Police Investigator K-9, pencil, coloured pencil on pink tone paper, A4 (210 x 297 mm / 8.3 x 11.7 inches)
This drawing is based on a film still from the 1988 Steven Seagal vehicle “Above the Law”. He is striking a somewhat striking posture with a manly thumb hooked under the belt of his blue jeans, and a very interesting way of holding the handset of a public telephone while leaning against its sturdy metal body, tagged in a very haphazard fashion with various names, among them, standing out due to size and color, the name “Aline”. Also featured, a star of Betlehem.
Although largely done in pencil a few highlights are added in the colours blue and red. Steven Seagal’s head is replaced with that of a German Shepherd – the idea of making the head of a male protagonist a beast’s head is of course epitomized in various illustrations to the story, The Beauty and the Beast. The idea is to underscore the fact that manliness, especially its sexual aspects, expresses itself best in animal attributes, the whole world of masculine sexuality being anti-social, anti-civilization, etc., and the reality of the sexual act being a bloody business with death as an end result (see also, the wolf man).
General impression of blotchiness of the reproduction comes from discoloration, curliness or waviness of paper, stemming from excess humidity, water damage, hand grease. The paper used is of extreme thinness, like letter paper.
Chinese Landscape with Water Flow Research Institute, oil on ready-to-use “Stylex” canvas w/ stretcher, 30×40 cm
The ancient art of Chinese Landscape Painting aims for universal completeness and peace, just as the Chinese Empire was supposed to reign for eternity. A painting is not complete if it does not bring together the hard, the fluid, the gaseous, which means rock (the mineral world), water, sky (air, fog). Living organisms are either part of the solid world (trees), or transient, animal or human, which are few and far between. Water is the element that flows through the image, from top to bottom, uniting all, making all into one living organism. Never is there harsh light coming from one point, creating light and shadow. Perspective is mostly of the aerial type, which means things in the distance are lighter in tone, as they reach you through fog, fine mists waft between them and the onlooker.
While this type of painting is originally done with ink and a soft brush on paper, here a westernized technique is employed, using oil paints, but heavily diluted, pig bristled flat brush, on cheap, pre-primed canvas with an interesting rectangular grid. The colour scape is muted, the mood not sombre, but peaceful, fresh, cool and gentle. The family of ducks in the lower left corner find their way undisturbed into the pool at the foot of the rocks, fed by cold spring water from the heights. The institute is nestled in the middle ground, free space to the front, a rock wall in the back, top stories and penthouse reaching out for the great emptiness above.
This oil portrait of a country house named by its owner “Judge Dee” is a bit sketchy in areas, but left so by the artist deliberately, as they wanted to free themselves from the shackles that the demon of perfectionism imposes on so many struggling artists. Since the client in this case was fictitious and identical with the contractor, it was easy to reach mutual satisfaction and declare the painting an artistic, if not commercial, success.
Low Density Dwelling Unit “Judge Dee”, 47 x 34 cm, Oil on canvas-mounted wood panel in the tradition of Dix on OSSA
Note that this painting is the result of a process of emigration to the essentially free and unbound realms of Poe’s Nothingness, even though it assumes topicality by incorporating and putting forward climate-saving technology. It deals with the problems with climate unfriendly methane plaguing our wasteful society. Methane here takes the form of “clean”, renewable cooking gas produced by the bacterial decomposition of (fictitious) human waste, mixed with the stool of an assortment of hypothetical pets. This gas is not really “clean”, merely repurposed and relabeled, and great investments in absolutely airtight tanks are crucial to prevent that odourless gas from escaping into the atmosphere and further heat up this planet’s already antediluvian climate. Climate spies equipped with very expensive special cameras will regularly inspect these tanks, and record all escaping methane in beautiful false colour images and films.
If cooking is not practiced and heating in general superfluous, there are further uses:
CH4 Uses (Methane)
It is used in automobiles, ovens and water heater as a fuel.
It is used in the generation of electricity.
It is used as rocket fuel in its refined liquid form.
It is used as an antifreeze ingredient in industries.
