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Some chyrons &c as my chyrons series draws towards a close..

Wednesday, May 1st, 2019

[ by Charles Cameron — this post has been lingering while I’ve been slowly adding elements, and with some Bach now firmly in place I think it’s past time to drop it into the slip-stream ]
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This one’s priceless in a Matrioshka, Through the Looking Glass kind of way:

Can the Actor Who Ruled Ukraine on TV Do It in Real Life?

File it under life imitates art?

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I’m tired of chasing chyrons. If I see stunners, I may bring them here, but I’ll be concentrating on other things.

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I was surprised to overhear the words “perfect sacrifice” in a baseball commentary my room-mate was attendinmg to, but apparently the phrase fits in the context of bunts – what those are, I still don’t know – as well as they do in the context of the Eucharistic liturgy, often considered, eg by Pope John Paul II , as a perfect sacrifice of praise..

What can I say? My ears perked up.

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Three levels of beauty for your illumination:

Lidia Ksiazkiewicz

Lidia Ksiazkiewicz at her instrument:

Lidia Ksiazkiewicz plays Bach’s Fantasia in G major, BWV 572, on the great organ of Laon cathedral in 2012:

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This one’s an almost ouroboros — Chris Matthews on Hardball:

The Democrats don’t know how to play hardball>>

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From the poets — Walt Whitman:

both in and out of the game, and watching

Life, the game, yes. And Shakespeare:

The southern wind
Doth play the trumpet to his purposes,
And by his hollow whistling in the leaves
Foretells a tempest and a blustering day.

Marvelous. Those unexpected words can break through the strands of conventional thought that spin their deadly shroud about us every day.

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“IT’S GOING TO BE A GUERRILLA WAR”: THE SANDERS LEFT OPENS FIRE ON BIDEN

Within a few hours of Joe Biden’s official presidential announcement, the Justice Democrats, the progressive group behind Alexandria Ocasio-Cortez’s rise to power, brought out the flamethrower.

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So as you see, this is the sort of amount that would have made the first quarter of a chyrons series post a couple of weeks ago, and today it’s all I’ve collected in a week or so. I’m really cutting back on this game, and will be concentrating on other areas..

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Let’s close here with this trio:

That’s the rough number.

That’s just this last week.

And here’s the exact figure, if there’s no margin of error, which seems unlikely..

I’m leaving some terrorism screen-grabs for a later post.

The Mercy, logic, the model digitized, the glass, the music survives

Sunday, April 21st, 2019

[ by Charles Cameron — logic, the arts, and technology offer an Easter, resurrection corrective, philosophically speaking, to the ruin of the cathedral of Notre Dame ]
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For the terrible fire that consumed so much of Notre Dame de Paris this week, grief is great. Here, I wish to recall some of the ways in which the essence of the great cathedral has been saved.

Above, Piero della Francesca‘s Madonna della Misericordia. Our Lady of Mercy, for whom the cathedral was named, continues to shelter us all..

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Perhaps the most extraordinary, as well as the most abstract, form of Notre Dame to survive fire, war, and the French Revolutionary idea — to replace Mary with the goddess Reason enthroned in her place — is the logic embedded in the theology that accompanied its building and — lex orandi, lex credendi — the worship within it, for which purpose it was designed and built

The American philosopher CS Peirce was among the first to propose a kinship between Gothic architecture and the logic of the Paris schoolmen:

Art felt the spirit of a new age, and there could hardly be a greater change than from the highly ornate round-arched architecture of the twelfth century to the comparatively simple Gothic of the thirteenth. Indeed, if any one wishes to know what a scholastic commentary is like, and what the tone of thought in it is, he has only to contemplate a Gothic cathedral. The first quality of either is a religious devotion, truly heroic. One feels that the men who did these works did really believe in religion as we believe in nothing. We cannot easily understand how Thomas Aquinas can speculate so much on the nature of angels, and whether ten thousand of them could dance on a needle’s point. But it was simply because he held them for real. If they are real, why are they not more interesting than the bewildering varieties of insects which naturalists study; or why should the orbits of double stars attract more attention than spiritual intelligences?

