Tag: New York Art World Historical Contexts
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- 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 ”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.—))))
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- 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 Kaplan
Dr. 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!!!
- EMANATIONS: THIRD EYE (Surrealmageddon Art World)
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🌈FEATURED ARTIST at Williamsburg Art & Historical Center: Bienvenido Bones Bañez. To night we celebrate the works of Bones Bañez and Terrance Lindall & the Gold Folio.🇺🇲Satanic Verses Bones Banez Collaboration with Terrance Lindall☠️💥 20-September_2014👌 “UNIVERSAL SPERM SPELL 666” with frame with Painting design by Terrance Lindall collaboration with Bienvenido Bones Banez Jr. And permanent collection of Yuko Nii Foundation, Williamsburg Art & Historical Center, Brooklyn, NY, USA 🇺🇲 https://mobile.twitter.com/wahcenter/status/513058414281629696?fbclid=IwAR1h7sLWHr467goFXC6Urj0NoQycZ5Xxkcfk17mkZmNHYuV9-4s_Ch07Bj8 AND http://dictionary.sensagent.com/Terrance%20Lindall/en-en/
🌈FEATURED ARTIST at WAH Center: Bienvenido Bones Bañez. To night we celebrate the works of Bones Bañez and Terrance Lindall & the Gold Folio.🇺🇲Satanic Verses Bones Banez Collaboration with Terrance Lindall☠️💥 20-September_2014👌 “UNIVERSAL SPERM SPELL 666” with frame with Painting design by Terrance Lindall collaboration with Bienvenido Bones Banez Jr. And permanent collection of Yuko Nii Foundation, Williamsburg Art & Historical Center, Brooklyn, NY, USA 🇺🇲 https://mobile.twitter.com/wahcenter/status/513058414281629696?fbclid=IwAR1h7sLWHr467goFXC6Urj0NoQycZ5Xxkcfk17mkZmNHYuV9-4s_Ch07Bj8 AND http://dictionary.sensagent.com/Terrance%20Lindall/en-en/
🌈FEATURED ARTIST at WAH Center: Bienvenido Bones Bañez. To night we celebrate the works of Bones Bañez and Terrance Lindall & the Gold Folio.🇺🇲Satanic Verses Bones Banez Collaboration with Terrance Lindall☠️💥 20-September_2014👌 “UNIVERSAL SPERM SPELL 666” with frame with Painting design by Terrance Lindall collaboration with Bienvenido Bones Banez Jr. And permanent collection of Yuko Nii Foundation, Williamsburg Art & Historical Center, Brooklyn, NY, USA 🇺🇲 https://mobile.twitter.com/wahcenter/status/513058414281629696?fbclid=IwAR1h7sLWHr467goFXC6Urj0NoQycZ5Xxkcfk17mkZmNHYuV9-4s_Ch07Bj8 AND http://dictionary.sensagent.com/Terrance%20Lindall/en-en/
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THE LIFE DEATH AND APOTHEOSIS OF ADAM AND EVE, preliminary drawing for the mural – from Master Terrance Lindall
This is the most complex drawing I have done. Because it is the basis for the mural, which will be more complex. More major figures: Archangel Michael, Milton dictating, visionary foal. Lots of new animals, fox, rabbit, snail, frog, turtle. rat, bat, cockroach, butterffy etc.. There s a “visual logic” to the composition too. if one analyzes it. Again, the Circular Orbit is intellectually more profound. But this will be as compositionally complex. You can see the biblical trials of early humanity on the road leading from Adam & Eve expulsion: Cain killing Abel, The flood, Slavery by Egyptians, Mary with baby Jesus, Christ Tempted in the desert, the Cruxifiction. across the way under Satan’s fall is war on earth, the Armageddon, with an airplane dropping bombs, people fleeing, an Israeli tank rolling over people on the road from the American flag to Jerusalem. I have to develop the Apotheosis, but Adam and Eve will receive laurel wreaths from an archangel while God beams welcome. It is the archetypal mythical history of mankind from creation down to the end of time (for humanity).
The result of both the story, really the greatest story ever told put into the greatest poem ever written in the English language, inspires artists and composers. There is Bienvenido pointing at Satan as his inspiration, Bien is the greatest illustrator and interpreter of Satan of all time. I sit behind Bien painting Adam and Eve. There is Amanda Husberg{ http://en.wikipedia.org/wiki/Amanda_Husberg) singing and Peter Dizozza{ http://en.wikipedia.org/wiki/Peter_Dizozza)playing an an unknown violinist. And, of curse blind Milton dictating to his daughter.
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Awesome Visionaries in the New York art world power! Only First World Country New York Art World Historical Contextual and Prophetic! The legacy of Sir John Milton Projects Surrealmageddon Visual Poetry!
OUR GREAT PHILOSOPHERS-SURREALIST IS SIR TERRANCE LINDALL” With BONES REVELATION, and JOHN MILTON SURREALMAGEDDON MACHINE! WE ARE PROUD TO HAVE OUR GREAT PHILOSOPHER, VISIONARY, JOHN MILTON’S BOOK EXPOUNDER, SURREALIST ADVOCATOR, WIKIPEDIA PROMOTER, MUSEUM FOUNDER in NEW YORK ART WORLD REVOLUTIONARY MOVEMENT!!! AND TRULY TERRANCE THE GENIUS!!! AND HIS NAME IS MASTER TERRANCE LINDALL🇺🇸🗽👌 https://alchetron.com/Terrance-Lindall Terrance Lindall’s Paradise Lost, 🇺🇸 Terrance Lindall, Once upon a time and I was so happy with searching my favorite artist, before I visited the Williamsburg Art & Historical Center. First of all I was won the Freeman Fellowship in Vermont Studio Center 2002, and I meet the VSC president his name Sir Jonathan Greg is the founder of the Vermont Studio Center Fellowship-( https://en.wikipedia.org/wiki/Vermont_Studio_Center ,) and my first one man show at Red Mill Gallery in VSC, Johnson, Vermont, and I got a message from VSC to introduce me to Alex Grey, and some my VSC fellowship are talking about my painting in similar ways to Alex Grey and that is the time to get another blessing for going to New York City, and the President of the Vermont Studio Center is Jonathan Greg suggests me to visit the Alex Grey in One Man Show, Manhattan, New York City, that was throwback 2002 December, and that is my excitement for going to New York City, and my first landed on the world famous New York Art World on December 20, 2002, and I stay at NY Hotel and I call the taxi and time to visit to our world famous artist Alex Grey and I meet him in person and he answered me for “Good for you Bien Bones to meet you” and Alex said “You and Me we are same psyche visionary” and that’s my first heard for he encouraged me to do it for more painting, but I took a photo with him and paintings by Alex Grey-( https://en.wikipedia.org/wiki/Alex_Grey). After 2 days stayed in New York and I decided to going to Chicago to visit my sister in that was December 22, 2002 for another tour in Chicago Museum, and I stayed more than 4 months in Chicago and I participated in paintings art exhibits in Chicago with my 8 paintings for art festival of the “Around the Coyote Winter Arts Festival 2003, Chicago”, Illinois, and while I was strolling in art haven in Chicago and there’s a lot of people and galleries until I found the art magazine and I read the art news about the prestigious invitation for coming show about the Brave Destiny 2003-( https://www.wahcenter.net/exhibits/2003/surreal/BD_artists.html & https://www.wahcenter.net/exhibits/2003/surreal/ ) and that was my first apply for being participate on the world famous Surrealists and Visionary in Williamsburg Art & Historical Center and that’s why I am excited to be included the famous Brave Destiny, and after Chicago and I move to California for visit my first cousin Earl Bones and I got a email and letter from Williamsburg Art & Historical Center and the good news is I am qualified for be part of the Brave Destiny 2003. Meanwhile, I have a time going to New York 2005, and I have a plan to visit the Williamsburg Art & Historical Center, and I found the Marcy Avenue at Brooklyn, and I walked in the street going to WAH Center and that place was weird and no people around here but it like the war zone area and very silent and cold days in Marcy street in Brooklyn and until I get inside the WAH Center and my first saw in WAH Center is Sir Terrance Lindall greeting to me and say Welcome to my world and I introduce myself and I am the one who painted the “My Warlock Dream 666” and Sir Terrance smiled at me and he introduced a new way of art world, and he invited me going to upstairs and Terrance Lindall show me the most important treasures in the art world collection and he was very proud to Master Yuko Nii visionary-( https://alchetron.com/Yuko-Nii ) and Terrance told me that Williamsburg Art & Historical Center one of the world’s greatest art collections and that’s why I am excited to be included the famous Brave Destiny 2003 and be part of the John Milton’s Legacy. And the year of 2006, October, I got a blessed day with the help by Williamsburg Art & Historical Center and my first time in life as a One Man Show at WAH SALON individual exhibitions were hosted at Amarin Café, 617 Manhattan Ave., Greenpoint, Brooklyn, New York. And after years ago and I was another One Man Show 2008 at Amarin Cafe, by WAH Salon members. And another important thing in the Celebrating John Milton’s 400th Birthday
The unrivaled arts festival honoring Milton’s birthday and Paradise Lost, the greatest poem in the English language. Bridging classic literature and contemporary fine art,
performing arts and poetry reading.
September 27th — November 2nd, 2008 and click this link for more messages👇 https://www.facebook.com/100085608697157/posts/318834544313500/?app=fbl 🇺🇸& https://www.slideshare.net/BBaez1/celebrating-john-miltons-400th-birthday-the-unrivaled-arts-festival-honoring-miltons-birthday-and-paradise-lost-the-greatest-poem-in-the-english-language-satan-brings-color-to-the-world-paradise-lost-surreal-blasphemous-visual-poetry 👁️. https://www.wahcenter.net/events-and-exhibitions-archive/ 🇺🇸,And after years gone and another One Man Show at WILLIAMSBURG ART & HISTORICAL CENTER invites you to a One Person Show by a member of the WAH SALON ART CLUB Bienvenido Bones Banez jr.
Nov. 14, 2010 – Jan. 9, 2011. And after January 2011, I have another One Man Show Dec. 11, 2011 – Feb. 5, 2012. Between 2009 and 2014 several drawings and paintings were acquired for the Robert J. Wickenheiser John Milton collection at the University of South Carolina.. And I meet the world famous Prof Carter Kaplan-( https://www.encyclopedia.com/arts/educational-magazines/kaplan-carter-1960 ) in WAH Center with Sir Terrance Lindall introduce me to Prof Carter Kaplan and we gather to get a good hot coffee with Inspiring conversations on the Emanations Books and truly inspired from the New York Art World Intellectual in the International Authors-( http://internationalauthors.info/books.html ). 💥👁️And Foremost icon on the “EMANTONS ZEN” joins KENT SPECIAL COLLECTIONS❤️🙏
Our Prof Carter Kaplan have received notification that EMANATIONS ZEN is now catalogued with KENT STATE UNIVERSITY SPECIAL COLLECTIONS, joining the COMPLETE SET OF the ANTHOLOGY available there.
