Masahiro Shinoda, Pale Flower (1964)

Masahiro Shinoda, Pale Flower (1964)

“He knew that the very memory of the piano falsified still further the perspective in which he saw the elements of music, that the field open to the musician is not a miserable stave of seven notes, but an immeasurable keyboard (still almost entirely unknown) on which, here and there only, seperated by the thick darkness of its unexplored tracts, some few among the millions of keys of tenderness, of passion, of courage, of serenity, which compose it, each one differing from all the rest as one universe differs from another, have been discovered by a few great artists who do us the service, when they awaken in us the emotion corresponding to the theme they have discovered, of showing us what richness, what variety lies hidden, unknown to us, in that vast, unfathomed and forbidding night of our soul which we take to be an impenetrable void. Vinteuil had been one of those musicians. In his little phrase, although it might present a clouded surface to the eye of reason, one sensed a content so solid, so consistent, so explicit, to which it gave so new, so original a force, that those who had once heard it preserved the memory of it on an equal footing with the ideas of the intellect.

Swann referred back to it as to a conception of love and happiness whose distinctive character he recognized at once as he would that of the Princesse de Cleves, or of Rene, should either of those titles occur to him. Even when he was not thinking of the little phrase, it existed latent in his mind on the same footing as certain other notions without material equivalent, such as our notions of light, of sound, of perspective, of physical pleasure, the rich possessions wherewith our inner temple is diversified and adorned. Perhaps we shall lose them, perhaps they will be obliterated, if we return to nothingness. But so long as we are alive, we can no more bring ourselves to a state in which we shall not have know them than we can with regard to any material object, than we can, for example, doubt the luminosity of a lamp that has just been lit, in view of the changed aspect of everything in the room, from which even the memory of the darkness has vanished. In that way Vinteuil’s phrase, like some theme, say, in Tristan, which represents to us also a certain emotional accretion, had espoused our mortal state, had endued a vesture of humanity that was peculiarly affecting. Its destiny was linked to the future, to the reality of the human soul, of which it was one of the most special and distinctive ornaments.

Perhaps it is not-being that is the true state, and all our dream of life is inexistent; but, if so, we feel that these phrases of music, these conceptions which exist in relation to our dream, must be nothing either. We shall perish, but we have as hostages these divine captives who will follow and share our fate. And death in their company is somehow less bitter, less inglorious, perhaps even less probable.”

 - Marcel Proust, À la recherche du temps perdu

Charles Wilp at his home (Arman’s White Orchid and Warhol’s Mao in the background)

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Trembling Blue Stars - Idyllwild (featuring scenes from “The Blizzard” by Kurosawa Akira)

“I would drape myself in velvet if it were socially acceptable.”

TIME Magazine 10/18/1982

“Happy the writer who, passing by characters that are boring, disgusting, shocking in their mournful reality, approaches characters that manifest the lofty dignity of man, who from the great pool of daily whirling images has chosen only the rare exceptions, who has never once betrayed the exalted turning of his lyre, nor descended from his height to his poor, insignificant brethren, and, without touching the ground, has given the whole of himself to his elevated images so far removed from it. Twice enviable is his beautiful lot: he is among them as in his own family; and meanwhile his fame spreads loud and far. With entrancing smoke he has clouded people’s eyes; he has flattered them wondrously, concealing what is mournful in life, showing them a beautiful man. Everything rushes after him, applauding, and flies off following his triumphal chariot. Great world poet they name him, soaring high above all other geniuses in the world, as the eagle soars above the other high fliers. At the mere mention of his name, young ardent hearts are filled with trembling, responsive tears shine in all eyes…No one equals him in power—he is God!

But such is not the lot, and other is the destiny of the writer who has dared to call forth all that is before our eyes every moment and which our indifferent eyes do not see—all the stupendous mire of trivia in which our life in entangled, the whole depth of cold, fragmented, everyday characters that swarm over our often bitter and boring earthly path, and with the firm strength of his implacable chisel dares to present them roundly and vividly before the eyes of all people! It is not for him to win people’s applause, not for him to behold the grateful tears and unanimous rapture of the souls he has stirred; no sixteen-year-old girl will come flying to meet him with her head in a whirl and heroic enthusiasm; it is not for him to forget himself in the sweet enchantment of sounds he himself has evoked; it is not for him, finally, to escape contemporary judgment, hypocritically callous contemporary judgment, which will call insignificant and mean the creations he has fostered, will allot him a contemptible corner in the ranks of writers who insult mankind, will ascribe to him the quality of the heroes he has portrayed, will deny him heart, and soul, and the divine flame of talent. For contemporary judgment does not recognize that equally wondrous are the glasses that observe the sun and those that look at the movement of inconspicuous insect; for contemporary judgment does not recognize that much depth of soul is needed to light up the picture drawn from contemptible life and elevate it into a pearl of creation; for contemporary judgment does not recognize that lofty ecstatic laughter is worthy to stand beside the lofty lyrical impulse, and that a whole abyss separates it from the antics of the street-fair clown! This contemporary judgment does not recognize; and will turn it all into a reproach and abuse of the unrecognized writer; with no sharing, no response, no sympathy, like a familyless wayfarer, he will be left alone in the middle of the road. Grim is his path, and bitterly he will feel his solitude.”

 - Nikolai Gogol, Dead Souls (1842)

Joseph Beuys (Diani, Africa)

Nigel Cabourn Cameraman Jacket Naval Camo

The New Yorker, June 19, 1965

Kurosawa Akira, Yume (Dreams), The Blizzard (1990)

Gant Rugger Flannel Navy Blazer