northanger (northanger) wrote,
northanger
northanger

  • Music:

merging at the horizon



AQ 115 = ROCHEL (17th Goë | Shem ha-Mephoresh: 69th RAH, Rochel) = HORON (Phoenician god of the Underworld) [+][+] = VIPER.

AQ 473 = BLESS THE BEASTS AND CHILDREN (Carpenters; AQ-360) = OPERATIONAL ENVIRONMENT = UNIVERSE OF RECTIFICATION.

AQ 140 = MORAVEC = RANCHERA (The Savage Detectives)...

AQ 360 = BOX CANYON BOYS CAMP (AQ-473 BLESS THE BEASTS AND CHILDREN) = MERGE AT THE HORIZON = MONAS HIEROGLYPHICA = ARCHIMEDEAN GEOMETRY (see AQ-364) = OSCAR CÁCH I GCEIRD ARAILE (Irish proverb, "everyone is a beginner at another's trade or craft") = PROXY FORWARDERS (AQ-71 RFC2573) = SEXIGESIMAL META-CODE (AQ-215 CONNEXUS AI) = SUNSHINE SUPERMAN (Donovan) = SUPERNOVA REMNANT (AQ-78 SNR) = SYMBOLIC THRESHOLD = TAILWIND COMPONENT = THE COMITY OF STARS = THE FAIRYLAND OF LOVE (Tuesday Afternoon, The Moody Blues) = THE GRISSOMS' ORBIT = VIRUS STRUCTURE (Rosalind Franklin) = WASSILY KANDINSKY =XANDARIAN WORLDMIND.

AQ 540 = ART AND LIFE MERGE AT THE HORIZON = THEIR QUEST OF CESÁREA TINAJERO = A UNPLACEABLY ELDRITCH QUALITY (Italian Prog, Woebot) = HERE IS THE GREATEST ANTIPATHY ("Saturn in Sagittarius"; Ten of Wands ~ Oppression) = LETTERS FROM NORTHANGER ABBEY = PERFORMATIVE DEMONSTRATION = XHTML TRIGGERS (STRUCTURAL) = WHITE SHEETS TO SPREAD SHEETS (AQ-95 CAGING) [+].

AQ 765 = THE TRACKS OF ART AND LIFE MERGE AT THE HORIZON = HEGEL'S MEDIATION AND KIERKEGAARD'S REPETITION = HYPERSTITIONS WITHIN HYPERSTITIONS = INEXORABLE CONSEQUENCE OF VESTED INTEREST (Piet) = IRREVERSIBLE SYSTEMIC UNALTERABLE DILEMMA (Piet) = MOST IMPORTANT STATISTIC IN THE ECONOMY (AQ-301 KURZWEILOMICS).

AQ 922 = WATCHING THE TRACKS OF ART AND LIFE MERGE AT THE HORIZON = COURT OF HIGH COMMISSION AND THE COURT OF STAR CHAMBER = DISJUNCTION BETWEEN AUDITORY VOICE AND VISUAL IMAGE = TUNNELLING CURRENT PROPORTIONAL TO BIAS VOLTAGE (Coulomb blockade).

AQ 1357 = WATCHING THE TRACKS OF ART AND LIFE MERGE AT THE HORIZON AND LINGER THERE LIKE A DREAM = FOR THE CROOKED MAN IS HATEFUL TO THE LORD, BUT HIS SECRET IS WITH THE RIGHTEOUS (Proverbs 3:32).


In one of the most haunting stories, "Dentist," Bolaño comes close to expressing his own aesthetic principles. The narrator is visiting an old friend, a dentist who introduces him to a dirt-poor Indian boy with whom he seems to be infatuated and who turns out to be a literary genius. In the course of a long evening of inebriated conversation, the dentist expounds on the nature of art:

"That's what art is, he said, the story of a life in all its particularity. It's the only thing that really is particular and personal. It's the expression and, at the same time, the fabric of the particular. And what do you mean by the fabric of the particular? I asked, supposing he would answer: Art. I was also thinking, indulgently, that we were pretty drunk already and that it was time to go home. But my friend said: What I mean is the secret story. . . . The secret story is the one we'll never know, although we're living it from day to day, thinking we're alive, thinking we've got it all under control and the stuff we overlook doesn't matter. But every damn thing matters! It's just that we don't realize. We tell ourselves that art runs on one track and life, our lives, on another, we don't even realize that's a lie."

Like Bolaño's work, this definition of fiction is at once transparent and opaque, lucid and elusive. And yet we intuit what he means. Reading Roberto Bolaño is like hearing the secret story, being shown the fabric of the particular, watching the tracks of art and life merge at the horizon and linger there like a dream from which we awake inspired to look more attentively at the world. [+]

AQ 4140 = READING ROBERTO BOLAÑO IS LIKE HEARING THE SECRET STORY, BEING SHOWN THE FABRIC OF THE PARTICULAR, WATCHING THE TRACKS OF ART AND LIFE MERGE AT THE HORIZON AND LINGER THERE LIKE A DREAM FROM WHICH WE AWAKE INSPIRED TO LOOK MORE ATTENTIVELY AT THE WORLD.


In 1947 the theologian and musicologist Friedrich Smend published the first of four studies in which he presented his theory that Johann Sebastian Bach had used a number alphabet. Smend and his friend Martin Jansen had been investigating traditional symbolic numbers in Bach's music since the early 1920s, but it was not until just eighteen months before Jansen's untimely death in September 1944 that Smend wrote to him about the number alphabet. Smend was clearly very excited about the increased possibilities it generated for the interpretation of the numbers they had found. Jansen, however, was worried. On 20 June 1943 he wrote to Smend:
Your interpretation of 4140 is interesting, to say the least, but it all sounds too rash as yet. Following Dieben's thought processes gives me the uncomfortable feeling that everything is in flux and an exact interpretation is no longer possible. All sorts of things can be read out of each and every number.
The Dieben here referred to was the Dutch pianist Henk Dieben, who had an interest in number symbolism. In March 1943 he had solved for Smend the puzzle of Picander's Paragramma Cabbalisticum trigonale by explaining to him the trigonal alphabet. Smend reproduced Picander's paragram (see Table I) at the beginning of his 1947 study. He followed it by putting forward evidence for the existence of number alphabets in Bach's time and by showing how Bach made use of the natural-order number alphabet A = 1 to Z = 24 (see Table IIe). He then gave an interpretation of Bach's use of this alphabet. [+]
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She shows that his principal source for the theory was the single example of a poetical paragram (a poem in which the numerical values of words and lines, according to various numbering systems, is used to structure the poem—that is, all the lines of the poem may add up to the same number), published in Picander's Ernst, Schertzhaffte und Satyrische Gedichte (Leipzig: Joh. Theod. Boetii, 1732; the paragram is dated 1730). Tatlow points out, however, that Picander's example is based on a trigonal alphabet (in which successive integers are added to the value of the previous letter: A=1, B=3, C=6, D=10, etc.), as Smend himself acknowledged, and not the natural-order alphabet that Smend used in his interpretation of Bach's music. [+]
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Bach and the Riddle of the Number Alphabet, Ruth Tatlow

Tags: Bolaño, bach, botis, carpenters, horizon, rochel
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