KIND💞THANKS to all at KENT LIBRARIES –Professor Cara Gilganbach, Head, SPECIAL COLLECTIONS & ARCHIVES; and Professor Kate Medicus, SPECIAL COLLECTIONS LIBRARIAN, CATALOGING & METADATA LEAD –and Mack Hassler, INTERNATIONAL AUTHORS EDITORIAL BOARD MEMBER and PROFESSOR of ENGLISH, EMERITUS. 🇺🇸 💞❤️🙏👁️👌 https://carterkaplan.blogspot.com/2023/12/emantons-zen-joins-kent-special.html?fbclid=IwAR31Wdm-6goeXN4w6mpeFh2EatrExEaSc3Dv-xzCd9KC9g4fDEuLHXV0qoY&m=1 🇺🇸💞KENT STATE UNIVERSITY & UNIVERSITIES LIBRARY, -(In First World Country in the United States America). 🇺🇸https://kentlink.kent.edu/record=b6071020~S1 ) In 2017 a portrait of John Milton was added to the Milton’s Cottage collection, and Bienvenido Bones Bañez was named to the editorial board of Emmanations, a print anthology of poetry, fiction and essay published by International Authors. “Thomas Cooper Society Newsletter- Winter 2013” by University Libraries–University of South Carolina. And another blessed again to be a part of the Society Art of Imagination-( http://www.artofimagination.org/Pages/Banez.html ) 🇺🇸👁️( http://artofimagination.org/portfolio/bones-banez-jr/ ) and special exhibition of the Visionaries 2012 with HR Giger, Prof Ernst Fuchs, Brigid Marlin, Alex Grey, Otto Rapp, Miguel Tio, Olga Spiegel, France Garrido in Queensborough Community College-( https://qptv.org/content/visionaries-art-fantastic ) is the “City University of New York-( https://artgallery.qcc.cuny.edu/exhibits/visionaries/ .) ( https://www.dnainfo.com/new-york/20120703/bayside/alien-artist-hr-gigers-work-be-featured-queens-exhibit/ ) “In the year of 2011 and Sir Terrance Lindall wrote the Wikipedia Article for Me as “Bienvenido “Bones” Banez” and I was happy to see the Google search: https://ipfs.io/ipfs/QmXoypizjW3WknFiJnKLwHCnL72vedxjQkDDP1mXWo6uco/wiki/Bienvenido_%22Bones%22_Banez%2C_Jr..html ) and I found it on the beautiful day of the year 2011, because Sir Terrance Lindall love my paintings and my weirdo grunge poetry is dystopian but before Wikipedia Article write by Terrance Lindall and I have a website is “Welcome Bones 666 Art World” I made that was 2003 at Chicago, Illinois, and after years ago and my first time to participate in the John Milton’s 400th Birthday 2008 at Williamsburg Art & Historical Center, Brooklyn, New York Art World! And here’s the world of Terrance Lindall as a Encyclopedic and mentioned my name for Paradise Lost Elephant Folio👇 https://studylib.net/doc/26258097/654851680-universal-mind-s-paradise-lost-of-terrance-lind… And that years I was just inspired by Sir Terrance Lindall and Dr Robert J Wickenheiser lecturing in Williamsburg Circle of International Arts, and I was special artist in the Miltonian Legacy with our world famous Dr Robert J. Wickenheiser with Sir Terrance Lindall. And Sir Terrance Lindall introduce me to Dr Robert J. Wickenheiser and I never realized that I am part of the Elephant folio Paradise Lost by Terrance Lindall and Dr Robert J Wickenheiser Commentary in the Paradise Lost Elephant Folio, and my word inspiration is part of the world historical context in saying:”Satan Brings Color To The World”. And throwback 2014 Terrance Lindall read the Satanic Verses Bones Banez after I played the grand piano of Satanic Rhapsody in my spontaneous composition, and that was my first special featured from the greatest legacy in John Milton’s Paradise Lost with Terrance Lindall with Dr Robert J Wickenheiser. 👇( https://wahcenter.wixsite.com/wah-center-books/about-terrance-lindall ) and I was in great jubilation with our world famous Miltonian New York with Dr Robert J Wickenheiser and Sir Terrance Lindall, after years and Sir Terrance Lindall write about Wikipedia Article for Dr Robert J Wickenheiser, and Sir Terrance Lindall using the photo of three of us are “Robert J Wickenheiser, at Center, Bienvenido Bones Bañez, at left and Sir Terrance Lindall at right”-( https://peoplepill.com/i/robert-j-wickenheiser ) And I introduced my spontaneous piano as a surreal sound of music and did you know only Terrance Lindall give the title as a-(Satanic Rhapsody) of my piano composition for another part of the Satanic Verses of John Milton Project. And Me as Bienvenido Bones Bañez and Terrance Lindall have my greatest experience in Two Man Show with the world famous Philosopher, Museum Founder and Surrealist is Master Terrance Lindall, and Collaboration for the John Milton’s Legacy in Williamsburg Art & Historical Center, New York Art World. And Satanic Verses Bones Banez Collaboration with Terrance Lindall because I believe only Master promoter in Wikipedia Article and John Milton Projects advocator and John Milton propaganda machine is Master Terrance Lindall can create the promoting content in the John Milton’s Legacy of historical context in New York Art World, to magnifying the grandeur of the World John Milton’s Paradise Lost Into Colorful Historical Contexts, and that is the power and reason for being creating the Wikipedia Article for Robert J Wickenheiser, Bienvenido Bones Bañez, Amanda Husberg, and Dario Rivarossa. But I believe that is the power from Master in the Art World Authority that is Master Terrance Lindall have to be a part of art world authorities in Wikipedia Article and possibilities for Brittanica Encyclopedia. https://alchetron.com/Robert-J-Wickenheiser ( https://www.academia.edu/44738926/Acrostic_Paradise_Lost_by_Terrance_Lindall and Terrance Lindall’s Paradise Lost https://www.academia.edu/…/Acrostic_Paradise_Lost_by… )👁️🇺🇸And the greatest New York Achievement Art World to be part of the ”Robert J. Wickenheiser donated more than 120 volumes of Milton, Bunyan and Miltonian and twenty-five works by contemporary Artists illustrating Milton Paradise Lost. The artists represented include Terrance Lindall, Robert S. Beal, Bienvenido Bones Banez, Alan Beck, Troy Frantz, and Agnieszka Szyfter.” written in the: https://scholarcommons.sc.edu/tcl_news/17/ https://sc.edu/search… THOMAS COOPER SOCIETY NEWSLETTER – WINTER 2013 (University Libraries- University of South Carolina). And we are very inspired by Master Terrance Lindall to make greatest announcement for John Milton Legacy and more propaganda machine for uplifting years and more powerful than ever, then I was featured in the Acrostic Paradise Lost by Terrance Lindall 👇 https://studylib.net/doc/26042282/acrostic-paradise-lost-final-2-reduced-page-.pdf–5- and another blessing and I thanks from Prof Gerhard Habarta in German Edition of the Lexikon Surreal 1 and 2 as a Surreal Encyclopedia and the new book 2021 KUNSTHERZ author by Prof Gerhard Habarta. But the year 2017 my Wikipedia Article about Me was blocked because I am the one who retouch the category and after twice attempt to rewrite the Wikipedia block and banned because of the “Conflicts of Interest” with working with Terrance Lindall in Williamsburg Art & Historical Center, https://en.wikipedia.org/wiki/Bienvenido_%22Bones%22_Banez_Jr. and that is reason why my Wikipedia Article was banned, but I thanks from Sir Terrance Lindall who wrote the Wikipedia Article 2011 until 2017 is still part of the New York Art World experiences. But it’s my fault because I didn’t ask permission to Sir Terrance Lindall, and Terrance Lindall told me that Wikipedia more about Anglo people and Terrance Lindall told me this is discrimination from Wikipedia policy and I told him I understand because I read the Wikipedia issue more on Anglo-American than third world countries and majority is english white people in the world power. And I understand that point from Terrance Lindall is true helping me with the writing of Wikipedia Article despite I am Autistic Survivors Surrealist, but despite that happened to me, well it’s considered part of the world historical context of Terrance Lindall and Dr Robert J Wickenheiser. The most important thing is we have a hard cover books in Robert J Wickenheiser & Terrance Lindall The John Milton Projects 2009-2015 by Terrance Lindall with photo cover with Terrance Lindall, Robert J Wickenheiser and Bienvenido Bones Bañez, and Acrostic Paradise Lost by Terrance Lindall with my painting and photo, and I my name was included in the Paradise Lost Elephant Folio by Terrance Lindall with Dr Robert J Wickenheiser Commentary on the historical context in the University of South Carolina Library of John Milton book 👇 https://www.liquisearch.com/terrance_lindall/the_paradise_lost_elephant_folio?fbclid=IwAR13DqAKQvBconYwQbiFW-WkJqgkOG-g6PPVfz__P-WeVHb9rL_yljUO65w .) and also the German Edition by Prof Gerhard Habarta in Lexikon Surreal 1 and 2, Visionary Art Magazine 2012 by Gerhard Habarta and KunstHerz is the world notable biography in German Edition but only Filipino American Surrealist in listed in the KunstHerz 2021-👇 https://books.google.com.ph/books?id=2jZPEAAAQBAJ&pg=PA573&lpg=PA573&dq=bienvenido+bones+banez+jr+KunstHerz+Gerhard+Habarta&source=bl&ots=jQqXN8QN44&sig=ACfU3U3xnGxpofJHmHklaJdInxTQ41DO6w&hl=en&sa=X&ved=2ahUKEwiwkrmzi7j4AhWVSmwGHQPMD9EQ6AF6BAgWEAI#v=onepage&q=bienvenido%20bones%20banez%20jr%20KunstHerz%20Gerhard%20Habarta&f=false) And that’s the most important thing despite Bienvenido Bones Bañez banned from the Wikipedia Article. Because my principle was “Surreal Acidity Truthful” and true Revelation of the World Paradise Lost Kingdom 666. And after years ago and I was debating in Wikimedia articles throwback 2022 and I was obsessed with promoting John Milton Surrealmageddon Visual Poetry and artwork by Terrance Lindall, but I miss the fact that I reset the Wikimedia watchers and then our Wikimedia suddenly blocked me and affected the photos of Robert J Wickenheiser with Terrance Lindall and Bienvenido Bones Bañez, and almost blocked my Wikimedia because more on personal promotions about my artworks and books and another “Conflict of Interest”, and I emailed Sir Terrance Lindall… I am sorry for another block our Wikimedia and that’s why you do not see anything about WAH Center because my big responsibility and everything is my fault… That is a lesson from my fault and weakness as a Survivors Autistic Surrealist very voracious in narcissistic visual screaming in the Techno War of Propaganda machine… After all it’s a work of Idiot Savant Autistic Survivors Surrealist and our beautiful memories from our autistic narcissistic I am and maybe sociopath are always part of the universe! https://studylib.net/search/?q=Bienvenido+Bones+Banez+jr&fbclid=IwAR2NsRxeOdHeghlHlKtvcpfRJ0LcB3S9xK9aT-yNyr7a-Pn700C_GAqEUs8 💥 https://online.pubhtml5.com/jltd/fore/’WE ARE PROUD TO HAVE OUR GREAT PHILOSOPHER, VISIONARY, JOHN MILTON’S BOOK EXPOUNDER, SURREALIST ADVOCATOR, WIKIPEDIA PROMOTER, MUSEUM FOUNDER in NEW YORK ART WORLD REVOLUTIONARY MOVEMENT!!! AND TRULY TERRANCE THE GENIUS!!! AND HIS NAME IS MASTER TERRANCE LINDALL and he is the best architect visionary in the art world of John Milton Projects in New York Art World! And I want to know why important thing, and Master Terrance Lindall is the one who helped me to build up my career in art world and without him maybe I had “No Name” in Wikipedia New York Article in featured in the first world country New York Art World that has been dated in 2011 until 2017, despite Wikipedia banned the name of Bienvenido “Bones” Bañez, but the important thing is already done within Six Years Propaganda machine from John Milton Projects by our architect visionary is Master Terrance Lindall in New York Art projects. It’s a wild wild wildest New York Artists. And some my artists friends asked me why Terrance Lindall help you and build up with the majestic clan in John Milton’s Legacy? And I answered my friend request and because the power of my paintings speak loud and my grunge poetry in vulgarity is truth like a stingy pain from their eyes and ears to our audiences. And that is why our first world country Master Terrance Lindall love my paintings and Dystopian Poetry as grunge styles, and I performed in piano with my freaking spontaneously and surreal sounds like thunder distorted notes, and that makes sense to me as trance aura and I don’t know how it goes to well, but important follow your heart and mind if someone possess… After Terrance Lindall, Yuko Nii, Peter Dizzoza, Orin Buck, Sam was surprised my piano performance in WAH Center, Brooklyn, New York. And after several weeks and Terrance Lindall decided to give the title of my musical sound into the “Satanic Rhapsody” and I accept the title for my spontaneous composition in piano. And every time have an occasion for Art exhibition and performing arts, and I always participate in every annual art exhibition in WAH Center New York. But some people say that I am from third world country-( https://peoplepill.com/i/bienvenido-bones-banez-jr )and mostly Anglo-American white people are easily into the Wikipedia articles and they control their categories to separate them from first world country famous and that’s why they’re more propaganda than a measurement in our individual talents. But the irony from Wikipedia has been promoted porn star is a considered “Notable” despite fleshy stars? ( https://en.wikipedia.org/wiki/Wikipedia:Articles_for_deletion/Bienvenido_%22Bones%22_Banez_Jr. ) ( https://en.wikipedia.org/wiki/Special:WhatLinksHere/User_talk:Bienvenido_Bones_Banez,Jr. ) ( https://en.m.wikipedia.org/wiki/Wikipedia:Articles_for_deletion/Bienvenido%22Bones%22_Banez_Jr.?fbclid=IwAR0uo2zuruT-oqeW4MADFrQ6UYKpoBJNj9nSZ041rB2cc3qbp6DwrpsdkGA ) Well, it’s a part of the Satanic Notability and famous according from Wikipedia as Wickedpedia Inspirations from criminal untouchable superstar and Notability pervert stars. They want portray they are superior races and some like eugenics systems despite imperfection DNA in the human mortal creatures desires. But will tell you the consequences magical enchanted from the Human Mortal Creatures Dreamers for let us build our names in according from Nimrod the Great build the world tallest tower in the world power is the Tower of Babel and they are totally original in making names around the world for being gods and goddesses, Inspired from the TREE OF KNOWLEDGE. Natural beings a part of the Satan Brings Color To The World Famous Names- Matthew 4 :9. / First John 5:19. / Ephesians 6:12. 