white cherries, and shadows write with better clarity than any ii at a certain hour over the Aurelian wall—to emerge from the rustic house & let them do it, as Ruskin did, casting agency with bliss into light unelectric.
In defiance of classical epistemology: “German dulness, and English affectation, have of late much multiplied among us the use of two of the most objectionable words that were ever coined by the troublesomeness of metaphysicians — namely, ‘Objective’ and’ Subjective.’” —”Of the Pathetic Fallacy,” John Ruskin, Modern Painters, Vol. III
So that, to take Sarah’s proposition about the radicalization of craft seriously, we’d have to divine, canalize, reconduct the channels that have come to dominate facture: that “MADE IN ITALY” may well mean wrought out of secret sweatshops in the outskirts of Naples by Chinese workers, no less sketchy for their being in supposed situ: [...]
Learning that marble is now imported from China before being carved by robots in Carrara according to plots computed by remote artists so as to be labeled, then, “Made in Carrara/Italy/etc.”— & trying in earnest not merely, simplistically, to mourn the outmoded craftsmen, even those making Christs in concrete, still, aware that Marx’s industrial optimism [...]