Saturday, December 10, 2011


philosophytopologyalgebraicgeometrycounterterrorismplusdailylife …
I stooped to borrowing, from our library, the DVDs of Season 1 of “24”.
This  I had not seen  broadcast,  having been introduced  only to Season 2, by the fortuitous circumstance of renting a room, post 9-11, from Marine A*** M*S*****, who owned a TV.

At first, it was all unfamiliar -- and the heart leapt: Hooray !  A whole new unseen season !
Yet, later, certain passages  were remembered in every detail.  -- The heart sank.  Am-ne-sia ….
Yet why so ?  Why not -- forget  our pleasures, that they might be re-savored,
virginal, anew ? ?  
We do not push away each new steak or milkshake, scowling:  “Been there;  done that…”

But to return (to Episode 8, minute 12:41, on the DVD timescale -- foreshortened by the absence of recaps and ads):  a brilliant   visual composition.   Which the cinematographer composed, knowing that it would be  but barely perceived (lasting but a second), and instantly erased from the viewer’s memory, by all the smash/bang sequences that followed.   And yet …
The (absence-of) color-scheme, from Rembrandt (brown upon brown);  the composition, from Vermeer.  Light strikes in from the side, in a constrained band;  the rest is darkness.
There is a perplexing/fascinating contraption  in the foreground, in shade; the front (blank, bland) panel of an empty desk, (comparatively) brilliantly lit;  and bending over this, the figure of … (she could almost be pouring  a milk-pitcher, in Vermeer;  yet there are depths to this, of  sheer  despair …)
This briefbrief glimpse   of the middle of a moment
passes from the scene  so soon as it is seen :

yet dwells, in full, in memory,  of whoso   chances  to catch it,

as thus our each (bent) bright (black)
attitude of (paining, praising)   daily   life …
is lit for Him  -    --    ---


(For additional epiphany, click here: )

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