Category: Art & Design

A flat chested woman is infintely better than with implants

                        kieran
                            A flat chest is infinitely better than implants…


A big nose far better than a character-depriving nose job..
sofia


          bignose

Continued...

Posted by DanielS on Saturday, September 6, 2014 at 07:12 AM in ActivismArt & DesignMedia
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“Wise men see outlines and therefore they draw them”

                                    blakecompass
                “Wise men see outlines and therefore they draw them”

  D: Don’t be silly. I can’t draw a conversation. I mean things.

  F: Yes—I was trying to find out just what you meant. Do you mean “Why do we give things outlines when we draw them?” or do you mean that the things have out-lines whether we draw them or not?

  D: I don’t know, Daddy. You tell me. Which do I mean?

  F: I don’t know, my dear. There was a very angry artist once who scribbled all sorts of things down, and after he was dead they looked in his books and in one place they found he’d written “Wise men see outlines and therefore they draw them” but in another place he’d written “Mad men see outlines and therefore they draw them.”

  D: But which does he mean? I don’t understand.

  F: Well, William Blake—that was his name—was a great artist and a very angry man. And sometimes he rolled up his ideas into little spitballs so that he could throw them at people.

  D: But what was he mad about, Daddy?

  F: But what was he mad about? Oh, I see—you mean “angry.” We have to keep those two meanings of “mad” clear if we are going to talk about Blake. Because a lot of people thought he was mad—really mad—crazy. And that was one of the things he was mad-angry about. And then he was mad-angry, too, about some artists who painted pictures as though things didn’t have out-lines. He called them “the slobbering school.”

  D: He wasn’t very tolerant, was he, Daddy?

  F: Tolerant? Oh, God. Yes, I know—that’s what they drum into you at school. No, Blake was not very tolerant. He didn’t even think tolerance was a good thing. It was just more slobbering. He thought it blurred all the outlines and muddled everything—that it made all cats gray. So that nobody would be able to see anything clearly and sharply.

  D: Yes, Daddy.

  F: No, that’s not the answer. I mean “Yes, Daddy” is not the answer. All that says is that you don’t know what your opinion is—and you don’t give a damn what I say or what Blake says and that the school has so befuddled you with talk about tolerance that you can-not tell the difference between anything and anything else.

 

Continued...

Posted by DanielS on Monday, September 1, 2014 at 10:19 PM in ActivismAnthropologyAnti-racism and white genocideArt & DesignBritish PoliticsConservatismCrusade against Discrimination in BritainDemographicsEnvironmentalism & Global WarmingEthnicity and Ethnic Genetic InterestsGenetics & Human Bio-DiversityGlobalisationImmigration and PoliticsLinguisticsMyth and modernityPsychology
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Did I Really See That??

Am I really seeing that?

Posted by DanielS on Friday, August 1, 2014 at 03:27 AM in ActivismArt & DesignAwakeningsBritish PoliticsMediaPopular CulturePsychologySocial ConservatismSocial liberalism
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Did I Really See That?

Did I really see that?

Posted by DanielS on Friday, August 1, 2014 at 02:38 AM in ActivismArt & DesignAwakeningsBritish PoliticsEuropean NationalismMediaPopular CulturePsychology
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Queers Assuming The Position

I am one who tends to think that concern regarding homosexuality is exaggerated beyond its true importance in WN circles.

Perhaps because I was at one time confronted directly and from a complexity of different angles with the implication to myself, but having no doubt that I wasn’t, and wanting to be unburdened of any accusation’s tedium, I was forced to make efficient intellectual work of putting aside any such accusation, to master the ways in which the issue could be deftly set aside as it is - largely irrelevant.


4,308 words

Continued...

Posted by DanielS on Monday, June 16, 2014 at 03:09 AM in ActivismAnti-racism and white genocideArt & DesignAwakeningsConservatismFeminismGenetics & Human Bio-DiversityHealthLiberalism & the LeftMarxism & Culture WarSocial liberalism
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The Maze - Part 3

by Neil Vodavzny

Re-animating nature is another way of thinking of Whitehead’s conception of more or less “letting it be”. The ancient Greeks may well have thought of nature in a more animated sense than we do. Materials such as limestone and wood have an organic origin, and the sense of inherent dynamism may have come naturally (Greek temples evolved from wooden ones, retaining the organic sense). The Bible alludes to Man being moulded from clay, clay being the raw material for the potter’s wheel.

If nature wasn’t animate, even the greatest artist would be unable to let it be, so that’s probably a traditionalist view of art, ie, studying nature, life-drawing, landscape etc. Since the Renaissance, what seems to have happened is that nature has been corralled by science, so it is no longer the preserve of artists. Modern art is correspondingly thanatopsic, with no understanding of materials or craft, deathlike in its nihilism. Almost all traditionalist contemporary art is popular and commercial, where studying the essentials is a prerequisite. Art as a wordling or narrative form of myth-making is alive and well - in pop-culture.

A near-perfect instance of someone presenting a personal mythology through a mastery of various techniques and intricate craftwork, allied to subconscious or intuitive powers, is Patrick Woodroffe’s Mythopoeikon.  Just how far you can go with an etching is shown in Mickey’s New Home, a self-produced children’s book); depth and stop-out (to bleed the sky), then aquatint applied in graduated tone (creeping bite) mythopoeikon2. You know what they say about etchings, and this plate shows why. As you see from the illo, he’s essentially self-taught. What that means is he learnt a trade, the practical skills and techniques needed to become an artist who uses the subconscious, instinct and feeling. In fact, this applies to others in the field who work “in the school” of .. (comic artist/creator Rob Liefeld is routinely scorned for his naïve style but at least he possesses adequate skills, and the work has a sort of rough honesty).