Vize 4: Tajná raketová sila / Vision 4: Das geheime Raketensilo / Vision 4: The Secret Missile Silo, 2020 Öl auf Holz / oil on wood 70,2 x 60 cm / 27.6 x 23.6 inches
This 2020 painting harks back to several versions of the same motive, a 2006 drawing, another smaller 2009 drawing, a comparatively large painting from the same year and a later, 2012 re- or overpainting of that painting. It is based on a Heljan plastic model, the Heljan #673 N Scale Meat Packing Plant kit. While painting this iteration of the structure, one of the artist’s roughly four favorite and therefore recurring real world or model-type architectural structures, the artist was grappling with ocular clouding (encroaching blindness) and also with a newly developed (or degenerated) technique of mixing organic substances with oil paint and acrylics, applying the resulting mixture, uneven because of different solubility of its constituents, often in half dried states or different phases of coagulation, onto the canvas with brushes in varying states of distress, interspersing the emerging image with highlights of synthetic luminescent powders and pastes. In this painting the artist perhaps reached a pinnacle in the materialization of a certain style he envisioned – a style where the constant fight between the youthful wish for perfect execution and the cosmic truth of decay leads to its own results, where human mind control and the freedom of molecular motion and chemical interaction coexist, where the Jungian amateur pursuing personal narcissistic goals of alchemical omnipotency finds respite in the struggle between time-bound limitations of the human flesh with the desires of the mind and the phantasy of timelessness.*
*Timelessness of art, which Oskar Kokoschka found perfectly represented in Rembrandt’s “Self-Portrait at the Age of 63” at the National Gallery in London. While bemoaning the bombing of Dresden, visiting the National Gallery at the suggestion of his wife, he found back his inner peace at the contemplation of old skin, “like the skin of a dead chicken”, in the way in which Rembrandt understood to apply his own virtuosity in an inimitably masterful loose yet perfectly controlled application of paint, where molecular structure of the medium and chemical changes taking place in the process of drying and hardening, together with said virtuosity and sheer dexterity of application lead to a lasting and static depiction of a particular stage in a process which in the natural universe leads through life to death and complete disintegration in a matter of only a few years. **
**This anecdote is repeated here not to glorify the artist’s own desires of creating such an effect, but to humble it, as the above painting is not only a very serious effort, but also a typical example of Schlawinertum, as a surrogate to virtuosity and diligence, in contemporary art. It might be even that some hypothetical onlooker would only see the jejune and the would-be where in the eyes of the creator there is at least a glimmer or echo of the inner truth they sought, approached in baby steps which are much too short to reach their goal even within the whole lifetime of a person so encumbered by their own deviant desire for a sorrow-free life, which so often leads in truth to an inordinate accumulation of inner sorrows, often seen and belittled as minor by others, as they are sorrows of the imagination. While someone like Dostojewski, who knew exactly the interaction of sorrows of the imagination and the true sorrow of, for example, hemorrhoids, which so often result from sins of the mind, was so perfectly cognisant of the fact that nobody is entitled to define or judge the difference between imaginary or true sorrow, as their is none in degrees of pain they inflict.
The “The Most Dangerous Game” House, 29,8 x 21,5 cm, pencil and crayon on tone paper, 2019
This, the “The Most Dangerous Game” house, is a lodge for a special kind of hunter, a bearded one, who hunts the most crafty, murderous, cruel animal: the human animal. Which is the only animal with ethics and moral judgment, thus capable of revenge, not humble. Instead of fangs and claws, it has intelligence. Thus, it is the most dangerous game to hunt. The hunter type to take residence in this house has a taste for Eastern European low density dwelling architecture. The actual depicted setting is generic. A type of less dangerous game, a Bruderus Horten Noncaudatus, a flying wing-type ancient animal with an especially small brain, is flying by, unmolested. It is unclear whether the hunter is presently at home.
“Judge Dee” Country House in Carboniferous Setting, 31.5 x 23.5 cm, pencil and crayon on tone paper, 2019
This is a retreat-type home for the more benign, less damaging to the social fabric kind of hunter, the hunter for peace, quiet and solitude which he/she/it finds ideally represented in a dwelling detached from civilization by a certain distance in the fourth dimension. Thus, the person for this country home must be a time traveller to take leave from all that binds them in the now and find what they seek in a geological space and time which gave birth to all fossile fuel reserves which now fire our unpeaceful modern world, the carboniferous era.
