Posts Tagged ‘Art’

The Plutonian

July 29, 2018

The Plutonian,, pencil, coloured pencil, leaf silver, 39 x 29,7 cm

A compact, strong shunting engine well suited to deal with the adversities of everyday life and hard work. The Plutonian world is the opposite of the cool world. You need to be clad in special alloys and have a powerful yet simple method of propulsion in order to survive the first few meters on your way through life. It seems best not to dwell on further associative stream-of-consciousness writing, but to complement this drawing with a poem:

I did it while suffering
I did it while suffering
Medical complications

I did it while
Facing life
From the perspective of death
Surviving death
Every day

Some elementary truths
I picked up
Along the way
Littered on the wayside
Picked truths like flowers
Some hidden truths
Suppressed truths
I did it while suffering

While suffering
I did things
I lifted things
I saw through things
Elementary things
From the perspective of death
I did it.

So you, who see things
From the perspective of life
All pink, rose tinted
Don’t you dare
To criticize
Or nit-pick
What I did
Because I did it
While suffering.

Rendering © 2027 by Torsten Slama and the Shunting Society, “I did it While Suffering”, poem by Torsten Slama

Advertisements

The Carl Grossberg (The Rift)

April 4, 2018
The Carl Grossberg and rocky landscape with Grossberg motif (by Torsten Slama)

The Carl Grossberg, 48 x 36,5 cm, mixed media on yellow tone paper

A detailed, if slightly crammed drawing with the theme of what our world would and could have looked like if energy independence, chemical independence, transportation independence and true man-nature metabolism had been the goal of industrialization. The drawing could also be an illustration to a treatise on “The Rift” (in the universal metabolism of nature), as described by Karl Marx. Not that the artist is deeply informed on the subject. In fact, any assumption of true literacy in any genre is categorically refuted (in accordance with the law of humbleness and common sense). Embedded in the rocky landscape background are several stylized coal liquefaction plants or chemical factories, tubes and pipelines, and one motif from a painting by Carl Grossberg (Fabriklandschaft im Schnee, 1923). Of course there is no snow here, as in fact the yellow color of the cardboard on which the scene was drawn evokes impressions of a slightly murky,  warm climate (perhaps of the inner earth) with sunlight filtering through a crack in the rocky ceiling, further muted by an emission-saturated atmosphere.  The drawing consists of several layers of pencil, colored pencil, washes of acrylics and different reflective and metallic pigments on a base of human spittle (which are in fact all but invisible.  Note that the “inner earth / Hollow Earth” theme has all sorts of connotations, historical science fiction ones as well as the psychoanalytical/gynacocratic/chthonic idea of earth as a womb. It seems in any case appropriate to annex a quote by Bernard Herrmann, wherein he describes his ideas about scoring the Filme “Journey to the Center of the Earth” (1959), since that film features landscapes not unlike the one depicted above: “I decided to evoke the mood and feeling of inner Earth by using only instruments played in low registers. Eliminating all strings, I utilized an orchestra of woodwinds and brass, with a large percussion section and many harps. But the truly unique feature of this score is the inclusion of five organs, one large Cathedral and four electronic. These organs were used in many adroit ways to suggest ascent and descent, as well as the mystery of Atlantis.” Drawing and words (except for italicized words by Bernard Herrmann) by Torsten Slama>

The Kraftick Liquefaction Plant

March 3, 2018
Coal Liquefaction Plant with cyclopean Landscape, drawing by Torsten Slama

The Kraftick Liquefaction Plant, 36 x 50 cm, pencil, colored pencil on tone paper

“When Germany still strived for complete autonomy and independence of Western (and Eastern…ed.) influences, coal hydration technology was one of her attempts to realise complete energy independence. Had the hydration plants not been completely eradicated by the end of World War II, their gasoline output would have served Germany’s entire private car fleet well into the 1960’s. ”  National Empowerment through Petrolum (NETP)

