The book, the idea of a book or the image of a book, is a symbol of learning, of transmitting knowledge.. I make my own books to find my way through the old stories. -Anselm Kiefer
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BOOKS,BOOK COVERS,MANUSCRIPTS,EPHEMERA,HEIROGLYPHS,ILLUSTRATIONS INSIDE AND OUTSIDE BOOKS,GRAFITTI,AUTOMATISM,DREAM WRITING,AND EVERYTHING WRITTING,SYMBOLISED,POETRY,PROSE,ECHOLALIAS,ETC
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| MAN RAY'S THE PRAYER, 1930 |
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APRIL 3, 2012
ORGASMATRON by =Bill-Nace
The Sacred Chronicles
* * First movement: Children "hush" as whirlwinds blow among them. You can taste it like the Sweet Mother of God who spits from her mercy seat green sputum like broken toys from a decedent Christmas tree . Her piss drips from the cheek of each sacred child from Her Holy See And the Christ child becomes a curious whore, of dicks and dank cum for alter boys. See what sweet Mother has done? - Casa Nostra placebo - Co-redemptrix Paracelsus - Madiatrix bella donna - Our neon bride on dashboard alters * * Second movement: Count backwards from ten: The room fades as the ether drops: A faded apparition of Guadeloupe's Hocus-pocus Her eyes of darkness stood behind me * * Third movement: "All the fun is going on down there." So she decides to climb down Jacobs latter Peeks between the lattice fence and kicks the shit out of Joseph's ass For the monumental lie he told. Besides he got to spend much time With little Lambs on the hill That keep him warm at night and satisfied with his warm Guns Mother, Father, and me the son Play cosmic child abuse Once again * * Bowel Movement:
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Bad/Good Dreams
I remember the day blue with no sound when the green movement circled my dream without a sound, void, lightning and fear like dread. Visions of semblance in the corner, under the watchtower, the earful music drudge the cracks, smells of dank-ness dirt from the grave. This wicked dream fell ministerial monastery gargoyles, the eyes, the eyes.
I remember the dreams of color, angel music, light decimal music . It connects in the secret places so deep but joyful, transparent longing in the mouth of the blue Rhino-like piano, it takes me deep in the ocean of life, plants of color. The sea turnip is a denial of the bad and the ocean waters eat happy hidden smile sea-fish.
Na na na na, la la la la the sound goes on, sacred unintelligible/intelligible feeling spring from the delight of blue oysters bitten by the non-revenge of the latent girl, girl with the golden flaxen hair, he wears the hair like monkey mothers.
Not more slice and dice dads Cuts, cuts, cuts, cuts, He went to shoot me and cut me instead blood daddy,blood on my face, mom on my happy, Mom on my happy dreams, won't you come?
©Bill Nace 4-2-12
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ORPHEUS, JESUS AND FUCK HYMN MOVEMENT ORPHEUS In time in life gestures, hand-grab oversize Orpheus Sing song Sing song of war destinies Watch them flow Hearts of comfort, hearts of fear Hear voice in register, high register Zeus and Olympian Olympus
MOVEMENT FUCK
Let's not sing in legal but in the freedom of fuck O sing, O sing a new song, a song of of newness and Salvation Dance-a dance upon the ever-flow ,the ever-glow the over-flow, over-tow Sing the word fuck, Jesus, and fuck From Orpheus to Christ to fuck
Pull up the death of convention the oaks of old, like newness of Christ-fuck And turn it on new, like the girl who smiles while backward masking She has the way to turn on the sexodex on my Rolodex she keeps mega-reflex
MOVEMENT JESUS
Jesus, Savior, King of the Heavens Away O ye Avernus I cast thee Merriment from the heart In excelsis gloria, I sing to thee Ein feste Burg ist unser Gott With newness of song Fuck you girl Jesus Fuck Morpheus.
©Bill Nace 2-1-02
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WATERFALLS
Secrets are in the air she caught them in her left hand like lightning bolts emanating from the tips of her fingers shaking the very roots of our being and sends her oracles to each, and delights of dour electric hands
And you see her in the hall, up against the scarlet wall the rambles, scrambles her feats of daring-do our Superwomen of deception is attracted to you
Believing is simple for the simple I suppose these blank minds in blank times fall down the scarlet walls like waterfalls. I wash in it, bath in it naked for all to see we live out a pantomime and we do so galenty.