The Abductionist’s House, pencil, pastel on tone paper, 29,7 x 21 cm, 2019
This house offers shelter for a very special kind of lover of humans, the abductionist, the John Fowlesian Collector-type. These are mostly male, for certain reasons which are difficult to specify or elucidate or trace back to either evolutionary or civilizational reasons. The collector traps another hapless human being (like the spider the fly in the parlour with the fine edgings), and keeps this hostage-type specimen under lock and key, for fear of abandonment and in the hope of by keeping this other stationary they could by pervasive and tenacious persuasion win reciprocal love. This person, as the chimney smoke indicates, and by general habit, home. The victim lives probably in the cellar. Two dogs are in a playful mood, but would alarm the house owner by raucous barking if anyone should approach. The house shares certain decorational and structural characteristics with the “The Most Dangerous Game” house, which indicates certain interesting psychological links between hunting and collecting.
For a different kind of author-approved viewing experience, you are invited to redirect here.
Co-Operative All-Togetherness Cement Plant, 2020, oil on canvas, 51,5 x 71 cm / 20,3 x 28 inches
This is a painting full of problematic content and a problematic history. In fact, the artist has since altered it in the form of adding a new brighter sky, thus completely changing its atmospheric mood, content, and “meaning”. Even this version was not the first version, because the dark sky replaced a former version of a brighter sky (since reinstated). In the end it became clear though that the artist himself had no way of determining which version was in fact bad or good or finished. It is all in the mindset.
The painting features a standard cement plant with a co-operative economic model, which by and large means, a people-centered enterprise, controlled and run by and for their members, with the function of realizing or materializing a common economic, cultural, infra-structural, civilizational goal. The plant, which could also be designated a concrete plant, is augmented by a more or less abstract floating shape which looks to be of artificial origin and crafted from a semi transparent metallic, completely unknown material. If not unknown, this material could also be described as transparent acrylics with a small amount of finely distributed embedded metallic particles. The whole tube-like construction might be filled with air and is big enough with thin enough walls so that the air inside could be heated by the sun to such a degree to ensure floating of the structure, where the metallic particles in the transparent thin transparent film constituting the outer walls of the object are light sensitive (liquid crystels?) which regulate the temperature of the air or gas trapped within in the way of a homeostatic system.
Note also the elongated pyramidical object in the window of the attached control room of the plant. This is a robot sentry overlooking the operation. This detail is also a veiled reference to the dead tram conductor in “The Thing in the Moonlight” by J. Chapman Miske.
A final note: concrete, though useful and aesthetically pleasing, is a thing of the past and present, not the future, As of the year 2070, all newly constructed structures will be made of some yetnot perfected synthetic alternative or naturally occurring building materials like wood, clay, natural stone. Like trees, concrete buildings absorb CO2. New calculations show that concrete absorbs roughly 30 percent of the amount of CO2 that cement production emits. That is a non-cooperative, planet-unfriendly balance according to the Instrumentality of SCIENCE.
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.
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 execution 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.
Paul Gerhardt Church Gelsenkirchen-Ückendorf with 1903 Cadillac Model A Runabout (A3; 42×29,7cm)
Behold here a fine example of evangelical church design in the vein of tasteful international modernism, a sight, not altogether typical, but not unusual either in a time when there was still a lively interest in all church things, yet the decline of church business was already clearly visible on the horizon of time as men know it (not geological time). Witness the gleam of the main building’s big glass front – a huge abstract dyptich of biblical proportions – which is clearly an early Euro-continental reference to the big coloured front face tradition of modern American churches. This church, built many decades ago, at some not exactly verifiable point in the 1960s, still stands, yet is robbed of its dominant feature; the space around it. Today, it is sadly hidden behind parked cars and fences, and swallowed up by attached public service facilities: an old people’s home, a kindergarten.
Note how the nave is separated from the church tower in this design. A separation of things usually compacted into one edifice might be due to conscious conceptual considerations, or simply a sign of the times. What this separation signifies is the American-Fordian thought and practice pattern of division of labour – the tower; the reaching out facility, both reaching out for the congregation, reaching out for god (also a structure akin to a giant billboard/beacon with built in audio component) – the congregation and worship hall a place of production, production of faith, the plant proper.
This house, a monument to the phallic guilt complex of modern patriarchal architecture, lives in a place of rich historical meaning for a certain variety of people. The hypothetical new owners, formers employees of the local financial institute which co-financed the costly renovation and restoration of this model building for the system family, exerting their ownership rights and overriding certain restrictive laws concerning historical hallmark structures, tried to add to the concept by painting the building a strange variety of pink, and placing a gaily painted totem pole of western American red cedar in the style of the indigenous peoples of the Pacific Northwest coast of North America on the premises. A nice wooden smell wafts through the area which is repellent to the common clothes moth, tineola bisselliella.