Known primarily for sci-fi book jackets, here’s a typical multi-media effort, Neq The Sword (Piers Anthony, Transworld) mythopoeikon3.

Continued...

Posted by Guest Blogger on Sunday, March 30, 2014 at 08:33 AM in Art & DesignMyth and modernity
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The Maze – Part 2

Neil Vodavzny

Having conscientiously done preliminary research for this part of The Maze on craftwork, I have to say that both Derek Whitehead and David Hamilton have a tendency to abstraction. Doubtless this goes with the territory, but it isn’t easy to sell such things except to the converted, it can be admitted. Some practical examples help to it make palatable, so I’ll attempt to weave those into the discussion.

Whitehead delves into the interrelation in Greek art of techne, praxis (production), and poiesis (world-founding). The work of art brings into being through a type of facility of production something imbued with the tension of spontaneity

Both the artist’s vision and the activity of production combine in the world-founding. It might not be recognized so much nowadays, but the aim of art is not expression. Up to the late Renaissance, it was more to do with apprenticeship, learning a trade then, after long years of strenuous graft, finally practising the craft and discipline of art-making.

Continued...

Posted by Guest Blogger on Tuesday, March 25, 2014 at 12:14 AM in Art & DesignPopular Culture
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A-Symmetry as Semiotic of European Evolutionary Advance

fivestars

A-Symmetry as Semiotic of European Evolutionary Advance


Morphology is a branch of biology dealing with the study of the form and structure of organisms and their specific structural features.


While becoming the first geneticist to popularize Mendelism, William Bateson observed puzzlement in his colleagues over a strange morphological phenomenon in crustaceans.

His colleagues noted that some species of crabs have asymmetrical appendages, one being larger than the other, but when one of the pair was lost, another grew back in mirror image to the other. To this they were disposed to ask, how did the crab gain symmetry?

Through the extended analysis, Bateson hypothesized that his colleagues had been asking the wrong question. They should rather have been asking, “how did the crab lose asymmetry?”

It was in fact, in the course of this very investigation into the biological laws of symmetry that William Bateson first coined the term “genetics.”


…....


And from this inquiry he established “Bateson’s rule”, which asserts that when an asymmetrical appendage is regrown after loss, the resulting limb will be symmetrical, in mirror image with the other limb.

The rule by itself is not of particular relevance to our concerns for European ontology and nationalism. However, steps taken in ecological and cybernetic analysis and arrival at Bateson’s rule of morphology do have significant implications, suggesting hypotheses for semiotics of ecological (and ontological) correction -  including of human ecology.

 

Continued...

Posted by DanielS on Sunday, January 26, 2014 at 06:29 PM in ActivismAnthropologyAnti-racism and white genocideArt & DesignConservatismDemographicsEnvironmentalism & Global WarmingEthnicity and Ethnic Genetic InterestsGenetics & Human Bio-DiversityOrigin of ManSocial SciencesThe Ontology ProjectWhite Nationalism
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Wholesight and the Ontology of Frederick Parker-Rhodes

I came upon the work of Frederick Parker-Rhodes in my quest for the ideal computer language, which I have elsewhere on MR discussed in relation to Heidegger’s “as” structure and GW’s ontology project.  Recent work in theoretical physics has provided empirical validation to his “wildly eccentric” views—which managed to provide a priori derivations of the dimensionless scaling constants of physics from his ontology detailed in his book “The Theory of Indistinguishables”.  To be brief, there is his “combinatorial hierarchy” that derives from FRP’s attempt to find the underlying mathematical structure of what he called “wholesight”.

Below the fold is an excerpt from “Wholesight: The Spirit Quest” by Frederick Parker-Rodes…

Continued...

Posted by James Bowery on Monday, February 4, 2013 at 01:08 AM in Art & DesignChristianityEconomics & FinanceEnvironmentalism & Global WarmingGlobal ElitismGlobalisationScience & TechnologySocial SciencesThe Ontology Project
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The Definition of Art

by David Hamilton

There is confusion about what art is. The qualities that make something art are intrinsic, not external. It is the artifice, the organising of elements, perspective, choice of colour etc, that make it art. The result is obtained by transforming reality and thus nature through human imagination and emotion and is realised by skill and technique.

The word Beauty (or beautiful) is descriptive if used as an adjective to express the response of the beholder to an object, or if used within a clear context; if used as an abstract noun it is universal, and therefore meaningless.

A significant difference between contemporary art and traditional art is the split between form and meaning. This Cartesian duality is the split between mind and body, subject and form. The split is in all the various forms and styles and substance and meaning, of the respective art forms. In architecture contemporary buildings look like objects they are not which is why they are given comic nicknames - The Gerkhin, The Cheese Grater, or Liverpool’s Catholic Cathedral, The Mersey Funnel (aka Liverpool Metropolitcan Cathedral). The form is not related to function - the interior of a modern cathedral could be anywhere.

Traditional art develops within traditional forms and it develops the forms. In his Christian paintings of the fifties Dali adapted forms to his individual vision but they are recognisably traditional forms. Dali was a genius - contemporary artists are not. They need to shock to get recognition. Real Art grows out of tradition and provides sustenance, spiritual or worldly, for people rather than negative emotions like shock or offence that are harmful.

Continued...

Posted by Guest Blogger on Tuesday, April 24, 2012 at 06:29 PM in Art & Design
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