Byssus Threads

Monty Python, I need to tone that down a notch or two, although it was amusing.

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I do not blame the words, which are like excellent and precious vessels, but the wine of error, which was introduced into them for us by intoxicated teachers…

Augustine.

An intoxicated first read.

I can read Quintillion literally for a start or hold the sense, it requires no thought.

Perfect eloquence is assuredly a reality, which is not beyond the reach of human intellect.

That is what it should sound like, its a reality: its a also a seriously high bar and failure is always an option.

But its a thing and a thing that is entirely dependant on the text and what lies beyond it.

Its in the realm of the possible.

It works or it does not.

If not a series of marginal notes to contend with.

If so, silence. Task complete

Nicholas of Cusa on ignorance

Nicholas of Cusa, On Learned Ignorance.

Sense, script → speak (concept).

I decided to not think about it and just use it as the read instruction.

(1) Its the script, stupid.

(2) I need to hear what that sounds like.

Terse and to the point.

First read, using the wrong rhetorical model for the bits when Nicholas of Cusa has his Maestro moments and pops up to ting his triangle.

Monty Python, I need to tone that down a notch or two, although it was amusing.

I need to think that one through and do some reading = bells and the human voice, I thought to start, he does mention them, question of whether I can find the texts.

perfect way to display military prowess

Makes the beggar on horse back something more than a word play.

No difference in form or outward manner, rotten of soul.

A highly trained swordsman and mover.

Moving at break neck speed over the field of strife.

It is no more than to sleep. It requires no thought.

And not of one mind, it can move in sync as a group.

Scary monster.

Of no restraint.

fortunes lover

In this groundbreaking new study, Kate van Orden examines noble education in the arts to show how music contributed to cultural and social transformation in early modern French society. She constructs a fresh account of music’s importance in promoting the absolutism that the French nonarchy would fully embrace under Louis XIV, uncovering many hitherto unpublished ballets and royal ceremonial performances. The great pressure on French noblemen to take up the life of the warrior gave rise to bellicose art forms such as sword dances and equestrian ballets. Far from being construed as effeminizing, such combinations of music and the martial arts were at once refined and masculine – a perfect way to display military prowess. The incursion of music into riding schools and infantry drills contributed materially to disciplinary order, enabling the larger and more effective armies of the seventeenth century. This book is a history of the development of these musical spheres and how they brought forth new cultural priorities of civility, military discipline, and political harmony. Music, Discipline, and Arms in Early Modern France effectively illustrates the seminal role music played in mediating between the cultural spheres of letters and arms.

K. V. Orden. Music, Discipline and Arms in Early Modern France.

Note

It gives a very good account of what a Dancing master did and the role with sword, movement and manners. To the point and accurate.

Pythagoras, very music focused (unsurprisingly,disappointingly in a sense).

At first glance the terms theory and mythology seemed to feature a lot.

I should get a copy. Really I should try and identify someone interesting who diagrammed movement floor plans. I need a bit more detail, if such a creature exists.

You really want to skip the word part with communication here. That is the interesting part to my mind. How these ‘theories’ or ‘mythologies’ communicate and make their presence felt in the room.

Its not a sit about and discuss kind of thing.

It is to do.

***

It gives me a target one I am at home with.

Wider scope of the book, not familiar with particularly the horse part. Should be interesting.

The arms part particularly so at the moment.

of the news from France

By the 1650’s, Pythagoras stock had fallen, that of Archimedes had risen, and- to speak very generally- one was likely to find Pythagoras adorning a treatise on the theory of disciplines like swordsmanship and dancing.

reference

R.J Richard J. Oosterhoff. From Pious to Polite: Pythagoras in the Res publica Litterarum of French Renaissance Mathematics.

note

I need to find a French dancing master.

Sooner rather than later, that seems to good to be true.

This art not just teaching those who could afford such services, how to hold a sword, dance, walk in a cloak put a hat on.

Diverse range of movement, to be learned.

The instructors of such arts are also the first dramatic instructors. Hired to instruct actors how to move properly in the proper manner.

Ground floor of classical instruction its origin and beginning.

My teacher switched from economics to study swordsmanship and dance before becoming a dancing master.

Very old school, this is the way.

Fingers crossed.

I have no idea about four, after three who needs to think about it?

I suppose one answer to that is a mathematician.

I am not, the only rule, it has to work in practice.

That is the golden rule, with this form of instruction.

No place to hide. It works or it does not work.

Scalded cat, the fail is instant and obvious.

Foul or fair, dictates what will hover in the air.

As with a successful move, that is that, nothing more that needs to be said.

Nothing more that can be said.

Terse to the point, move on, is the method of instruction.

Silence is the goal.

funny old day (not who but how you walk here on Lumber street)

always another way in

Dr Dee walks Lumber street)→ swiftly as the arrow flies (very direct rhetorical instruction, twice, three times its a charm)?

The Neo of P. I presume is what I am looking for.

I may be wrong.

At least its now a moving object, that makes sense and I don’t need to think about it.

Keep calm and carry on. Complexity always resolvable here, eventually.

If not x then at least the correct space for o

Can I call it epthymetikon?

•

•         •

Logistikon

the rational

thymikon

the spiritual

epithymetikon

the desiring

Although pythagorians venerate the tetractys

Four. Been dining on fours all morning. No fun without three.

Anyway by my rules an alteration to one would effect all others.

I 2 3 4

Three, being the funny moment of it all.

Although at the start generally one, two, fail. This is the way.

A question of how you turn things round.

Three times and four blessed.

I have no idea about four, after three who needs to think about it?

Things are in motion.

By the three

For the naturalists state that a certain unpleasant sensation in the opening of the stomach precedes the appetite in order that, having been stimulated in this way, the nature (which endeavors to preserve itself) will replenish itself.

As the tongue is drawn…  Ye old rhetorical instruction; a lure and inducement for the hungry mind to bite, its all perfectly natural.

I can at least generalise out from the chew and bite of the Lectio Divina. Chinese rhetoric would emphasis the importance of silence to speech here. Its a rhetorical rule and not cultural confined, its limits are anatomical.

The body dictates what can be done.

***   

Its not a shy and retiring introduction.

Prologue takes the form of a letter to his teacher, laying out credentials with his audience firmly in mind. 

reference

Nicholas of Cusa, On Learned Ignorance.

to boldly go unto this marvel

Coincidentia oppositorum

the unity of opposites

Hopefully the renaissance will bite at some point this afternoon, been a distinctly mediaeval morning, I notice. 

Dr. Ignorance (hours of endless fun ahead)