Waukescha Natural Gas Generator for the Eastern European Region and Asia (45x34cm, oil, spirulina, and glitter pigments on canvas mounted on wood)
This painting, as subtly alluring in its pallette as in the choice of special and unusual pigments, cannot be adequately represented in photography (even when captured with a sensor especially suited to register finest colour nuances without sacrificing exactitude and focus). In fact, even the human eye is a sensor too coarse and surface-bound to understand that painting in this case is not only the coating or covering of a surface with paints of appropriate consistency and opacitiy in a way which concentrates too much on the where and too little on the when, but the loving and time consuming application of a multitude of layers of different degrees of opaqueness or transparency. The ultimate goal is not recognizable or symbolic representation, but the creation of an image with depth, in which even the first insecure tracings and irregular activities of a tentative and searching brush are still detectable under a potentially limitless number of successively applied layers, each adding its own share of happy accidents. The resulting depth is never a strictly two-dimensional and optical phenomenon. The true painting of value always has unique and custom made surface characteristics. The author of this painting is indebted to the teachings of the late Bob Ross, but chose to go the way of stretching production time instead of compressing it. By doing so, he could circumvent the adverse effects of a rushed production, namely that the perceived overall quality of the product suffers under a glance more scrutinizing and resting than fleeting and cursory. This painting is intended to satisfy on the happy accident level as well as on the level of more method-result based western observation systems striving for overall recognizability, structure, and order.
Karl Band, Cologne St. John Baptist, with 1901 Oldsmobile Runabout (A3; 42×29,7cm)
This is a beautiful example of the art of repair and rebuilding, as practised widely in the middle of the former century, in this undisclosed place, which met with generous structural destruction in the second half of the Second Great War, and thus had a chance to develop a unique style of modernity in rebuilding, a style which flourished for only a little more than one decade, only to be replaced by a still unique, but aesthetically rather unsatisfactory industrialized construction process, using holistically questionable materials like Ytong, autoclaved aerated concrete (AAC), calcium silicate units, and mineral insulation board.
In this short blessed phase before the chemical industrial complex got on its feet again and took over the construction market, brick was the preferred building material; often recycled from the rubble which was lying around in great quantities to be collected and reused or heaped wholesale into artificial hills. Concrete, if it was used, remained mostly unadorned and unhidden, its surface showing the marks of the cast in which it was poured, a practice which developed, outside of its niche as a method of artistic repair for churches and damaged art museums, into a fashion, an alternative International Style utilizing less glass and steel, more brick and concrete, mostly employed in the construction of publically funded municipal buildings, police stations, universities, or social housing projects. This style, though, did not really take hold here, in this undisclosed place, but abroad, were minds were more open, less numbed.
This church, first recorded in the year 1090, suffered extensive damage during the war, and then became what was locally praised a jewel of modern reconstruction, a reconstruction which was realized by the architect/builder Karl Band, who could be considered the North Rhine Westphalian version of the Bavarian Hans Döllgast.
This church now serves as a combined worship and convention center for the CRUX youth movement, which aims to spiritually cleanse and refresh the world though collective missionary itineracy.
Karl Band, Köln Dellbrück St. Norbert, Ansicht von Nord 1940, mit 1910 Benz Limousine (A3; 42×29,7cm)
Atmospheric rendering of the Church of Fuzzy Wisdom, situated in a forgotten spot in a forgotten part of a half-forgotten City. Fuzziness is demonstrated by the singular double tower design feature. Entrance, and thus partaking of Fuzzy Wisdom, is facilitated by a special portal unit which leads through the gap between the two towers, into the actual congregation hall. Vehicles of all sorts as well as less ceremonial visitors and delivery personell can also find ingress through a comfortably sized side door which leads through the left (the rational) tower of Fuzzy Wisdom. This practical entrance is facing the north, thus no disturbing, directional sunlight will disturb the minds of the visitors or the architectural unity and dignity of the building. A rather beautiful, off-white, vintage Benz limousine is parked in front ot the north facade, forming a well calculated aesthetic unity with the less mechanical minded edifice.
Floating in the sky over roof of the congregation hall; a spiritual inseminator in the act of spiritualizing an inflatable effigy of an early space-craft design (for a deeper insight in the symbolism of this floating sculpture, see Tellurialism).
