Bienvenido Bones Banez Jr. Immunonuclear Wikimedia Commons 2011 until 2017 Occurred in New York City by Williamsburg Art & Historical Center, Brooklyn, New York, United States of America 🇺🇸🗽

May 5th, 2024

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Immunonuclear

Joined 14 years ago

Latest comment: 5 years ago by LX in topic Notification about possible deletion

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File:Quaker.jpg

dansk ∙ italiano ∙ sicilianu ∙ Deutsch ∙ català ∙ magyar ∙ čeština ∙ português do Brasil ∙ Esperanto ∙ español ∙ português ∙ English ∙ hrvatski ∙ français ∙ Nederlands ∙ Deutsch (Sie-Form)‎ ∙ norsk nynorsk ∙ polski ∙ galego ∙ íslenska ∙ slovenščina ∙ suomi ∙ svenska ∙ Türkçe ∙ Ελληνικά ∙ беларуская (тарашкевіца)‎ ∙ български ∙ македонски ∙ русский ∙ українська ∙ മലയാളം ∙ 日本語 ∙ 中文（简体）‎ ∙ 中文（繁體）‎ ∙ فارسی ∙ +/−

There seems to be a problem regarding the description and/or licensing of this particular file. It has been found that you’ve added in the image’s description only a Template that’s not a license and although it provides useful information about the image, it’s not a valid license. Could you please resolve this problem, adding the license in the image linked above? You can edit the description page and change the text. Uploading a new version of the file does not change the description of the file. This page may give you more hints on which license to choose. Thank you.

This message was added automatically by Nikbot, if you need some help about it, ask its master (Filnik) or go to the Commons:Help desk. —Filnik 20:21, 19 September 2010 (UTC)

Tip: Categorizing images

Latest comment: 12 years ago

Afrikaans ∙ العربية ∙ беларуская (тарашкевіца) ∙ বাংলা ∙ català ∙ čeština ∙ dansk ∙ Deutsch ∙ Deutsch (Sie-Form) ∙ Ελληνικά ∙ English ∙ Esperanto ∙ español ∙ فارسی ∙ suomi ∙ français ∙ galego ∙ עברית ∙ magyar ∙ íslenska ∙ italiano ∙ 日本語 ∙ ქართული ∙ 한국어 ∙ македонски ∙ മലയാളം ∙ norsk bokmål ∙ Plattdüütsch ∙ Nederlands ∙ norsk ∙ polski ∙ português ∙ português do Brasil ∙ română ∙ русский ∙ sicilianu ∙ slovenčina ∙ slovenščina ∙ српски / srpski ∙ svenska ∙ Türkçe ∙ українська ∙ Tiếng Việt ∙ 中文（简体）‎ ∙ 中文（繁體）‎ ∙ +/−

Hello, Immunonuclear!

Thanks a lot for contributing to the Wikimedia Commons! Here’s a tip to make your uploads more useful: Why not add some categories to describe them? This will help more people to find and use them.

Here’s how:

1) If you’re using the UploadWizard, you can add categories to each file when you describe it. Just click “more options” for the file and add the categories which make sense:

2) You can also pick the file from your list of uploads, edit the file description page, and manually add the category code at the end of the page.[[Category:Category name]]

For example, if you are uploading a diagram showing the orbits of comets, you add the following code:[[Category:Astronomical diagrams]][[Category:Comets]]

This will make the diagram show up in the categories “Astronomical diagrams” and “Comets“.

When picking categories, try to choose a specific category (“Astronomical diagrams”) over a generic one (“Illustrations”).Thanks again for your uploads! More information about categorization can be found in Commons:Categories, and don’t hesitate to leave a note on the help desk.

CategorizationBot (talk) 10:45, 20 September 2010 (UTC)Reply

Image:Quaker003.jpg was uncategorized on 19 September 2010 CategorizationBot (talk) 10:45, 20 September 2010 (UTC)Reply
Image:Bienvenido Bones Banez Jr. at the Williamsburg Art & Historical Center 2011.jpg was uncategorized on 15 October 2011 CategorizationBot (talk) 13:50, 16 October 2011 (UTC)Reply
Image:Dario Rivarossa portrait.jpg was uncategorized on 8 November 2011 CategorizationBot (talk) 11:14, 9 November 2011 (UTC)Reply

File:Quaker008.jpg

dansk ∙ italiano ∙ sicilianu ∙ Deutsch ∙ català ∙ magyar ∙ čeština ∙ português do Brasil ∙ Esperanto ∙ español ∙ português ∙ English ∙ hrvatski ∙ français ∙ Nederlands ∙ Deutsch (Sie-Form)‎ ∙ norsk nynorsk ∙ polski ∙ galego ∙ íslenska ∙ slovenščina ∙ suomi ∙ svenska ∙ Türkçe ∙ Ελληνικά ∙ беларуская (тарашкевіца)‎ ∙ български ∙ македонски ∙ русский ∙ українська ∙ മലയാളം ∙ 日本語 ∙ 中文（简体）‎ ∙ 中文（繁體）‎ ∙ فارسی ∙ +/−

There seems to be a problem regarding the description and/or licensing of this particular file. It has been found that you’ve added in the image’s description only a Template that’s not a license and although it provides useful information about the image, it’s not a valid license. Could you please resolve this problem, adding the license in the image linked above? You can edit the description page and change the text. Uploading a new version of the file does not change the description of the file. This page may give you more hints on which license to choose. Thank you.

This message was added automatically by Nikbot, if you need some help about it, ask its master (Filnik) or go to the Commons:Help desk. —Filnik 16:20, 20 September 2010 (UTC)

Your account will be renamed

Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Immunonuclear. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Immunonuclear~commonswiki that only you will have. If you like it, you don’t have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours,
Keegan Peterzell
Community Liaison, Wikimedia Foundation

21:17, 17 March 2015 (UTC)

Notification about possible deletion

Latest comment: 5 years ago

Some contents have been listed at Commons:Deletion requests so that the community can discuss whether they should be kept or not. We would appreciate it if you could go to voice your opinion about this at their entry.
If you created these pages, please note that the fact that they have been proposed for deletion does not necessarily mean that we do not value your kind contribution. It simply means that one person believes that there is some specific problem with them, such as a copyright issue. Please see Commons:But it’s my own work! for a guide on how to address these issues.
Please remember to respond to and – if appropriate – contradict the arguments supporting deletion. Arguments which focus on the nominator will not affect the result of the nomination. Thank you!Afrikaans ∙ Bahasa Indonesia ∙ bosanski ∙ català ∙ čeština ∙ dansk ∙ Deutsch ∙ Deutsch (Sie-Form)‎ ∙ eesti ∙ English ∙ español ∙ Esperanto ∙ français ∙ galego ∙ hrvatski ∙ íslenska ∙ italiano ∙ magyar ∙ Nederlands ∙ norsk bokmål ∙ norsk nynorsk ∙ occitan ∙ Plattdüütsch ∙ polski ∙ português ∙ português do Brasil ∙ română ∙ shqip ∙ sicilianu ∙ slovenčina ∙ slovenščina ∙ suomi ∙ svenska ∙ Tiếng Việt ∙ Türkçe ∙ Zazaki ∙ Ελληνικά ∙ беларуская ∙ беларуская (тарашкевіца)‎ ∙ български ∙ македонски ∙ русский ∙ српски / srpski ∙ українська ∙ հայերեն ∙ বাংলা ∙ മലയാളം ∙ ပအိုဝ်ႏဘာႏသာႏ ∙ မြန်မာဘာသာ ∙ ไทย ∙ 조선말 ∙ 한국어 ∙ 日本語 ∙ 简体中文‎ ∙ 繁體中文‎ ∙ עברית ∙ العربية ∙ پښتو ∙ فارسی ∙ ދިވެހިބަސް ∙ +/−