Erwin Panofsky‘s work, Gothic Architecture and Scholasticism, is the central presentation of the parallels. Pierre Bourdieu, who translated Panofsky into French, characterizes the work:

The parallelism between the development of Gothic art and the development of scholastic thought in the period between about 1130–1140 and about 1270 cannot be brought out unless one “brackets off phenomenal appearances” and seeks the hidden analogies between the principles of logical organization of Scholasticism and the principles of construction of Gothic architecture. This methodological choice is dictated by the intention of establishing more than a vague “parallelism” or discontinuous, fragmentary “influences”. Renouncing the semblances of proof which satisfy intuitionists or the reassuring but reductive circumstantial proofs which delight positivists, Panofsky is led to identify the historical convergence which provides the object of his research with a hidden principle, a habitus or “habit-forming force”.

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Rachel Donadio, Witnessing the Fall of Notre-Dame for the Atlantic, depicts the ruin of the cathedral with incredulityn–

How could Notre-Dame be burning? How could Notre-Dame, which had survived for eight centuries—survived plague and wars of religion, survived the French Revolution, survived the Nazis—be falling? Notre-Dame, the heart of Paris, not only a Catholic site but the preeminent symbol of European cultural consciousness, the heart of France, the kilometer zero from which all its farthest villages are measured—how could this majestic structure collapse so fast

— Oh, ruin, from the Latin ruere, meaning to fall.. John Milton, Paradise Lost:

                                                          Hell saw
Heaven ruining from Heaven, and would have fled
Affrighted

Viollet-le-Duc‘s 19th century spire, in this archaic sense of the word, ruined.

Resurrection:

The competition is already afoot to rebuild it.

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Fortunately, a few years back the entire structure was mapped with ferocious accuracy by Vassar professor Andrew Tallon, using advanced laser photography to capture detail — wear and tear included, to an accuracy of a tenth of an inch:

Vassar College/AFP Photo / Andrew TALLON

Alexis Madrigal, in the Atlantic:

Now, with the building having sustained untold but very substantial damage, the data that Tallon and Blaer created could be an invaluable aid to whoever is charged with rebuilding the structure. Ochsendorf described the data as “essential for capturing [the structure] as built geometry.” (He added, however, that the cathedral, no matter what happens now, “is irreplaceable, of course.”)

Tallon and Blaer’s laser data consist of 1 billion data points, structured as “point clouds,” which software can render into images of the three-dimensional space. Stitch them together, inside and out, map the photographs onto the precise 3-D models, and you have a full digital re-creation of incredible detail and resolution.

Professor Tallon died less than six months ago, in November 2018, age 49. If you’re looking for another Easter parallel, Tallon may be metaphysically resurrected with the promised rebuilding of the cathedral he so loved and diligently studied.

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It appears that the great Rosace Nord (north rose window) survived the fire —

As Incunabula commented:

By far the greatest blessing – a miracle – is that the Rosace Nord has survived. The South and West windows were very extensively restored in the 18th and 19th century, but the North Rose Window has stood basically unchanged for 800 years, the glass is the 13th century original.

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To close with a blaze..

In January of this year, Olivier Latry, titular organist of Notre Dame, made what is very likely the final recordings of music on the cathedral’s great organ, for a recording which was released in March, just weeks before the terrible fire. The organ, as built by Aristide Cavaillé-Coll in the nineteenth century, houses some 8,000 pipes; it seems the fire has left it largely intact, though with damage to its electrical systems and wind-chest.

Olivier Latry plays Johann Sebastian Bach‘s Toccata and Fugue in D minor, BWV 565 on the Cavaillé-Coll organ of Notre-Dame de Paris::

Advertising series 01: Music

Thursday, April 11th, 2019

[ by Charles Cameron — trying to gauge the appropriateness of music in TV advertising, and getting the sense that music has a — frankly — higher purpose. And then? ]
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I’ve been trying to figure out, from the poetry plane, just what it is that music does or is, or where, and as I’m watching TV commercials, I’m struck each time classical music is used, and forced to consider the role that music plays — in the ads, in my life, and in our lives. Commercials, like haiku, are highly concentrated affairs, and I’ve been learning a lot.

In brief —

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I don’t terribly mind that you can jazz the greatest of composers IMO, in what feels more like a virtuoso exercise than music as such..

Flying Bach:Red Bull

And when the music is jazzy to begin with, no problem — fun, even ..

