notations / six lecture / May 28th / 2018

 

The colour
/ of the name
/ of the event

Names
we give to a person,
an object or a place are not
primarily given
to distinct the one from the
other and be able to
identify his place within
a functional system
but much more in terms of
a program that points
to an unique event

So we can say, a name is
something that arises
incidentally and finally will
disappear to indicate the
segment of the whole
narration which belongs to
the respective (my, your,
our) name.

Featured
colours of the narrative
colours of the narrative

1
on my way back to Danton’s death
/ Georg Büchner
/ Lenz
/ walking on the head
/ along the highs of the woods
the traces will involuntarily led to
the colours of the narrative

stepping down the stairway
stepping down the stairway

2
the head / the cold
/ the wind on her face
the sound of her feet
stepping down the stairway
all this – and everything else –
not only
has its own colour
it’s made of colours

relation to the light I
relation to the light I

3
the colour is caused by
the movement of the material in
relation to the light

II
II
III
III
a shifting and transitory window
a shifting and transitory window

4
Marcel Proust tells in „Swann’s Way“:
„Someone had indeed had the happy idea
of giving me,
to distract me on evenings when I seemed
abnormally wretched,
a magic lantern,
which used to be set on top of my lamp
while we waited for dinner-time to come;
and, after the fashion of the master-builders
and glass-painters of Gothic days,
it substituted for the opaqueness of my walls
an impalpable iridescence,
supernatural phenomena of many colours,
in which legends were depicted as on
a shifting and transitory window.“

an inappropriate extension I
an inappropriate extension I

5
that something is coloured says
it is swollen (from Old English geswollen
/ past participle of swellan)
in the meaning
of an inappropriate extension

II
II
III
III
IV
IV
following the colours I
following the colours I

6
so every narrative is an inappropriate
extension of what refuses its assigned coordinates
by following the colours
to become visible

II
II
III
III
nature inserts colour into the grammar I
nature inserts colour into the grammar I

7
in nature every colour is related
to lust or danger
this is the way we use colour too
or vice versa
„Life imitates Art far more than Art imitates Life“
/ says Oscar Wilde in
„The Decay Of Lying – An Observation“
/ in other words:
nature inserts colour into the grammar
of evolution
by adapting directly to the art

II
II
"untrue things is the proper aim of Art" I
"untrue things is the proper aim of Art" I

8a
Oscar Wilde:
„Art
/ never expresses anything but itself.
/ All bad art comes from returning
to Life and Nature
and elevating them into ideals.
/ Life imitates Art far more than
Art imitates Life
It follows as a corollary that external
Nature also imitates Art
/ Lying, the telling of beautiful
untrue things
is the proper aim of Art.“

II
II
something else we cannot name
something else we cannot name

8b
The first and the last of all possible
lies is colour
–
we assume there is a colour
but in fact there is nothing
but the reflection of
something else we cannot name

only coordinates can be a subject of truth
only coordinates can be a subject of truth

9
Wilde is talking about the lie
in relation to what is right or false
in its very basic dimension
of the position of the points
or perforations
/ as we have learned; only the points
/ the perforations,
/ the coordinates can be a subject of truth
(by the way: therefore
sciences alway try to refer
to the relationship of points
in a mathematical way –
no matter which subject should be researched
and systematically defined)
–
but in terms of the truth
of the perforations
the lines in between and the volume
/ the movements
/ the colours
/ the materials
(which bloats itself from line to line)
are always a lie

art is an event of extending
art is an event of extending

10
so we see, neither colour nor narrative
(which is not to be told without the volume
(except the colour also the movement
and the material of words))
own values
that can be set as false or true
(these values are only those
of the mathematical dimension of the grammar)
–
rather
art is an event of extending
the present
by writing signs and fulfill them
with their respective volume

in front of our eyes
in front of our eyes

11
an event (or incident) is something
that’s taking place
in front of our eyes
(or better to say: in front of our face
/ recognizable by our senses)
–
incident
= the relation between an edge
(of the geometrical shape) / a line
and one of its endpoints
–
incidence matrix
= the incidence matrix of a graph
is a matrix whose rows are indexed
by vertices of the graph
and whose columns are indexed by edges
(seen from the logic of grammar;
how the Euclidian static establishes
within a topological space)

a product which produces desire
a product which produces desire

12
all in all for to design an event
/ the process of design
(whose result will be a product
which produces desire / lust)
we need the triad
/ the structure made of points and lines
/ the colour
(and the related volumes
of movement and material)
/ the names (captions
/ cutlines from words)
–
now we can think about
giving a name to the subject
/ we are working on
/ to ourselves

 
Tomaso Carnetto