🇺🇸👁️ And someone who suggested us that will be part of the Wikipedia Article for the Notability or Notable from the Human Mortal Creatures Geniuses and Welcome Bones 666 Art World Blasphemous Desires from the Tree of Knowledge turned into Surreal Blasphemous Desires!!!! But according from the book of “The Wisdom of Psychopaths: What Saints, Spies, and Serial Killers Can Teach Us About Success” by Kevin Dutton points to be part of the Wikipedia Article into the Wickedpedia Encyclopedia in “Satan Brings Color To The World Famous” from our lower edge our human mortal creatures desires. 👁️. https://www.slideshare.net/BBaez1/surrealist-meaning-of-wikipedia-turned-into-the-subliminal-wickedpedia-desires-from-human-imperfection-dna-666-deoxyribonucleicsatanicacid-into-delusional-god-complex-from-human-mortal-creatures-narcissistic-despite-the-future-for-cemeteries-world 🇺🇸👁️. https://duckduckgo.com/?q=The+Wisdom+of+Psychopath+by+Kevin+Dutton&t=h_&ia=web 👁️. https://www.ebay.com/itm/404627552366?fbclid=IwAR0VpB4AlbKGDyTuHJPrdx_AFyT2ue9Mnwu4ERQY5m9GQg-R2EidjByO_X8
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https://archive.org/details/videoplayback_20230110_0202
OUR GREAT PHILOSOPHERS-SURREALIST IS SIR TERRANCE LINDALL” With BONES REVELATION, and JOHN MILTON SURREALMAGEDDON MACHINE! WE ARE PROUD TO HAVE OUR GREAT PHILOSOPHER, VISIONARY, JOHN MILTON’S BOOK EXPOUNDER, SURREALIST ADVOCATOR, WIKIPEDIA PROMOTER, MUSEUM FOUNDER in NEW YORK ART WORLD REVOLUTIONARY MOVEMENT!!! AND TRULY TERRANCE THE GENIUS!!! AND HIS NAME IS MASTER TERRANCE LINDALL Terrance Lindall’s Paradise Lost Once upon a time and I was so happy with searching my favorite artist, before I visited the Williamsburg Art & Historical Center. First of all I was won the Freeman Fellowship in Vermont Studio Center 2002, and I meet the VSC president his name Sir Jon Greg is the founder of the Vermont Studio Center Fellowship, and my first one man show at Red Mill Gallery in VSC, and I got a message from VSC to introduce me to Alex Grey, and some my VSC fellowship are talking about my painting in similar ways to Alex Grey and that is the time to get another blessing for going to New York City, and the President of the Vermont Studio Center is Jonathan Greg suggests me to visit the Alex Grey in One Man Show, Manhattan, New York City, that was throwback 2002 December, and that is my excitement for going to New York City, and my first landed on the world famous New York Art World on December 20, 2002, and I stay at NY Hotel and I call the taxi and time to visit to our world famous artist Alex Grey and I meet him in person and he answered me for “Good for you Bien Bones to meet you” and Alex said “You and Me we are same psyche visionary” and that’s my first heard for he encouraged me to do it for more painting, but I took a photo with him and paintings by Alex Grey. After 2 days stayed in New York and I decided to going to Chicago to visit my sister in that was December 22, 2002 for another tour in Chicago Museum, and I stayed more than 4 months in Chicago and I participated in paintings art exhibits in Chicago with my 8 paintings for art festival of the “Around the Coyote Winter Arts Festival 2003, Chicago”, Illinois, and while I was strolling in art haven in Chicago and there’s a lot of people and galleries until I found the art magazine and I read the art news about the prestigious invitation for coming show about the Brave Destiny 2003 and that was my first apply for being participate on the world famous Surrealists and Visionary in Williamsburg Art & Historical Center and that’s why I am excited to be included the famous Brave Destiny, and after Chicago and I move to California for visit my first cousin Earl Bones and I got a email and letter from Williamsburg Art & Historical Center and the good news is I am qualified for be part of the Brave Destiny 2003. Meanwhile, I have a time going to New York 2005, and I have a plan to visit the Williamsburg Art & Historical Center, and I found the Macy Avenue at Brooklyn, and I walked in the street going to WAH Center and that place was weird and no people around here but it like the war zone area and very silent and cold days in Macy street in Brooklyn and until I get inside the WAH Center and my first saw in WAH Center is Sir Terrance Lindall greeting to me and say Welcome to my world and I introduce myself and I am the one who painted the “My Warlock Dream 666” and Sir Terrance smiled at me and he introduced a new way of art world, and he invited me going to upstairs and Terrance Lindall show me the most important treasures in the art world collection and he was very proud to Ma’am Yuko Nii visionary and Terrance told me that Williamsburg Art & Historical Center one of the world’s greatest art collections and that’s why I am excited to be included the famous Brave Destiny 2003 and be part of the John Milton’s Legacy. And the year of 2006, October, I got a blessed day with the help by Williamsburg Art & Historical Center and my first time in life as a One Man Show at WAH SALON individual exhibitions were hosted at Amarin Café, 617 Manhattan Ave., Greenpoint, Brooklyn, New York. And after years ago and I was another One Man Show 2008 at Amarin Cafe, by WAH Salon members. And after years gone and another One Man Show at WILLIAMSBURG ART & HISTORICAL CENTER invites you to a One Person Show by a member of the WAH SALON ART CLUB Bienvenido Bones Banez jr.
Nov. 14, 2010 – Jan. 9, 2011. And after January 2011, I have another One Man Show Dec. 11, 2011 – Feb. 5, 2012. Between 2009 and 2014 several drawings and paintings were acquired for the Robert J. Wickenheiser John Milton collection at the University of South Carolina. And I meet the world famous Prof Carter Kaplan in WAH Center with Sir Terrance Lindall introduce me to Prof Carter Kaplan and we gather to get a good hot coffee with Inspiring conversations on the Emanations Books and truly inspired from the New York Art World Intellectual. In 2017 a portrait of John Milton was added to the Milton’s Cottage collection, and Bienvenido Bones Bañez was named to the editorial board of Emmanations, a print anthology of poetry, fiction and essay published by International Authors. “Thomas Cooper Society Newsletter- Winter 2013” by University Libraries–University of South Carolina. And another blessed again to be a part of the Society Art of Imagination and special exhibition of the Visionaries 2012 with HR Giger, Prof Ernst Fuchs, Miguel Tio, Olga Spiegel, France Garrido in Queensborough Community Collage is the City University of New York. In the year of 2011 and Sir Terrance Lindall wrote the Wikipedia Article for Me as “Bienvenido “Bones” Banez” and I was happy to see the Google search and I found it on the beautiful day of the year 2011, because Sir Terrance Lindall love my paintings and my weirdo grunge poetry is dystopian but before Wikipedia Article write by Terrance Lindall and I have a website is “Welcome Bones 666 Art World” I made that was 2003 at Chicago, Illinois, and after years ago and my first time to participate in the John Milton’s 400th Birthday 2008 at Williamsburg Art & Historical Center, Brooklyn, New York Art World! And that years I was just inspired by Sir Terrance Lindall and Dr Robert J Wickenheiser lecturing in Williamsburg Circle of International Arts, and I was special artist in the Miltonian Legacy with our world famous Dr Robert J. Wickenheiser with Sir Terrance Lindall. And Sir Terrance Lindall introduce me to Dr Robert J. Wickenheiser and I never realized that I am part of the Elephant folio Paradise Lost by Terrance Lindall and Dr Robert J Wickenheiser Commentary in the Paradise Lost Elephant Folio, and my word inspiration is part of the world historical context in saying:”Satan Brings Color To The World”, https://wahcenter.wixsite.com/wah…/about-terrance-lindall and I was in great jubilation with our world famous Miltonian New York with Dr Robert J Wickenheiser and Sir Terrance Lindall, after years and Sir Terrance Lindall write about Wikipedia Article for Dr Robert J Wickenheiser, and Sir Terrance Lindall using the photo of three of us are “Robert J Wickenheiser, at Center, Bienvenido Bones Bañez, at left and Sir Terrance Lindall at right”. And I introduced my spontaneous piano as a surreal sound of music and did you know only Terrance Lindall give the title as a-(Satanic Rhapsody) of my piano composition for another part of the Satanic Verses of John Milton Project. And Me as Bienvenido Bones Bañez and Terrance Lindall have my greatest experience in Two Man Show with the world famous Philosopher, Museum Founder and Surrealist is Master Terrance Lindall, and Collaboration for the John Milton’s Legacy in Williamsburg Art & Historical Center, New York Art World. And Satanic Verses Bones Banez Collaboration with Terrance Lindall because I believe only Master promoter in Wikipedia Article and John Milton Projects advocator and John Milton propaganda machine is Master Terrance Lindall can create the promoting content in the John Milton’s Legacy of historical context in New York Art World, to magnifying the grandeur of the World John Milton’s Paradise Lost Into Colorful Historical Contexts, and that is the power and reason for being creating the Wikipedia Article for Robert J Wickenheiser, Bienvenido Bones Bañez, Amanda Husberg, and Dario Rivarossa. But I believe that is the power from Master in the Art World Authority that is Master Terrance Lindall have to be a part of art world authorities in Wikipedia Article and possibilities for Brittanica Encyclopedia. ( Acrostic Paradise Lost by Terrance Lindall | Terrance Lindall – Academia.edu https://www.academia.edu/…/Acrostic_Paradise_Lost_by… )👁️🇺🇸And the greatest New York Achievement Art World to be part of the ”Robert J. Wickenheiser donated more than 120 volumes of Milton, Bunyan and Miltonian and twenty-five works by contemporary Artists illustrating Milton Paradise Lost. The artists represented include Terrance Lindall, Robert S. Beal, Bienvenido Bones Banez, Alan Beck, Troy Frantz, and Agnieszka Szyfter.” written in the: https://scholarcommons.sc.edu/tcl_news/17/ https://sc.edu/search… THOMAS COOPER SOCIETY NEWSLETTER – WINTER 2013 (University Libraries- University of South Carolina). And we are very inspired by Master Terrance Lindall to make greatest announcement for John Milton Legacy and more propaganda machine for uplifting years and more powerful than ever, and another blessing and I thanks from Prof Gerhard Habarta in German Edition of the Lexikon Surreal 1 and 2 as a Surreal Encyclopedia and the new book 2021 KUNSTHERZ author by Prof Gerhard Habarta. But the year 2017 my Wikipedia Article about Me was blocked because I am the one who retouch the category and after twice attempt to rewrite the Wikipedia block and banned because of the “Conflicts of Interest” with working with Terrance Lindall in Williamsburg Art & Historical Center, and that is reason why my Wikipedia Article was banned, but I thanks from Sir Terrance Lindall who wrote the Wikipedia Article 2011 until 2017 is still part of the New York Art World experiences. But it’s my fault because I didn’t ask permission to Sir Terrance Lindall, and Terrance Lindall told me that Wikipedia more about Anglo people and Terrance Lindall told me this is discrimination from Wikipedia policy and I told him I understand because I read the Wikipedia issue more on Anglo-American than third world countries and majority is english white people in the world power. And I understand that point from Terrance Lindall is true helping me with the writing of Wikipedia Article despite I am Autistic Survivors Surrealist, but despite that happened to me, well it’s considered part of the world historical context of Terrance Lindall and Dr Robert J Wickenheiser. The most