Rhapsody in Blue: United

Unh — and ditto, speeded up:

High speed Orchestra: Porsche

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But Ave Maria?

Ave Maria: Planters

I guess that’s arguably a Hail Mary overpass, and the Ave Maria only slips in very briefly while the peanut’s in flight, so I’ll let it slide by..

But then I must admit I do get a bit uneasy about the semi-sacred last movement of Beethoven’s Ninth being repeatedly associated with a somewhat silly sad for a line of sports-car, lovely though they are:

Ode to Joy: Alfa Romeo

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The Hallelujah Chorus comes from a sacred oratorio, Handel’s Messiah, to be sure, but Messiah has been drifting from the sacred towards the social for decades, maybe even a century… Boots, though?

Hallelujah: Boots and Shoes

That seems a bit off-kilter: ads are repetitive things, and the idea that millions of concert-goers may have a less than stellar shoe ad pop into their heads in the middle of Handel’s iconic work — not a great taste to leave in the metaphorical mouth, methinks.

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Compare this commercial using the Lacrimosa from Mozart’s Requiem

Mozart Requiem: DirecTV

— with this paragraph from the philosopher Cornelius Castoriadis:

Remember that philosophers almost always start by saying: “I want to see what being is, what reality is. Now, here is a table. What does this table show to me as characteristic of a real being?” No philosopher ever started by saying: “I want to see what being is, what reality is. Now, here is my memory of my dream of last night. What does this show to me as characteristic of a real being?” No philosopher ever starts by saying “Let Mozart’s Requiem be a paradigm of being, let us start from that.” Why could we not start by positing a dream, a poem, a symphony as paradigmatic of the fullness of being and by seeing in the physical world a deficient mode of being, instead of looking at things the other way round, instead of seeing in the imaginary — that is, human — mode of existence, a deficient or secondary mode of being?

DirecTV? You can count me out.

Kurt Vonnegut quite wonderfully explains:

I am enchanted by the Sermon on the Mount. Being merciful, it seems to me, is the only good idea we have received so far. Perhaps we will get another idea that good by and by-and then we will have two good ideas. What might that second good idea be? I don’t know. How could I know? I will make a wild guess that it will come from music somehow. I have often wondered what music is and why we love it so. It may be that music is that second good idea being born.

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Frankly, I don’t think commercials are up to the Castoriadis / Vonnegut standard.

But let me leave you with a puzzzlement, a koan — assuming you haven’t diverged too far from my perspective thus far. If the Mozart Requiem should be spared participation in TV advertising, what do you think of Bach — remember Bach? — being embedded in a grisly scene from Silence of the Lambs?

Hannibal Lecter plays Bach:

Masterpiece within a masterpiece? Okay?

Sports metaphors, metaphors, 30, & happy / unhappy phrasings

Friday, March 29th, 2019

[ by Charles Cameron — including an intermezzo with Bach’s links with Mendelssohn — as usual, quite a diverse haul ]
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Nicolle:

There are cracks in the frenzied spin from the White House around the Barr summary of the as-yet-unreleased Mueller report. As the President tracks down axes to grind, consensus is building around Robert Mueller’s refused to exonerate the President in the obstruction of justice investigation ..

Joyce Vance:

We’ve seen all these dots out in the pubic domain, indications of obstruction, and apparently Mueller wasn’t able to connect them, and the question is, Why?

Ari:

You just can’t write a book-report for a book you haven’t read ..

Disclosure: You can. I have.

Here’s a weird sequence..

And if that isn’t weird enough..

Okay, a twinning once I get the transcript: chyrons “Dem grills” / “bip[artisan rebuke”

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A move I want to watch, and you may too: Hotel Mumbai:

Well, you know, ads intervene in even the best paid programming of mice and men .. and, you know, trailers are ads..

And BTW, the Roger Ebert reviewer wrote:

I watched and wrestled with Anthony Maras’ searing, startlingly confident debut “Hotel Mumbai,” where every fatal bullet fired out of the ruthless terrorists’ semi-automatic weapons hit me at my core.

That’s screen-to-viewer violence, as when the heaalights of a car sweeping up thr movie drive suddenly swerve and blind you..

