fattoria montellori

scanning motto, ma qui tacer nol posso,

stepping out on one’s own in a manner of






not the way these fortifications stand against the scenery,

not as a self, as a mental




or stone


cut into the flesh through these senses,

into the grounds we stand upon, woven


a ring around the

coloring of imagery

into my head.


perspectivae del monte, shouted, out from, formed

from names, not thought, free from sentences, from



vanishing point,

glans, dome,

statics, grammar, in profile,

outlines, ringing crosses, tower, in falling,



in a pallid





carving you into memory, a riff, like the


round relief,

bagel on plate, as the surface does not coerce

into defining,


ever more oval, backing away, to the straight of the profile,

glass armor, the cold, black floor,


every word quite clear

in its own way, definition,

circular reasoning, cheap reproduction,


papery, prima vista vera, like sandro’s sharp contours,

different, not as any thereabouts of


duos of eyes, auction

of the real

Cartesian coordinates


in brunelleschi’s camera obscura: at just the moment

when the lens opens wide and raises its something from a baptismal font,


a rag fluttering

above the window, in the wind

blowing in along the arno river.


nonsense in perspective of super- and subordinating

syntax, styx, moving across word boundaries in a sentence


the objects,

images, outlines

under way,


in finite regress, change of perspective, rows of thoughts,

and in exact position, in situ, is mounted on,


sozza mistura



readers now deck out in the colors of their memories,

venimmo al punto dove si digrada ...



ma qui tacer no posso: but here I can't be still (Dante, Divine Comedy, Inferno, Canto XVI, verse 127)

perspectivae del monte: Guidobaldo Marchese del Monte (1545-1607). One of the major works of the Pesaro–born mathematician, physicist, and Astronomer. Perpspectivae libri sex, is one of the most influential books on perspective from the late Renaissance. Galileo, a protégé of the Marchese del Monte, made reference to this book which, among others, was the first to describe the concept of the vanishing point.

brunelleschi’s camera obscura: Filippo Brunelleschi’s (1377-1446) attempted to come to terms with the representation of perspective on two-dimensional surfaces. To this end, he created a peep show box with a mirror that one would peek into with one eye. It served to show that one could not tell the difference between the picture he had drawn of the Baptistry in Florence and the actual view of that building from a certain point in front of the Babtistry. Removing the picture from the box allowed for comparison of the two. (See Paul Feyerabend’s Essay: Brunelleschi and the Invention of Perspective, in Conquest of Abundance, Chicago, London 1999)

sozza mistura dell’ombre: squalid mixture of shadows (ebd. Canto VI, verse 100)

vennimo al punto dove sie digrade: we reached the point that marks the downward slope. (ebd. Canto VI, verse 114)

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