Apart from all its pertinence to energy empowerment stratagems, this drawing should be judged on its artistic merits and technical peculiarities. Mixed media technique on tone paper makes for interesting depth effects. The pervading pink motor oil atmosphere is sometimes fought back, at times heightened. Some of the liquefaction towers are aslant. The geological rock formation on which the plant rests seems unstable. Even the thick concrete platform on which all rests cannot prevent warping. Yet maybe the warping is only in the eyes and the hands of the draftsperson. Or perceived aslantness could be an optical illusion due to the diagonal dynamics of the rock-layered landscape in the background, which works against the perpendicularness of the liquefaction towers.

In a special effort to facilitate appreciation of technique, two details are included:

Kraftick Liquefaction Plant (by Torsten Slama), Detail   Detail of Kraftick Liquefaction Plant (by Torsten Slama)
Future © of this motor oil colorized drawing by Torsten Slama,the Energy Independence Society, and the NEPT yet undisclosed

The Jansenist Engine

December 30, 2017

This reproduction perhaps does not do full justice to the original drawing, which has a rather unusual tonality, based on the blending of so many different brands, types, and colors of the colored pencil variety, all superimposed on an already well-finished pencil drawing with rather profound dynamics in the darkness-lightness range. Thus, the result is very much like a colorized black and white drawing, giving maybe the impression of a very early experiment in colour reproduction. The thematic dedication is referring to a Catholic theologian movement which enjoyed its phase of greatest vivacity from ca. 1660 to 1700 AD. Even though the movement played itself out predominantly in France, it was based on the teachings of a Danish theologian, emphasizing, in typical Nordic fashion, original sin and human depravity. The ?-voiced Commentator “ex”plains: this engine is a very impervious juggernaut, clad in different metallic alloys, being, say, indiscernible to radar, impenetrable by all sorts of electromagnetic radiation, shielded towards the degrading effects of human depravity and all varieties of human frailty. Any kind of believe in a superior being is something like a mental armour, shielding one from the hopelessness of mortality – the machine is a materialization of the urgent desire to overcome death. People often choose suicide to overcome death. They resent their mortal bodies. They would like to have their unique minds stored in metal cylinders — so, in a very roundabout fashion (or in a very allegorical fashion, or maybe in a very freely associative fashion), this drawing could also be called “The Whisperer in Darkness”.

The engine depicted here thus might be the metallic encasing for a human soul, moving through an archetypal, pagan, or, perhaps, Stygian highland (the Gaelic haven to the Teutonic type, disappointed with their own version of  a heathenist anti-western world), along some loch, or firth, or estuary, a landscape which might have formed the background to the most impressive feats of early Catholic Christianization, or Westernization.

*On a different and technically more feasible note, the metal cylinder integrated and made ambulatory in the Jansenist engine could also serve as a container for dead bodies (perhaps forever harbouring their souls, even after death), similar to the completely hermetic wood, metal, and wax coffin prescribed for the burial rites in Hans Henny Jahnn’s Church of Ugrino. As Jahnn, author of the deeply hermetic and religious novella “Das Holzschiff”, was himself buried in such a coffin (to prevent his holy body from rotting) it also becomes clear that the Jansenist link was solely associative, because the Jahnnist motif was still hidden in the background. Both spiritual positions describe that which was not embraced by the Catholic Church. Future © of this nostalgia-colorized drawing by Torsten Slama and the Society of Clovis yet undisclosed

The Unexamined Brutality

December 11, 2017
Oil painting resembling surrealist inspired propaganda material for the hobby of (model) railroading. All art and comments by Torsten Slama and the Aristocratic Toy Engine Society.

