zenpundit.com

[ by Charles Cameron — from sight to vision? ]
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Which of these two images — the photo above, the MC Escher print below — calls you closer? Which takes you deeper?

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And which draws you closer here — the MC Escher print above, or the Tenniel illustration for Alice, below? Which carries you deeper?

Where does the realistic end, and the imaginal begin?

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Marina Warner writes in the introduction to her recently reviewed book, Stranger Magic:

The faculties of imagination — dream, projection, fantasy — are bound up with the faculties of reasoning and essential to making the leap beyond the known into the unknown. At one pole (myth), magic is associated with poetic truth, at another (the history of science) with inquiry and speculation. It was bound up with understanding physical forces in nature and led to technical ingenuity and discoveries. Magical thinking structures the processes of imagination, and imagining something can and sometimes must precede the fact or the act; it has shaped many features of Western civilization. But its influence has been constantly disavowed since the Enlightenment and its action and effects consequently misunderstood.

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For the brilliant juxtaposition of images in the upper pair, I am grateful to http://www.giovis.com/atrani.htm, with an h/t to http://www.log24.com.

[ by Charles Cameron — some glorious music, Venice, Kandahar ]
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I was listening to Pergolesi‘s Stabat Mater the other day, and talk came around to the question of whether women would have sung the two solo parts – whether they were written for soprano and contralto, in other words, or for treble and counter-tenor – all of which reminded me that the “red priest” Vivaldi was, for over thirty years, maestro of the Ospedale della Pietà orphanage in Venice.

The Ospedale’s all-woman choir performed many of his sacred choral works in church, hidden from view if not speculation in a high balcony behind an iron grille…

The BBC has an hour-long documentary on the subject of Vivaldi’s Women, which features the Ospedale but also the contemporary choir and orchestra, Vivaldi’s Women, more properly known as the Schola Pietatis Antonio Vivaldi.

The (lower) image of the present-day women’s choir singing behind one of those grilles – accompanied by a voice-over reading from a fashionable “grand tour” diary of the day which reports that the “grilles conceal the angels of loveliness” (the writer was perhaps aware, perhaps not, that many of the orphans in Vivaldi’s day would have been scarred or deformed by the pox or their parents’ syphilis) reminded me of another contested icon of “women behind a grille” – this time, the traditional Afghan chadari (upper image)…

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I have exchanged greetings through a grille with Carmelite nuns in California, and they clearly appreciated the sanctuary that their enclosure offered them…

My point is not to argue the superiority of bikini over burqa or vice versa: it is to offer you a chance to hear some Vivaldi or Pergolesi, and to consider the issue of veiling and revealing — intimacy’s equivalent of secrecy and transparency — from what was for me at least an unexpected and fresh angle.