This document was written for TV by Alan moore, as such it forms a good introductory passage.
Reality, at first glance, is a simple thing: the television speaking to you now is real. Your body sunk into that chair in the approach to midnight, a clock ticking at the threshold of awareness. All the endless detail of a solid and material world surrounding you. These things exist. They can be measured with a yardstick, a voltammeter, a weighing scale. These things are real. Then there’s the mind, half-focused on the TV, the settee, the clock. This ghostly knot of memory, idea and feeling that we call ourself also exists, though not within the measurable world our science may describe.
Consciousness is unquantifiable, a ghost in the machine, barely considered real at all, though in a sense this flickering mosaic of awareness is the only true reality that we can ever know. The Here-and-Now demands attention, is more present to us. We dismiss the inner world of our ideas as less important, although most of our immediate physical reality originated only in the mind. The TV, sofa, clock and room, the whole civilisation that contains them once were nothing save ideas.
Material existence is entirely founded on a phantom realm of mind, whose nature and geography are unexplored. Before the Age of Reason was announced, humanity had polished strategies for interacting with the world of the imaginary and invisible: complicated magic-systems; sprawling pantheons of gods and spirits, images and names with which we labelled powerful inner forces so that we might better understand them. Intellect, Emotion and Unconscious Thought were made divinities or demons so that we, like Faust, might better know them; deal with them; become them.
Ancient cultures did not worship idols. Their god-statues represented ideal states which, when meditated constantly upon, one might aspire to. Science proves there never was a mermaid, blue-skinned Krishna or a virgin birth in physical reality. Yet thought is real, and the domain of thought is the one place where gods inarguably ezdst, wielding tremendous power. If Aphrodite were a myth and Love only a concept, then would that negate the crimes and kindnesses and songs done in Love’s name? If Christ were only ever fiction, a divine Idea, would this invalidate the social change inspired by that idea, make holy wars less terrible, or human betterment less real, less sacred?
The world of ideas is in certain senses deeper, truer than reality; this solid television less significant than the Idea of television. Ideas, unlike solid structures, do not perish. They remain immortal, immaterial and everywhere, like all Divine things. Ideas are a golden, savage landscape that we wander unaware, without a map.
Be careful: in the last analysis, reality may be exactly what we think it is.
Golden Kate
Kate Moss gets the golden touch as she’s immortalised in gold | Mail Online
Siren is the work of artist Marc Quinn whose most famous sculpture was Alison Lapper Pregnant which appeared on the Fourth Plinth in Trafalgar Square.
His sculpture of Moss said to be the largest gold statue to be made in the world since the time of Ancient Egypt.
Speaking about choosing the supermodel as a subject, Quinn said: “I thought the next thing to do would be to make a sculpture of the person who’s the ideal beauty of the moment.”
The 50kg statue will be displayed in the Nereid Gallery of the British Museum, alongside other statues such as Crouching Venus, a Hellenistic model of Venus surprised while bathing.
Quinn’s latest work, which shows Moss in a yoga pose, is part of a collection, entitled Statuephilia, by contemporary artists going on display at the British Museum.
It is the second time the London-born artist has used the model as his muse. He previously created Sphinx, a white-painted bronze sculpture of the fashion icon.
Quinn is also known for Self, a bust of his head made from eight pints of his own frozen blood.
Other artists exhibiting include Damien Hirst and Angel of the North creator Anthony Gormley.
Gormley said: “The British Museum is a laboratory of possibility for any creative mind. It is filled with objects that reach across time and touch us intimately.
“Seeing as a child the great head of Rameses and the Assyrian winged bulls at the British Museum was what made me become a sculptor.”
The exhibition will run from October 4 to January 25.
the holy go spell with those tongue-teeth and with those tongue-teeth tongue-tongue she told me,
tongue-tongue three realities this week tongue-tongue precious sobbing saw
we are born and can see
where this canyon was formed, where this fire started,
can smell the salty manic abdomen arabesque, primal and fine, divine and full
of confusion, pleasures, punting rats and swinging stars…
(via ִ coso )
Visitors to the yesno household
via maybe so
Lava Dome 3 / gavin
via Joug
Montreal Triptych
via imunderpressure
City behind the Bird
via teiiko
via Hiddenson
Janis Joplin (via)


Booty in Milk
via Allure + Desire
Smoke from her mouth…
via teiiko


Censorship I.
via Allure + Desire


edt:
do you know what day it is.
(img via nightmarebrunette:wonderlandcode831)
edt:
Fire Walk With Me
film_stills (via laura9)
Lava Dome 2 / gavin
via Joug


What’s money? A man is a success if he gets up in the morning and goes to bed at night and in between does what he wants to do ~Bob Dylan
kiku:
Reich invented his original “phasing” technology in the beginning of 1960’s. He was using two copies of the same tape loop, playing simultaneously on different machines, and over time, the slight differences in the speed of the tape machines causes a flanging effect and then rhythmic separation to occur. Originally, phasing was only a studio experimental technique for tape loops, but in 1967 Steve composed a Piano Phase, a piece of music for two pianos. It was his first attempt at applying the phasing to live performance.
Two pianists are playing a rapid twelve-note melodic figure over and over again in unison. As one player precisely keeps the tempo, the other speeds up very slightly until the two parts line up again, but one sixteenth note apart. The second player then resumes the previous tempo. This cycle of speeding up and then locking in continues throughout the piece; the cycle comes full circle three times, the second and third cycles using shorter versions of the initial figure. Typically, two pianists play the Piano Phase without breaks at any stage for fifteen, twenty minutes or so.
But on the October 2006, Peter Aidu performed this composition with an absolutely unique technique. While playing on two pianos, with a left hand on one instrument and the right hand playing separately on the second piano, he was recreating the sounding of two performers! This tremendous performance was accurately recorded, and now is available exclusively from top-40.org.
Here
via Giavasan
new penguin readers: east of eden.