Affected:

File:Bienvenido Bones Banez Jr. at the Williamsburg Art & Historical Center 2011.jpg

—LX (talk, contribs) 12:50, 29 June 2018 (UTC)Reply

Add topic Last edited 6 years ago by LX

Search

Immunonuclear

Joined 14 years ago https://commons.wikimedia.org/wiki/User_talk:Immunonuclear

Latest comment: 5 years ago by LX in topic Notification about possible deletion

Learn more about this page

File:Quaker.jpg

dansk ∙ italiano ∙ sicilianu ∙ Deutsch ∙ català ∙ magyar ∙ čeština ∙ português do Brasil ∙ Esperanto ∙ español ∙ português ∙ English ∙ hrvatski ∙ français ∙ Nederlands ∙ Deutsch (Sie-Form)‎ ∙ norsk nynorsk ∙ polski ∙ galego ∙ íslenska ∙ slovenščina ∙ suomi ∙ svenska ∙ Türkçe ∙ Ελληνικά ∙ беларуская (тарашкевіца)‎ ∙ български ∙ македонски ∙ русский ∙ українська ∙ മലയാളം ∙ 日本語 ∙ 中文（简体）‎ ∙ 中文（繁體）‎ ∙ فارسی ∙ +/−

There seems to be a problem regarding the description and/or licensing of this particular file. It has been found that you’ve added in the image’s description only a Template that’s not a license and although it provides useful information about the image, it’s not a valid license. Could you please resolve this problem, adding the license in the image linked above? You can edit the description page and change the text. Uploading a new version of the file does not change the description of the file. This page may give you more hints on which license to choose. Thank you.

This message was added automatically by Nikbot, if you need some help about it, ask its master (Filnik) or go to the Commons:Help desk. —Filnik 20:21, 19 September 2010 (UTC)

Tip: Categorizing images

Latest comment: 12 years ago

Afrikaans ∙ العربية ∙ беларуская (тарашкевіца) ∙ বাংলা ∙ català ∙ čeština ∙ dansk ∙ Deutsch ∙ Deutsch (Sie-Form) ∙ Ελληνικά ∙ English ∙ Esperanto ∙ español ∙ فارسی ∙ suomi ∙ français ∙ galego ∙ עברית ∙ magyar ∙ íslenska ∙ italiano ∙ 日本語 ∙ ქართული ∙ 한국어 ∙ македонски ∙ മലയാളം ∙ norsk bokmål ∙ Plattdüütsch ∙ Nederlands ∙ norsk ∙ polski ∙ português ∙ português do Brasil ∙ română ∙ русский ∙ sicilianu ∙ slovenčina ∙ slovenščina ∙ српски / srpski ∙ svenska ∙ Türkçe ∙ українська ∙ Tiếng Việt ∙ 中文（简体）‎ ∙ 中文（繁體）‎ ∙ +/−

Hello, Immunonuclear!

Thanks a lot for contributing to the Wikimedia Commons! Here’s a tip to make your uploads more useful: Why not add some categories to describe them? This will help more people to find and use them.

Here’s how:

1) If you’re using the UploadWizard, you can add categories to each file when you describe it. Just click “more options” for the file and add the categories which make sense:

2) You can also pick the file from your list of uploads, edit the file description page, and manually add the category code at the end of the page.[[Category:Category name]]

For example, if you are uploading a diagram showing the orbits of comets, you add the following code:[[Category:Astronomical diagrams]][[Category:Comets]]

This will make the diagram show up in the categories “Astronomical diagrams” and “Comets“.

When picking categories, try to choose a specific category (“Astronomical diagrams”) over a generic one (“Illustrations”).Thanks again for your uploads! More information about categorization can be found in Commons:Categories, and don’t hesitate to leave a note on the help desk.

CategorizationBot (talk) 10:45, 20 September 2010 (UTC)Reply

Image:Quaker003.jpg was uncategorized on 19 September 2010 CategorizationBot (talk) 10:45, 20 September 2010 (UTC)Reply
Image:Bienvenido Bones Banez Jr. at the Williamsburg Art & Historical Center 2011.jpg was uncategorized on 15 October 2011 CategorizationBot (talk) 13:50, 16 October 2011 (UTC)Reply
Image:Dario Rivarossa portrait.jpg was uncategorized on 8 November 2011 CategorizationBot (talk) 11:14, 9 November 2011 (UTC)Reply

File:Quaker008.jpg

dansk ∙ italiano ∙ sicilianu ∙ Deutsch ∙ català ∙ magyar ∙ čeština ∙ português do Brasil ∙ Esperanto ∙ español ∙ português ∙ English ∙ hrvatski ∙ français ∙ Nederlands ∙ Deutsch (Sie-Form)‎ ∙ norsk nynorsk ∙ polski ∙ galego ∙ íslenska ∙ slovenščina ∙ suomi ∙ svenska ∙ Türkçe ∙ Ελληνικά ∙ беларуская (тарашкевіца)‎ ∙ български ∙ македонски ∙ русский ∙ українська ∙ മലയാളം ∙ 日本語 ∙ 中文（简体）‎ ∙ 中文（繁體）‎ ∙ فارسی ∙ +/−

There seems to be a problem regarding the description and/or licensing of this particular file. It has been found that you’ve added in the image’s description only a Template that’s not a license and although it provides useful information about the image, it’s not a valid license. Could you please resolve this problem, adding the license in the image linked above? You can edit the description page and change the text. Uploading a new version of the file does not change the description of the file. This page may give you more hints on which license to choose. Thank you.

This message was added automatically by Nikbot, if you need some help about it, ask its master (Filnik) or go to the Commons:Help desk. —Filnik 16:20, 20 September 2010 (UTC)

Your account will be renamed

Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Immunonuclear. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Immunonuclear~commonswiki that only you will have. If you like it, you don’t have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours,
Keegan Peterzell
Community Liaison, Wikimedia Foundation

21:17, 17 March 2015 (UTC)

Notification about possible deletion

Latest comment: 5 years ago

Some contents have been listed at Commons:Deletion requests so that the community can discuss whether they should be kept or not. We would appreciate it if you could go to voice your opinion about this at their entry.
If you created these pages, please note that the fact that they have been proposed for deletion does not necessarily mean that we do not value your kind contribution. It simply means that one person believes that there is some specific problem with them, such as a copyright issue. Please see Commons:But it’s my own work! for a guide on how to address these issues.
Please remember to respond to and – if appropriate – contradict the arguments supporting deletion. Arguments which focus on the nominator will not affect the result of the nomination. Thank you!Afrikaans ∙ Bahasa Indonesia ∙ bosanski ∙ català ∙ čeština ∙ dansk ∙ Deutsch ∙ Deutsch (Sie-Form)‎ ∙ eesti ∙ English ∙ español ∙ Esperanto ∙ français ∙ galego ∙ hrvatski ∙ íslenska ∙ italiano ∙ magyar ∙ Nederlands ∙ norsk bokmål ∙ norsk nynorsk ∙ occitan ∙ Plattdüütsch ∙ polski ∙ português ∙ português do Brasil ∙ română ∙ shqip ∙ sicilianu ∙ slovenčina ∙ slovenščina ∙ suomi ∙ svenska ∙ Tiếng Việt ∙ Türkçe ∙ Zazaki ∙ Ελληνικά ∙ беларуская ∙ беларуская (тарашкевіца)‎ ∙ български ∙ македонски ∙ русский ∙ српски / srpski ∙ українська ∙ հայերեն ∙ বাংলা ∙ മലയാളം ∙ ပအိုဝ်ႏဘာႏသာႏ ∙ မြန်မာဘာသာ ∙ ไทย ∙ 조선말 ∙ 한국어 ∙ 日本語 ∙ 简体中文‎ ∙ 繁體中文‎ ∙ עברית ∙ العربية ∙ پښتو ∙ فارسی ∙ ދިވެހިބަސް ∙ +/−