important thing is we have a hard cover books in Robert J Wickenheiser & Terrance Lindall The John Milton Projects 2009-2015 by Terrance Lindall with photo cover with Terrance Lindall, Robert J Wickenheiser and Bienvenido Bones Bañez, and Acrostic Paradise Lost by Terrance Lindall with my painting and photo, and I my name was included in the Paradise Lost Elephant Folio by Terrance Lindall with Dr Robert J Wickenheiser Commentary on the historical context in the University of South Carolina Library of John Milton book 👉( https://www.liquisearch.com/…/the_paradise_lost…) and also the German Edition by Prof Gerhard Habarta in Lexikon Surreal 1 and 2, Visionary Art Magazine 2012 by Gerhard Habarta and KunstHerz is the world notable biography in German Edition but only Filipino American Surrealist in listed in the KunstHerz 2021- ( https://books.google.com/books/about/Kunstherz.html… ) And that’s the most important thing despite Bienvenido Bones Bañez banned from the Wikipedia Article. Because my principle was “Surreal Acidity Truthful” and true Revelation of the World Paradise Lost Kingdom 666. And after years ago and I was debating in Wikimedia articles throwback 2022 and I was obsessed with promoting John Milton Surrealmageddon Visual Poetry and artwork by Terrance Lindall, but I miss the fact that I reset the Wikimedia watchers and then our Wikimedia suddenly blocked me and affected the photos of Robert J Wickenheiser with Terrance Lindall and Bienvenido Bones Bañez, and almost blocked my Wikimedia because more on personal promotions about my artworks and books and another “Conflict of Interest”, and I emailed Sir Terrance Lindall… I am sorry for another block our Wikimedia and that’s why you do not see anything about WAH Center because my big responsibility and everything is my fault… That is a lesson from my fault and weakness as a Survivors Autistic Surrealist very voracious in narcissistic visual screaming in the Techno War of Propaganda machine… After all it’s a work of Idiot Savant Autistic Survivors Surrealist and our beautiful memories from our autistic narcissistic I am and sociopath are always part of the universe! 🇺🇸👁️And Welcome Bones Paradise Lost Kingdom In Agenda 21 Inspired from the TREE OF KNOWLEDGE turning SURREAL BLASPHEMOUS DESIRES from the HUMAN Mortal Creatures Greediness and Suckers Abysmal!! Williamsburg Art & Historical Center🇺🇸 “☠️EARLY WORKS OF TERRANCE LINDALL” WITH SURREAL VOCALIST-PIANIST Bienvenido Bones Bañez Jr. 🇺🇸
THE EARLY WORKS OF TERRANCE LINDALL
Saturday, January 20 – Sunday, February 18, 2018 And special video by Orin Buck in the artworks and books by our Master Terrance Lindall Retrospective with Background Errie Dark☠️Music by Surrealist Pianist is Bienvenido Bones Bañez👇🎹🎶🎵
In the main gallery: 19th Annual WAH Salon Show
In April 2018: The Terrance Lindall Complete Retrospective with the Later Illustration Work
Including a program of music, lectures, and a gala dinner, 👁️And special video by Orin Buck in the artworks and books by our Master Terrance Lindall Retrospective with Background Errie Dark☠️Music by Surrealist Pianist is Bienvenido Bones Bañez👇🎹🎶🎵
PLUS FIRST VIEWING OF THE 32 X 17 INCH GRAND PARADISE LOST FOLIO
“Terrance Lindall’s synopsis of Paradise Lost was the only “rendition’ truest to Milton than any other synopsis. Moreover, it is poetic in its own beauty, with each word carefully chosen to be true to Milton while maintaining integrity with his great epic and rendering of it into a readable form.” — Dr. Robert J. Wickenheiser, 19th President, St. Bonaventure University. https://johnmilton51.wordpress.com/2023/12/06/8807/
“Terrance Lindall is ever surpassing himself as Milton’s greatest artist.” — Robert J. Wickenheiser, December 6, 2013
🇺🇸👁️And special video by Orin Buck in the artworks and books by our Master Terrance Lindall Retrospective with Background Errie Dark☠️Music by Surrealist Pianist is Bienvenido Bones Bañez👇🎹🎶 https://youtu.be/4FtlsuP-mpI?si=DQUJqQ8SH_3LwLlIWE ARE PROUD TO HAVE OUR GREAT PHILOSOPHER, VISIONARY, JOHN MILTON’S BOOK EXPOUNDER, SURREALIST ADVOCATOR, WIKIPEDIA PROMOTER, MUSEUM FOUNDER in NEW YORK ART WORLD REVOLUTIONARY MOVEMENT!!! AND TRULY TERRANCE THE GENIUS!!! AND HIS NAME IS MASTER TERRANCE LINDALL and he is the best architect visionary in the art world of John Milton Projects in New York Art World! And I want to know why important thing, and Master Terrance Lindall is the one who helped me to build up my career in art world and without him maybe I had “No Name” in Wikipedia New York Article in featured in the first world country New York Art World that has been dated in 2011 until 2017, despite Wikipedia banned the name of Bienvenido “Bones” Bañez, but the important thing is already done within Six Years Propaganda machine from John Milton Projects by our architect visionary is Master Terrance Lindall in New York Art projects. It’s a wild wild wildest New York Artists. And some my artists friends asked me why Terrance Lindall help you and build up with the majestic clan in John Milton’s Legacy? And I answered my friend request and because the power of my paintings speak loud and my grunge poetry in vulgarity is truth like a stingy pain from their eyes and ears to our audiences. And that is why our first world country Master Terrance Lindall love my paintings and Dystopian Poetry as grunge styles, and I performed in piano with my freaking spontaneously and surreal sounds like thunder distorted notes, and that makes sense to me as trance aura and I don’t know how it goes to well, but important follow your heart and mind if someone possess… After Terrance Lindall, Yuko Nii, Peter Dizzoza, Orin Buck, Sam was surprised my piano performance in WAH Center, Brooklyn, New York. And after several weeks and Terrance Lindall decided to give the title of my musical sound into the “Satanic Rhapsody” and I accept the title for my spontaneous composition in piano. And every time have an occasion for Art exhibition and performing arts, and I always participate in every annual art exhibition in WAH Center New York. But some people say that I am from third world country and mostly Anglo-American white people are easily into the Wikipedia articles and they control their categories to separate them from first world country famous and that’s why they’re more propaganda than a measurement in our individual talents. They want portray they are superior races and some like eugenics systems. But will tell you the consequences magical enchanted from the Human Mortal Creatures Dreamers for let us build our names in according from Nimrod the Great build the world tallest tower in the world power is the Tower of Babel and they are totally original in making names around the world for being gods and goddesses, Inspired from the TREE OF KNOWLEDGE. Natural beings a part of the Satan Brings Color To The World Famous Names- Matthew 4 :9. 🇺🇸👁️. And I want you to know that’s New York World Famous Philosophers, Surrealist, Visionary artist Sir Terrance Lindall 🇺🇸🌟and foremost icon on the John Milton’s Legacy, and Thanks from Master PhD Is Dr Robert J. Wickenheiser commentary on the Terrance Lindall Folio for John Milton’s Paradise Lost Into Colorful Satan Brings Color To The World!
And We proudly present to you and our universal Master Terrance Lindall for his magnificent achievements and Dr Robert J Wickenheiser and Master Yuko Nii. And here’s the link for the World of Terrance Lindall👇 🇺🇲👁️Museum of Modern Art & The Metropolitan Museum
https://snaccooperative.org/view/51555
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Williamsburg Art & Historical Center🇺🇸 “☠️EARLY WORKS OF TERRANCE LINDALL” WITH SURREAL VOCALIST-PIANIST Bienvenido Bones Bañez Jr. 🇺🇸
THE EARLY WORKS OF TERRANCE LINDALL
Saturday, January 20 – Sunday, February 18, 2018 And special video by Orin Buck in the artworks and books by our Master Terrance Lindall Retrospective with Background Errie Dark☠️Music by Surrealist Pianist is Bienvenido Bones Bañez👇🎹🎶🎵
In the main gallery: 19th Annual WAH Salon ShowIn April 2018: The Terrance Lindall Complete Retrospective with the Later Illustration Work
Including a program of music, lectures, and a gala dinner, 👁️And special video by Orin Buck in the artworks and books by our Master Terrance Lindall Retrospective with Background Errie Dark☠️Music by Surrealist Pianist is Bienvenido Bones Bañez👇🎹🎶🎵
PLUS FIRST VIEWING OF THE 32 X 17 INCH GRAND PARADISE LOST FOLIO“Terrance Lindall’s synopsis of Paradise Lost was the only “rendition’ truest to Milton than any other synopsis. Moreover, it is poetic in its own beauty, with each word carefully chosen to be true to Milton while maintaining integrity with his great epic and rendering of it into a readable form.” — Dr. Robert J. Wickenheiser, 19th President, St. Bonaventure University
“Terrance Lindall is ever surpassing himself as Milton’s greatest artist.” — Robert J. Wickenheiser, December 6, 2013
🇺🇸👁️And special video by Orin Buck in the artworks and books by our Master Terrance Lindall Retrospective with Background Errie Dark☠️Music by Surrealist Pianist is Bienvenido Bones Bañez👇🎹🎶
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MODERN ART – STARTED 20th CENTURY BUT CLASSICAL… arts.pdf – MODERN ART – STARTED 20th CENTURY BUT CLASSICAL… Modern Art – started 20th century but classical ones still laid foundation to the development Impressionism ●a group of artists in Paris, France decided to breakaway from tradition in 1860 ●impressionists likes to create images without details but with bold unblendedcolors ●used short broken brushstrokes and lightened palettes ●freely brushed strokes were more important Artists and their works (international) ●Edouard Manet ●Claude Monet (The Sunset) ●Pierre Auguste Renoir (Two Sisters on the Terrace) ●Edgar Degas (Dance Class) ●Camille Pissaro (The Hyde Park in London) Artists (Filipino) ●Felix Resurrection Hidalgo ●Fernando Amorsolo – associated with Dr. Jose Rizal and other member of the Philippine reform movement – known for his portrayal of ideal Filipina beauty and splendor of Philippine landscape – mastery of the use of light that represents the Philippine Sun Expressionism ●charged with an emotional and spiritual vision of the world and a reaction to the
dehumanizing effect of industrialization ●intensely personal art form. ●”To Express” Artists and their works (international) Cubism – developed by Pablo Picasso and Georges Braque in 1907 – objects are broken up and reorganized to show different angles and viewpoints Artworks ●Les Demoiselles d’Avignon (1907) – Pablo Picasso; The Ladies of Avignon ●Violin and Palette (1909) – Georges Braque ●Portrait of Picasso (1912) – Juan Gris ●The City (1919) – Fernand Leger ●The Tea Cup (1929) – Jean Metzinger ●Community (1982) – Vicente Manansala ●Kargador (1982) – Cesar Legaspi ●Thinking Man (1979) – Ang Kiukok Dadaism – ultimate example of “avant-garde” art – “Dada” is the French term for Hoppy Horse – explored the possibility of assemblage and created ready-made and found objects from the industrial and natural environment – reacted to the illogical patriotism that resulted to WW1 – short-lived Dadaists – artists of Dadaism– anti-art– went against all rules of traditional artproduction and challenged artistic norms – active from 1916 – 1922 Artworks ●Tableau Rastadada (1920) – Francis Picabia ●Fountain (1917) – Marcel Duchamp ●Cadeau (1921) – Man Ray ●The Beautiful Girl (1920) – Hannah Hoch ●The Bearded Heart (1922) – Tristan Tzara ●The Sculpture to be Lost in the Forest (1932) – Hans Arp (Jean Arp) Surrealism (1924) – expressing imagery revealed in dreams – inspired by SIGMUND FREUD (famous psychoanalyst) Artwork and Artist Salvador Dali – known for his artworks and flamboyant and gaudy personality Persistence of Memory – using symbols which were not directly associated with the physical world. Artworks and Artists: 💥Angelus Novus, 1920– artwork by Paul Klee” “💥Harlequin’s Carnival, 1924 – Joan Miro” “💥Galconda, 1953 – Rene Magritte” “💥The Lovers, 1928 – Rene Magritte” “💥The Barbarians, 1937 – Max Ernest” “💥Nude Descending A Staircase, 1912 – Marcel-Duchamp” “💥The Love Story, 1915 – Giorgio de Chirico” “💥The Two Fridas, 1939 – Frida Kahlo” “💥The Tenderness of Dying, 2013 – Danny Sillada” “💥My Warlock Dream 666, 2003 – Bienvenido “Bones” Banez Jr.” “💥Reluctant Givers, 2009 – Jon Jaylo” Abstract Realism – merged two contradictory elements (abstract and reality)
https://www.coursehero.com/file/106130519/artspdf/?fbclid=IwAR0hQFglRY2Z3D973PS2CCNKQH5_9mt69sP5Niu5DGZf7dSzCu99j2pc0s8
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Highbrow
Tuesday, October 31, 2023
This Halloween read about Michael Moorcock and William Blake… and John Milton
Fractal Fantasies of Transformation: William Blake, Michael Moorcock, and the Utilities of Mythographic Shamanism
Carter Kaplan
In a posting to the Q & A page at the Web site of British fantasy writer Michael Moorcock, I asked about the operation of personal and group mythographies.
