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apostasy is only half the story
2003.02.22 17:46
Interesting how the Guggenheim circular rotunda with spiral ramp is a reenactment of the Vatican Museum's entrance rotunda with double helix ramps.
Yes, Wright's design (1943-59) essentially reenacts Momo's design (1929-32). Did Wright covertly sense, or did the Guggenheims overtly express a desire for a Jewish Vatican Museum? If you need proof, just look at the skylights of each place, as once published at quondam/reenactionary.
By the way, Momo's spiral rotunda reenacts Bernini's(?) earlier Vatican spiral ramp, the one that allowed the pope to travel on horseback to and from the Belvedre Court high up in the Papal Palace (which is now for the most part the Vatican Museum).
So now we have Barney elaborately reenacting the raising and lowering of testicles. Given the corporal territory, Barney no doubt plays a lot with the (chronosomatically defined?) fertile imagination. Greenaway also utilizes the fertile imagination, although much more assimilatingly and metabolically. Is Barney perhaps exhibiting/manifesting a pre-natal fertile imagination? Chronosomatically, that is indeed a possibility. Given the female body and it's role in embryonic development, the present 'plane of the present' slices through a female that is approximately five months pregnant. And given that around now is when a developing fetus reverses position from head up to head down, there might just be some developing testicles within the slice of our time, and maybe that's where Barney is chronosomatically (speaking).
latest chronosomatic note (yet to be numbered):
In terms of the present pregnancy within the female body, there may well be twins developing, one male and one female. Since the ultimate birth of the current pregnancy will correspond with a "second birth" (ref. Eliade), the notion of a forthcoming male/female pair of twins (rightly?) contrasts the primordial male/male (metabolic) twins of creation myths.
more reenactment than cycle [?]
2003.02.22 10:56
I vividly remember reading The World of Peter Greenaway while sitting next to my father's bed in the intensive care unit after the operation that manifest his second leg amputation. I much admired Greenaway since The Draughtsman's Contract, and The Belly of the Architect—did you know that when Boullee is depicted in the film, the image shown is actually that of Piranesi?--only added to the attraction. My father's second amputation in 1996 almost exactly reenacted (to the day) his first amputation in 1994, both occurring the first week of June. It was while waiting one and a half hours three days a week in the autumn of 1994 while my father was in 'rehab' 'relearning' how to walk with a prosthesis that my writing (of) chronosomatic notes flourished.
Sometime during the autumn of 1994 is also when I began to wonder about corporal realities informing imaginations.
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