Affected:

File:Bienvenido Bones Banez Jr. at the Williamsburg Art & Historical Center 2011.jpg

—LX (talk, contribs) 12:50, 29 June 2018 (UTC)Reply

Add topic Last edited 6 years ago by LX

https://commons.wikimedia.org/wiki/User_talk:Immunonuclear

https://lm.facebook.com/l.php?u=https%3A%2F%2Fwiki.alquds.edu%2F%3Fquery%3DWikipedia%253AWikiProject_Deletion_sorting%252FNew_York%252Farchive%26fbclid%3DIwZXh0bgNhZW0CMTEAAR06UbFY5V3fZoypT8ZqIRZ_gPdvZZLtOyXj1fOVvockd_C2fgEcpFWYGas_aem_Abhdi_ZSm9ZWLVxAaLyL15VZq1tJfASsXW-KnIz_BcPcu1_47vR1i2HusSuSx5bqkOjUkKQihT31k5VXIf6EyeZG&h=AT2wYmHIZp3O55fzwsu6GkU_FbO9Eom5U2YUF1RxAJwMW2XHLmTPcfelQskWoLskKgpRt6ZsbavgJGBAvPBNjvYp1eXMKGNDGxfS4GRGN130cIgvB-GKdSz5wnGKUMNwsk24

NEW YORK 666 ART WORLD REVELATIONS & Truly Blessings 🗽into Surrealmageddon’s VISUAL POETRY 👁️💥 🗽🇺🇸 JONAH KINIGSTEIN, age 99 and Sir Terrance Lindall essays Jonah Kinigstein liked…💥🇺🇸👁️🗽

May 1st, 2024

It’s WAH Center New York Art World and I received email from Sir Terrance Lindall, and I copy and paste here in Facebook. It’s another NEW YORK ART WORLD REVELATIONS AND Truly BLESSINGS🗽to SURREALMAGEDDON VISUAL POETRY 👁️💥 🗽🇺🇸JONAH KINIGSTEIN, age 99 and my-(Sir Terrance Lindall) essays he-(Jonah Kinigstein) liked…

Terrance Lindall
To
benbanezbones@yahoo.com
30 Apr at 04:15
2 attachments
ON NPR 2023 https://www.npr.org/2023/01/01/1143842928/jonah-kinigstein-artist-figurative
IMG_1110.jpg

He sent me his print with a note:
👁️HOW to SUCCEED in the ART TRADE in WILLIAMSBURG🗽🇺🇸

by Terrance Lindall

To succed as an artist, make art that is familiar to the yuppie Lawyers, architects and decorators. If you are a truly original artist people will not be able to recognize it as a “current trend.” Do not make it too expensive, because the yuppies are building their own careers too and live on a budget. 1960’s post modernism if the current hot market in Williamsburg. Call it “avante garde” and you can fool the art buyers, even though it is hack derivative trash. . Call it “neo-Pop” or some such thing. Most ≥people do not realize that “Neo” means new and what you are selling is a tired old rehashrehash. Most people do not think for themselves, and that is especially true of people who collect art.

The worse the art the better. That way nobody will understand it and with a little flim flam you can make them believe it is IMPORTANT because it is so “avant garde” it its over their heads. Nobody dares say ‘the emperor has no clothes.’”

ÇBy the time they catch on, everybody will be too terrified about the bubble bursting to say anything. truth would leaving their collection of emerging art worthless.

The museums, will pursue the money crowd (the collectors) and so they will exhibit the same unfortunate “art” purchased by the lawyers architects and decorators. And the major auction house work hand in glove with qthe museums and collectors.

“As long as money, vanity and fear rule, and not taste, you’ve got it made!”

CRITICAL 🗽🇺🇸WILLIAMSBURG🙏🌷

AND 👇👁️🇺🇸🌷🙏

🇺🇸✨CREATIVITY IN THE ARTS👁️

by S.H. Rike

The subject of creativity the art world is an interesting one, mostly because there is so little of it. Many would be artists growing up are influenced by the work of other artists, which makes sense. A creative artist is one who diverges from what he sees and ventures into “new ” territory. But how many artists really do this? It is far easier if one wants to be a successful artist, to imitate success. And imitating success is what we see in the fine art world of the great metropolis of New York City and the emerging art community of Williamsburg Brooklyn. Some of the galleries that have managed to be around for a while like Pierogi 2000 or Eyewash (legacy of another gallery that failed) are followers of a post modern tradition that had its first sucesses in the 60’s & 70’s. They are a good example of how to suceed: “Do not innovate, IMITATE!” Also, socialize and make friends of musuem curators & art critics… the artists will stampede to your door. If one does that, the art does not have to be good, it will SELL by association with influence. But this credo is not about art, it is about having a sucessful commercial career. Art is something else, I think. Most of these artists & galleries, curators, art critics will fade away. If you are part of a popular mass, you can bet you are mediocre. Unless you are a towering artist or writer who stood apart from the rest, you will be relegated to being a minor artisr at best, or even a “would be artist” doomed to oblivion. But that is fair & just, it is historical will in the development of future possibilty. If you enjoy being trendy, great… it is indeed enjoyable…it is fun to be part of a mediocre mass. If you have great ideas, be prepared for some pain.

One of the particularly interesting subjects is the context of the museum in the arena of creativity. The museum is naturally the repository of dead things, be they dinosaurs, ancient artifacts, or post modern art. Their job is to preserve these things for current & future generations to study, and it is in part to celebrate the glory of the earth & the human condition.

Unfortunately, some museums of fine art think that they also represent the community of new ideas, but that is the delusion of those curators or museum directors who wish to think that they can recognize new ideas. Some can, but for the most part cannot. Which is why movements like Impressionism had such difficulty with the inert institutions of the late 19th century. And although museum curators and directors think that “today is different,” (that we live in an enlightened age) it probably is not the case . Most galleries in New York City and Williamsburg are “post modernist.” This is a hodgepodge of art that covers many interesting but also many badly done things.”If it is badly done, the artist can theorize it that he is “protesting against the McDonaldization of the art world,” whatever that means (this is a phrase that was used in a recent show in Williamsburg). Theses artists do silly and inept things and find theoretical roots in DADA. But come on guys, if it is rooted in DADA, it is old stuff and not creative, just imitative. There are some very good third generation post modern artists, but not many.. And not all of the emerging “star” names of today will be remembered as anything important as the galleries who hype them drop away into oblivion with the collectors who buy the art. Time does indeed move on. Looking through art magazines going back to the 1920’s one sees the myriad “star emerging artists” who have now been forgotten and galleries with them. Today those artists sell in flea markets for a couple hundred dollars. Of course some may be rediscovered. Most will not.