St. Paul’s Church, Schwenningen, with early BMW Motorbike (42×29,7cm, pencil and coloured pencil on paper, 2015)
The image above depicts a worship centre of the heliocentric kind, devoted to adoring the heavens and everything above. An art work was commissioned to make a visual statement about the function of the building. The artist decided to create a holographic projection of unclear direction—a wavelike pattern is discernible, one assumes that there is some kind of dynamic involved, but it is not clear whether the waves are undulating in a downward direction, sent from some heavenly entity, or whether they are going up, towards said entity. Also, the waves are banded in a multicoloured fashion, but clearly not following the known order of wavelengths in the visible electromagnetic spectrum. The colours in which they present themselves (or, are presented) seem to follow an unfathomable (artistic?) taste pattern, which however might hypothetically be based on some scientific principle on the level of quantum mechanics. (Theologians across the world are very enamored with quantum theory, as quanta are known to behave erratically, contrary, obstinate, and wayward, when observed by a merely human observer. They do that on a basis of knowing things before they occur, communicating (?) with each other on a pre-emptive timeline, in short, displaying many characteristics of Godly perfection. Thus, in an ontogenetic system of proof, they are showing exactly that which God must possess, which shows that he, she, it, must exist.)
As an afterthought, the artist added a floating three-dimensional optical illusion to remind human observers of the futility of observation, of the necessity to stop observing and start worshipping. The progressive parson to whom this church was assigned parks his vintage BMW motorbike in front of the church to remind his parish of the parallel nature of worldliness and spirituality, the necessity to practice parallel thinking.
* * *
“I remember […] reading an agreeable tale about a species of highly intelligent giraffes who travelled by spaceship from their solar system to ours, to ask if our sun was behaving cruelly to us, as theirs had recently taken to doing to them.”
(Doris Lessing)
“Je n’avais pas besoin de cette hypothèse-là.”
(Pierre-Simon Laplace)
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.
La Machine femelle / The Female Machine (Oil on canvas mounted on wood, 50×27 cm, 2013)
Note that the positioning of these two paintings in one textual context created certain problems for the author, which are reflected in the result.
The clever kind of autoportrait below is a sort of companion piece to the inter-dependent partner painting above, but sold separately…
Le Reste parfait / The Perfect Rest (Oil on canvas mounted on wood, 43×30 cm, 2013)
In actuality, the top painting is wider, but not as high as the other painting. The second billed painting was painted first. The Female Machine was painted second. The titles are fairly sexist. The phallic machine is resting, exhausted from phallic magic-making, the female machine seems more sturdy and busy, which overall has much to do with world wide reality. Both paintings are fairly small. They are currently, nicely framed, on display at an undisclosed third-party-location in a city by a lake.
The World of the (Non-) Euclidean Central ”I” [42×29,7cm, 2013]
The (Non-) Euclidean Central “I”. Something so abstract, elusive and yet so intimate. Inside: the perfect sphere, round and immeasurable, protected by the glass pyramid of calculation. The inner walls of the fleshly host incrusted with calcifications, crystallizations, soft matter transformed into hard, dead matter. Undertake one bungling step through the apartment of your self with the lights turned off.
[…] after a while there was a further clicking in the receiver, and I strained my ears to listen. Again I called down, “Warren, are you there?”, and in answer heard the thing which has brought this cloud over my mind. I do not try, gentlemen, to account for that thing—that voice—nor can I venture to describe it in detail, since the first words took away my consciousness and created a mental blank which reaches to the time of my awakening in the hospital. Shall I say that the voice was deep; hollow; gelatinous; remote; unearthly; inhuman; disembodied? What shall I say? It was the end of my experience, and is the end of my story. I heard it, and knew no more. Heard it as I sat petrified in that unknown cemetery in the hollow, amidst the crumbling stones and the falling tombs, the rank vegetation and the miasmal vapours. Heard it well up from the innermost depths of that damnable open sepulchre as I watched amorphous, necrophagous shadows dance beneath an accursed waning moon. And this is what it said: “YOU FOOL, WARREN IS DEAD!”
