…relationship ratio essentially.
Irreconcilable ratio.
[Inaudible] places?
It’s such a good question.
I think, I really… well… well hidden behind,
although they seem to come together in your
view, but certainly in “Etant donnes”
we are separated but in this…
[Inaudible] Oh okay, but still there is this
kind of interesting fusion that theory of
gems, I think is very interesting, thinking
about “Rrose” in those photographs.
But in “Etant donnes,” doing this in three
dimensions, we're very much in two three-dimensional
physical realms and prevented from access
by a physical wall.
It's really he realizes it I think most successfully
at this point.
And I'm not sure he ever really tries to do
that again because in the end, his notes are
much more interesting about “The Bride”
as four dimensional creature.
He speculates on mirrors and virtual images
and geometric full continua and cuts, and
in the end, in “The Bride,” he simply
steps back to this very simple idea that she
is the shadow of, or the two-dimensional compression,
photographic-like compression, of a three-dimensional
bride who is the shadow of a four-dimensional
bride.
It's a bit of a cop out, but with the technology
that was available to him at that point, it's
not a surprising decision.
But he did consider the nodes equally important.
And there we really get to see this mind musing
in such an interesting way.
So we can continue over coffee.
Oh, sorry.
Can I just make one really quick comment,
Linda?
The question about Kiesler when Anne first
showed me the image of the Kiesler portrait.
My thought of the eight, I’ll call them
eight cubes if you will, was that it was almost
like an unfolded hypercube.
Oh, Christina.
And that’s why I thought I should raise
that idea for your consideration.
Also I was thinking about the [Cargher?] photo.
He's on a spiral staircase.
And I assume you noticed that, but that fits
with your theories too.
That’s great, and this is so interesting
because Dali in ’54 in the “Corpus Hypercubus”
is really going back to what Bragdon had done
in his “Man the square” about it: a cube
folding down into the plane which makes eight
squares and on the floor of that, you see
Christ on that one kind of folded down hypercube.
But on that floor that is exactly that eight-cube
cross.
So Kiesler mixes it up.
But it's an interesting association with eight
squares.
I hadn't counted.
Thank you so much.
[Applause] I just want to thank Linda Henderson
and Wendy Reaves for their superb contributions
to our conversation and in an attempt to try
to bring maybe time back time back together
a little bit in terms of our program, I think
we'll just have a brief coffee break maybe
give everybody about 10 minutes or so to stretch
their legs, have a cup of coffee, and we’ll
try to reconvene around quarter after three.
Thanks so much.
