I forgot what it was that led me to check out this book, and I'm glad I did because I would probably hit it by way of saying thanks. I don't get whatI forgot what it was that led me to check out this book, and I'm glad I did because I would probably hit it by way of saying thanks. I don't get what has folks soiling their beds over this cat. Yes, his stuff is dark and funny, like a dilute solution of Gahan Wilson, and often has a surreal sense that reminds me of Glenn Baxter. Alas, he draws with a style influenced by Daniel Johnston and John Callahan, which is to say like a toddler with a muscle cramp. I guess I just don't get art, or maybe the fine art world is more or less a self-perpetuating delusion of folks with more money than sense or taste. Maybe the fact that Shrigley's stuff exposes that "tension" is why he is so beloved to many. Who the hell knows? ...more
I checked this book out from the university library after H.P. Lovecraft made an offhand reference to the artist in "At the Mountains of Madness," preI checked this book out from the university library after H.P. Lovecraft made an offhand reference to the artist in "At the Mountains of Madness," presumably referring to works such as this:
As I made my way through this book, it dawned on me where I first encountered Roerich's artwork—the cover art to Elizabeth Clare Prophet's "Lost Teachings of Jesus" new age books.
Roerich's life and studies span my own interests in art, anthropology, Central Asia, Tibet, Buddhism, the occult, theosophy, and the mystical kingdom of Shambhala. Heck, this book even inspired me to watch ballet, specifically The Joffrey Ballet's 1987 revival of Le Sacre du printemps, with artwork and costumes by Roerich and choreography by Nijinsky, inspired by Roerich!...more
I approached this genuinely weird book with an openness to its weirdness and a commitment to dealing with the author's eccentric style. I figured thosI approached this genuinely weird book with an openness to its weirdness and a commitment to dealing with the author's eccentric style. I figured those attitudes are essential to dealing with any sort of spiritual, hermetic, or occult work, and this book is, or at least repeatedly purports to be, both such a work (a true labor of love) and a facilitator of similar drive, dedication, and devotion in the reader. I hope the author releases a paperback version of this book, on slightly more textured paper, as a "grown-up" coloring book. After all, what better to way to engage with this creative work other than with a creative response?
As for my wife, she loved the cover so she picked the book up, flipped through a couple pages, and put then hurriedly it down in near horror. I think it gave her an instantaneous migraine; she said she was overwhelmed by the black and white illustration, after seeing the colorful cover and expecting, well, color. We agreed that this book would work better as a coloring book.
I need to buy my own copy and color the blessed thing!
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