The museum curators, in order to acquire their positions are educated at colleges and universities and are taught by persons who espouse the credo of their own time. In today’s world the credo is that post modernism is the final and glorious summation of all art, there is nothing new on the horizon. The young student of art history or museum studies then graduates. If he got “A’s” and graduated summa cum laude it is because he was able to regurgitate what the professors taught and by supporting the current hype. They are then hired by the museums to perpetuate the status quo. You can bet that if there is anything new in the art world, it is neither found at the schools, discovered by the museum managers, nor supported by them. Most artists, especially the career oriented artists of today want to have their work in museums like the Museum of Modern Art, the Whitney or the Guggenheim, and so they paint in the style which is acceptable to the curators: Today it is postmodernism. But post modernism is dead ( id est, there is nothing new here) and has been for years. Unfortunately we are living with the corpse of post modernism in New York & Williamsburg and the international art world at large. A few of these Williamsburg galleries have friends who are major museum curators and they all form a blockage of creative flow in ther arts, wishing to perpetuate their own dominance of the commercial (includes museums) world. But these are imitators of imitators, the third generation and mostly third rate galleries. These gallery owners have friends who write reviews for the magazines, curate the museums. And they are affilated with major commercial galleries in Manhattan who wish to support the post-modern because they make money from naive collectors and decorators who have invested great amounts of money into it.. They are all part of a boring decadent world of dead art. Post modernism in its third geneartion spin offs stinks, because it is a walking corpse among. us. It looks alive and well:…but it is a ZOMBIE.

The philosophers of our time suffer the same fate. We are in the Analytic and Post Analytic age of philosophy, which has reached a dead end. The only thing that they really agree upon in the Department of Philosophy up at Harvard is that they despise Heidegger, not on the basis of this thinking, but because he once belonged to the Nazi party, which he later disavowed.

“Slavery is the first step towards civilization. In order to develop it is necessary hat thngs should be much better for some and much worse for othjers, then those who are better off can devlop at the expenses of others.” Alexander Herzen, 1812-70

The modern day slaveholdesr use the chainms pf mortgage owed the bank, the loan on the car, the unpaid credit card bills, the requirement to pay proerty taxes if they own their own home and many other subtle and not so subtle forms of economc and cultural opressure to extact the majority of our life’s tiem and use it to their ends. Slaves know when tnhey are slaves, regardless of the words used to describe their slavery. nd the’ii seek escape fronm the slavery, be it in increasingly powerful drugs, increasingly intese “entertainment, or psychpathic or violent behavior.” Thom Hatmann, “The Last Hours of Ancient Sunlight,” 1998

With the devasation of the Greater MiddleEast, Turkey, Greece, Eastren Eurpoe, The Caucasus, the sahara and Sub Sahara, The entire medterraen sea, the world devolved into economic and social collapse. Food crops and a good opart of nature expired when the clouds of nuclear winter grew acros the skies and stayed for days. The temperature of the earth dropped to belwo freezing even at the equator.

Oil had been the feul whihc allowed greater and greater productivity of food and goods tnhrougout the world, from driving tractors to shippojg goods, to preserving and storing food stuffs, It ran the factories, provided jobs, drove the turbines whihc created electricity…and caused the populatio to exp[and from One billion in 1800 to 6 Billion today. It was predidtced that by 2030e wourl.be 10 billion

Now, overnight the feul whihc aloowd for sustained population growth was cut by 60%,a nd the only reserves wrer in China. Norhertrn Eurpos Rusiia, mancuria. The rest if the world begaon to starve quickly. With the cloding of factories and the loss of jobs, stores began to go under and soon, ebvne in the West, which hd the oil resertves, Businesse could not pay theuir mortages. As a resulty bankks began to fail. peol;le wrer unem,ployed and also beganb to starve, except for governmet handoputs, People copuld not pay their n mortages or their car lioans. Civilization, as it was known came to a standstill. Within a few short years the population fo the aerth dropped to 3 billion. Thete wre not enough people to bury the dead. The result was rampnat disease whc swiftyly circled the globe and reduced the popuklatiopn of the earth to 1 billion. Thet was virtuially np government after the food riots. The only way the peole who survived managed was by forming gangs, fragments of the former armies of the world, who took by force what they needed and killed mercilessky anyone not a member of their gangs. War between rival gangs with atimic weapons reduced the population of the earth to 5,000,000. The black races had completely vanished being very dependent upon the West. South Ameruca was virtually unpopulated. M North Ameruca had surviving pockets of Fascist Nationists, almost purely of Anglo saxon, germanic descent, men and women who were well trainde in the armed forces in the now merged “Homeland of North Amerca. Their population was a mere 1,000,000. There were no Jews among their ranks, becasue, as traditon goes thye were blamed for the vast suffering of the working class. The Chinese, who had alwasys suffered from mass starvationas as recemtly as 1960 in whihc 10,000,000 had starved, wer best equiped by experience to resist and pick up the pieces.

Out in the midwestern are of what was onec the great united states of north Ameroca, in their bunket seven levels below the surface was the bunker to Ladnil Yerret, now frail and on his death bed. attended by Preistess Yoko Koko. Both had seen the panoc, the suffering of the earth. The excvesses of the human specoes, the arrogance, the avarice, the cruelty, the pospmosity, the incredivble stupidity. “Npw the earth has been cleansed by fire,” muttered Yerret. “I had hoped that by breeding a new muman type who prefered communty to hjierarchy I could have preebevrnetd this suffering.” The Prestess, had gone quite insane in seeing the suufereing of so many, so criel;l;y. She had withdrawn into herself and ionot a realm of Peace & Harmony. In her mind she now lived in a make believ world of Peace and harmony and utopia. God had blessed tghs good lady with tranquility and took care of her to the end of her days.” As for her beutiful WHACK in the beutiful little pachage of a building made to serve artsist and art lovers alike, it was now all gone. As for art, it was not inprtant any more at all. The musuenms were now all unimpiortanmt. The lieteratre too. The only thing that was imprtant wrer those tools for survioval. Later man mght once again diog into his own history. He had much to learn about what had gob=ne wrong.

So Pong Pee, Anaheim Joe, all of theior ambitoons fo rposterity were for nought.

So, take heed artists of Williamsburg. Love community not aqyuistion of waelth and fame. Mayne there is still time to change the world. And of artust cannot do it, who can?

Terrance Lindall and I am the Executive Vice President of the Williamsburg Art & Historical Center in Williamsburg Brooklyn (wwwwahcenter.net). We are one of the newest museums in New York City. Our building, which is on the National Register of Historic Places, is undergoing renovation in 2005 which precludes my presenting program of outstanding scholars in art & literature…to which we have all been looking forward. I would very much like you to consider having this one afternoon program at the National Academy. Would you be interested? Sincerely, Terrance lindall

The Fate of the Very Greatest

“I have sometimes amused myself by endeavoring to fancy what would be the fate of the individual gifted, or rather accursed, with an intellect very far superior to that of his race. Of course, he would be conscious of his superiority; nor could he (if otherwise constituted as man is) help manifesting his consciousness. Thus he would make himself enemies at all points. And since his opinions and speculations would widely differ from those of mankind – that he would be considered a madman is evident. How horribly painful such a condition! Hell could invent no greater torture than that of being charged with abnormal weakness on account of being abnormally strong.

“In the like manner, nothing can be clearer than that a very generous spirit – truly feeling what all merely profess – must inevitably find itself misconceived in every direction – its motives misinterpreted.”

EDGAR ALLEN POE

Spring 2005 heralds a discussion of several top scholars in the arts in New York City on the topic of Revolution in the Arts. It concerns itself with those individuals of genius in art, literature, music and culture in general.

