A paean to indestructible Hope, a lyrically poetic script, a vivid critique of the American penal system, a masterpiece of a film.
(from Modern Painters Volume I: Of Truth of Space)
Draw on a piece of white paper, a square and a circle, each about a twelfth or eighth of an inch in diameter, and blacken them so that their forms may be very distinct; place your paper against the wall at the end of the room, and retire from it a greater or less distance according as you have drawn the figures larger or smaller. You will come to a point where, though you can see both the spots with perfect plainness, you cannot tell which is the square and which the circle.
Now this takes place of course with every object in a landscape, in proportion to its distance and size. The definite forms of the leaves of a tree, however sharply and separately they may appear to come against the sky, are quite indistinguishable at fifty yards off, and the form of everything becomes confused before we finally lose sight of it. Now if the character of an object, say the front of a house, be explained by a variety of forms in it, as the shadows in the tops of the windows, the lines of the architraves, the seams of the masonry, etc.; these lesser details, as the object falls into distance, become confused and undecided, each of them losing [Page 192] their definite forms, but all being perfectly visible as something, a white or a dark spot or stroke, not lost sight of, observe, but yet so seen that we cannot tell what they are. As the distance increases, the confusion becomes greater, until at last the whole front of the house becomes merely a flat, pale space, in which, however, there is still observable a kind of richness and checkering, caused by the details in it, which, though totally merged and lost in the mass, have still an influence on the texture of that mass; until at last the whole house itself becomes a mere light or dark spot which we can plainly see, but cannot tell what it is, nor distinguish it from a stone or any other object.
Now what I particularly wish to insist upon, is the state of vision in which all the details of an object are seen, and yet seen in such confusion and disorder that we cannot in the least tell what they are, or what they mean. It is not mist between us and the object, still less is it shade, still less is it want of character; it is a confusion, a mystery, an interfering of undecided lines with each other, not a diminution of their number; window and door, architrave and frieze, all are there: it is no cold and vacant mass, it is full and rich and abundant, and yet you cannot see a single form so as to know what it is. Observe your friend’s face as he is coming up to you; first it is nothing more than a white spot; now it is a face, but you cannot see the two eyes, nor the mouth, even as spots; you see a confusion of lines, a something which you know from experience to be indicative of a face, and yet you cannot tell how it is so. Now he is nearer, and you can see the spots for the eyes and mouth, but they are not blank spots neither; there is detail in them; you cannot see the lips, nor the teeth, nor the brows, and yet you see more than mere spots; it is a mouth and an eye, and there is light and sparkle and expression in them, but nothing distinct. Now he is nearer still, and you can see that he is like your friend, but you cannot tell whether he is or not; there is a vagueness and indecision of line still. Now you are sure, but even yet there are a thousand things in his face which have their effect in inducing the recognition, but which you cannot see so as to know what they are.
Changes like these, and states of vision corresponding to them, take place with each and all of the objects of nature, and [Page 193] two great principles of truth are deducible from their observation. First, place an object as close to the eye as you like, there is always something in it which you cannot see, except in the hinted and mysterious manner above described. You can see the texture of a piece of dress, but you cannot see the individual threads which compose it, though they are all felt, and have each of them influence on the eye. Secondly, place an object as far from the eye as you like, and until it becomes itself a mere spot, there is always something in it which you can see, though only in the hinted manner above described. Its shadows and lines and local colors are not lost sight of as it retires; they get mixed and indistinguishable, but they are still there, and there is a difference always perceivable between an object possessing such details and a flat or vacant space. The grass blades of a meadow a mile off, are so far discernible that there will be a marked difference between its appearance and that of a piece of wood painted green. And thus nature is never distinct and never vacant, she is always mysterious, but always abundant; you always see something, but you never see all.
And thus arise that exquisite finish and fulness which God has appointed to be the perpetual source of fresh pleasure to the cultivated and observant eye,—a finish which no distance can render invisible, and no nearness comprehensible; which in every stone, every bough, every cloud, and every wave is multiplied around us, forever presented, and forever exhaustless. And hence in art, every space or touch in which we can see everything, or in which we can see nothing, is false. Nothing can be true which is either complete or vacant; every touch is false which does not suggest more than it represents, and every space is false which represents nothing.
Now, I would not wish for any more illustrative or marked examples of the total contradiction of these two great principles, than the landscape works of the old masters, taken as a body:—the Dutch masters furnishing the cases of seeing everything, and the Italians of seeing nothing. The rule with both is indeed the same, differently applied. “You shall see the bricks in the wall, and be able to count them, or you shall see nothing but [Page 194] a dead flat;” but the Dutch give you the bricks, and the Italians the flat. Nature’s rule being the precise reverse—”You shall never be able to count the bricks, but you shall never see a dead space.”
