Archives for posts with tag: Meredith Monk

(About the size of a Book)

A Unitych is a unit made up of two identical parts. Each part is about the size of a book. It comprises a unit when both parts are separated and disseminated. If presented as a pair – casually assembled on a window ledge for instance – it would merely exist as a sum of components. Entirely dependant on each part’s separation, a Unitych is unique in requiring two persons to own it. One could have both parts in their possession of course, but in order for Unitych to function, the ownership needs to be split, 50/50 with another person. A Unitych unit dissolves if there is too larger distance between the componential parts. There is no actual yardstick, and different Unitychs behave differently. Many come into being by accident and each one behaves relatively to its owners’ predicaments.

In a meagre room, a barefooted woman is curled up on a chair staring at a wall. An object (about the size of a book) rests on a table. Should her gaze turn directly towards the object, she will not perceive a Unitych but only a componential sibling. She cannot stare at both at the same time, because the other part is in another meagre room, in another house, somewhere else. To see hers, she has to look away from the object, but too far and she’ll miss it. She might stare at the wall and only perceive the wall, or she might be staring at the wall but perceive a Unitych. If this were the case she does not see the wall at all and only perceives the Unitych.

For a Unitych can plunge surrounding objects and other matter into darkness. To see her own, she has to capture a distance, if she manages to capture this, then she can perceive her Unitych. A Unitych works very much like an old optical illusion. You know the type; you run your eyes over a grid of black and white squares, and a mesh of grey ones appear. You stop to focus, stagnantly, to deconstruct the trick, only to find as you do there is a slight oscillation anyway, and the little grey fuzzy squares break free and career all over your visual field.

In another meagre room, a barefooted woman is curled up on chair facing an object (about the size of a book) on a table. Her eyes are closed and her womb aches. Three small tears emit from dormant tear ducts and fall onto her lap. The drips fall with the same amount of time between each one and hit the same spot on her lap. On the third, she opens her eyelids. Two empty eye sockets meet the wall and at this point she sees her Unitych. Her mouth opens; her tongue tightens to reach the roof of her mouth. She squeezes some air from the depths of her lungs to make an O, a C, a U, and an L, a long A, and a quivering lower lip attempts an R.

In another meagre room, a barefooted woman is curled up staring at an object (about the size of a book) on the table. Her belly begins to ache, and the pain travels further down her abdomen to her vagaina, and into her anus. The pain in her womb intensifies. Paralysed in agony, she feels movement in her womb. The pain between her thighs is unbearable, and she feels a rush of fluid. She dares not look down, as two spherical objects, as soft and white as lychees emerge from her vagina. Drooling in fluid they fall neatly on to the chair. The woman clenches her eyes, and they begin to stream; one, two, three drops. She opens hers eyes on the third. Staring at the table, the object has vanished. She remains frozen, but she looks down between her thighs at the dribble around her lap. Two eyes stare back at her, and as all eyes meet, an object (about the size of a book) shifts into focus. Her stare darts over to the tabletop but the object has disappeared and by the time her glance returns to the set of eyes swimming in fluid, the object returns. Fixed still on the set of eyes, her mouth opens, and her tongue tightens to reach the roof of her mouth. She squeezes some air from the depths of her lungs to make an O, a C, a U, and an L, a long A, and a quivering lower lip attempts an R.

Invisible – Jean-Claude Risset : L’Imparfait Des Langues – Louis Sclavis : Armadillo Death – Rancho Shampoo : Mon Histoire – Michel Cloup : Cette Colere – Michael Cloup : Chat Noir – Le Pas du chat noir- Anouar Brahem : La Partition du Ciel et de l’Enfer – Philippe Manoury : The Hospital (The Eye of the Beholder) – Bernard Herrmann : The dance of the tutuguri – Antonin Artaud : String Quartet No. 3: III. Epilogue / Lullaby – Jefferson Friedman : Cave Song – Meredith Monk : Invisible – Jean-Claude Risset : Pictures of Matchstick Men – Status Quo : Espaces Inhabitables, I. – François Bayle : Dj la nuit – Anouar Brahem : On Top of The World – James – 65 Mins

This is an Exquisite Corpse. The music was selected by A Moment of Eternal Noise, an excerpt was sent to Simone Gigles who made the image ‘Kitty.’ The text was written by Cameron Irving based on that image.

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16. Liturgical texts and Prayers, illuminated manuscript on vellum with Hippopotamus skin binding.

