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detail
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The Lamp
you can hurry the pictures toward you but
there is that point that the whole thing itself
may be a passage, and that your own ability
may be a factor in time, in fact that
only if there is a coincidence of yourself
& the universe is there then in fact
an event. Otherwise—and surely here the cinema
is large—the auditorium can be showing
all the time. But the question is
how you yourself are doing, if you in fact
are equal, in the sense that as a like power
you also are there when the lights
go on. This wld seem to be a
matter of creation, not simply
the obvious matter, creation
itself. Who in fact is any of us
to be there at all? That’s what
swings in the matter, also—
the beam hanging from
Charles Olson
THE NECESSARY ANGEL
Wallace Stevens
The Relations between Poetry and Painting.
Wallace Stevens
The Relations between Poetry and Painting.
The theory of poetry, that is to say, the total of the theories of poetry, often seems to become in time a mystical theology or, more simply, a mystique. The reason for this must by now be clear. The reason is the same reason why the pictures in a museum of modern art often seem to become in time a mystical aesthetic, a prodigious search of appearance, as if to find a way of saying and of establishing that all things, whether below or above appearance, are one and that it is only through reality, in which they are reflected or, it may be, joined together, that we can reach them. Under such stress, reality changes from substance to subtlety, a subtlety in which it was natural for Cezanne to say. "I see planes bestriding each other and sometimes straight lines seem to me to fall”........It was from the point of view of another subtlety that Klee could write: "But he is one chosen that today comes near to the secret places where original law fosters all evolution. And what artist would not establish himself there where the organic center of all movement in time and space—which he calls the mind or heart of creation —determines every function.
“Art is the only twin life has,” Olson declared; it is “the only valid metaphysic”
since it “does not seek to describe but to enact.”
Charles Olson
Wholly absorbed into my own conduits to
an inner nature or subterranean lake
the depths or bounds of which I more and more
explore and know more
of, in that sense that other than that all else
closes out and I tend further to fall into
the Beloved Lake and I am blinder from
spending time as insistently in and on
this personal preserve from which
what I do do emerges more well-known than
other ways and other outside places which
don’t give as much and distract me from
keeping my attentions as clear
Charles Olson, "Additions", March 1968—2
It is, what the dream told me
(you will remember): of rhythm is image
of image is knowing
of knowing there is
a construct
“Whatever you have to say, leave the roots on, let them dangle,
And the dirt, Just to make clear where they come from.”
God and the imagination are one
Wallace Stevens
Painting is stronger than I am it makes me do what it wants
Picasso
Creation exceeds perception
Wendell Berry
Augustines three requisites for beauty- Wholeness -symmetry -radiance
Modernism - the fragment -asymmetry - stream /unconscious
We are not a set of private meanings that we can choose or not choose to make public to others. We are the sum of our visible gestures. We are as available to others as to ourselves. Our gestures are themselves formed by the public world, by its conventions, its language, the repertory of its emotions, from which we learn our own. It is no accident that the work of Morris and Serra was being made at the time when novelists in France were declaring, “I do not write. I am written.
Rosalind Krauss, Passages in Modern Sculpture
The excellence of every art is in its intensity. Keats