Among the scholars at this discussion is Karen Karbiener who received her Ph.D. in English and Comparative Literature at Columbia University in 2001. She has already published extensively with two books this year alone including “Leaves of Grass,” a new edition of Whitman’s poetry (Barnes and Noble; 2004), and “Intimations of Imitation: Wordsworth’s Presence in Whitman’s Early Writings,” ed. Joel Pace (Palgrave, 2004). Works in Progress include the “Encyclopedia of American Counterculture,” General editor of two volume survey of rebellious and reactionary American art forms, 1607-2004 (M.E. Sharpe, 2006), and also “British Women Writers and the American Literary Canon.” She has made many scholarly Presentations here and abroad including one upcoming at the Wordsworth Conference in Grasmere, England, July 2004.

Also included is Mark Danial Cohen, Professor at Drew University who is an art critic for several magazines and has written a number of papers on Nietzsche. These papers on Friedrich Nietzsche were written by Friedrich Ulfers and Mark Daniel Cohen, and have been presented at conferences and published in several books and journals.

As Poe points out, very gifted persons are often misunderstood. One wonders how many of them, gifted far above ordinary genius, have fallen by the way, their discoveries or creations doomed to oblivion because they are not of a nature to be understood by even the wisest of us. In O’Henry’s “Valley of the Blind” we see another writer comment on some such idea – if a man with sight found himself in a country of blind people, could he not make himself king? No indeed, as is the point of his story. Sight was considered madness and they attempted to remove the tumors (his eyes) that caused it, because his description of sight was beyond their comprehension.

The very greatest among us, must sometimes guide ourselves by a kind of caution in order not to draw attention to our true opinions of the world around us. We would otherwise violate the principles and passions that guide the masses. There have been many throughout history who have been executed, imprisoned or tortured for their beliefs, so there is great incentive not to be too original in one’s expressed thoughts. If you want to be accepted, loved, make money, you should…be ordinary…be the lowest common denominator…be a rock star.

So let us look at the idea of “genius” and “revolution” from the point of view of the individual afloat in a sea of misunderstanding, how he copes, how he succeeds…the suffering as well as the drama, and even humor of the condition of genius as discussed in the spring weekend event entitled “Revolution”

🇺🇸💥👁️WHAT is the DIFFERENCE BETWEEN a “REVOLUTIONARY” AND a “GENIUS” IN THE ARTS?

What does it mean to be avante garde? For example, some galleries say they represent the avante garde, yet their artists are well regarded by the mainstream galleries, museums and art critics. Are they really avante garde? Isn’t the idea of the avante garde to be ahead of the mainstream and not quite accepted yet?

Are the people who run the galleries and museums just ordinary well educated men and women? How then can they really identify new genius?

Can genius only be recognized by genius? How then can the mainstream accept something they cannot themselves identify as “genius.” It seems that it is possible to convince the public that the emperor is wearing clothes when he isn’t! In other words, if the mainstream ordinary people cannot identify genius, are people simply following the leadership of someone who claims to recognize genius because most people need to create and follow a leader right or wrong?

Can one be a revolutionary or a genius and really be accepted by the mainstream? Does being a revolutionary mean merely to take the lead of the mainstream from someone else? Do the ideas of the revolutionary then become ordinary and not extraordinary? Perhaps the revolt was extraordinary and the resultant change ordinary? What is the difference between the ordinary and the extraordinary in culture? Are these nonsensical questions?

Why do artists and the public think that to be a great artist means to do something entirely original? Can something be not very original and still be great?

👁️💥✨PROGRESS and OVERCOMING and IRREVERSABILITY and the AVANTE GARDE🇺🇸

Enrico Pedrini, theoretician and curatoir , once created a show by placing books on physiocs on pedestals in ana empty room. This was a show of art without the artist. “It is the inecitable end of the progress and overcoming represented by the avante garde,” he said, the artist s not lnger in the picture.

Yes, the nature of the avant garde in art is that they, who ever they are at the monegty, will be supoerdeed by the next avate garde. And the “progress” it reprsnets is happening faser and faster. So after an artist out of svhool has his first show, assuming he has “gone beyond what has fone befire, or has made this “progess must immediately be disregared and placein the dust bin of history because behind him is the new abante garde. You cannot recvrse the avante garde. You cannt make it stop where you are to be revered for all time. The avant garde artist today is a sacfifice to the monet, to be supoerceed instattaneouysly!

Such strange material is this notion of “progess.” Progress implies that we reach a goal ora place of ease and contenmtement. Instead, today it represents only continual dissatisfaction with the “Now.”

In order to have this headlong rush of progeress, we must not only continually topple what has gone before, but give up all contentment ino order to pursue the future.

And so, I must amuse myself with watching the masses of avante garde artists and art instutuons making a life and a practuce of being dissatisfied, while I, in my more primituve way, find peace and ocntenment by retioreing to my “Treasure Room” drink a brandy, s,oke a cgar and listren to opreeas which are not avante garde at at all.

👁️Paradise Lost’s Wickedpedia Encyclopedia of Bienvenido Bones Banez, Jr., Terrance Lindall, Robert J Wickenheiser, Yuko Nii, Peter Dizzoza, John Dugdale Bradley, Carter Kaplan, & Williamsburg Art & Historical Center 🇺🇸

Apr 27th, 2024

Wickedpedia Encyclopedia In Wiki Surrealmageddon Visual Poetry

Apr 26th, 2024

BOTTOMLESS BOTTLE of BEER 🍺🇺🇸👁️IN THE BLESSINGS✨from Prof Carter Kaplan! And here’s the SURREALMAGEDDON VISUAL POETRY as well for ART WORLD NEWS 💥 it’s Coming Soon 🙏

Apr 21st, 2024

THANKS🇺🇸✨from Prof Carter Kaplan! And here’s the SURREALMAGEDDON VISUAL POETRY as well for ART WORLD NEWS 💥 it’s Coming Soon 🙏

The Bottomless Bottle of Beer

By Horace Jeffery Hodges

With TONS of illustrations by Terrance Lindall

THANKS🇺🇸✨from Prof Carter Kaplan! And here’s the SURREALMAGEDDON VISUAL POETRY as well for ART WORLD NEWS 💥 it’s Coming Soon 🙏👁️…https://youtu.be/NxGjDrt3kRA?si=5QzPQWfQlx3gcguR

The Bottomless Bottle of Beer https://www.amazon.com/Kindle-Store-Horace-Jeffery-Hodges/s?rh=n%3A133140011%2Cp_27%3AHorace+Jeffery+Hodges

By Horace Jeffery Hodges

With TONS of illustrations by Terrance Lindall

Jeffery’s BBB originally appeared in Emanations: Second Sight. Then the Williamsburgh Art and Historical Center (Terrance) published an edition. The IA edition will feature more of Terrance’s art, and it is slightly revised.

AND this will be our first full-color book! It is only 90 or so pages long, thus economical–we hope! ✨🙏📖💥👁️
After this project, I hope to move on to Emanations 11.

Portrait of Genius Terrance Lindall, Acrylic on Canvas / Artwork by Bienvenido Bones Bañez Jr. / Permanent Collection Yuko Nii Foundation at Williamsburg Art & Historical Center, Brooklyn, New York, United States of America

🌈Surrealmageddon Visual Poetry In Bottomless Bottle of Beer with TONS of Illustrations by Terrance Lindall🇺🇸👁️📖💥

Apr 21st, 2024

Thanks from Prof Carter Kaplan! And here’s the Surrealmageddon Art world news💥 it’s Coming Soon 🙏👁️…

The Bottomless Bottle of Beer https://www.amazon.com/Kindle-Store-Horace-Jeffery-Hodges/s?rh=n%3A133140011%2Cp_27%3AHorace+Jeffery+Hodges

By Horace Jeffery Hodges

With TONS of illustrations by Terrance Lindall

Jeffery’s BBB originally appeared in Emanations: Second Sight. Then the Williamsburgh Art and Historical Center (Terrance) published an edition. The IA edition will feature more of Terrance’s art, and it is slightly revised.

