From Harry, Pure & Simple

From Harry, Pure & Simple

Lavalou Man [for Memo]

And the question would be – where is the Lavalou Man? Be he aficionado, devotee [or] purveyor, of the favored botanical. Or rather where, in the image delivered, is he among such entities and articles, as rather flatly are emerging from this rather intransigent presentation of materials?

Where is the Lavalou, man (man).

Purveyor, affianado, devotee, the Man Himself. This series is not disjunctive. The Lavalou Man resides in the folds, the passes, the occlusions. Affined to the evanescent personality of the botanical itself.

A clue. There is, it appears, a thing here, not an image only. And the thing is an extrusion of the particular will to feast on imagery. The business begins with a will to see. And ends with a thing to be seen. An unexceptionable itinerary.

Folded metal slabs of unshook foil: a la derecha.

Bottom left: A slab of metal spoiled by paint.

The transformations of beinghood are perpetrated within small compass. We shall delete reference to the particular entities as they initiate and terminate attention, and concentrate upon the transitional modalities within which said entities resume each other’s “portion”-side-stepping the order of fatalities entirely. Not that it is uncommon that an image occlude the issue of its destiny. Attention to the elision thereof-that is uncommon indeed.

The little images do elide among each other. We shall not count them. The fatal motion is neither serial, (disjunctive), nor controlled by any habit of pure order. That fatality remains in spite of the dissolution of access to narrativity through such machinery is worthy of note.

I have hesitated till now to bring to our attention the writings if Bruno Schultz. There are things, says Schultz, whose being is excerpted from time, left behind, or simply out-posted to irrelevant lodgings, no school describes this.

But these things are not exempt from a certain fatality, though one which quite anomalously excerpts even fate from time. An itinerary that is uncommon indeed.

Blue night, not without its representations of velocity – quasi-stellar sources darting off to the margins. A silver machine composed of straps and flattened buttresses and a wall to frame the landscape of that which defies what cannot be.

I would not pretend to preempt the cogitations of the Lavalou Man, especially in regard to his own teaming ground; his “authority,” such as it is, comprises an entire territorial imperative, and his invitations, like invitations quite generally, come along with an expectation that they will not be refused. He does not suffer solicitations in this regard. He will leave you quite alone on the condition of simultaneous reciprocation.

The dispossession that arises in one’s attitude when he makes himself scarce at offensively inappropriate intervals, is, in an inverted sense, exemplary.

Charles Stein, Barrytown, NY, 12:07

Lavalou Man, II

 “Hey Cisco, Wait for Pancho” [for an honest Paco, the optometrist around the esquina]

Alternate Titles :: Hell Bent for Leather, Headed for the Last Roundup, Life’s a Bicho, and Then You Dies

“Hey Pancho, Wait for Cisco”

An Illusion of Projective Intransitivity

At the bottom of the sea, cruel as it may be, all things attain their intransitivities. Such is the nature of the “sea-change” Ariel sung of, “into something rich and strange”; Neptunian nevertheless. “I have always known my fate would be timeless.” This text is starting off intransigently allusive, the advantage of which is, beyond intransitivity, the violation of any sort of seriality whatever. The arrows that join the dots and the dots themselves, sink into their own occasion with what finality, what recourse. For the intransitive IS intransigent and taken advantage of to the logical limit finds, through all recursion, that impossible entity, the “thing itself.” And that is what we see here, the very Rock of Elsewhere, which is at once the radical Prince of Heredom and together their abusive emblemality: their capacity to assemble the qualities of every thing that seems, into the Monster Singularity; impossible in just this: that they extrudes a symbology of the singular. A beautiful optical song scored by light. One brick in the wall of necessary inconsequence. The overwhelming monstrance: the color blue.

Charles Stein, Barrytown, NY, 24.01.08

Assumption of Beautiful Persistance

They Travel Together ‘on the Wings of Time’

Travelling Together ‘On the Wings of Time’

 A few words of relational explanation: All of the pieces in this gallery [and some in others] derive from constructed “objects” [I call ‘the object function’] that were made in order to be “photographed” with minimal (or no) computer transform intermediates.

For example: “They Travel Together on the Wings of Time” is essentially a horizontal rotation and 50% blend of the image of the object in the fountain with the similar title. (HB 16:12:07, Cuernavaca)

How the Leopard Got Its Spots – 1st ∂

How the Leopard Got Its Spots – 2nd ∂, for Gerrit.

How the Leopard Got Its Spots – 3rd part;

A temporary, tertiary object – containing both the first derivative and its object function.

4th part; – How the Leopard Lost Its Spots

A reified object, containing no trace of the object function.

If You Require Attention, Contact Me at That Number Not the Other One

Once We Were One

“Once We Were One”, 1st part;


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