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“All form is a process of notation” *
- By: Aden Kumler
- Publication: L’art médiéval est-il contemporain ? Is Medieval Art Contemporary? , pp 91-112
- Publisher: Brepols
- Publication Date: January 2023
- DOI: https://doi.org/10.1484/M.NEO-EB.5.131332
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Abstract
Inspired by “Fluxperson” and intermedial artist Dick Higgin’s concept of the “exemplativist” work of art, this essay explores the dynamics of “multiplicity in singularity” at work in Hrabanus Maurus’s ninth-century work of visual poetry, In honorem sanctae crucis (In honor of the holy cross). Responding to Higgins’s own writing on In honorem, and his dictum that “all form is a kind of notation”, I examine how Hrabanus’s work models a powerful hypostasis of word and visual figure, poetic form in poetic form, and singularity in multiplicity that at once abstracts and instantiates the cross in its rigorous series of cruciform compositions.
Hardbound ISBN:
978-2-503-59973-1
E-book ISBN:
978-2-503-59990-8
“All form is a process of notation”*
https://doi.org/10.1484/M.NEO-EB.5.131332
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Fig. 1a.
Paris, BnF, MS Lat 2422, f. 15v. Mainz (?); after 822 and before 845–847 ce. © BnF.
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Fig. 1a.
Paris, BnF, MS Lat 2422, f. 15v. Mainz (?); after 822 and before 845–847 ce. © BnF.
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Fig. 1b.
Paris, BnF, MS Lat 2422, f. 16r. Mainz (?); after 822 and before 845–847 ce. © BnF.
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Fig. 1b.
Paris, BnF, MS Lat 2422, f. 16r. Mainz (?); after 822 and before 845–847 ce. © BnF.
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Fig. 2.
Paris, BnF, MS Lat 2422, f. 30v. Mainz (?); after 822 and before 845–847 ce. © BnF.
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Fig. 2.
Paris, BnF, MS Lat 2422, f. 30v. Mainz (?); after 822 and before 845–847 ce. © BnF.
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Fig. 3.
Paris, BnF, MS Lat 2422, f. 3v. Mainz (?); after 822 and before 845–847 ce. © BnF.
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Fig. 3.
Paris, BnF, MS Lat 2422, f. 3v. Mainz (?); after 822 and before 845–847 ce. © BnF.
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Fig. 4.
Paris, BnF, MS Lat 2422, f. 3v (detail). Mainz (?); after 822 and before 845–847 ce. © BnF.
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Fig. 4.
Paris, BnF, MS Lat 2422, f. 3v (detail). Mainz (?); after 822 and before 845–847 ce. © BnF.
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