HORSE GLUE from small time inc. on Vimeo.
The Black Dog's Progress from small time inc. on Vimeo.
codex
Codex Seraphinianus
Many of the pictures are grotesque and disturbing, but others are extremely beautiful and visionary. The inventiveness that it took to come up with all these conceptions of a hypothetical land is staggering.
Some people with whom I have shared this book find it frightening or disturbing in some way. It seems to them to glorify entropy, chaos, and incomprehensibility. There is very little to fasten onto; everything shifts, shimmers, slips. Yet the book has a kind of unearthly beauty and logic to it, qualities pleasing to a different class of people: people who are more at ease with free-wheeling fantasy and, in some sense, craziness. I see some parallels between musical composition and this kind of invention. Both are abstract, both create a mood, both rely largely on style to convey content.
Douglas R. Hofstadter
capitán
Capitán, los afanes son engaños,
Vano el arnés y vana la porfía
Del hombre, cuyo término es un día;
Todo ha concluido hace ya muchos años.
El hierro que ha de herirte se ha herrumbrado:
Estás (como nosotros) condenado.
Vano el arnés y vana la porfía
Del hombre, cuyo término es un día;
Todo ha concluido hace ya muchos años.
El hierro que ha de herirte se ha herrumbrado:
Estás (como nosotros) condenado.
J. L. Borges
weaving words
Jorge Luis Borges, This Craft of Verse
For Borges (1899-1986), the central fact of life was the existence of words and their potential as building blocks of poetry. In this series of six long-forgotten lectures given at Harvard more than 30 years ago, he insists that reading (in English, primarily) gave him more pleasure than writing. Most of his examples are taken from English-speaking writers, such as Shakespeare, Keats, Byron, Whitman, and Frost. Borges developed a passion for the study of Old English, with its abundant metaphors, harsh beauty, and deep feeling (though not, he admits, for its deep thought). He dislikes the history of literature, which he feels demeans individual works, and he is generally wistful for a future when we are no longer overburdened by history. He champions the primacy of storytelling and prefers the epic to the novel, which he finds "padded." He also argues that one of the great poverties of our time is that we no longer believe in happiness and success and that happy endings seem commercial or staged. Some of his ideas are quirky, but it's still a privilege to have access to one of the most distinctive literary voices of the century.
principles of truth
I. THE PRINCIPLE OF MENTALISM - “THE ALL is MIND; The Universe is Mental.”
II. THE PRINCIPLE OF CORRESPONDENCE - “As above, so below; as below, so above.”
III. THE PRINCIPLE OF VIBRATION - “Nothing rests; everything moves; everything vibrates.”
IV. THE PRINCIPLE OF POLARITY - “Everything is Dual; everything has poles; everything has its pair of opposites; like and unlike are the same; opposites are identical in nature, but different in degree; extremes meet; all truths are but half-truths; all paradoxes may be reconciled.”
V. THE PRINCIPLE OF RHYTHM - “Everything flows, out and in; everything has its tides; all things rise and fall; the pendulum swing manifests in everything; the measure of the swing to the right is the measure of the swing to the left; rhythm compensates.”
VI. THE PRINCIPLE OF CAUSE AND EFFECT - “Every Cause has its Effect; every Effect has its Cause; everything happens according to Law; Chance is but a name for Law not recognized; there are many planes of causation, but nothing escapes the Law.”
VII. THE PRINCIPLE OF GENDER - “Gender is in everything; everything has its Masculine and Feminine Principles; Gender manifests on all planes.”
Subscrever:
Mensagens (Atom)