The Unexamined Brutality (of the male Libido), 70 x 50 cm, Oil on Canvas

This painting seems to hark back to times when the male libido was seemingly more unabashed and comparative innocence (or unabashed guilt) reigned the abusive intercourse between the sexes. The aesthetics are reminiscent of surrealist inspired propaganda imagery. Phallic forms abound. One sea shell stands, or lies, in lieu of the womb. One could argue that the central phallic form of the outer shell of the engine’s boiler is actually esemplastic in not only being the threatening phallus, but also the tubular receptacle hollowness, awaiting the phallic thrust of another longish form entering (see the old chuckle arousing locomotive/tunnel imagery). The ?-voiced Commentator “ex”plains: seeming nostalgia for simpler times does not thinly veil, but starkly outline the fact that we today live in the age where all old violence and abuse bears fruit. The true objectification of the woman takes place in the immediate future which is our presence. Groping will soon be replaced by more sophisticated (and cowardly) methods of abuse. Think about artificial intelligence being furnished with female faces, names, voices. Some are discussing whether these undead freaks should be taught to give more assertive responses to weather queries mixed with risqué innuendo and sexual abuse. Few discuss who decided that “virtual” assistants need female voices and whether it is not a very small step for the brutality of the male libido to then confuse the (universal) assistance offered with the liberties allowed by sex-slavedom.

Observe the more hopeful aspect of the depicted scenery, embodied by a disinterested spectator, a floating space vehicle in the rose tinted sky, watching the travesty on the ground with detached amusement. Maybe the dream of space insemination is not so very unbrutal. The shape and form of the device and its detachment, however, might be. The utopia offered by space.
Future © of this nostalgia-tinted painting by Torsten Slama and the Instrumentality of the Model Railroading Board

The Liverpool

August 11, 2017

The Liverpool (after Cuthbert Hamilton Ellis)
Pencil, Coloured Pencil, 40×29.7cm

This drawing’s slogan:  “The good old times weren’t good, just old”.  Someone said that and it is not at all clear what they meant. It seems to be something you say when you want to be philosophical, maybe nearing the end of your own time. The steam locomotive stands for old values, which are not good, just old. In truth most friends of steam believe yes, the values are good, not old. The steam engine also is something which enthusiasts describe as an object evoking ecstatic feelings of awe when first beheld. It hisses, has pressure, is a promise of good and functional sexuality. The image of the steam engine says more in the realm of culture, symbolism, and pictorialism then in terms of the actual object depicted. It says something about the owner or the creator of the image. Or rather, it used to say something. Today all is possible, or nothing. Please note the unpainted or stripped totem pole which does look slightly cock-eyed, a phallic symbol introducing the element of anachronism and dislocation. The flying object is perceived by some as a pill of  the capsule type, it is rather an oblong paraphrase of something spherical, a type of artistic quote. UFO enthusiasts know the artist referenced. Mostly everybody else also. An anagram: GREATER MIENT.  The creator of the totem in the foreground is an anonymous North American Indian. Or rather, this totem is actually a faux totem, as it has different parts from different totems, rearranged, and an atypical base construction. It is possibly hollow and made from acrylics. The creator (engineer) of the Engine is unknown to the author of this drawing, but surely known to the creator of the original painting this drawing pays homage to. That painter is Cuthbert Hamilton Ellis, who usually knew a lot about the engines he painted, as he was seeing his paintings really as substitutes for colour photographs in his learned books specializing on Edwardian railway lore.
Rendering © 2021 by Torsten Slama and the International Steam Traction Board “The good old times were not good, just old”

Mannaheim Progressive Pro-Choice Clinic

December 7, 2016
Women's Medical Centre with earliest motor vehicle by Karl Benz, © 2021 by Torsten Slama and the International Pro-Brick Society

Woman’s Medical Centre with 1886 Benz Patent Motorcar (Oils on canvas on wood, 50,3 x 62,8cm)

Photographic reproduction of a painting which is positioned  somewhere on the borderline demarcating the difference between the entirely satisfactory with added interest, and one of the lesser efforts in the field of true painting. Due to experiments with the preparation and priming of the canvas, the behavior of the paint was unexpected. Thus the ebetweenxecution lacks fluency. The technically inferior quality of the photographic reproduction adds to the impression of a very strange atmosphere permeating the picture, ambiguously oscillating between  moodiness and Objectivism. The symbolism; moon, spiral, car, and brick, is rather balanced, but with the addition of some sea shells, it is clearly shifted into the realm of female reproduction. (Of course, this is based on highly untrustworthy  assessments of gender-classification of objects. Ed.)

