "language 
paintings" with the "open air [that Leo Raggo would] share"? An art-tow 
a-way zone part 2, wouldn't you say? Passe-Partout, and beveled! Matto!
Yet, "Ne devient pas fou qui veut"(Not everyone has the good luck to go 
mad. Lacan). Without the mat, then maybe "mat"(Fr.), or the gold of those 
who "know", and noun analytically. (Fools gold!?!). Sufficies to read 
that I have mentioned _The Truth In Painting_, or was that 'in painting', 
which is practiced by departments of Conservation? 
"
|
|__                    "le travail a parer" 			   ___
								      |
								      |"
						   (Derrida, _The Truth 
						    in Painting_, 80).

	Then there are Leonardo's 24 questions. Forget the first. As far 
as the second, well, there, within the open air, and spreading logos, 
it's about the craft of (k)nowing art. The third always should take its 
'ought' from the two who invited it to the orgy. The fourth, or of prison 
walls, are the halls of what conserve, the museums. The fifth, a fifth of 
sorts, also an opus 67 in do minore (1808) is where the questioner 
himself listens to the "knocking of destiny at our door" (Beethoven). 
Solitude is the lock of energy in the turn-st(y)le. _Eroica_ then! The 
sixth only does if it collects dust, yet without the bevel, the work 
within the passe-partout would be a techne' disaster. Crafty enough? To 
seven, I later return, up to twenty-fou-four,....some amour, wouldn't ya' 
say? To your,...
		      "..inexhausitible murmur,.."(_IC_,411)

entre chien et loup dans
lalangue trespasses,
Lucio Angelo Privitello