AND this will be our first full-color book! It is only 90 or so pages long, thus economical–we hope! LOL!
After this project, I hope to move on to Emanations 11.

Here is the cover concept under development:

Click here 👇👁️ VIDEO👇 https://www.facebook.com/reel/3698373760377479?mibextid=xCPwDs&s=yWDuG2&fs=e

🌈Emanations: Third Eye 👁️ on Surrealmageddon! with Greeting Congratulations from Sir Terrance Lindall 💥🇺🇸👌

Apr 15th, 2024

Emanations: Third Eye ”666 SURREALMAGEDDON” From WAH Center reply / 666 Art World News: According from Sir Terrance Lindall: CONGRATULATIONS to Carter Kaplan and the writers. Well deserved! This fantastic review is through the auspices of supporters of Bienvenido Bones Banez, most notably the brilliant Phillip Somozo.This anthology also contains my account of the Williamsburg art scene 1996 onward. This outstanding anthology can be purchased on Amazon:http://www.amazon.com/Emanations-Carter-Kaplan/dp/0615494404 http://carterkaplan.blogspot.com/2014/04/emanations-third-eye-review-by-phillip.html <i>Emanations: Third Eye</i> review by Phillip SomozoTerrance Lindall has sent me a copy of Phillip Somozo’s review of Emanations: Third Eye . Over the next several…Terrance Lindall Book Review Emanations: Third Eye anthology by International Authors introduces Surrealmageddon of Davao surrealist By Phillip SomozoThis Filipino artist is considered one of the world’s top contemporary surrealists as published in high-end Art & Antiques Magazine in New York.[1] His bio-data appeared along with surrealism immortals Salvador Dali, Ernst Fuchs, and Hieronymus Bosch in the Lexicon Surreal.[2]Bienvenido “Bones” Banez, of Davao, after having accomplished what no other Filipino had achieved, continues to impress intellectuals in the surreal art world.Surrealmageddon (surreal + Armageddon), a term Banez coined to describe his phantasmagoric vision of the final battle between good and evil, was picked up by books author Carter Kaplan who used it as introductory title for his anthology Emanations: Third Eye,[3] third of a series. This reviewer is motivated by Kaplan’s reception of Banez’s Surrealmageddon to scrutinize the former’s introduction to Emanations: Third Eye. Carter Kaplan, Ph.D.Carter Kaplan is an American professor who had taught English and Philosophy for 30 years in many U.S. Colleges and in Scotland. He is a poet and had written a number of novels with philosophical and mythological themes. Describing Banez as “pioneering philosopher of Surrealmageddon,” Kaplan considers the Dabawenyo’s vision of apocalyptic psychedelia as “a catalytic spec floating in the global crucible of morphing civilizations.” What shapes the future, Kaplan rationalizes, is the global consumerist culture and he admits it doesn’t seem very bright. Self-destruction, he elaborates, is built-in in the Homo s. sapiens because of greediness which, in the civilized world, is considered “not insanity.”Kaplan’s introduction, in effect, also concludes his interpretation of the anthology (subtitled Art of Ecstasy and the Ecstasy of Experiment) in the context of collective human thought deciding its own destiny. It is remarkable Kaplan corroborates Banez’s cataclysmic semanticism. The union of the terms surreal and Armageddon, a brilliant etymological updating, by Banez, modernized its semantic significance by redefining modernism’s pinnacle to which society prophetically (and now affirmed by Kaplan’s sound psychosocial arguments) is heading. The term could had been invented by Saint John the Apostle two millennia ago, if only John had knowledge of modern behavioral psychology and social dialectics. Bridging the gap between Prophet John and hermeneutic surrealist Bienvenido “Bones” Banez is artistic evolution. Yet, I am sure not everyone agrees with Kaplan and Banez, not the inventors of artificial life-support systems (e.g. biotech, genetic engineering, transhumanism) who aim to perpetuate human life regardless if they have to alter nature, and the vested corporates who tweaked the nostril of the planetary Tao so that it has been desperately sniffing for the vanishing direction to its future since Modernism dawned. Not even New Age thinkers, Armageddon advocates they are, will completely agree with Kaplan, as this reviewer cannot agree with him at some points of his perspective that are inconsistent to verifiable objective reality. His weakness lies in treating all human effort —sacred to sacrilege—as a continuum of futility and spreads it out like mayo over the proto-host for Surrealmageddon to consume. Here, his introduction runs digressive from the original, pure concept of Third Eye. But why the heck should a self-respecting author who is not profit-motivated write to please anyone in a society reeling with greed and wanton environmental destruction? There, Kaplan erects a sneering totem pole of his personal virtue. The International Authors The tales, poems, and visuals featured in the Emanations series consist an international literary and artistic vintage that to Kaplan represents the gamut of human planetary experience—a claim that could stand up better if challenged and overcomes it. The use of the term Third Eye for the third volume’s title suggests of the translogical vision that alone can penetrate the depth of subtly illuminated archetypes and spiritual realms. It is the unique Eye of the Spirit the awakening of which sees the integrity of the Cosmos, the portal to Sahaj Samadhi, or Nirvana, that receives rapturous emanations countless-fold higher charged than Genghis Khan’s best orgasm in his matchless harem of hundreds of inter-racially sourced women. Its vision can diagnose diseases wholistically, social or of individuals. Divine intoxication is its primary symptom. Those who have tasted its nectar, like India’s six Goswamis, knowingly and sweetly smile while respectfully bowing their heads down at each other in Namaste. The forty-plus Emanations international authors[4] (contemporary cream-of-the-crop of poets, fictionists, and illustrators, including Kaplan), on the other hand, define the Third Eye (or I) as the “ocular stage upon which we perceive this enfolding process,” referring to the human role as witnesses and/or interpreters of the initial formation of the universe and the phenomenon of life and evolution which, they admit, are paradoxically parts of our manifold selves. This all-inclusive definition reminds the reviewer not to hastily make generalizations about the prolifically diverse international authors. When discoursed, however, solely with academic terms, the mystique of Third Eye as title is shrouded, which is what Kaplan did. Facing the chasm at the philosophical boundary where mystery blurs the dualistic, objective approach to knowing, Kaplan fails to see beyond and cowers to jump across the abyss to find out what is behind the fog. Instead he takes refuge in deconstructonism and mathematical reconfiguration to come up with his darker version of Surrealmageddon, which sounds more of ultimate doom than prelude to the establishment of a new age. With his implied unbelief in Intelligence behind the universe and lack of faith in humanity, he denies stratified cosmic reality, flattening the entire universe into nothing else but matter hopelessly heading into collision with one another. His deep-seated skepticism even makes him paranoid of meteor showers hitting the Earth. With this subliminal fear under his breath how can he be a possessor of Third Eye self-realization? Being an English professor Kaplan is quite aware of virtues borne by myths but cites the loss of its functionality in the modern world. Then he throws a jab, below the belt, by putting the blame on shamans and mystics who to him are flirting with insanity to the dilution of reality. We should accept greediness for it is civilized but spirituality and myths are a savage way of cooking us, he tells readers. Following his logic we need not protest the greediness of the 1% (Occupy Wall St.) regardless of its domino effect on environment and society. Foremost is freedom from myth. Greed’s empire—its structures and institutions that are raking in the profit—is a formidable opponent compared to the vestiges of shamans and mystics. So, for Kaplan, it is better to detoxify our sense of righteousness by electrolyzing myth from reality. Kaplan is well-advised to take a solo intercontinental flight to Africa. If his plane is shot at over Syria, more likely than not, the weapon used is Made in U.S.A. If he crashes in the rainforest of Central Africa it would be to his gratification to complete the crash with his demise because, if he survives, he would find it totally ego-crushing to accept the long-running wisdom of indigenous pygmies as his salvation, a wisdom built by Nature’s ways and securely woven with the fabric of what he calls myth. At best Kaplan is an agnostic. Surely, all of Emanation’s international authors will easily hurdle tests for the dialogical and hermeneutic Eye of the Mind, which looks inward at images, symbols, thoughts, and feelings—the second level of knowing, the first being the outward-looking, monological eye of the flesh, which any sane being cannot mistake (The Marriage of Sense and Soul, Ken Wilber). Considering the rarity of the age-old Third Eye, Kaplan’s reductionist interpretation of reality, and the global village we now live in, I am afraid the consenting international authors will not pass an optical test of the sort. His verbosity reveals an imaginative and prolific intellect on an eccentric evolutionary trajectory gobbling information along the way, makes calculations, and comes up with a mathematical equation reducing human evolutionary accomplishment with ultimate doom. Had he the gift of a wakening Third Eye, he would have jumped the chasm, discovered mystical profundity, accurately diagnosed the human problem, and pointed at the solution. Greed, for one, has been diagnosed since time immemorial by mystics as misdirected human yearning for the infinite Divine. A soul illumined by the Third Eye is necessarily on a culminating swing from complexity toward simplicity, one-pointedness, self-contentment, renunciation…peace. Which was why Saint John the Prophet chucked away his writing tool and hid his manuscripts inside jars after having said his New Age piece and fearlessly faced the ax, or hangman’s tree? Experiencing the awakening of the Third Eye is the only way of understanding it. It is real and replicable because master mystics can transfer the experience to their pupils. The academic method meanwhile is like a balloon that could only hang around in the lower layer of Earth’s atmosphere, so to speak. The teeming Cosmos What I like best in Kaplan’s introduction is his last sentence, of the universe “possessing elements (conscious or otherwise) that are determined to struggle, shove, claw, fight, compete, cheat, consume, procreate, expand, and—in whatever form—survive” for this is veritably a perfect picture of material energy having just fallen from God’s grace. There is more to this evolutionary narrative. The universe undeniably is expanding and evolving, precisely why we are here with inexplicable pineal glands lodged in our brains. Ancient wisdom says it is the physical base for our contact point with the Macrocosmic Mind—the crack (Third Eye) through which spiritual enlightenment gets in (Anthem, Leonard Cohen). Do you now have a hunch why during spiritual ecstasy a mystic’s irises roll up the eyeballs? Ever wonder why during human sexual orgasm irises too roll up while the subject exclaims “Oh, my God!”? There is more to it than coincidence but I am not suggesting substitution of various bedroom positions in place of attending Sunday church service, temple worship, or kneeling on the rug for prayer. What sustains the universe is not competition or Darwin’s outmoded survival of the fittest. The sustaining factors of the universe, other than the four constants of gravity, electromagnetism, and the equilibrium of strong and weak nuclear forces, are the creative moments that brought forth life and consciousness from practically 0.000 probability. This means from out of chaos, the competing quarks, atoms, molecules, and cells, learned to converge and cooperate with each other to form larger, more complex systems, i.e. tissues, organs, organisms. At this point of human development we now have culture, a vehicle for greater cooperation and co-creation. The universe took an exponential leap in reversing zero probability into endless possibilities with human consciousness around. Kaplan, himself, demonstrated that same converging and cooperating characteristic by anthologizing international authors. Society needs a new breed of politicians, businessmen, and cultural workers to effect positive social change (Shaping Globalization, Nicanor Perlas, 2000). With the neo-shamanic apocalyptic art of the international authors Kaplan places his hopes of exorcising myth from reality—a sign of not having completely lost faith in humanity. It affects the product quality of one’s gonads, you know, again, mind over matter. O descendants of Narcissus, in each of your genes are recorded lessons-learned called instincts accumulated through countless lifetimes and forms. Death is not annihilation of existence. Energy cannot be destroyed, only transform. The persona with its etheric karmic baggage will, at another time, some place somewhere in this versatile multiverse, reincarnate to continue its journey to perfection. Forgetfulness is not knowing enough of the true Self. If self-destruction is inherent in Man, so is the propensity for self-sustainability. These two archaic traits, having walked away toward opposite directions from a common point, took an about-turn, and will try to outdraw each other in Surrealmageddon—the modern world’s Battle of Kurukshetra. Whether you are fundamentalist or postmodernist, it will blast your doors, windows, and walls, physically or metaphorically, as evolutionary process. Evolution will sweep away what is not aligned to its grand purpose. Surrealmageddon will cause a differentiation of the Homo s. sapiens leading to the development of a species more attuned to seeking harmony, cooperation, and love. Are not these qualities relevant to the Sermon of the Mount? Banez’s Surrealmageddon deserves profound interpretation to cement its place as over-all evolutionary cleansing and the rise of neo-humanity. Emanations the series deserves a fourth volume to do justice to the divine experiences of prophets, saints, holy men, mystics, shamans, and even seculars who are privileged to receive such gifts. ((((But for my opinion they need LSD turn into ”Lucifer in the Sky within Distortion” its like Reasoning into Babel! and everything is vanity, vanity, vanity under the sun and who we are? and everybody waiting for death into time unforeseen occurrence! what for reason? we live and die tomorrow! —B.BonesB.—)))) Mural By Bienvenido Bones Banez collection of the Yuko Nii Foundation