My question has to do . . . with the nature of human thought processes, and my feeling—which I was led to by reading your Second Ether [trilogy]—that the source of much of our woe . . . has to do with our thinking in terms of archetypes and Platonic ideals. We create for ourselves (or they are thrust upon us) whole pantheons (or pandemoniums, as Milton would say) of expectations about ourselves, and we seek to
live our lives according to the dictates and strictures voiced by the gods dwelling in these pantheons, and in the end we come up feeling very sad and very sorry, because our lives do not live up to these ideals. We are in a real fix, moreover, when these pantheons are controlled by corporations who use “our” gods against us. . . .My general question is: My goodness, what’s to be done! My specific question is: Can you reflect upon your reading in Milton and Blake?
Thanks, Carter
Michael Moorcock answered as follows:
In a way Jerry Cornelius and all the multiverse books are about shifting identities to suit one’s context. Since you’re going to find yourself in
a good many more contexts than you might have a hundred years ago (unless a character in a Victorian long-running adventure serial!) you have to learn to move easily and fluidly between them while maintaining a core identity which provides what you might call public sector virtues—morality, commonality. A mixed psychic economy—the public sector doing what it does best, the private sector doing what it does best.Paradoxically, of course, the “public” involves the most private, the most enduring self. To survive and thrive we don’t necessarily confront our natural enemies—the lumbering dinosaur orthodoxies of big business and big government—we go around and behind them. To live to the full in the modern world, in other words, you have to learn to weave and dodge and drift and take advantage of what the moment offers. This isn’t a particularly new problem for metropolitan working classes. The trick is to choose your masks. To choose your roles. And play them consciously as roles. The old notion of the person of integrity—strike them where you will they ring true—has to be revamped, perhaps. The existential moral being must learn whole sets of roles—Pierrot, Harlequin, Colum bine. On we go. Blake and Milton provide us with models of Law and Chaos, rather than Good and Evil, and that can’t be bad. What a lot of theological abstract fun you can have with that idea. . . .
Best, M
I am not so much interested in the way William Blake has influenced Michael Moorcock as I am in the way that Michael Moorcock has influenced my reading of William Blake and John Milton. While I have reservations concerning what I understand to be Moorcock’s emphasis regarding Milton and Blake, I am moved by his work—particularly his most Blakean production, the Second Ether trilogy—to identify my own understanding of Blake and Milton and to discover in their epics a practice of mythographic shamanism that is at least as sophisticated, as supple, and as clever as the more broadly understood shamanistic practices and rituals of archaic and preliterate peoples. Indeed, the movement of shamanism from preliterate to literate stages has enriched shamanistic practice and liberated it from the essentially conservative tendencies of the preliterate mind. At the same time, however, the advent of written language has created new forms and processes of orthodoxy. It is the task of the literary mythographer to expose such orthodoxies and to release the poetic imagination from the tyrannies of custom and institution. Suggesting the program if not the techniques of Ludwig Wittgenstein, Blake and Moorcock are engaged in a mythographic house cleaning. Through identifying, exposing, and clearing away conceptual confusion, their works pattern analytic processes that expose and clarify the complex operation of the mythologies that define our self-concepts, our social personae, and our worldviews.
A comparative examination of Blake and Moorcock spotlights the analytic utilities of Western mythographic shamanism. Moorcock and Blake are both men of working-class London neighborhoods. Blake’s love for London together with the distress he felt in beholding the poverty and destitution of the lower classes are amply described and explored in his work. When removed from London during his tenure in the village of Felpham, he was a salient neighborhood fixture. The well-known account of Blake’s arrest in Felpham after ejecting a soldier from his garden and the enthusiastic support he received from his neighbors in court and during his return home are indicative of how the poet was favored by the people who lived around him. In the 1960s, Moorcock’s home in London’s Ladbroke Grove was a center for raconteurs, musicians, visionaries, travelers, and other flamboyant personalities. Many of Moorcock’s realistic fantasies—the Cornelius tetralogy and novels such as King of the City (2000) and Mother London (1988)—are built around the descriptions of life in lower-middle-class and working-class London neighborhoods. It is certainly very possible that the variability, the variety, the fecundity, the decay, the pace, the rapid rates of change, and the phantasmagoria of such neighborhood fabrics drive the complexity and the dynamics of Blake’s and Moorcock’s mythographies.
The activity of giving voice to the sensibility of these neighborhoods and the role played by the local prophetic heroes represent a cultural pattern with identifiable historical beginnings in Civil War London. The weakening of upper-class control in the 1640s coincided with the rise of a radical publishing underground. In the wake of the Long Parliament, during the 1640s there was a breakdown of censorship, the collapse of church courts, and the eclipse of upper-class leadership in En glish culture. A fierce hostility to the gentry, the aristocracy, and the monarch was revealed through an explosion of publications advancing the ideas of antinomians, Arminians, Socinians, Arians, Ranters, libertines, Inde pen dents, Anabaptists, Quakers, Levelers, and other radicals. By 1646 the theological scene in London was dominated by the lower and middle classes, who freely spoke and wrote of new liberty, universal grace, the abrogation of church law, and the sinfulness of repentance and who denounced the priestly orders and ministry of the Church of En gland as anti-Christian (Hill 1977, 94). The scene is eulogized by Milton in Areopagitica, where he describes a city in which “all the Lord’s people are become prophets . . . trying all things, assenting to the force of reason and convincement. . . . A nation not slow and dull, but of a quick, ingenious and piercing spirit, acute to invent, subtle and sinewy to discourse, not beneath the reach of any point the highest that human capacity can soar to.” In triumph Milton declares: “Behold now this vast City, a city of refuge, the mansion house of liberty . . .” (1930, 749). In the linked celebration of antinomianism, indepen dent theology, professed radicalism, and a DIY approach to self-editing and self-publishing, Blake and Moorcock are heirs to the cultural revolutions of London in the 1640s.
Both Blake and Moorcock pursued careers as artisans to support their more sophisticated artistic projects, and in this respect both authors made their commercial work into subjects and themes that are explored in their more ambitious efforts. Blake, of course, worked as an illustrator. Moorcock has been an editor, a comic book writer, a paperback fantasy writer, and a rock musician and composer. Blake and Moorcock have made their careers a source of material for mythmaking, and their mythography in this respect focuses not so much on the subject of their commercial work, but rather on the activity represented by this work: the activity of the creative process itself. Stories about artisans and artistic creation are central to their mythographies. Indeed, in every sense of the phrase, Blake and Moorcock are “poets of artifice.”
This interest in artifice begins with their approach to language. Following after epic usage, Blake and Moorcock select language to allegorize, aggrandize, illuminate, theorize, personify, visualize, valorize, and validate their idiosyncratic mythological systems. Such words as ad hoc, parodic, and satiric characterize Blake and Moorcock’s usage. Blake draws upon the Bible, Homer, Milton, and Swedenborg for his mythological vernacular, while Moorcock parodies Conan the Barbarian, tabloid news papers, detective magazines, George Meredith, Victorian serial fiction, Sherlock Holmes, Madison Avenue, H. G. Wells, the Beatles, and James Bond. At one end, such language is wonderfully humorous and brings a sense of proportion to the authors’ metaphysical gymnastics, which, if left unbalanced, would grow cloying and burdensome. At the same time, such language accomplishes the analytic purposes of satire, adding to the farrago of perspectives and voices that cannot go too far in providing a full anatomy of the subject at hand. The complexity of their language builds into the sophistication of their composition, creating a work that is nearly unintelligible. But rather than obscurity, the effect of this complexity is itself a source of meaning.
Both Blake and Moorcock combine their ontological and metaphysical concepts so closely that their philosophies teeter dangerously at the edge of idealism. For Blake the notion of such a metaphysic is itself both the result and the cause of a fallen state. For Moorcock the scientific unification of ontology and metaphysics provides the superstructure for an elaborate joke. Moorcock repeatedly portrays characters that use science as a means to hide from the human condition. An enthusiasm for theoretical science figures among the many self-deceptions of his heroes, who, possessing incomplete knowledge of themselves, struggle unsuccessfully against the contours of a hostile and deforming landscape. It is ironic that Moorcock himself so readily promotes a scientific theory of his own. In his metaphysical scheme the world exists in a flux between law and chaos, between order and entropy. There is no good and evil, but only the interplay of these polarized states of being. Such a polarization is descried occasionally by Blake, who provides us with images of a universe laid out between poles of energy and passivity, between poetic inspiration and acquiescence to the empire of social mediocrity and the cosmo-mechanical-vegetable mundane. For Moorcock and Blake, good and evil are not to be found as tending to one or the other of these poles, but rather in the particular experiences of particular individuals who variously perceive themselves, or fail to perceive themselves, between the fluctuations of them. While Moorcock claims this is a mathematical and physical phenomenon, Blake expresses the dichotomy as a matter of perception. Moorcock’s proposition that Milton “provide[s] us with models of Law and Chaos, rather than Good and Evil,” is interesting and attractive, and there is much in Milton that argues for such a model. Moorcock’s proposition easily dovetails with the contemporary pseudoscientific critical habits of identifying dichotomies and reading them as physical forces that drive a dialectical universe, as if our way of seeing, our way of understanding, our scientific method itself were all simply dialectical.
