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Undiú means 'sound of a bird' in Portuguese.

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This work resonates interestingly in regards to the last two quotes from Duchamp about painting being an act of choosing colors.

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A readymade is a work of art without an artist to make it, if I may simplify the definition. A tube of paint that an artist uses is not made by the artist; it is made by the manufacturer that makes paints. So the painter really is making a readymade when he paints with a manufactured object that is called paints. So that is the explanation.

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The word art, etymologically speaking, means to make, simply to make. Now what is making? Making something is choosing a tube of blue, a tube of red, putting some of it on the palette, and always choosing the quality of the blue, the quality of the red, and always choosing the place to put it on the canvas, it’s always choosing. So in order to choose, you can use tubes of paint, you can use brushes, but you can also use a ready-made thing, made either mechanically or by the hand of another man, even, if you want, and appropriate it, since it’s you who chose it. Choice is the main thing, even in normal painting.13

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«El carácter se forma los domingos por la tarde». Aforista madrileño. http://www.enriquevilamatas.com/textos/textbolanoenblanes.html

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"El caso del aislamiento de Bolaño durante años en Blanes me recuerda a esos libros de los que nos habla Elías Canetti en La provincia del hombre, libros que tenemos a nuestro lado muchos años sin leerlos, libros de los que no nos alejamos y a los que llevamos de una ciudad a otra, de un país a otro, cuidadosamente empaquetados, aunque haya muy poco sitio, y que tal vez hojeemos en el momento de sacarlos de la maleta; sin embargo, nos guardamos muy bien de leer aunque solo sea una frase completa. Luego, al cabo de los años, llega un momento en el que, de repente, como si estuviéramos bajo la presión de un imperativo superior, no podemos hacer otra cosa que coger un libro de esos y leerlo de un tirón, de cabo a rabo; este libro actúa como una revelación. En aquel momento sabemos por qué le hemos hecho tanto caso. Tenía que estar mucho tiempo a nuestro lado; tenía que viajar; tenía que ocupar sitio; tenía que ser una carga, y ahora ha llegado a la meta de su viaje; ahora levanta su velo; ahora ilumina los años en los que ha vivido mudo a nuestro lado." Enrique Vila Matas http://www.enriquevilamatas.com/textos/textbolanoenblanes.html

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No somos más que el tiempo que nos queda caminando hacia el olvido que seremos. Es duro, pero es así. El resto, literatura. Lo mejor es no pensarlo mucho: seguir andando, tomar cafés, enamorarse, ver la lluvia…

Karmelo C. Iribarren, Las luces interiores: Un día bueno

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You need not see what someone is doing to know if it is his vocation, you have only to watch his eyes: a cook mixing a sauce, a surgeon making a primary incision, a clerk completing a bill of lading, wear the same rapt expression, forgetting themselves in a function. How beautiful it is, that eye-on-the-object look.

“Sext” is part three of Horae Canonicae, a series of poems by W. H. Auden first published in a 1955 collection, titled The Shield of Achilles. The title concerns the canonical hours of the Christian Church. https://genius.com/W-h-auden-sext-annotated

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i’m thinking of ending things

Jake: I suppose I watch too many movies. Young Woman: Everybody does. Societal malady. Jake: Fill my brain with lies to pass the time, in the blink of an eye, and an eye blink in excruciatingly slow motion. Young Woman: It’s like the rabies virus, attaching itself to our ganglia, changing us into itself.

Jake: Viruses are monstrous. Young Woman: Everything wants to live, Jake. Viruses are just one more example of everything. Jake: But… Young Woman: Even fake crappy movie ideas want to live. Like they grow in your brain, replacing real ideas. That’s what makes them dangerous.

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Susanne Hofer - Senor Costa

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No, no estoy contento, pero sé que con otro destino sería otra persona. Y como dice Spinoza, «cada cosa quiere la soledad de su ser». Yo insisto en ser Borges, no sé por qué.

Borges, https://elpais.com/cultura/2020/06/12/babelia/1591960732_814904.html

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Given Lynn Margulis’ central role in the articulation of the Gaia theory, I would love to hear her reformulation of it in the wake of our current viral pandemic. What we’re witnessing affirms her ontological formulation decades ago. We are viruses, we are bacteria, we are multitudes of different cells, of different species, of the same cells, of the same species, as part of a shared planet. We cannot escape our interconnectedness. If we explore the imposed biological, ecological, and astral strictures, then we open ourselves up for new prospects and more possibilities than can be perceived at present. Right now, that’s certainly a lot to fathom.

http://www.vdrome.org/

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Cinema had its start in a search for an empirical answer: Do all four of a horse’s feet leave the ground when it runs? The animal-locomotion work of Muybridge, bird flight for Marey, insect studies for Percy Smith, and actuality films by the Lumière brothers. That empiricism was followed quickly by narrative, typified by D.W. Griffith and Méliès. Yet cinema arose out of the science of looking, to know in the empirical fashion. In short, these references boil down to the thing vs the idea or description of the thing. I like to look at the former and roll around formulations of the latter. I am interested in creating a sensorial thought experience, finding novel passages for navigating the density of life.

http://www.vdrome.org/

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Perhaps it is the words “critic” and “criticize” that mislead us so often. Whoever put it into our heads that a critic should “criticize”? I have come to a conclusion: The evil and the ugliness will take care of themselves; it is the beautiful and good that need our care. It is easier to criticize than to care; why choose the easy way? If the critic has any function at all, it is to look for something good and beautiful around him, something that can help man to grow from inside; to try to bring it to the attention of others, explain it, interpret it — and not to clutch at some little pieces of dirt, or mistakes, or imperfections. As if those little mistakes and imperfections really matter in the end.

https://www.undergroundfilmjournal.com/jonas-mekas-on-film-critics/

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In the final moments of life on Earth, someone will think of arranging their hands to make a shadow puppet, creating a dragon or a dove to be immortalised by the bomb. They’ll know that nobody will ever see it, but they’ll do it anyway. And this, I think, is what it is to be any kind of artist these days, with no posterity to address but still compelled, for reasons you don’t understand, to work in the terrible now.

https://www.theguardian.com/commentisfree/2016/may/17/britain-spend-billions-trident-government-cyber-attack

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A Labyrinth of Plastic Waste created by anonymous Spanish artistic group Luzinterruptus. Set up in Poland, the installation uses more than 6000 discarded plastic bottles illuminated with LED lights. The group intends to demonstrate ‘in a poetic manner, the amount of plastic waste that is consumed daily’.

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Dear Archy, can I have a few references for a modern lake house? Thank you :)

Check out these contemporary lake houses:

Lake Rotsee Refuge AFGH

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