The building does, or at least did, actually exist, somewhere on the British Islands. The photocopy of a photograph of the building from a book on Brutalist architecture garnered at the Düsseldorf Central Library some 25 years ago exists, yet, due to negligence, lacks any inscription for further contextual elucidation of the source. So neither information on the architect nor the actual location of this interestingly proportioned edifice can be provided, much to this author’s disgust.

This painting is based on that drawing. Drawing is finer, possibly more accomplished. Yet the painting adds something. Mostly it adds the je-ne-sais-quoi. Painting and explanatory note © 2021 by Torsten Slama and the International Pro-Brick Society IPB

Invitation to an Exhibition

September 21, 2015
Souvenir card, A4, on the basis of the drawing

You are Beautiful, too – an Exhibition for Children, Humans, and Finite Automatons, (A5, 2015)

This invitation card is in fact a souvenir card. Due to recent admonishments by paperless office activists, art mongers are now discouraged from sending out printed invitation cards. Instead, electronic invitiations are send out, and only those who venture out and actually visit the space presenting the physical artworks are allowed to take one card per person with them, so that they can deposit it on their coffeetable, fasten it with a magnet on the refrigerator door, or maybe even pin it to a pinboard, if they have one. The card then serves as a potentially permanent reminder of the event and where, when, and why it was obtained. It is designed to survive hundreds or thousands of years, if preserved properly in a sealed, clear, archival plastic sleeve which must be purchased separately. The idea is, of course, to ensure the artist and his work a very effective, totally voluntary kind of publicity, a kind of private publicity, so to speak. Incidentally, this card is based on the drawing “Karl Band, Holy Trinity Church, Cologne Poll, with 1906 Compound Touring car”, and was supposed to feature a hallmark of cautiously modern church design by the prolific church architect Karl Friedrich Heinrich Band (1900-1995), in conjunction with a Vintage car of a slightly earlier date. In fact, the historical truth is complex and was not sufficiently explored nor documented by the artist. The church, as it is now standing looks totally unlike the depicted church, which very much resembles the original church from 1928, which burned out in the year 1943. It was built from 1950-1953 after plans by Karl Band, who, according to the spirit of that time, tried to use as many remaining parts of the original as possible. The semi-original tower by Karl Band had to be torn down in the year 1968 (a very symbolic date), and was replaced with a yet more modern one by Hans Schilling. The church, as it stands to this day, is an example of typical brick based mid-century church design which has little or no similarities to the depicted one.


You are Beautiful, too

a poem for an exhibition
on the theme of a flock of sparrows joined by one escaped canary
and the author feeding birds
Six times seven-teen
Have you seen?
Rhymes make happy times

The sparrows look at me and beg
While I stand solemnly
on just one leg

With tiny beaks they eat and tweet
And stand on tiny sparrow’s feet

“You are not dressed in colours gay
But you prefer plain brown and grey!”

“You dance and frolic so around
I see the birds, but not the ground”

Then the crumbs are eaten all
And I stand lean, and stiff, and tall

The sparrows have eaten and flown away
And left me feathers, brown and grey

(Oh you creatures of the sky!
Will ever we see from eye to eye?)

Only a yellow canary
Is left behind, and looks at me
I wonder, when the sparrows look at you
What do they think? You’re beautiful, too?