©Bill Nace 3/30/12
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| Title: [Book of Hours]. Use of Sarum. Origin: [France, Saint-Omer?: c.1330]. Description: Illuminated manuscript on parchment. 164 leaves. 10 x 6 cm. Single column of 15 lines. Textblock: 5.5 x 3.7 cm |
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| Designs for sword handle and hunting knife; sword handle with satyr on the grip, and figures forming the guard; knife decorated with masks, terms and figures. c.1555 Engraving |
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| Print made by Orazio Scoppa Plate 12: design for a metalwork candlestick with a man embracing a female nude. 1642 Etching |
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| Signs of Character Drawn and Published by R. Degranza Pease M.D. 1843 Phrenology poster which shows a profile with labeled sections in an elaborate border. |
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| HORAE PLANETARUM,1569 by Isaac Kiening |
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| 'Collectanea Chymica Leidensia' edited by Christopher Love Morley and Theodorus Muyckens, 1700. |
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| The Cosmic Rose,Amphitheatrum Sapientiae Aeternae or Amphitheatre of Eternal Wisdom was first published c. 1595 |
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| Grotesque panel, blackwork with small silhouetted figures, bandwork, foliage and flowers. Designed and engraved by Matthias Beutler (Beitler), 1600. |
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THE DANCE OF THE DEAD REBEL
BY :WILLIAM "BILL" NACE
Before “was” when the counsel of men met with the nephilim it was decided that “in time” the earth and all good things would explode in wicked adoration, each grouping of man to slay the other until all danced with Dante, much to their utter destruction. (The sound stone from Orion, segment 14)
Fighting: fist held high in plasticine nights stars cut out like street lights with decadent delight, by Red evil Who are you, O brightest star Betelgeuse?
Countenance on the floor - A decoupage of neon-blinking-reflections tell all He the punch did take the crunch, insulate my diamond lunch In the corner I existed, twisted wrapped in the existential as the pseudo-sovereign terror instigates:
And she's coming, she's running for her own consensual rot - racing, to bring evil to this land of protracted instigation Can you see, feel, smell,, what came down? Can you see, feel, smell what came down?
Too young to laugh at grandma’s grave and I thrill at your moth bitten frame Dark gray beast of humanesque form, bit her for an eternity and blind eyes see without sight:
No light escapes the Dante- dance She does a Dante dance, an Infernal dance in the eye of a glance in unfettered chains, a Dante dance.
In a twist of chandelier light, another stood in madrigal delight She does a beauty dance, as dignified as a sightless camouflage conversations made, without a sound Arguments made without logic, only portraits snapped in rambling grays But the pages turn lightly you see And the idea of perfection made Is an illusion like the stench of grandma's grave
There was a covenant made, two who became one flesh. When you think about it the process is a bloody mess the two who became flesh....
©Bill Nace 2/18/12
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Drodes to Shapplorighia
Summentions of concury genegly and brardenhated painhes,
idenes within the alluncencenter of the egorating objennisate,
pupping perses filled with femuensemics, cosmal aignet guraligater,
trisurnis factritryons abletizes the bordized pitimmash,
and red couress labloon unusives the sunlinanal mothrolliat,
encirclatoring the frandece gliditic of couphortz,
decarved glitudgem that probviates the deredick mentate of freituneate droccioused lavacatorpate;
The weirtimanazie crimsing vineycomer's indisturession,
by alysiserizing the troddentious sclings of supporescythial vernates,
coryzizes the hostic pacientrimic consiten of shapplorign ectler,
unnaultranizing the candatel tassne dispiterciets of glidirfanton,
nor the chinsidiatines of strianated ferninals,
Nor the blockorer bagplarize with vacannies of caticumented dynastires,
can prodiate the issiansm of japated falking shunbutchites,
Downfrequened by garditied lowashy toward a restanomet blearl of pablaccomplens,
comptytized by toggleft hillisonda apporping classe adjumpiling resoution of amphentreckety,
throbilly foilde pandaging of limbian cumuculty twitaro pecumutt sitainine with bechedmitifcated frandreastric vanders,
irtive of intracies delmed byprecest combrogaggine predating the apperthy szlogition,
till granthylions of Desiariounces remitffs the ediaunces of Nychalom
Chancopetic Wrods by Gromyko Semper
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| ‎'Das Salzburger Glockenspiel' by Christoph Lederwasch, 1704 from somewhere among the Department of Special Collections at the University of Salzburg |
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| The Company of Undertakers ::: Beareth Sable, an Urinal proper, between 12 Quack-Heads of the second & 12 Cane Heads Or, Consultant. On a Chief Nebuloe, Ermine One Compleat Doctor issuant, checkie sustaining in his Right Hand a Baton of the second. On his Dexter and sinister sides two Demi-Doctors, issuant of the second, & two Cane-Heads issuant of the third; The first having One Eye conchant, towards the Dexter Side of the Esocheon; the Second Faced per pale proper & Gules, Guardent. With this Motto - Et Plurima Mortis Imargo ::: Designed/engraved by William Hogarth, 1736 |
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| 1662. Gaspar Schott. "Physica Curiosa is a large compendium of pictures and stories regarding monsters, physical abnormalities, and bizarre animals. Rather than a work of original scholarship, Schott's book, like many others of its kind, attempts to gather together as much as is commonly known on the topic. Therefore, many of the descriptions of animals and creatures repeat apochraphyl accounts as if they are fact, and perpetuate belief in unicorns, satyrs, and other mythical beings." |