🇺🇸Emanations:✨ 👁️Third Eye💥Surrealmageddon Art World Desires 👁️

Apr 15th, 2024

EMANATIONS: THIRD EYE (Surrealmageddon Art World)From: Carter Kaplan Contributors to the collaborative introduction include Bienvenido Bones Bañez Jr. (who gives us the term “Surrealmageddon”), M-A Berthier ( Mimi Berthier-Frontenac, please advise M-A), Mike Chivers, Horace Jeffery Hodges, Carter Kaplan, Terrance Lindall, Devashish Makhija, Chris Matthews, Martin McPhillips, Vitasta Raina, Don Tinsley, and Hayden Westfield-Bell.We are thankful to Dr.Carter Kaplan and I am proud to be ”Honored” including this term: ”Surrealmageddon” but for us its an Awakening art world! Therefore Everybody Welcome 666 Art World Desire!!! Dear World, We are truly pioneering philosopher of Surrealmageddon and God’s watching for our future! Your Humble Servant Bienvenido Bones Banez, Jr. http://www.androidillustrated.com/q/People_by_occupation_and_period http://www.amazon.co.uk/Emanations-Third-Eye-Carter-Kaplan/dp/1491257083#reader_1491257083 Kristine Shmenco and our great Dr.Carter KaplanDr. Carter Kaplan , Editor in Chief of International Authors & Bienvenido Bones Banez, Jr.{Hermeneutical Surrealist) representing the WAH Center with EMANATIONS: THIRD EYE (purchase on Amazon), the definitive contemporary surrealist edition… SURREAL ARMAGEDDON! into SURREALMAGEDDON!!!