(Howard Phillips Lovecraft, The Statement of Randolph Carter, 1919
The title and conceptual framework of this drawing ought to be understood before the background of Johann Jakob Bachofen’s work on matriarchy and gynaecocracy, Das Mutterrecht. According to Bachofen, human civilisation went through three stages: a wild nomadic, tellurian stage, the “lunar” period of female supremacy, then the backlash of the Dionysian period, worshipping the phallus, favouring the anus over the vagina, favouring intoxicating masculine wine over female milk and honey, followed by the Apollonian period, modernity, the age of reason and necrophilia (now in a process of dissolution, entering the enigmatic, presumably female, Aquarian stage).
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.
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. ”
Bungalow for the Magician, 42×27,9cm (DIN A3), pencil and coloured pencil on paper
A temporary country home for the Magician. The Magician specializes in making people vanish. His spells are potent only in that way. In all other ways he is a very unassuming, normal type of person. Working his spells draws on his overall spiritual energy, leaves him exhausted. Lacking any formal education, he has to rely on his spells to sustain him economically. He saves enough money through appearances in hotels and at festivities in small-town multi-purpose centres during the holiday season or through engagements on cruise ships to be able to afford a simple country retreat for his free time. The cellarless and easily relocatable building features a miniature pool and fitness related equipments to allow him to replenish lost energies through careful, peaceful training in solitude, meditating on a wild nomadic tellurian future. Other items related to spirituality (the stylized magician’s hat as protective cover for very delicate saplings), and sexuality (the orgonic sea-shell) are also part of the basic lay-out.
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.
City Church “Böblingen”, 297x420mm, pencil, coloured pencil, gold leaf
Concept sketch for a city church. Spiritual energy levels in Central European cities and municipalities are in rapid decline. This development is not limited to European soil, but a worldwide problem. Decline in spiritual energy levels can be easily linked to the decline of criminal energy levels. Smoking bans, optimized street illumination schemes, and safety measures of all kinds make the reliance on spiritual energy to prevent hazardous accidents superfluous.
Certain measures can be taken to raise spiritual energy levels. Worship centres afford an opportunity to practice humility and are therefore the means of choice to raise spiritual energy levels.
Black Forest house “Janus” with Mossi ancestral figure (42×29,7cm, 2011)
A home for the pattern recognition therapist and his family in a mildly crystal-spawning setting, characterized by its gently rolling layer of powdery soil. The place is ideal as a retreat for the Lunar type who wants to escape the Solar world.
Two openings in the basement are permanently accessible to ensure a smooth functioning of the household machinery. The therapist and his wife, who works as a lawyer specialized in copyright infringement and such, and is out during the day, share a bedroom suite and an annexed two sink bathroom under the roof. The children’s quarters, with separate entrance, are located in the back of the first floor. The therapist his office in the frontal, thatched-roofed, lobe of the first floor. The office is soothingly illuminated through two large multi-colored windows. The entrance for patients is blocked by a large-scale replica of an ancestral figure of the Mossi tribe during sessions. The statue moves only when a secret slot is fed with a magnet card, of which only two copies exist, one for the master, one for the mistress.
House “Djibi” for the Friend of all Animals. (Oil on canvas-covered panel w/ aluminium coated ornamental frame, 40×53 cm)
House “Djibi” is named after the cat-novel by Felix Salten. Some cats, a dog, and other animals are living and dying and killing each other in the house of an elderly school teacher and his wife. The teacher is grappling with a mild identity crisis, being undecided whether he is too soft of heart, and wishing himself to be stern and unrelenting, before deciding that he is, indeed, a soft sort of man.
Before being assigned its final title, the painting had a working title referring to August Derleth’s house-centered novel “The Lurker at the Threshold”.
The painting tries to look rather encrusted as opposed to smooth. The clouds are trying to look like clouds painted by Walter Leistikow. Flake White Hue and Transparent White were heavily used. Some areas do look like details from Cuthbert Hamilton Ellis’ paintings: rough and unfinished impasto effects prevail in an otherwhise naturalistic but unacademic style.
This is the photographic reproduction authorized by the painter. There exists another photograph of this painting, discernible by ghastly colours and flat lighting, made by a careless professional with a good camera. True appreciation for a given subject in many cases is much better than indifferent technique and superior technology.
See also these verses from “Sophia Trenton: A Moral Poem” (Phi Beta Cappa Poem at Stanford University, June 19, 1920) by Leonard Bacon, as quoted in Donald Knuth’s “The TeXBook”:
Technique! The very word is like the shriek Of outraged Art. It is the idiot name Given to eff ort by those who are too weak, Too weary, or too dull to play the game.
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.
GPTU - 33 / IPP World Wide 