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When the waiter brought the cheese-board, there was a large carrot carved in the shape of a mermaid sitting between the Dolcelatte and the Pecorino. Teo could have sworn that the carrot-mermaid flexed her tail and plunged her little hand inside a smelly Gorgonzola. 'Tyromancy, ye know,' remarked the mermaid. 'The Ancient Art of Divination by Cheese.' Then she pulled her tiny hand out and inspected the green cheese-mold on her tiny fingers. 'Lackaday!' she moaned. 'Stinking! It goes poorly for Venice and Teodora, it do! ↗
When it is good, this is a city of fantastic strength, sophistication and beauty. It is like no other city in time or place. Visitors and even natives rarely use the words urban character or environmental style, but that is what they are reacting to with awe in the presence of massed, concentrated, steel, stone, power and life. ↗
Airplane Dream #13' told the story, more or less, of a dream Rosa had had about the end of the world. There were no human beings left but her, and she had found herself flying in a pink seaplane to an island inhabited by sentient lemurs. There seemed to be a lot more to it -- there was a kind of graphic "sound track" constructed around images relating to Peter Tchaikovsky and his works, and of course abundant food imagery -- but this was, as far as Joe could tell, the gist. The story was told entirely through collage, with pictures clipped from magazines and books. There were pictures from anatomy texts, an exploded musculature of the human leg, a pictorial explanation of peristalsis. She had found an old history of India, and many of the lemurs of her dream-apocalypse had the heads and calm, horizontal gazes of Hindu princes and goddesses. A seafood cookbook, rich with color photographs of boiled crustacea and poached whole fish with jellied stares, had been throughly mined. Sometimes she inscribed text across the pictures, none of which made a good deal of sense to him; a few pages consisted almost entirely of her brambly writing, illuminated, as it were, with collage. There were some penciled-in cartoonish marginalia like the creatures found loitering at the edges of pages in medieval books. ↗
Whether I shall turn out to be the hero of my own life, or whether that station will be held by anybody else, these pages must show. ↗
Time after time have nations, ay, and rich and strong nations, learned in the arts, been, and passed away to be forgotten, so that no memory of them remains. This is but one of several; for Time eats up the works of man. ↗
#fallen-nations #futility #inevitability #knowledge #learning
We'll have to see," Belbo said. He rummaged in his drawer and took out some sheets of paper. "Potio-section..." He looked at me, saw my bewilderment. "Potio-section, as everybody knows, of course, is the art of slicing soup. No, no," he said to Diotallevi. "It's not the department, it's a subject, like Mechanical Avunculogratulation or Pylocatabasis. They all under the same heading of Tetrapyloctomy." "What's tetra...?" I asked. "The art of splitting hairs four ways. This is the department of useless techniques. Mechanical Avunculogratulation, for example, is how to build machines for greeting uncles. We're not sure, though, if Pylocatabasis belongs, since it's the art of being saved by a hair. Somehow that doesn't seem completely useless." "All right, gentlemen," I said, "I give up. What are you two talking about?" "Well, Diotallevi and I are planning a reform in higher education. A School of Comparative Irrelevance, where useless or impossible courses are given. The school's main is to turn out scholars capable of endlessly increasing the number of unnecessary subjects. ↗
#art
I suppose I was artistic as a child. Our house was so full of art and artists that it never occurred to me not to be constantly making things. I just assumed that all kids liked to work with their hands as much as I did. I was an only child so I did have a lot of time to be creative by myself and with my parents. ↗
I'm so involved in the process that sometimes at the end of a day, I can look at the piece on my desk and really wonder how it got there. At other times, I really have to struggle with a piece to turn it into what I had in mind. Sometimes, I give up and leave it half finished to work on something else. Then in a few days, when I come back to it, I can see what it wants to be... which sometimes is not at all what I had in mind. When I just let that happen, things seem to go more smoothly. ↗