“🌈The Eve of Destruction Over the Ugly Abyss”✨ by Bienvenido Bones Bañez Collaboration with Terrance Lindall🇺🇸💥👁️”

Apr 10th, 2024

“The Eve of Destruction Over the Ugly Abyss” by Bienvenido Bones Banez Jr. Collaboration with Terrance Lindall – Book 3, part 5 SATAN INSPIRING THE WORLD 666 KINGDOMS!!! / Private Collection by Yuko Nii Foundation, Brooklyn New York, USA BUILD YOUR OWN HOUSE, THEN YOU ARE TRULY FREE The Spanish and English Gifts!Small pox and syphilis for the Indians!Gave them peace,Of the grave, Gave slavery too!Gave them Christianity,To work in the fields and mines,Of the great White Satan.To save the Vietnam,Bombs and agent orange,To cleanse their troubles.And great Hitler, “Super Satan,” To solve the “Jewish Question.”Six million gone,Ten million Russians too,For Living space! Lenin, Mao, Stalin too, To make a workers heaven, Killed millions, And made a hell. For Iraq, Democracy, Half a million died, In Shock and Awe,Blessings from the Great White father. But you love him! The Great White Father! From the south, The Blacks from poverty swarmed, To northern cities, To be among the whites. From Mexico and South America, They swarm, To be provided jobs. From Africa they swarm, To White Europe, Not to starve. To hate the whites too! “White racism! White privilege.” You cry! You also say“ Take us in anyway,” “When we have the numbers, We take your house! ”Our privilege now! God bless democracy! Oh foolish ones! White privilege is in your dark minds, Not in the white man. End white privilege? Start with yourself, You give him white privilege, In you imagining! You move next to him, And wish to push him out. And if he left for elsewhere, You would follow! You did before, Why different now? Lie not to yourself. “SELF-deception, That you escape decadence. By opposing it.” So said Nietzsche. Beyond your will! And you now become, Promoter of decadence, Progressive Thinker! Build your own house! Take not the White man’s. Then have your own racial privilege, That you did great things! When you do this, Then you are truly free, no slave! Free from your own hatred! Otherwise a pox upon you! ((( My poems base in human’s experience in the world history and just as many desperate criminals follow the policy of ‘rule or ruin,’ the Devil and his demons are determined to bring the earth tribulations into bloody. And according to the Holy Bible: The great Noah, on awakening, uttered a curse, not on Ham, but on Ham’s son Canaan -{Dark Skinned). In the accompanying blessing of Shem-{Medium Skinned), which included a blessing for Japheth-{Light Skinned), Ham-{Dark Skinned) was passed over and ignored; only Canaan-{Dark Skinned) was mentioned as cursed and was prophetically foretold to become a slave to Shem and Japheth-{Light Skinned are White & Yellow ).— Genesis 9:20-27. And some say they found it. Apparently, we can blame a German professor from the 19th century. Johann Friedrich Blumenbach (1752–1840), one of the founders of what some call scientific racism theories, came up with the five color typology for humans: white people (the Caucasian or white race), more or less black people (the Ethiopian or black race), yellow people (the Mongolian or yellow race), cinnamon-brown or flame colored people (the American or red race) and brown people (the Malay or brown race). Blumenbach listed the “races” in a hierarchic order of physical similarities: Caucasian, followed by American, followed by Mongolian-{ https://en.wikipedia.org/wiki/Mongols) followed by Malayan, followed by Ethiopian. But contrast from Bible prophecy and its up to you how you evaluate this… -{. But contrast from Bible prophecy and its up to you how you evaluate this… -{Ungodly world ends; humankind preserved. Thus, the koʹsmos for which Jesus died must mean the world of mankind viewed simply as the human family, all human flesh. (Joh 3:16, 17) As to the world in the sense of human society alienated from God and in actual enmity toward God, Jesus did not pray on behalf of such world but only for those who came out of that world and put faith in him. (Joh 17:8, 9) Even as human flesh survived the destruction of the ungodly human society, or world, in the Deluge, so Jesus showed that human flesh is to survive the great tribulation that he likened to that Flood. (Mt 24:21, 22, 36-39; compare Re 7:9-17.) “The kingdom of the world” (evidently meaning of humankind) is, in fact, promised to become “the kingdom of our Lord and of his Christ,” and those reigning with Christ in his heavenly Kingdom are due to “rule as kings over the earth,” hence over humankind apart from the deceased ungodly human society dominated by Satan.—Re 11:15; 5:9, 10. ) Why does mankind need a world government? Today, mankind’s problems are often on a worldwide scale. In some nations, most people are poor and oppressed. In others, many people seem to have more than they need. Only a global administration could distribute the earth’s resources fairly.—Read Ecclesiastes 4:1; 8:9.Who could be trusted with a world government? The idea of a world ruler is unpopular because no man or woman could do the job well. No human could gain the acceptance of everyone. Also, who is above being corrupted by power? The thought of a single tyrant ruling all mankind is terrifying.—Read Proverbs 29:2;Jeremiah 10:23. — Excerpted from jw.org ))) How Satan gave power to the world-666 https://www.youtube.com/watch?v=iXqqkWgh0VY&feature=pyv 666 SATANIC POSSESSION INTO LUCIFERIAN DESIRE / Private Collection by Yuko Nii Foundation, Williamsburg Art & Historical Center, Brooklyn New York 666 SATANIC POSSESSION INTO LUCIFERIAN DESIRE / Private Collection by Yuko Nii Foundation, Williamsburg Art & Historical Center, Brooklyn New York ”The 666 Wild Beast Shitting his Lucifer-DNA” / Private Collection by Yuko Nii Foundation, Williamsburg Art & Historical Center, Brooklyn,New York Art World

👁️💥John Milton’s Brotherhood In Paradise Lost💥✨

Apr 10th, 2024

Milton Brotherhood Paradise Lost Drawing by ROBERT BEAL – http://www.beal-surrealiste.com/graphics.htm https://welcomebones666artworld.trilogistick.com/celebrating-john-miltons-paradise-lost/ https://wahcenter.net/2016/08/the-horror-show/ https://www.pinterest.com/pin/546835579732169468/?lp=true Portrait of Dr. Robert J. Wickenheiser / Drawing by Robert Beal Correspondence between the foremost collector of John Milton and the foremost illustrator of Paradise Lost 2009-2015 https://issuu.com/lindall/docs/wickenheiser-lindall_emails_and_lecPortrait of John Milton / Drawing by Robert Beal The Gold Illuminated Elephant Folio https://issuu.com/lindall/docs/pl_gold_catalog_fifth_version_for_cPortrait of Terrance Lindall / Drawing by Robert Beal The development of the largest MIlton artist’s project ever produced…and still unfinished. This is a draft to be edited and printed in hard cover April 2018 https://issuu.com/lindall/docs/the_milton_brotherood_reduced Portrait of Yuko Nii / Drawing by Robert Beal The Yuko Nii Retrospective 2016-17 Published on Nov 24, 2017 / The life and times of the artist and founder of the Williamsburg Art & Historical Center https://issuu.com/lindall/docs/yukonii-catalog-64_reduced
Portrait of Bienvenido Bones Banez, Jr. / Drawing by Robert Beal The Book of the Damned https://issuu.com/lindall/docs/the_beast_of_bien_issuu_qaulity_pdfPortrait of John Milton / Pastel on Paper by Robert Beal