Take, for instance, the street in the centre of the really great landscape of Poussin (great in feeling at least) marked 260 in the Dulwich Gallery. The houses are dead square masses with a light side and a dark side, and black touches for windows. There is no suggestion of anything in any of the spaces, the light wall is dead gray, the dark wall dead gray, and the windows dead black. How differently would nature have treated us. She would have let us see the Indian corn hanging on the walls, and the image of the Virgin at the angles, and the sharp, broken, broad shadows of the tiled eaves, and the deep ribbed tiles with the doves upon them, and the carved Roman capital built into the wall, and the white and blue stripes of the mattresses stuffed out of the windows, and the flapping corners of the mat blinds. All would have been there; not as such, not like the corn, nor blinds, nor tiles, not to be comprehended nor understood, but a confusion of yellow and black spots and strokes, carried far too fine for the eye to follow, microscopic in its minuteness, and filling every atom and part of space with mystery, out of which would have arranged itself the general impression of truth and life…
And now, take up one of Turner’s distances, it matters not which, or of what kind,—drawing or painting, small or great, done thirty years ago, or for last year’s Academy, as you like; say that of the Mercury and Argus, and look if every fact which I have just been pointing out in nature be not carried out in it. Abundant, beyond the power of the eye to embrace or follow, vast and various, beyond the power of the mind to comprehend, there is yet not one atom in its whole extent and mass which does not suggest more than it represents; nor does it suggest vaguely, but in such a manner as to prove that the conception of each individual inch of that distance is absolutely clear and complete in the master’s mind, a separate picture fully worked out: but yet, clearly and fully as the idea is formed, just so much of it is given, and no more, as nature would have allowed us to feel or see; just so much as would enable a spectator of experience and knowledge to understand almost every minute fragment of separate detail, but appears, to the unpractised and careless eye, just what a distance of nature’s own would appear, an unintelligible mass. Not one line out of the millions there is without meaning, yet there is not one which is not affected and disguised by the dazzle and indecision of distance. No form is made out, and yet no form is unknown.
Perhaps the truth of this system of drawing is better to be [Page 199] understood by observing the distant character of rich architecture, than of any other object. Go to the top of Highgate Hill on a clear summer morning at five o’clock, and look at Westminster Abbey. You will receive an impression of a building enriched with multitudinous vertical lines. Try to distinguish one of those lines all the way down from the one next to it: You cannot. Try to count them: You cannot. Try to make out the beginning or end of any one of them: You cannot. Look at it generally, and it is all symmetry and arrangement. Look at in its parts, and it is all inextricable confusion. Am not I, at this moment, describing a piece of Turner’s drawing, with the same words by which I describe nature? And what would one of the old masters have done with such a building as this in his distance? Either he would only have given the shadows of the buttresses, and the light and dark sides of the two towers, and two dots for the windows; or if more ignorant and more ambitious, he had attempted to render some of the detail, it would have been done by distinct lines,—would have been broad caricature of the delicate building, felt at once to be false, ridiculous, and offensive. His most successful effort would only have given us, through his carefully toned atmosphere, the effect of a colossal parish church, without one line of carving on its economic sides. Turner, and Turner only, would follow and render on the canvas that mystery of decided line,—that distinct, sharp, visible, but unintelligible and inextricable richness, which, examined part by part, is to the eye nothing but confusion and defeat, which, taken as a whole, is all unity, symmetry, and truth.
Pitchfork give the album 7.3/10.
“…Spadaro even provides an imaginative application of the Internet to Teilhard De Chardin’s evolutionary theology, suggesting that the capillary diffusion of information and ideas provided by computer technology might very well be leading to the realization of an evolving collective consciousness, which Chardin famously called the noosphere. Spadaro suggests that this progressive consciousness might ultimately fulfill Chardin’s vision about the cosmic Christ who saves and animates the world, completing the transubstantiation of the bread on the altar, leading the world back to God and ultimate salvation.”
(I am not making this up.)
A book called ‘Jesus Swagger’ about the need to break free from poser Christianity…
I felt alone in the world on my own then You came to me
Hope flowing through my veins
I was lost in the black so far gone
Then You drank my shame letting sin flow through Your veins
Lord You are good oh God You’re so good
Lord You are good oh God You’re so good
You were there from the start before it all
Still You left Your throne love lowered down in the flesh
Born to serve born to heal and to lay your life
You’re the final offering cause up from the grave You rose
Oh the miracle You’re the miracle
That makes the dead come alive
Let me take a little second to tell you as we see a prophecy that came true
You see we need to believe that he literally bled through
the clothes on his back his sweat the day was just like crimson rain
crimson stains tide bounty and the devil can’t wash these stains away
Who’s he you ask he’s a friend of me
cause my inability he was sent from me
I hear birds and trees they’re all telling me
it’s a good thing he won Gethsemane
cause this enemy is too much for me
and this flesh and world is triple teaming me
it seems to be the very end I scream please oh please pass this cup from me!
The thing is it did pass
and it passes every day
he took my cup from me and gracefully he drank the grave
and I don’t mean to speak blasphemy when I say
but I am speaking of the day when my God passed away, Okay?
no wait wait wait no that’s not it no that’s not all
I don’t wanna leave you hanging
this stories banging
against my throat and against these walls
It can’t be contained no it won’t stay in here it will thrive
cause stories just don’t die when the dead come alive
Oh the miracle You’re the miracle
That makes the dead come alive
To those of you graduating
with high honours,
I say ‘well done!’
And as I like to tell
the C students–
you too can be President.”
A defence of immigration, a tribute to London, an exhortation to open-hearted hospitality, a sympathetic apology for nervous fathering, but also a reminder that the best way to look after your kids is to realize the necessity of risky faith. Fantastic film.