I was thinking about this a short while ago when putting up the top image of a Ford V-8 roadster in this post. It seems that advertising has always incorporated art to its own uses, whether or not directly. I see that Google is offering so very minuscule a sliver of Ad Reinhardt's Art as Art as to merely tease. Just maybe, though I can't recall the titles some, Henry Miller very close to the elite font on muĮspecially sections towards the end. Some, for me, neat 'stuff' in that black 'Selected'Īnd The City. Some of those 'things' just-as-they-were/are the originals scanned and on my site. When staples were an interegal essentiol? 'rag' that Ron Silliman produced wayyyyyyyyyyy back wen

let the reader enjoy the supreme pleasure of discovering any typos.'miss' spellings' So it is with that which of my 'stuff' is getting published facsimile editions.Īnd told the publisher. This may be the post I've enjoyed the most, Tom, (and I've enjoyed many). I didn't know it was called the Droste effect. I wonder if there's a book about references to works of art in advertising. (And by the by, speaking of recursion, it's pretty certain that the fellow who did the cocoa ad had one eye on that lovely pastel of the chocolate girl drawn by the Swiss painter Liotard.) and this steady corruption of the texts has continued down through the centuries to now, when it's assumed, even inside the jello-firm bastions of academia, that the original look of the poems will put off dumb American students my view is that condescending to and patronizing audiences in this way is a sure sign of the failure of the culture built upon this language but oh well, & c.) destroyed - his unique, original and very effective metrical conception and practise. (By the by, on the subject of editorial 'corrections' of Wyatt's texts, those depredations have been doing on since a few years after his premature demise, when the anthologist Richard Tottel 'regularized' - i.e. (I wouldn't trade one Wyatt poem for twenty Grand Pianos, myself - but then, I've always liked a quiet tune.) In this case, another uneasy moment in the short, extremely eventful, certainly often anxious and perilous, life of one of the very greatest of poets.

is actually Wyatt's, or that of an intermediary).Īnyhow, the impression here is that the closer one can come to seeing the thing in something like its original state, the closer one then comes to having a sense of the reality of the compositional moment. In short, I am greatly indebted to you, my friend, for your poet's eagle eye in spotting that (now gratefully-corrected) typo - my errant transcription of a transcription of a transcription (it's not clear whether the handwriting in the Egerton ms. but since when does anybody offer a helping hand. I) can get- even (especially?) with the little things - I mean everybody gets the humour in watching a half-blind old person fumble with cash register change, shoelace tying & c. They say it's wise to trust in one's friends, and I think this is doubly wise for the old-timers in the gang, who can always use every bit of help they (i.e. I mean recursion is recursion is recursion? (maybe delete the '&' there before the 'and' My recursive 'chocolate girl' is tawny, again and again.& I tell yuh, another GREAT combinate here. Want from her(e) is to get to you something.but to where & all thy luves ferever (or was it 'lewes/laws' ? Let us now return to recursion again and again to those yes-ter-years.and That Wyatt piece directly transcribed from the original text/ms? Illustration of 'the nurse' on Droste cocoa tin, showing a visual form of recursion known as the Droste effect the woman in the image is holding an object which contains a smaller image of herself holding the same object, and so forth: Jan (Johannes) Musset (?), c.

Tom clark iconographer