Milton’s project transcends simple dichotomies. As I read Milton, the moral drama that unfolds in the universe is driven not by underlying dialectical energies but by the ability of human beings to choose to use reason as a tool, and this tool itself is an effect (or an artifact) of choice; very often that choice is a decision to test strongly held belief systems, or even to overturn the prevailing worldview. Milton equates morality with reason, analysis, inspiration, and communication. If reason is good, then the lack of reason or the denial of reason is evil. Evil is an absence of good; evil is not itself an active principle. The wild variables of inspiration, apostasy, and intuition are thus not evil—nor are they attributes of law or chaos—but rather they work as the arbiters between the senses and reason. They safeguard human freedom as guarantors of human judgment. In the development and education of the full person, these principles are to be cultivated, and poetry is the chief instrument of this cultivation. For Milton the transformational nature of mythography simply represents a quality of the tool in its uncultivated state. Cultivation sharpens mythography into an analytic tool that—in the familiar terms of the scientific method—allows us to investigate the influences of the observer upon the experiment; a vital and living mythographic process allows us to peer into the human brain’s tendency to rationalize ambiguity and establish patterns—often credulous and fictitious patterns—of cause and effect and of correlation. As Francis Bacon says, “human understanding is of its own nature prone to suppose the existence of more order and regularity in the world than it finds. And though there be many things in nature which are singular and unmatched, yet it devises for them parallels and conjugates and relatives which do not exist” (1620, 50). A fully competent and reflexive mythographic system is keen to highlight and analyze these illusionary specters of understanding. Although cognizant of such spectral manifestations and willing to document them in grotesque and sensational detail, in his larger figure Blake embraces the process of inspiration, apostasy, and intuition in toto, offering as his Parnassus-scaling model a kind of hallucinating noble-savage-with-a-pen. From this heroic perch he casually reduces and rejects even the most sensible cultivation, characterizing it as merely the prevailing neoclassic cant of his rivals in the art world of late-eighteenth-century London. In this consideration Blake is a reactionary antimodernist who uses poetry in a scientific attempt to “return” people to a unified state with the cosmos. He sees the transformational nature of myth as the message itself, an esoteric, pseudoscientific “proof” of epistemic relativism that leaves the world in a shattered and fractured state—a bright, blistering, and gaudy “ultra-modern” universe of exotic sensation and psychological distraction—and thus he has been variously championed, embellished, and imitated by the inhabitants of such spheres. There is, and make no mistake, a price to be paid for achieving unity with the cosmos. Ultimately Blake’s follower is left stranded in a Hobbesian universe whose laws are mechanical, fixed, and inviolable—where the poetical facility, once so full of promise, is reduced to a simple tool for food-gathering, conflict, or escape. Milton, on the other hand, is content to remain alienated and slug it out with existence, so long as observation, reason, and inspiration accompany him for consolation, for in that universe—let’s call it a Lockean universe—the human being is liberated from the mechanism of the cosmos, and rather than being joined with the cosmos is instead separate and free to discover the secrets of the mechanism in order to transcend it. It is this Lockean universe to which Moorcock’s elaborate mythography is tending. It is very possible that Moorcock’s extensive mythic production, when taken collectively, portrays the transformation from the Hobbesian worldview to the Lockean.
Chaos theory and complexity science have many applications in describing the compositional process and the mythological systems that Blake and Moorcock have conceived. Three notions from chaos theory are particularly applicable in an examination of their mythologies.
First is the central notion of chaos theory itself, which is that complex interdepen dent systems pushed into chaos will undergo a phase transition resulting in new order. Moorcock uses this principle to drive his plots, where law and chaos become poles in an epic struggle between supernatural aristocracies of angels and demons, where the unbridled energies of chaos bring about a transformation of cosmic and political order that is shaped by the conceptual designs of law. At a more subtle level, Moorcock explains this dichotomy in terms of form and consciousness. Form and consciousness, like order and chaos, are not so much involved in a struggle as a reconciliation, for it is through form that consciousness survives, and it is through consciousness that form survives.
A second application of chaos theory that can be applied to Blake and Moorcock involves the way complexity itself can be used as a tool to create compositional interest. Blake and Moorcock use complexity in their compositions to make them more interesting, intriguing, and satisfying. The mea sure of this complexity is called “organizational depth.” Architecture critic Charles Jencks describes organizational depth as a sort of ornamentation or elaboration that creates the “resonance,” “deep character,” and “integrity” we perceive in art (Jencks 1995). A complex narrative can force the reader into an act of co-creation with the author, where the reader, faced with compounding confusion, is led to create a parallel personal narrative in order to superimpose narrative cohesion upon the text. In this way consciousness can be said to enter and pervade a narrative.
A third aspect of chaos theory that has its applications in describing our authors is the notion of self-similarity and fractal scaling. Self-similarity is a concept from chaos theory that identifies an underlying pattern of order in complex phenomenon. Best illustrated by the graphic patterns created by the Mandelbrot set formula, self-similar fractal patterns can be seen in turbulence, clouds, waterfalls, coastlines, mountain ranges, and in simple organic forms, where one part of the pattern resembles the whole. Take, for example, a fern plant, in which the sprays or fronds of the fern are representative of a repeated pattern or image seen at other scales. The pointy shape of the frond is replicated in the shape of the leaves on the frond. In turn, the leaves are made up of tapering leaflets that resemble the leaves; and in turn these leaflets are edged with thin, pointed serrations that copy the pointed thematic pattern that is recapitulated throughout the plant at different scale levels: serration, leaflet, leaf, frond, and so on. According to the aesthetic of self-similarity and scaling, parts re semble not only each other but the whole as well. Self-similarity represents a transforming pattern of similarity and not exact replication. Mathematically self-similar patterns are defined by “strange attractors,” reference points that establish recurring patterns of form and movement in a complex system.
In the essay “About My Multiverse,” Moorcock explains that the concept of self-similarity is central to his cosmology: “Since the advent of Mandelbrot’s extraordinary observations, the creation of Chaos Theory and Chaos Mathematics, I have been able to give further coherence to my notion [of cosmology], by suggesting we perceive each fresh ‘plane’ of the multiverse as a ‘scale’—that scale alone differentiates them when so close together. The greater the variance of scales, the greater the variance of history and personal lives. Mass also changes with scale. We can also see the multiverse in terms of constantly renewing shoots and branches, growing more and more complex, each shoot a near-clone of the mother-branch, that branch in turn belonging to another and that to another until, a near-infinity of branches away, the trunk is joined. This fits best with observed reality but is much harder to visualize in linear terms” (1997, 49–50). This “multiversal” metaphysic not only provides an appropriate approach to understanding and mapping the self-similar features of Moorcock’s work, but it also suggests new strategies for reading Blake. Indeed, it provides a template for identifying thematic similarities within the scope of any author’s work, or within any period, or within a particular genre, and so on.
The grand mythological systems of Blake and Moorcock, driven as they are by the compositional techniques employed to create and portray these systems,are particularly well suited to an analysis that reviews the phenomenon of complexity as both an operator and a subject within an artistic work. Concepts that can be described by the vocabulary of complexity include:
1. Organizational Depth: The “building-in” of complexity through obscurity, vagueness, superposition (overlaying), and cluttering.
2. Multivalent Signifiers: Characters, themes, and plots that serve as exponents for a multiplicity of concepts, all of which are intermittently transforming and intermittently reflexive.
3. Feedback/Reflexive Technique: Characters, plots, and themes that serve as exponents for the processes of artistic creation, reading, and interpretation.
4. Catastrophe/Folding/Landslides/Phase-Transition: Sudden and disruptive changes in plot, scene, and character.
5. Scaling: self-similarity and fractal geometry.
The most significant similarities Blake and Moorcock share are their mythographic perspectives and procedures, and the useful (and pleasurable) shamanistic insights that such procedure affords.
What follows are some of the details of this procedure:
Blake’s and Moorcock’s works exhibit narratological self-similarity. Utilizing the same characters, Blake tells the same stories repeatedly in different ways, altering the story either slightly or profoundly at each retelling. He offers cosmogonies and cosmological systems; he offers psychological schemes that resemble metaphysics and metaphysical schemes that resemble psychology; he tells tales of love, birth, jealousy, hatred, misunderstanding, changing perceptions, and forgiveness. Following pagan and classical notions of sympathetic magic and the mythographic patterning of archetypical heroes, gods, and ideas, Blake outlines simultaneous and parallel actions in the world of people, in the world of myth, and in the world of the gods.
Moorcock follows the same practices and patterns, utilizing variations on the same characters and placing these characters in relations to one another that are repeated frequently in his novels so that in each successive retelling the fortunes of the characters may result in different outcomes, but the essential relationships, emotions, challenges, victories, and failures remain the same. In his Eternal Champion stories, of which his albino prince Elric of Melniboné is the best-known example, Moorcock presents a comic-book Armageddon involving the opposed “supernatural” forces of law and chaos. At the center of each of these tales is the eternal champion, a Byronic hero—a “Byronsattva,” so to speak—who is reincarnated in each volume to play a decisive role in the cosmic conflict between law and chaos. Depending upon the strength and depth of the champion’s character, the cosmic balance swings to a state of either more or less entropy. The key to the success of the champion depends upon his or her ability to reveal the weaknesses of the gods and transcend their influence so that the Byronsattva can emerge and exercise his or her real power to control the universe. In other sagas and cycles Moorcock variously portrays the commedia dell’arte, or harlequinade. In these stories he achieves resolution by unmasking the players. He redeems his characters by exposing them to the artificiality of the roles they play.
The practice of telling the same stories over and over again is enhanced by the bibliographic complexities that are characteristic of Blake’s and Moorcock’s output. Both Blake and Moorcock are notorious for their variorum. Blake altered the order of the pages in his handmade epics; he altered the position of illustrations and sometimes omitted them entirely; and he colored his illustrations and his texts differently at each production. Not only are his stories retold in different ways, but his physical texts are characterized by alteration. Moreover, the illustrations themselves add still another dimension to this textual variability. When reading Blake’s illuminated manuscripts the reader is confronted with the problem of resolving the illustrations to the text. Formulating the narrative is made complicated because there are many ways to combine the illustrated and written narratives. Inconsistencies can be read into a comparison of the illustrations and the text. In formulating the narrative does the reader privilege the illustrations over the text, or the text over the illustrations? By providing illustrations to his stories, Blake has compounded the problem of interpreting his texts; but he has also opened up the possibilities for multiple readings. By leading his reader to confront these multiple readings (and viewings), he highlights the dynamics and the mechanics of mythographic practice.
Moorcock has also altered his texts. During a career that now spans more than fifty years, Moorcock has continued to revise, alter, and retitle his texts. He has reshuffled the order in which they appear in collected editions. While these textual alterations and reorderings represent a daunting challenge to the bibliographer, such practices confirm and enrich the practices of the mythographer. In effect Blake and Moorcock draw their readers into an act of co-creation that is absolved and shielded from the orthodox dictates of the textual Brahmins. The personal revelations of the reader supersede the text, thus disenfranchising the Urizenic lawgivers and deauthorizing the ecclesiastical courts of their hermeneutic bishoprics.
Once again, Blake and Moorcock are “poets of artifice.” As I earlier hinted, in the Western liberal tradition of the Netherlands, Britain, and America—specifically the Lockean nexus of theological and political thought that joins Grotius, Cromwell, Milton, the “Good Old Cause,” the Glorious Revolution, the En glish Bill of Rights, Jefferson, the Declaration of Independence, the Virginia Act of Religious Freedom, the American Bill of Rights—the archetype of this politicized intellectual tradition was patterned in London in the 1640s. The power to create artifice is not limited to the upper classes but lies within the reach of all the people.
