Christopher Wool: Painting about Painting My Escape Goat is Aglaya Epanchina who is not the least consequential of the attending figures who, although ostensibly attached to the Prince by love, are in any case at once horrified and fascinated by his debility and respond to him with a consistent capacity for sadistic vengeance.
Aglaya's sadistic repertory comm- ences with the many instances of poking fun at him and by her demands that while in social view he be stilled, silenced, rendered stationary and invisible. Moreover, she at times prompts his faltering incapacitation to the extent that she programs failure, "foreseeing" with anxiety that at a party he is meant to break a prized vase and deliver rants instead of conversation. The hysterically suggestible Myshkin pulls the wool over his own eyes and states in clear tones: exploitation, codedependency, malevolence, blood, social violence, repugnant, uncanny, idiot The hysterically suggestible Myshkin knows that Wool is one of the very few words keeping poetry alive, aware, ornery and unafraid Christopher Wool is a painting. Christ o' fur-wool is a real virtuality. Appearances are complicated. All appearances. "Complication," from the midieval pairing complicare / explicare, is one of the earliest proto-concepts of immanence. It derives from the Platonic concept of participation and becomes "theological" only later when developed and adapted by Plotinus (emanative cause, Enneads), Proclus, Boethius ( complectiri, The Consolation of Philosophy), the Ecole de Chartres, and finally Cusanus (complicatio, De Docta Ignorantia). The Town's telephones supply a cacophany of voices. Burgel's monologue sans Umlaut, or Umwelt ala Uexküll with the Um, Laut-Poesie.. Theodor Adorno: "For the last time psychology"... What Wool says is, The world of things takes precedence over the abstract subject. Wool is correct, and it is always over our I's for the abstract subject is a world of things. The principle of individuation known as "haecceitas," first used by Dun Scotus and his school in the 13th Century, is sometimes used today to describe these instants/points or "singularities," which as purely intensive forms of "shewing" echo the problematics of random occurences and peripheral or minor 'happenings' (as well as "petits récits") that charac terizes much of modern literature from Robert Musil to Maurice Blanchot. These effects, which are in fact monstrous echos, or "intensive singulairites" of the historical progess of that extension of the "mixture of styles" as far as possible by the ordinary hunter graccus, that Saint Germain who like an arcimboldo of flying buckets, books, brooms, buttons, tops, teeth, human bridges, stares, growing doors, balls, photos, and articles of clothing. You represent to him his own webbed fingers, his rudderless death in life, his desk named Xylene Tekton Uncle, a bureaucrazy of "learned ignorance" whose fashioning was a kind of embedded "ralenti"> The term complicatio was developed by renaissance neo-Platonists, particularly in the work of Nicholas Cusanus. Comp- licatio describes the enfoldedness of the many, including all opposites, in the One, or the (mystical) ascent from the many and the particular to the One (the infinite). This wool. This wool is more like that of Nicholas Cusanos or Gioradano Bruno: infinite, centerless, and complicated. Wool is some pantheistic cosmologies. Wool is those entire expressivity of this universe. Wool tends towards the microscope. Wool is Painting about Painting, or maybe not, maybe its: Actæa spicata Osmunda regalis Pulicaria dysenterica Scrophularia aquatica maybe it's whatever, a chromaphore, a sneezing pop-sickle with a dirty boot