Back to Hardball:

Regarding his work as a speechwriter for Jimmy Carter, Chris Matthews describes

The most honest and moral man, who honored the call of the prophet

Matthews opening clip:

Jumping over the Barr — let’splay Hardball

Comey:

Chris Matthews, quoting him:

.. all the smoke, if you will, of a deal between the President’s people and the Russians, all the interactions between them, he said — imagine if Obama, in a parallel universe, had those kinds of relationships with the Iranians, would you think they might have investigated it?

Pause.

Trump, a brief essay in turning the other cheek hitting back:

One of the things you should do in terms of success: If somebody hits you, you’ve got to hit ’em back five times harder than they ever thought possible. You’ve got to get even. Get even. And the reason, the reason you do, is so important…The reason you do, you have to do it, because if they do that to you, you have to leave a telltale sign that they just can’t take advantage of you. It’s not so much for the person, which does make you feel good, to be honest with you, I’ve done it many times. But other people watch and you know they say, “Well, let’s leave Trump alone,” or “Let’s leave this one,” or “Doris, let’s leave her alone. They fight too hard.” I say it, and it’s so important. You have to, you have to hit back. You have to hit back.

Times two:

Get even with people. If they screw you, screw them back 10 times as hard. I really believe it.

As a motto:

My motto is: Always get even. When somebody screws you, screw them back in spades.

Chris M:

He [DJT] goes after Adam Schiff .. says, He couldn’t hit a drive 50 yards..

I’m not sure, but today’s [3/29] DJT quote, “he’s not a long ball hitter” may belong here as a second shoe dropping? — or is it a different aport and different target?

Matthews, on healthcare:

Trump is walking right into that Gatling gun***** of defeat — why is he doing this?

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Okay game of glass beads players, HipBone-style — here’s the Bach-Mendelssohn graph for your consideration:

And –I’m missing one name, which may be in the video — Bach, Mendelssohn and the Saint Matthew Passion:

— a direct line, as I understand it, of teachers and pupils from Bach to Mendelssohn..

Fox inserts:

Matthews:

My morning doppelgänger Joe Scarborough ..

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Ok, a few loose quotes. I’m looking for Elizabeth Warren using the phrase “war of ideas” but the closest I could find was:

This is the fight of our lives. The fight to build an America that works for everyone, not just the wealthy and the well-connected. It won’t be easy. But united by our values, we can make big, structural change. We can raise our voices together until this fight is won.

Fight of our lives is as strong as fight metaphors get without adding details — Queensbury Rules boxing, Mixed Martial Arts in the Hexagon, a Jagger-style street-fighting man?

This one has been quoted often enough to fade into the woodwork:

The budget is a moral document.

A missing chyron — when people post videos of MSNBC shows, and probably other news channels too, they often leave off the last 5 minutes [sad face] — Green New Deal ignites firestorm ..

O’Donnell 3/28/2019:

.. the suspended animation as we wait for the actual Mueller report ..

Good one: suspended animation*****.

Unknown, 3/28 at 10.17:

Go to present day baseball, stay on the sidelines, stay out of it ..

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This is an oldie, but I saw it today and it’s a matter of concern for me as I deal with pain from amputations & neuropathy:

  • Patrick Radden Keefe, The Family That Built an Empire of Pain
  • **

    I’ll close with this tweet —

    — and this speech in response to DJT’s attack by Adam Schiff —

    — plus this in commentary, from Lawrence O’Donnell:

    This is just Kabuki theater, they have no power to remove Adam Schiff from his position ..

    Oiut.

    Sunday surprise special

    Monday, February 18th, 2019

    [ by Charles Cameron — selected from among the very best of Dylan, Bach, and Joni ]
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    I don’t think I’ve ever posted either of these two pieces here on Zenpundit, but in my mind they’re the rock Passacaglia par excellence and the similarly towering classical exemplar — and if you’re exclusively classical in temperament, you may not know Bob Dylan‘s masterful Sad Eyed Lady of the Lowlands:

    while if you’re straight rock in taste and experience, may I introduce Bach‘s Passacaglia, certainly one of his greatest organ works, here played by Ton Koopman:

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    Okay, that’s the classical and rock compare and contrast — here’s Bob Dylan‘s peer — and there aren’t that many — Joni Mitchell, with her wonderful Don Juan’s Reckless Daughter:

    — and that’s a bonus..


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