notations / third lecture / April 23rd / 2018

 

The question of how to write down my existential notations / my text was much more complicated than I had expected during my years of studying.

By the way, my studying consists mostly in visiting all the big temporary and permanent exhibitions in all the great museums in Germany.
So I learned a lot about how the respective others (Bacon, Giacometti, Guston, Beckett, Bernhardt – to name just a few of my heroes) where forced to deal with this problem and how they finally solved it.

I had understood; I have to find my very own solution – based on a universal grammar.

So my concentration was fixed on a methodical proceeding with which to elaborate in one process of notation both:
the universal grammar and my own kind of manifesting the impulses.

 
Featured
different strategies
different strategies

we use different strategies
to denude the grammatical structure
in order to realize
the signs of the alphabet are absolutely naked
and the space between them equally empty

(wordfields I)
(wordfields I)

the signs are building rows
of pure emptiness
which we cannot bear
in not one case

name it (wordfields II)
name it (wordfields II)

the bare emptiness
forces us to fill the space between
in order to be able to name it
to fill the nothingness
with names

pure nakedness
pure nakedness

seeing both at the same time
the pure nakedness
of the grammatical structure and the names
(inseparably interwoven
with all the mater around us; the things –
the spaces and the objects with which
we are interacting)
brings out pure sensuality

score
score

in this sense (in the sense of meaning)
every work of art or design
is both; a material thing and a score
to make the sensuality of our moving from one
to another point come alive

between the points
between the points

as those
who want to be imbued
by the endless connections between
the self (of all of us)
and the subjective being (of each of us)
we have to accept the pure emptiness
within the grammatical space
between one point and another

...
...

on the other hand
only what is empty can be filled
(oh my God! nothin but
a ridiculous and useless calendar motto…
we shouldn’t go on like this!)

in-between
in-between

/ disconnect
/ divide
the elements / points / perforations
of the constellation
of Orion (for example)
in order to find
the nothingness

the truth lies within the points
the truth lies within the points

the truth may lie within the points
(by their undoubtable position to each other)
but by the nothingness between the points
we got the freedom
to be independent of any sense

our own volition
our own volition

and so we did not got
only the permission
but much more the necessity
to connect
the perforated truth
in order to create sense / sensuality
(the affection of the senses
we call aesthetics)
only of your own volition

the same with names
the same with names

and we do the same
with our names
with every denotation / connotation
in relation to
our subjective manifestation
of truth

sense / sensuality
sense / sensuality

so we see
a name belongs to everything
that is placed in a relation
in order to produce
a sense / sensuality

so names / words / sentences are parts of a score / a text done by ourselves to design the sense of our physical existence

so
names / words / sentences are parts
of a score / a text
done by ourselves
to design
the sense of our physical existence

von Punkt zu Punkt – (beiderseits des Himmelsäquators) in der Nacht ein Liebender – Orion / der wie die Bogenschützen blind die Zeit in tausende Stiche zerteilt / dass er zugleich mit mir – der Sehnsucht erlag einen Namen zu tragen wüsste ich’s nic

von Punkt zu Punkt
–
(beiderseits des Himmelsäquators)
in der Nacht ein Liebender
–
Orion / der wie die Bogenschützen
blind die Zeit in tausende Stiche zerteilt / dass er zugleich mit mir
–
der Sehnsucht erlag einen Namen zu tragen
wüsste ich’s nicht besser hätte ich gedacht
–
dass Du mich gerufen hast

Tomaso Carnetto