LeDuff’s argument (in Shock Art #37) that an image, once floated on the international art-sea, is a fish that anyone may grab with impunity, and make it his own, would not persuade an oyster. Questions of primacy are not to be scumbled in this way, which, had he been writing from a European perspective, he would understand, and be ashamed. The brutality of the American rape of the world’s exhibition spaces and organs of art-information has distanciated his senses. The historical aspects have been adequately trodden by others, but there is one category yet to be entertained—that of the psychological. The fact that LeDuff is replicated in every museum, in every journal, that one cannot turn one’s gaze without bumping into this raw plethora, LeDuff, LeDuff, LeDuff (whereas poor Bruno, the true progenitor, is eating the tops of bunches of carrots)—what has this done to LeDuff himself? It has turned him into a dead artist, but the corpse yet bounces in its grave, calling attention toward itself in the most unseemly manner. But truth cannot be swallowed forever. When the real story of low optical stimulus is indited, Bruno will be rectified.
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“Letters to the Editore”, Guilty Pleasures (1974)Donald Barthelme
» Donald Barthelme - all quotes »
Through the seventeenth and eighteenth centuries, Bruno's ideas were widely imparted, borrowed, sounded; almost never, though, with the name Giordano Bruno attached to them. Kepler once chided Galileo for omitting his debt to Bruno; yet we can discern Kepler's own indifference... Later generations would evoke Bruno's writings to the phrase, without quoting or acknowledging him. Recent scholarship on Spinoza, for example, cites Bruno's powerful exertion on his thought about infinity and on his style. Never does Spinoza cite Bruno by name.
Baruch Spinoza
Joyce gives the ghost guises like Saint Bruno and The Nolan of the Cabashes and Noland's brown and Nolan Browne and Bruno Nowlan and Nolans Brumans and Mr. Brown and Bruno Nolan and many others. The encyclopedic Joyce was deeply impressed by Bruno's heady coincidence of contraries, and was no doubt sympathetic to Bruno's hectic and finally tragic bouts with the Inquisition. McLuhan the Joycean scholar was certainly conscious of Joyce's debt to Bruno. But I like to think there was more: that when "Bruno Nolan" winked from one of paper sleeves, McLuhan made a recognition as if glimpsing a companion from across the centuries and winked back.
Giordano Bruno
"History has not yet registered a stable appraisal for Giordano Bruno" writes Giorgio de Santillana in The Age of Adventure. Perceptions of Bruno were volatile enough in his lifetime; many have remained polarized to this day. Radoslav Tsanoff calls Bruno "the outstanding philosopher of the Renaissance," and Harold Hoffding cites Bruno's work as "the greatest philosophical thought-structure executed by the Renaissance." Yet Bertrand Russell despairs of crediting Bruno with philosophy at all: "There were fruitful intuitions lost in that disorder, but they had not yet reached the point of precision at which philosophy begins." The chasm of opinion dividing Bruno, even to this day, is one of the many improbables of this turbulent and exultant figure.
Giordano Bruno
Valiantly he fought on every intellectual battlefield. True he bowed and dodged and lied over and over again, that he still might live and work. Many of his admirers cannot forgive this in the great Voltaire. Rather they would have had him, like Bruno and Servetus, remain steadfast to his faith while his living body was consumed with flames. But, Voltaire was Voltaire, Bruno was Bruno, and Servetus was Servetus. It is not for the world to judge, but to crown them all alike. Each and all lived out their own being, did their work in their own way, and carried a reluctant, stupid humanity to greater possibilities and grander heights.
Clarence Darrow
Bruno is the first thinker who based the soul's duty to itself on its own nature: not on external authority, but on inner light. … Of Bruno, as of Spinoza, it may be said that he was "God-intoxicated." He felt that the Divine Excellence had its abode in the very heart of Nature and within his own body and spirit. Indwelling in every dewdrop as in the innumerable host of heaven, in the humblest flower and in the mind of man, he found the living spirit of God, setting forth the Divine glory, making the Divine perfection and inspiring with the Divine love. The Eroici is full of the pantings of his soul for intellectual enfranchisement and contact with Truth, the divine object.... The heroic soul, says Bruno, shall seek truth and find it. The time had not then come for Pilate's question to be put again. Bruno was happily unvexed by the problem of truth... there is a view implicit in the Eroici and in all but the earliest of his philosophical writings, and this is that our truth is a progressive, ideal approximation towards that whole Truth which is one with the inmost nature of Being.
Giordano Bruno
Barthelme, Donald
Barthes, Roland
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