In attempting to leave the cymatic phenomenon intact and unharmed in our intuitive vision, we can derive from it the following spectrum with form at o
In attempting to leave the cymatic phenomenon intact and unharmed in our intuitive vision, we can derive from it the following spectrum with form at one end and movement at the other. figurate, patterned and textural on the one hand, turbulent, circulating, kinetic and dynamic on the other, and in the centre, acting in either direction, creating and forming everything, the wave field, and thus as causa prima, creating and sustaining the whole, the causa prima creans of all: vibration. (pp. 148, 151)
[W]e cannot say that we have a morphology and a dynamics generated by vibration, or more broadly by periodicity, but that all these exist together in a true unitariness....It is therefore warrantable to speak of a basic or primal phenomenon which exhibits this threefold mode of appearance. It must be stressed that this is an inference made from appearances. The basic threefold or triadic phenomenon is not a preconceived conceptual form which is forced on the nature of things: these things themselves are the basic triadic phenomenon. (pp. 176–7)
Takes the mind-blowing qualities of its inspirations, Edwin Abbott Abbott's classic Flatland and Charles Hinton's "An Episode of Flatland," and takeTakes the mind-blowing qualities of its inspirations, Edwin Abbott Abbott's classic Flatland and Charles Hinton's "An Episode of Flatland," and takes them to the next level. (Sorry. Couldn't resist.) Instead of generally exploring worlds of lesser and greater dimensionality than our own, Dewdney seeks to create a two-dimensional world with internally consistent rules of physics, chemistry, biology, and technology, and succeeds admirably. That he is also able to tell a funny, touching story about the computer science professor and his students who discover this alien world just adds to the enjoyment. Highly recommended for those who like expanding their minds, and especially for those seeking to create their own fictional worlds....more
I developed a love-hate relationship with this author when I worked at San Francisco's A Clean, Well-Lighted Place for Books. I loved her because sheI developed a love-hate relationship with this author when I worked at San Francisco's A Clean, Well-Lighted Place for Books. I loved her because she had the audacity to create unwieldy books that would not fit on any standard-sized bookshelf, and I hated her for the very same reason.
Turns out that not only are these books nearly impossible to shelve, but their design "innovations" also make them challenging to read, particularly in the case of the current book, which is around the same size as a dorm room poster. So the outrageous design is strike one against this book. (Admittedly, the big doors comprising the front cover provide an interesting, and somewhat literal, entrée into the world of religious architecture, but the user-unfriendliness of the design overwhelmed its cleverness.)
It also seems that more effort was spent on designing the book than obtaining photographs and writing text, because the book, while enormous, didn't contain nearly enough imagery, and the text was less than inspiring. (The main review describes the writing as "lively"? Compared to what, I wonder? The book of Leviticus?) Two more strikes against the book.
The selection of churches (all Christian, by the way, if your definition of "Christian" is broad enough to include Mormons, Unitarians, and Christian Scientists; religious architectural awesomeness like the Baha'i House of Worship in Wilmette, IL, was omitted) seemed pretty arbitrary, as did the order in which they were presented. You have masterpieces like Hagia Sophia, Chartres Cathedral, and even Unity Temple alongside forgettable monstrosities like Church on the Water. I would love to know how Dupré selected the churches she included.
Finally, the introductory interview with a contemporary church architect was so tedious and filled with art-babble (e.g., praising hideous architecture and elevating it to Chartres status) that I almost quit reading this book before I made it past the preamble. Maybe I should have taken the hint....more
This was definitely unexpected. I thought I was requesting a book of outsider art from the library; instead this is a book of vignettes about severalThis was definitely unexpected. I thought I was requesting a book of outsider art from the library; instead this is a book of vignettes about several late USAmerican outsider artists. Generous, gentle, grateful, and impeccably respectful of the artists and their circumstances.
I think I get outsider artists. I think I get suffering, which bends and reshapes a person the way extreme sun bends and reshapes a tree. I think I get religious or spiritual obsessions and how they arise from our deepest needs. Partly this is because I get that people cannot survive without some sense of sturdy meanings. When sturdy meanings collapse, when the world stops making sense, as it did for the artists I write about, we—you, me, them—have no choice but to rationalize and relativize, to create a new world in our minds, and then wholeheartedly believe in it. (5)