Card design and original drawing © 2017 by Torsten Slama and the Tellurian Society

The Friendly Inspector

July 8, 2014
The Friendly Inspector, or, the Critical Commissioner

The Friendly Inspector (42×29,7 cm, 2014)

This is a design for a monumental machinistic sculpture with slight hyperdimensional attributes. The machine comes delivered together with a floating satellite which is able to find its way in and out of a given dimension through tiny wormholes. The state of reentering one dimension is depicted here. The machine itself is designed for mainly benign and oracularly purposes. Its services are directed at comfort- or advice-seeking individuals who receive messages of a non-verbal character, relayed to the machine by its satellite which can probe and spectralize possible realities from multiple dimensions. In rare cases the Friendly Inspector can develop a certain kind of wrath and become punitive and disciplinarian in character, which gives this machine its intended messianic character. This machine is to be stationed in appropriately isolated spots, to serve as an acceptable surrogate for religious or mythical figures of the genital type, like Jesus Christ, who have lost all meaning or are accepted as mere history, with no function in the day-to-day struggle for self-realization of the individual.

Women’s Medical Centre with First Motor Driven Vehicle

April 7, 2013
Women's Medical Centre and Abortion Clinic with 1886 Benz Patent Motorwagen by Rheinische Gasmotorenfabrik Benz  & Cie. © 2021 by Hecate Sibonga, Torsten Slama, International Publications Organization

Women’s Medical Centre with 1886 Benz Patent-Motorwagen by Rheinische Gasmotorenfabrik Benz & Cie. (Pencil, coloured pencil, acrylics, shellack. A3, 2013)

Depicted is a medical centre exclusively for women, offering medical treatment for diseases of the female genital apparatus and applications of advanced pro-choice technology. The Benz three-wheeler parked in front of the clinic is a permanent installation reminding of a period where men were still relatively unchallenged in their claim over the field of artificial invention, as opposed to “natural” creation, the female secret, Bachofen’s swampland of unlimited fertility.

The staff of the medical centre elected to dedicate their institute to the renowned Scottish electrical engineer and laser scientist A. Catrina Bryce. The official designation for the institute is thus: Women’s Medical Centre “Ann Catrina Bryce”. A schematized, floating model of the laser was chosen as the sign of the centre, at night emitting a beam searching the night sky, reminding the nearby female population of the fact that now women are in control of phallic technology, putting it to empowering pro-choice use in advanced abortion procedures and the use of carbon dioxide (CO2) laser beams to vaporize abnormal cervical tissue. The spiral shape of the laser emitting beacon refers to one of the oldest symbols concerning everything anti-phallic, also alludes to contraception via Intrauterine-System (IUS), or Hormonic Coil.Illustrative sketch and explanatory note © 2013 by Torsten Slama

World Wide Instrumentation Centre with 1912 Packard Landaulet

March 9, 2013
World Wide Instrumentation Centre for the Betterment of Mankind According to Tellurian Principles © 2021 by The Instrumentalists, Dr. Hecate Ecdysone, Torsten Slama

World Wide Instrumentation Centre with 1912 Packard Landaulet
(A3, mixed media, © 2013 by The Instrumentalists)

After the great unification of all continents into one supercontinent Eufricasia-Panamerica, the need for a coordinated world wide interactive system of communication and production is stated and instigated by the Instrumentalists. The whole world joins in multilingual agreement, and thus a Centre for World Wide Instrumentation is set up in Tripolitania, formerly district of Libya. a medium-grade metropolitan area located nearly exactly in the geographical centre of Eufricasia-Panamerica.

If vagueness, ambiguity and symbolism are reactionary forces bringing unrest, totalitarianism, and war, World Wide Instrumentation, with the totally concise and logical flow of goods, services, and communication it provides, will pave the way to a bright future of love and happiness. The dangers of a chronically crisis-ridden world economy or the inadvertent cross breeding of all sorts of squirrels into a race of super squirrels can be easily averted by the world wide employment of completely standardized instruments of measurement, production, transportation, and communication. A universal currency will soon be followed by a universal language for communication between people, animals, and machines: POYUTL, a language consisting of three consonants and three vowels, 21 syllables, and thus, using the well known formula of Newton, a total of 210 two-syllable words, which can express about everything. Thus, according to Tellurian principles, one Tellurian deity, OUY-PYTOLU, will come into being, a sentient and conscious superorganism, composed of all people, animals, and things on the surface of the earth and under.© 2021 by Hecate Herma Ecdysone, The Instrumentalists, Torsten Slama Historical Society