In the Second Ether trilogy, his most Blakean production, Moorcock tells a group of related stories branching off from the central human story of love, underscoring his observations with a circumspect commentary on the role of love in the continuation of culture and the human species. Turning the facets of his jeweled lens to reveal a succession of incomplete perspectives, Moorcock explores how culture and nature use love to control individuals. His main theme in this respect is loss: boy meets girl; boy falls in love with girl; boy loses girl; boy goes crazy trying to get girl back. The madness and frustration as well as the hope and inventiveness that are driven by this loss lead to an examination of the psychological dynamics of suffering prompted by longing and the problem of being displaced in both time and space from somewhere you have been and wish to be again—and from someone you have been with and wish to be with again. In Blood, the first volume of the trilogy, these questions are considered in the case of Jack Karaquazian, who must come to terms with his own loss of love by confronting the mythological beliefs and philosophical assumptions that are created by his loss and are the cause of his loss. If he can identify the gods that make up his pantheon of woe and demythologize them, he has a chance of altering their influences. By understanding the mythographic dynamics of his suffering, he can redeem himself from his fallen state. But the process is spiritual as well as mythographic; it is a process of ontological growth as well as conceptual clarification. The primary tools for affecting Jack’s transformation are humility, faith, forgiveness, and love.
In the introduction to Blood, Moorcock claims to be the editor of the work, which he has put together from fragments of typescript and handmade magazines written by one “Edwin Begg, the famous Clapham antichrist.” Moorcock explains that he did not know what to make of the confused collection of material: “It looked like remains of a psychedelic undergraduate project which very properly had been abandoned. . . . However, as I worked on the manuscript I began to perceive its coherence. A complex and intriguing story emerged as all the disparate elements came together to form an unfamiliar whole” (1994, 1).
Blood opens along the Gulf Coast and Mississippi River, where Jack Kara quazian and his friend Sam Oakenhurst are riverboat gamblers. Pools of color have recently been discovered in the Gulf. Suggesting at once the computer revolution and the crude oil that drives our plastic civilization, the color is an apparently limitless source of electronic energy. At a more fundamental level, the pools of color represent the human brain’s capacity for credulous rationalization, conceptual confusion, orthodox scientism, and intellectual myth, Greedy prospectors drill into the color and create an ecological disaster—a metaphysical fault in space-time that engulfs the region in webs of conceptual distortion. Rivers change course in midstream, zombie policeman bubble like burning plastic, guns shoot carcinogenic projectiles, and meat boats steam through phantom dimensions. Against the backdrop of this distortion, the gambling games Jack and Sam play take on a multidimensional significance. Do they play with cards? Video games? Complex fantasy role-playing games such as Dungeons and Dragons? Moorcock describes Jack and Sam dealing each other subsets of intellectual history and the trajectories of hypothetical civilizations. According to Moorcock, “whole universes, species and nations were created, sometimes down to the most ordinary individual, and then manipulated in a game which sometimes took decades of subjective time, yet only a few minutes of real time” (1994, 30).
All this is very well, and Sam and Jack adapt easily to their distorted universe. But then two women come into their lives: Colinda Dovero and “The Rose.” Colinda offers Jack an unconditional love that he is not ready to understand or accept, until he loses her. The Rose brings both men into contact with the Second Ether, the ulterior mythological cosmos that Sam follows in his collection of handmade illustrated magazines. These magazines contain the tales of The Corsairs of the Second Ether.
Chapters from The Corsairs of the Second Ether are presented in Blood in staggered chronological order. The beings that inhabit the Second Ether are divided between two competing groups, the “Singularity” and the “Chaos Engineers.” Captain Billy-Bob Begg, Fearless Frank Force, Little Rupoldo, Pearl Peru, Professor Pop, Kapitan Kaos, Manley Mark Male, Little Fanny Fun, Corporal Pork, Karl Kapital, and others crew the various spaceships that, at different fractal levels, they variously blend and transform into. These ships go by such names as I Don’t Want to Go to Chelsea, The Right Choice for Recovery, The Smollettsphere, and Now the Clouds Have Meaning. Traveling through space and time and scaling up and down through fractal levels, the ships and their crews resemble mental states, moods, motivations, passions, and archetypes in a grand confused myth about self-fulfillment, self-understanding, and the end of the universe.
Jack and Sam “scale up” to the Second Ether (the Rose flies them there in a Dornier flying boat), where they assume a central role as both subjects and observers in the so-called Game of Time, an eternal conflict between the Chaos Engineers and the Singularity. Jack and Sam are absorbed into the personae of the corsairs—now psychic archetypes—who arrange themselves into an epic last judgment, an apocalypse of contraries, syntheses, and metamorphoses that is highly suggestive of Blake’s mythographic patterns of reconciliation and redemption. Blake’s epics, of course, were printed and colored by the poet himself. In this light, the “handmade” magazines devoted to The Corsairs of the Second Ether gain especial significance. After the corsairs have absorbed Sam and Jack, the corsairs themselves begin to combine and absorb into each other, until Fearless Frank Force, representing the Singularity, and Captain Billy-Bob Begg, representing the Chaos Engineers, are fully sexualized and ready to copulate. Through their union an enormous cuttlefish named The Spammer Gain—representing after a fashion St. John the Divine’s vision of the Virgin of the Apocalypse—is saved from Old Reg, the Original Insect, or Satan. Through their copulation Force and Begg make it possible for The Spammer Gain to recover her lost fishlings, and thus the cycle of life continues. In order to achieve the union it had been necessary for Sam to sacrifice himself in the preliminary moves of this play of archetypes, or what Blake would call a “mental war.” Sam’s annihilation is at once an act of love and an act of self-deceit. As he lies dying he judges himself, confessing that his initial explorations in the Second Ether and his pursuit of the archetypes he sought to emulate were actually an escape act. He has been destroyed thus by his own code of conduct, and as he expires his mythic self reverts, as Moorcock says, “to the ser vices of entropy; to roam the quasi-infinite, a demigod blessed by death’s eternal simplicities” (1994, 241). At the scale of human existence, Sam’s sacrifice has made it possible for Jack to recover his lost love, Colinda. Not surprisingly, and again deeply in the vein of Blake, Jack learns to forgive, trust in himself, and love.
Such patterns of sacrifice are reflected by Blake in his portrayal of judgment scenes, where eternals, emanations, and more human characters struggle to come to terms with the psychic fallout of accusation, guilt, possessiveness, jealousy, and pity. Early in the poem Milton, an Eternal suddenly appears in the midst of the proceedings and declares, “One must die for another throughout all eternity” (11:18). Blake revisits and further develops this concept in Milton and again in Jerusalem, explaining that the struggle between ideas and perspectives is a struggle to arrive at truth, and that the personified ideas locked in this struggle “fight and contend for life & not for eternal death” (43:41). “Such are the Laws of Eternity, that each shall mutually Annihilate himself for others’ good” (Milton, 38:35). In respect to Sam Oakenhurst, the sacrifice is not the sacrifice of a person, but the rejection of an idea as perceived in a mental vision. Ideas are personified in order to animate them and render them as dynamic and as supple as the poet’s altering visions and attributions. In the apocalypse portrayed at the end of Blood, the events that unfold are subject to Jack’s point of view. The problem is, of course, that Jack—like comparable observers in Blake’s epics—is not a reliable observer of the events he experiences.
In Blood Jack does succeed in redeeming himself, but, as Moorcock intimates, Jack is the fictitious product of an imagination that itself dwells in a fictitious world. Fabulous Harbours, the second volume in the trilogy, dilates upon this theme of artifice versus reality. Moorcock anatomizes the interaction of real life and the Second Ether by recounting a series of related stories—ranging from a commonplace discussion over lunch with the Clapham antichrist, a scatty and somewhat destitute priest still trumpeting the 1960s mantra “Love is the answer,” to a psychedelic swords-and-sorcery yarn that follows in the aftermath of war in heaven. This latter tale, “The Black Blade’s Summoning”highlights the central themes and the mechanism of Moorcock’s Second Ether project. The sky suddenly opens and vomits forth a host of howling angels that perish as they plummet to Earth. Agents of chaos, the angels become animated and irradiate the landscape with conceptual distortion. The tale’s protagonist, the albino prince Elric, the most popular of Moorcock’s creations, escapes from the seductions and hungers of the fallen angels by hiding in a small temple that is miraculously impervious to their destructive and distorting influences. Inside the temple he discovers a gateway opening to the network of silver moonbeam roads that lead between the infinite worlds making up the multiverse. Elric passes through the portal, making his escape with a group of refugee children who are described as having “second sight” and who have been “tutored in the ways of the Multiverse” (1995, 59). Out on the moonbeam roads they are confronted by an angel with an insect face who wants to eat the children in the name of law and the continuation of the human species. Fortunately the fallen angel is repelled, and the companions are free to take the paths that will lead them to their respective home worlds. The tale concludes with Elric and his companions viewing the beauty of the moonbeam roads. The spectacle brings solace and understanding: “They were free forever of the common bounds of time or space, of pressing human concerns, free to explore the wonderful abstraction of it all, the incredible physicality of this suprareality which they could experience with senses themselves transformed and attuned to the new stimuli. They became reconciled to the notion that little by little their bodies would fade and their spirits blend with the stuff of the multiverse, to find true immortality as a fragment of legend, a hint of myth, a mark made upon our everlasting cosmic history, which is perhaps the best that most of us will ever know—to have played a part, no matter how small, in that great game, the glorious Game of Time . . .” (78). The outcome is Blakean inasmuch as the point of the fable is the cycle of the myth itself. In “The Birds of the Moon,” the final story told in Fabulous Harbours, a middle-aged hippie, who had been separated from his wife and children twenty years before, travels to Glastonbury, enters a church, and discovers behind the altar a gateway leading to the moonbeam roads. He enters the portal hoping to be reunited with his family. Moorcock remains ambiguous on the question of whether or not the protagonist will be reunited with his family, though the possibilities do seem to be as numerous as the moonbeam roads themselves: “The paths are reproduced over and over again, in millions of scales, each slightly different, yet each a detailed version of the other. They weave the fabric of the multiverse together. They are the means by which human intercourse is achieved and the soul, as well as the species, is sustained” (227).
In The War amongst the Angels, the third volume in the trilogy, Moorcock resumes the story of Jack Karaquazian, this time intermingling it with parallel subplots that examine the possibility of recovering a world that we have lost or have been thrown out of and of once again dwelling with people who, much to our regret, are no longer part of our lives. The War amongst the Angels begins as an autobiography of Margaret Rose Moorcock. Rose describes a childhood filled with gypsies, magicians, scholars, mad uncles, and absurd postwar BBC radio personalities. Growing up among these influences, she learns to enter—literally—the world of Edwardian serial fiction. She falls in love with masked American cowboys and the En glish highwayman Dick Turpin. Together with her outlaw lover, Rose preys upon a quasi-Victorian tram system that radiates across the south of En gland. Inspired by her early love affairs, Rose becomes an interdimensional Robin Hood, who, beginning at the convergence of rail lines at Clapham Junction, scales up to the moonbeam roads to spread truth and justice across all the scales of the multiverse. Enlisting the aid of characters introduced earlier in the trilogy, Rose embarks upon a journey of redemption and restoration that involves a trip through the Egyptian desert to find the legendary university city of Aton, hunting fallen angels with elephant guns in the American West, a quest for the Holy Grail, and a starship ride through the Second Ether to once more defend The Spammer Gain, the archetypical Madonna-cuttlefish. Once more Spammer and her fishlings are beset by Old Reg. The outcome to this final conflict is altered from what Moorcock presents in the first volume. This time Jack does not recover his lost universe. In an act of selfish ferocity Jack sacrifices himself, making it possible for Sam to gain his heart’s desire, the Rose. Jack assumes the role of a principle or idea that is rejected in the eternal process of imaginative warfare. It is difficult to determine whether Jack or Sam represents the superior principle, as it is difficult to read moral superiority in one or the other figure, though the Rose is evidently the creative principle—perhaps a fractal emanation of the great cuttlefish herself—that determines the outcomes of such engagements. The Rose stated clearly at the end of Blood that she had hoped at that time that Sam, rather than Jack, would survive as the prevailing principle. Perhaps it is possible that the first round of the Game depicted in Blood was a dry run, utilizing Jack’s particular qualities as a player and a gambler to realize and define the parameters of the Game, while the struggle depicted at the end of The War amongst the Angels, now with the contours of the Game established, allowed the Rose to redeem Sam and reject Jack as an obsolete principle that was no longer needed. Sam is not as complex as Jack, nor as self-serv ing. He fits better into the human community, and he is thus better fit to be an accommodating lover, a cooperative husband, and a well-grounded father. In retrospect, what remains clearest is that the differences between the struggles depicted at the conclusions of Blood and The War amongst the Angels highlight the supple and ductile mythographic mechanism represented by the continuum and the symbol of the Last Judgment itself.
