Log24

From a New York Times  obituary by Bruce Weber tonight—

Charles Marowitz, Director and Playwright, Dies at 82

“There are two kinds of bafflement in the theater: the kind that fascinates as it perplexes, and the kind that just perplexes,” he wrote in The Times in 1969 in an essay about Mr. Shepard’s play “La Turista,” which had recently opened in London. “If a play doesn’t make quick sense, but enters into some kind of dialogue with our subconscious, we tend to admit it to that lounge where we entertain interesting-albeit-unfamiliar strangers.

“If it only baffles, there are several courses open to us: we can assume it is ‘above our heads’ or directed ‘to some other kind of person,’ or regretfully conclude that it confuses us because it is itself confused. However, the fear of being proved wrong is so great today that almost every new work which isn’t patently drivel gets the benefit of the doubt.”

 Another play by Sam Shepard mentioned in the obituary suggests a review of…

• “From the Witch Ball,” a post from May 2,
  the reported date of Marowitz’s death
• “Two Satanic Majesties Request All-Devouring Fame,”
  a NY Times  review from October 9, 2006
• This  journal on that date— October 9, 2006—
  “Art Wars: To Apollo.”

"Got to keep the loonies on the path."

— Lyrics to Dark Side of the Moon

For those who, like Tom Stoppard, prefer the dark side—

Not quite so dark—

"And then one day you find ten years have got behind you."

— Lyrics to Dark Side of the Moon

This journal ten years ago, on August 25, 2003—

"A view of New Haven, say…." —

"This is the garden of Apollo,
the field of Reason…."
John Outram, architect 

A similar version of this Apollonian image —

  Detail:

Related material for the loonies:

"the spirit's alchemicana."

Today is Commencement Day at MIT.

Well, perhaps not quite nothing.

The above pictures were posted here on the day the following book was published—

The lives of the nine Jews in the above book amount to more than Yau's "nothing."

Note, however, that claims by Jews (see Jill Abramson yesterday) 
that their secular publications constitute a substitute for religion
and contain only "absolute truth" should be viewed with at least one
raised eyebrow.

Abramson's remark yesterday that her promotion to New York Times  executive editor
was like "ascending to Valhalla" had a religious flavor worthy of yesterday's
Feast of the Ascension.

In related news from yesterday's Times—

See also a symbol related to Apollo, to nine, and to "nothing"—

A minimalist 3×3 matrix favicon—

This may, if one likes, be viewed as the "nothing"
present at the Creation.  See Jim Holt on physics.

“What on earth is a 'concrete universal'?"
— Said to be an annotation (undated)
by Robert M. Pirsig of A History of Philosophy,
by Frederick Copleston, Society of Jesus.

From Aaron Urbanczyk's 2005 review of Christ and Apollo  by William Lynch, S.J., a book first published in 1960—

"Lynch's use of analogy vis-a-vis literature provides, in a sense, a philosophical basis to the theoretical paradox popularized by W. K. Wimsatt (1907-1975), which contends that literature is a sort of 'concrete universal.'"

The following figure has often been
offered in this journal as a symbol of Apollo—

Arguments that it is, rather, a symbol of Christ
may be left to the Society of Jesus.

One possible approach—
Urbanczyk's review says that
"Christianity offers the critic
   a privileged ontological window…."

"The world was warm and white when I was born:
Beyond the windowpane the world was white,
A glaring whiteness in a leaded frame,
Yet warm as in the hearth and heart of light."

— Delmore Schwartz

In The Garden of Allah

"But not, perhaps,
in the Garden of Apollo":

— "Garden Party" —
Log24, April 9, 2007

Related material:

"When, on the last day of February 1953 Francis told her excitedly of the double helix discovery, she took no notice: 'He was always saying that kind of thing.' But when nine years later she heard the news of the Nobel Prize while out shopping, she immediately rushed to the fishmonger for ice to fill the bath and cool the champagne: a party was inevitable."

— Matt Ridley on Odile Crick (The Independent, July 20, 2007), who drew what "may be the most famous [scientific] drawing of the 20th century, in that it defines modern biology," according to Terrence J. Sejnowski, a neuroscientist at the Salk Institute for Biological Studies in La Jolla quoted by Adam Bernstein in The Washington Post, July 21, 2007

See also "Game Boy"
(Log24 on the Feast
of the Transfiguration–
August 6, 2006):

Rosalind Krauss
in "Grids," 1979:

"If we open any tract– Plastic Art and Pure Plastic Art or The Non-Objective World, for instance– we will find that Mondrian and Malevich are not discussing canvas or pigment or graphite or any other form of matter.  They are talking about Being or Mind or Spirit.  From their point of view, the grid is a staircase to the Universal, and they are not interested in what happens below in the Concrete.

Or, to take a more up-to-date example…."

"He was looking at
the nine engravings
and at the circle,
checking strange
correspondences
between them."
— The Club Dumas,1993

"And it's whispered that soon
if we all call the tune
Then the piper will lead us
to reason."
— Robert Plant,1971

The nine engravings of
The Club Dumas
(filmed as "The Ninth Gate")
are perhaps more an example
of the concrete than of the
universal.

An example of the universal*–
or, according to Krauss, a
"staircase" to the universal–
is the ninefold square:

"This is the garden of Apollo,
the field of Reason…."
— John Outram, architect    

For more on the field
of reason, see
Log24, Oct. 9, 2006.

A reasonable set of
"strange correspondences"
in the garden of Apollo
has been provided by Ezra Brown
in a mathematical essay (pdf).

Unreason is, of course,
more popular.

* The ninefold square is perhaps a "concrete universal" in the sense of Hegel:

"Two determinations found in all philosophy are the concretion of the Idea and the presence of the spirit in the same; my content must at the same time be something concrete, present. This concrete was termed Reason, and for it the more noble of those men contended with the greatest enthusiasm and warmth. Thought was raised like a standard among the nations, liberty of conviction and of conscience in me. They said to mankind, 'In this sign thou shalt conquer,' for they had before their eyes what had been done in the name of the cross alone, what had been made a matter of faith and law and religion– they saw how the sign of the cross had been degraded."

— Hegel, Lectures on the History of Philosophy, "Idea of a Concrete Universal Unity"

"For every kind of vampire,
there is a kind of cross."
— Thomas Pynchon