(Ethiopia, 15th century)

DESCRIPTION

122 leaves, (leaf size approximately 250 x 180 mm), in gatherings from 6 leaves to 12 leaves, 1 leaf (f.115) loose. Text varying between 20 and 34 lines, 2 columns throughout, written in black ink with titles, subheadings, sacred names, numerals, etc., in red (addition of f.85v col. 2, in a large hand in red). Written throughout in various beautiful, bold, archaic hands ranging in size from av. 4 mm to av. 6 mm. Some erasures and corrections and insertions in a smaller but equally archaic hand. Original pricking and ruling mostly visible throughout. Some intercolumnar ornament in red and black. NINE ILLUMINATED HEAD PIECES + 2 small ornaments dividing the paragraphs, all variously coloured in red, yellow, black green and blue-grey. TWENTY FULL COLOUR MINIATURES, 3 with silk overlays, 4 black pages. Some wear and darkening of edges. Most of the miniatures have some damage. The paint has sometimes cracked and there is some offsetting from facing pages. the margins of some leaves have been trimmed off in order to utilise the parchment for amulets, charms and notes of contact.

PROVENANCE AND DATE

SIGNED BY THE ARTIST. There is a collophon in the manuscript, on f.105v, which states, ‘This book belongs to Walda Mika’el and his father S’agga Za’ab and his mother S’eyon Kerbra. Walda Rufa’el painted the book.’ Walada Ruda’el’s name is also inserted in an invocation for blessing on folio 110v. The dating of early Ethiopian manuscripts is notoriously problematic. the form of the script, showing a number of archaic letter shapes, points to an early date and the style of the illumination is that of the earliest surviving Ethiopian manuscript.  This places it before the Moslem invasion at the beginning of the 16th century. Two of the Saints portrayed in the miniatures however suggest a date after the middle of the 15th century. ‘Saint’ Gabra Krestos, folio 106v, lived during the reign of the Emperor Zar Jacob (1434-68) and the Abba Sincoda, folio 107, was executed during the 1430s. It is unlikely that they would have been the subject of miniatures until after death.

TEXT

The manuscript properly begins on folio 9, the first 8 leaves being misplaced from the end. The contents are:

ff.10-60 Book of Hours of the day and the night. Subsections are identified as follows. (f.20) prayers for the third hour; (f.23) prayers for the seventh hour; (f.26) prayers for the ninth hour; (f.29) prayers for the evening; (f.33) prayers for sleepl (f.39) prayers for midnight.

ff.62-85 conatins various prayers: (f.62) Prayer for the Consolation of the Faith as we believe in Mary’; (f.65r) ‘Prayer for All Time(s)’; (f.69v) ‘Prayer for mercy’; (74r) ‘Prayer for Midnight’; (f.75v) ‘Prayer to the King of Praise’; (f.81v) ‘Prayer and Vow for the Forgiveness of Sin’; (f.85r) ‘Prayer and Praise of the Divinity an Vow to the King of Praise’; (f.85v) The ten Commandments (in red).

ff 87-105 contains liturgical texts and hymns: (f.87) ‘Hymn to Our Lord Jesus Christ which is to be read on Sunday before the Weddase maryam (Praise to mary)’; (f.94r) ‘Prayer for Monday’; (f.95r) ‘Prayer for Tuesday; (f.97r) ‘prayer for Wednesday’; (99r) ‘Prayer for Thursday’; (f.102v) ‘Praise for Friday’.

ff108 contains the Gospel of St.John. there is however a break of a page between the two blocks of text.

ILLUMINATION

This manuscript is an exmple of the earlist geometric style of Ethiopian illumination. Although Christianity arrived in the country in the 4th century, no paintings or manuscripts can be formally dated before the late 13th or early 14 centuries. The few examples that survive from the 14th or 15th centuries are broadly similar in style, with forms and iconography stemming from Byzantine and Syrian painting. the Chief charecteristics of this style are strong frontal figures articulated by geometric backgrounds.

Lot. 15 £50,000

Text and Image – Bloomsbury Auctions“Antiquarian Books & Ancient Manuscripts,” Catalogue 12, 1989

Durme, Hermosa Donzella – Jordi Savall : Lunissanti, Miserere – Enzo Favata : Symphony No.3, II Lento e largo, Tranquillissimo – Gorecki : In Darkness Let Me Dwell – John Downland : Il Prologo: Alba – Gianluigi Trovesi : Rite Of Passage A – Meredith Monk : Dos Kelbl (The Little Calf) – Iva Bittova : Da Pacem Domine – Arvo Part : Viderunt omnes – Perotin : Mothertongue: IV. Monster – Nico Muly : Mieke’s Melody #5 – Meredith Monk : Jolson and Jones – Scott Walker : Quatuor pour Cora, Dance of the Vampires – Iva Bittova – 65 Mins