The Parable of the Immortal Uterus

January 10, 2013
The Parable of the Immortal Uterus, 297 × 420mm, pencil, coloured pencil, acrylics on paper, © 2013 by The Parabolist Society

The Parable of the Immortal Uterus, 297 × 420mm, pencil, coloured pencil, acrylics on paper, © 2013 by The Parabolist Society

Please read the following excerpt from a conversation between the humanist, the monk, and the priest with full mental alertness. Read it with an open mind. Heed the pitfalls of untrustworthy translation.

The humanist: ” The fruit is rare. No tears before. I imagine this story then has traditionally been a more trivial and exquisitely romantic accident.”

The monk said: ” Truly. But these poems belong to the family of food, drink and boudoir stories. Moreover most breeze-and-moonlight tales but indulge in secret relations with women about eloping. They just do not have the dark children’s true release one or two. Think this: into the world of its passion color ghosts contrast with previous tradition. “

The humanist: ” Why don’t you and I have to take this great degree and some is not a virtue? ”

The monk said: ” Are you with me and I to the unreal immortal uterus, and witness the fool delivery of this romantic evil ghost? Now has half dust but still not complete works. ”

Priest : ” Not only that will go with you.*Illustrative sketch and translation © 2021 by Torsten Slama
*Zhen Shiyin is understood but unintelligible. “Stupid ” is anything. Then I came up, smiled and asked: ” The second division, please. ” The monk is also busy in reply when asked. Shiyin is to have said: ” Comfortable smell immortal. division on causal real world rare. But if I understand your disciple Yu, turbidity big dumb is preparing a fine disciple by washing its ear. Listening can also be a warning from sinking. ” Alternative Title laughs: ” This is a mystery not be pre-discharged. Then don’t forget two people can come out of the fire pit. ” Shi Yin listened, too inconvenienced to ask for laughs: ” Mystery not be pre-discharged, but suitable for a cloud fool! Somehow or can see? ” The monk said: ” If you ask it but once. ” She took out and give Shiyin. Shiyin took turns having a distinctive look at jade table with clear new writing. A ” magic stone”:  There are several (4) words. Now she wants to look at it when the monk said: “To fairyland is strong from the hands away, and one was a stone arch with four characters but fantasyland.llustrative sketch and translation © 2021 by Torsten Slama

19th Century Farmhouse Revival Unit

September 24, 2012
Drawing of a 19th century farm house in Furtwangen, Schönenbach/Schwarzwald with modern sculpture made from gold plated square tubing in the foreground.

Black Forest House with (51) Pegasi B Square Tubing Sculpture
297x420mm, pencil, coloured pencil, copper leaf

Drawing of a  synthetic housing unit in the 19th century farmhouse revival style, located in Furtwangen, Schönenbach/Schwarzwald, with a mid-sized modernist sculpture in the foreground. The building hides its stilted construction under a deceptively massive outer hull made from  shingle and plaster, replicated in hard foam.

The modernist sculpture in the foreground, made from gold-plated square tubing, as used for vent shafts in extrasolar habitats, stays in harmonic contact with the floating space crystal and its recharging unit, thus establishing a meaningful connection between heaven and earth. The harmonies created are those of the rainbow and in a strictly diatonic minor (aeolian) scale. However, an important component of forbidden bulk second-harmonic generation is inseparable from the surface contribution in all practical experimental situations.