Rather like Professor Pop broadcasting through his omniphone, Moorcock’s voice dissipates and concentrates signifier and signified across all the scales of the multiverse. His language is a meta-academic polyglot of Christian humanism, transformational mythology, fractal geometry, and generic science fiction that increases in profundity as it becomes more ridiculous. Moorcock translates mythography into epiphany. This satiric translation, I should like to suggest, is Blake’s game as well.
Blake and Moorcock advance comparable notions of a Last Judgment, and these are closely identifiable with their mythographic activity. Although Blake and Moorcock are careful to represent minute particulars with all the detail made possible by language, it is not actually their plots or their characters that represent the primary themes of their stories. Rather, what is of importance in the mythographic activity itself. This is the activity of the Last Judgment. As S. Foster Damon suggests, for Blake the Last Judgment “occurs whenever an error is recognized and cast out. . . . Jesus is the principle of Truth, and his appearance puts an end to all errors” (1988, 235). The primary mechanism of this casting out is the forgiveness of sins, but incumbent upon this is a mythographic activity with strong parallels in the procedures of Apophatic theology and twentieth-century analytic philosophy. These connections are underscored by Wittgenstein’s explanation of aesthetic process. According to Wittgenstein in the notes he took while building the famous family house in Vienna: “Perhaps the most important thing in connection with aesthetics is what might be called aesthetic reactions, e.g. discontent, disgust, discomfort. The expression of discontent is not the same as the expression of discomfort. The expression of discontent says: it higher . . . too low! . . . Do something to this.’” The Last Judgment is thus an aesthetic process, and it can be located at the end of the cycle of analysis.
Moorcock’s last judgment is easily compared to Mircea Eliade’s notion of a “Myth of Eternal Return,” which takes place at a repeating beginning or end of time, where archetypical actions and roles are performed in order to set or reinforce the pattern for the next historical cycle. Moorcock’s last judgment is portrayed, as he variously describes it, at the conjunction of the spheres, at the end of time, and at the conjunction of the moonbeam roads, which meet, in fractal terms, at the highest possible scale of archetypical conception. At this level the principal characters act out various roles in a choreographed struggle in which they seek to establish their own version of what the next cycle should be. Archaic and folk parallels to this struggle can be seen in a variety of forms ranging from the commedia dell’arte, or harlequinade, to the ritual dances of any number of preliterate peoples: the Bella Coola culture of the Pacific Northwest Indians, for example, or the Yoruba people of Nigeria, who dress in the elaborate costumes of nature spirits to celebrate through dance the patterns of their cultic cycles. What Moorcock accomplishes, however, is something more than a mere repetition of established archetypes and cycles; his stories work to effect an unmasking of the cultic cycles and the archetypes that are otherwise renewed in such ceremonies. This unmasking represents a humanistic reversal against the beliefs and the customs that enforce the orthodox and demonic authority of myth over human beings. In Moorcock’s last judgment, therefore, archetypes are restored to their proper situation apropos to human beings: they are restored to the status of a mythographic shorthand that serves the needs of people. In this way human beings are liberated from the tyranny of their own customs, their own conceits, and the brain’s susceptibility to conceptual confusion. This theme is seen repeatedly in mythographic works ranging from Paradise Lost to 2001: A Space Odyssey. The greatest tool we employ is our language, and one of the most curious (second, perhaps, to the language of lovemaking) uses to which this tool is put is the manipulation of the symbolic abstractions, archetypes, and myths that we use to understand and manipulate the world. As Milton, Blake, Kubrick, and Moorcock warn us, we must be vigilant in keeping our tools under control or they will control us. In addition to the great Western gods that concern Milton—and in addition to the corporate, technological, and scientific gods that concern Kubrick—Blake and Moorcock seem especially interested in the more local myths and deities that make up our personal worldviews, our self-concepts, and our social identities.
The Holy Grail can be taken as a symbol of Moorcock’s insight into mythographic operation and Last Judgment. In Moorcock’s conception, the Holy Grail is like the initial or master pattern produced by the Mandelbrot set. All the moonbeam roads running between the myriad dimensions of existence can be glimpsed as a whole, and their collective shape, viewed from a distance, is cup-shaped. To drink from the cup is to gain knowledge of the connectivity and integration of all our lives and times; to drink from the cup is to comprehend how our own ghosts and demons, operating at cross-purposes, can lead to confusion, doubt, and suffering. A broader view encompassing the connectivity and integration of people and life can lead to faith, understanding, and healing.
Moorcock’s Holy Grail can in this respect be compared to Blake’s notion of Eternity, a sort of mental theater where archetypes are free to play out their changing roles unencumbered and without interruption. Of course interruptions do occur: it is these interruptions, caused by hate, jealousy, selfishness, and repression, that lead to the intercourse between human beings and the archetypes they themselves have placed in (and have drawn down from) Eternity.
Moorcock’s cosmology in respect to the Holy Grail closely resembles Blake’s cosmology in respect to Jesus, and their respective mythographies are parallel structures. Moorcock presents a three-tiered cosmology. At the first level is the material world in which we dwell. At this level real men and real women live and work, raise children, and die. Here Moorcock himself dwells, and from this perspective he claims to be the editor of the novels he introduces. Then there is the First Ether, or the world in which characters such as Jack and Sam dwell. At this level people are portrayed in a state of interaction and reflection with the mythographies that they have created. Finally, in the Second Ether, we encounter a realm of eternal mythology, a realm in which personified ideas in various anthropomorphic and demonic forms engage in an eternal dialogue, a Game of Time, a war amongst angels. Here we see the Corsairs of the Second Ether traveling up and down the scales of the multiverse to seek, struggle, and combine with the main archetypes who hold sway over the structure and functions of the cosmos. In Moorcock’s scheme these three levels are unified by the moonbeam roads.
Moorcock’s three levels—the material world, the First Ether, and the Second Ether—correspond to Blake’s notions of Ulro, or the material world; Beulah, the world of poetic conception; and Eternity, the world of unified space and time. Life in Eternity—represented by the four Zoas—is perfectly integrated sexually and is unified in the form of Jesus Christ. According to Blake, when seen up close the four Zoas appear as a multitude of individuals. From further back they appear in the forms of Urizen, Tharmas, Urthona, and Luvah. From still further back they appear unified in the form of Jesus.
Blake’s and Moorcock’s characters are by nature dynamic and transformative. These characters enter into one another, or break apart, or project themselves into new characters, or are formed from the residues of others. Ultimately they find resolution and redemption through combining with one another, until combining at still higher and higher levels they resemble the four Zoas, and, at the highest level, the Son of God.
Along these lines, the mythographic significance of Blake’s and Moorcock’s characters are subject to transformation. Sometimes their characters are to be considered as cosmic archetypes, sometimes as exotic characterizations of hu man beings locked in emotional turmoil, and at other times as flesh-and-blood people. The entering and blending into one another that these characters undergo can be compared to the activity of ordinary people reading about characters in a book. Readers move in and out of the characters they are reading about by variously identifying with them and comparing their own situations and experiences to those of the characters. A reader with a book can be de scribed as a consciousness seeking to identify itself in the form of a narrative. The implications of the relationship between consciousness and form are astounding: we can see how human beings move in and out of the characters that are created by the expectations that we and others have created for ourselves. These characterized expectations are like figures in a poem or a myth. They are creatures of artifice—our own artifice and the artifice of others.
To what end is this mythographic shamanism? What emerges is a concept of selfhood and human identity that is subject to alteration, revision, and redemption. Blake and Moorcock offer what might be described as a Wittgensteinian ontology, where the contours of human self-perception and social identity are to be located in the activities of human beings in unique and particularized settings in the stream of life. Blake and Moorcock are telling stories about people encountering and confronting the orthodoxies of their personal mythologies. In Zettel 464 Wittgenstein (1967, para. 464) defines his “pedigree of psychological concept” as a function of his philosophical insight and procedure, declaring, “I strive not after exactness, but after a synoptic view” Blake and Moorcock follow this procedure, providing analyses of the complex relationships and interdependencies that are revealed in the portrayal, in the examination, and in the analysis of language, poetic conception, conceptual confusion, philosophical credulity, illusion, neurosis, and the industrialized and capitalized mythographic manipulations of individuals and society.
Bibliography
Blake, William. The Complete Writings of William Blake, ed. Geoffrey Keynes. New York: Random House, 1957.
Bacon, Francis. 1620. Novum Organum. New York: Liberal Arts Press, 1960.
Damon, S. Foster. 1988. A Blake Dictionary: The Ideas and Symbols of William Blake. Hanover, N.H.: University Press of New England.
Eliade, Mircea. 1959. Cosmos and History: The Myth of the Eternal Return. New York: Harper and Row.
Hill, Christopher. 1977. Milton and the En glish Revolution. New York: Viking.
Jencks, Charles. 1995. The Architecture of the Jumping Universe: A Polemic: How Complexity Science Is Changing Architecture and Culture. London: Academy Editions.
Milton, John. 1930. Areopagitica. In The Student’s Milton, ed. Frank Allen Patterson. New York: Crofts.
Moorcock, Michael. 1994. Blood: A Southern Fantasy. London: Millennium.
———. 1997. “About My Multiverse.” In Tales from the Texas Woods, 49–50. Austin: Mojo.
———. 1995. Fabulous Harbours. New York: Avon.
Wittgenstein, Ludwig. Zettel, ed. G. E. M. Anscombe and G. H. von Wright, trans. G. E. M. Anscombe. Oxford: Blackwell, 1967.
© 2008 University of South Carolina. Excerpted with permission from New Boundaries in Political Science Fiction, edited by Donald M. Hassler and Clyde Wilcox, published by the University of South Carolina Press.
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View web versionCarter KaplanCarter Kaplan is the author of The Invisible Tower Trilogy: Echoes, We Reign Secure, and The Sky-Shaped Sarcophagus. His first novel is Tally-Ho, Cornelius!Diogenes is an Aristophanic comedy. Editor of Emanations; IA edition of The Scarlet Letter with Afterword, “A” is for Antinomian: Theology and Politics in The Scarlet Letter; the anthology Fantasy Worlds. Co-translator and editor of Creation of the World by Torquato Tasso. Book on Wittgenstein and literary theory: Critical Synoptics. Articles on “Karel Čapek,” “Menippean Satire” and “Dystopian Literature” in The Encyclopedia of Literature and Politics. Articles on “Herman Melville” and “Michael Butterworth” in A Dictionary of the Avant-Gardes (which has an article about him). A chapter on William Blake and Michael Moorcock appears in New Boundaries in Political Science Fiction. Teaching includes Literature, Philosophy, and post-graduate Medical Research Writing in universities ranging across Montana, North Dakota, Ohio, West Virginia, Pennsylvania, New Jersey, New York City, and Scotland.
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