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| Artillery book, "1475 – Martin Merz was a gun-master in the service of Frederick I, the victorious, Elector Palatinate. 1469 he was the supreme canon master of Frederick’s army. He remained in the service of the Frederick’s successor Philip the Upright, Elector Palatine of the Rhine. He created his Feuerwerksbuch around 1460-1480 (Munich, BSB Cgm 599). |
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| 1662. Gaspar Schott. "Physica Curiosa is a large compendium of pictures and stories regarding monsters, physical abnormalities, and bizarre animals. Rather than a work of original scholarship, Schott's book, like many others of its kind, attempts to gather together as much as is commonly known on the topic. Therefore, many of the descriptions of animals and creatures repeat apochraphyl accounts as if they are fact, and perpetuate belief in unicorns, satyrs, and other mythical beings." |
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| 'Nicolai Klimii Iter Subterraneum' (original 1741 title),En Inbyggare i Potu [1767 edition] |
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| Bernard Picart, Neueröffneter Musen-Tempel,The Chaos or the Origin of the World |
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THE ABJECTION AND MISERY OF ABSTRACTION-CREATION
Salvador Dali
The ingenious experiment of Picasso simply proves the material conditional nature, the deifying and ineluctable nature, in regard to the physical and geometric precisions of aesthetic systems, biological and frenetic systems of the concrete object. Since I feel inspired to do so, permit me to speak to you in verse: Such is the case with that tiny ultra-anecdotal figurine of a sprightly reclining pickaninny in the style of Meissonier; the boy, if looked at vertically is merely the ultra-rich and even plastically succulent shadow of a Pompeian nose — highly respectable on account of its degree of abstraction-creation! If, as they claim, forms and colours have their own aesthetic value beyond their “representational” value and their anecdotal meaning, then bow could they resolve and explain the classical paranoid image,with its double and simultaneous representation, which can easily offer a strictly imitative image, ineffective from their point of view and yet, with no change, an image that’s plastically valid and rich? Retarded Kantians, sticky with their scatological golden means, never stop wanting to offer us on the new optimism of their shiny paper, this soup of abstract aesthetics, which in reality is even worse than those colossally sordid warmed-up noodle soups of neo-Thomism, which even the most convulsively famished cats wouldn’t touch with a 10-foot pole. The flagrant lack of philosophic and general culture in the cheerful propellers of that model of mental deficiency that calls itself abstract art, abstraction-creation, nonfigurative art, etc, is one of the authentically sweetest things from the viewpoint of the intellectual and “modern” desolation of our era.
The biological and
dynastic phenomenon
that constitutes the Cubism
of Picasso
was
the first great imaginative cannibalism
surpassing the experimental ambitions
of modern mathematical
physics.
Picasso’s life
will form the not yet understood
polemical basis
in accordance with which
physical psychology
will reopen
a gap of living flesh
and obscurity
in philosophy.
For because
of the anarchic and systematic
materialist
thought
of
Picasso
we shall know physically
experimentally
and without the
“problematic” psychological innovations
with a Kantian flavour
of the “gestalt-ists”
all the misery
of
objects of conscience
localised and comfortable
with their cowardly atoms
the infinite and
diplomatic
sensations.
For the hypermaterialist thought
of Picasso
proves
that the cannibalism of the race
devours
“the intellectual species”
that
regional wine
soaks
the family fly
of the phenomenologist mathematics
of
the future
that there is such a thing as extra-psychological
“strict figures”
intermediary
between
the imaginative fat
and
the monetary idealisms
between
transfinite arithmetics
and sanguinary mathematics
between the “structural” entity
of an “obsessive sole”
and the conduct of living beings
in contact with the “obsessive sole”
for the sole in question
remains
totally exterior
to the understanding
of
the gestalt theory
since
this theory of the strict
figure
and structure
has no
physical means
allowing
the analysis
or even
the registering
of human behaviour
with regard to
structures
and figures
objectively
manifest
as
physically delirious
for
there is no such
thing now
as far as I know
as a physics
of psychopathology
a physics of paranoia
which might be considered
simply
the experimental basis
of the coming
philosophy
of the
psychopathology
the coming
philosophy of “paranoid-critical” activity
which some day
I shall try to envisage polemically
If I have the time
and the inclination.
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| Lunar and Solar eclipse calendars or prediction charts by Cornelio Malvasia 1662 from his 'Ephemerides Novissimae Motuum Coelestium' |
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| Bernard Picart, Neueröffneter Musen-Tempel,Ixion's wheel,1733 |
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| Salvador Dali,Page Spread,Gargantua and Pantagruel (1973) |
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| Misfortunes of the Immortals Art- Ernst, Max and Eluard, Paul New York: Black Sun Press, 1943. First edition thus of this surrealist collaboration between Ernst and Eluard with translation by Hugh Chisolm. A superior copy in illustrated boards. This copy INSCRIBED by Ernst "To Walter and Lucy Bayne, Cordially, Max Ernst". Quite scarce thus. First Thus. Near Fine. |
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