Freshly washed linen hanging from a line demonstrates a keen sense of order and cleanliness, balanced with enough taste and humanity to appreciate the beautiful artefacts created by faux decaying plaster and mock age-old brick work exposed which lend the house’s beautifully crafted outer coating its unique charm.© 2023 by Herma Ecdysone, Torsten Slama, Manfred Gorre, International Publications World Wide

Thatched Half-Timbered Brick House (Frisian Style) with Newtonian Prism

June 11, 2011
Thatched, half-timbered brick house Frisian style with Newtonian Anti Goethe Prism

Thatched, half-timbered brick house in the Frisian style, with Newtonian prism, fully synthetic, located in Uurd II

This country home in the Frisian style offers shelter for progressive democrats of the protestant northern variety (deep sunk eyes, long nose, pallor of skin) with a taste for the traditional. The pattern designer living in this house enjoys her Bünting tea with rock candy and cream.

The house features a conventional Space Crystal accompanied by a free-moving prism made of a special ultra-clear aluminium compound, commemorating Newton’s discovery of the fraction of light and his victory over Germany’s Goethe with his idealistic notions about the distribution and nature of colours. The house itself is made of hardened plastic foam blocks in the style of bricks and framework. It is lightweight yet offers superb thermal insulation.

The two trees on the left are of a very rare succulent variety first described by the eminent space plant historian Rick Skrebus: Arborum Astrolobum Uitewaal-Darling.
*
The crystals in the foreground are of the urobilin-coloured variety. Urobilins are the breakdown products of the bile pigment bilirubin. Bilirubin is itself a breakdown product of the heme part of hemoglobin from worn-out red blood cells. Alchemists believed them to be a special transmutation of gold. © 2017 Torsten Slama and International Publications Organisation World Wide 
See also the dedicated site for Low Density Settlement Units for Space People© 2017 Torsten Slama and International Publications Organisation World Wide

Non-Aristotelian high-speed Passenger Train

April 29, 2011

Non-Aristotelian Passenger Train after Gustav Reder (A3, pencil and coloured pencil on paper)

This Non-Aristotelian Passenger Train, connecting two subterranean cities on the Planet Gorre, can be seen here racing at full speed through the very hot desert Daphetid, whose sulphuretted carbon sands catalyze a photochemical conversion of atmospheric nitrogen to ammonia by sunlight.  Days on the Planet Gorre last for 376 Earth-hours, and at midday this desert becomes so hot that spontaneous gestation of Salamanders (Caudata and Urodela) occurs.

The Train is modelled after an Edwardian original, but is based on a completely different kind of technology. Whereas the original depends on fossil fuels as a propellant, this engine uses completely different concepts of power generation, based on Alfred Korzybski’s findings as laid out in his General Semantics, E-Prime. It forms an inseparable bond with two elongated Space Crystals, one working as a regular pumping lemma, the second one as the much more powerful Ogden’s lemma, providing extra energy when particularly hot areas have to be crossed at extra high-speed. The above design copyright (c) 2017 by Torsten Slama and International Pictorial Publications Organization World Wide

House "Brussels"

April 12, 2011

House "Brussels" with Space Crystal and Charging Unit

This is a not too modest habitat for the well-to-do space traveller seeking a quiet and well secluded retirement haven. This scene shows the all-nourishing space crystal being replenished with essential polarized light with an s-like plane of incidence. This s-polarized light (s meaning senkrecht or, alternatively, sigma) is the light class of choice for a maintenance factor which is slightly deeper than broad, which means it is best suited for a person with deep-set eyes and a melancholic character with a tendency toward brooding, an educational type, tinged by Slavic characteristics, which can be considered representative of a special, slightly narrow-minded but noble humanity.

The joy in speculation and disputation, the tendency toward brooding and meditation, the craving for distances which can never be reached, that plunging into depths which can never be fathomed are more apparent here than a strong sense of reality, an openness to new ideas, or delight in humor and satire.

For more information, please visit the special site for Low Density Settlement Units for Space People The above design copyright (c) 2017 by Torsten Slama and International Pictorial Publications Organization World Wide