Raoul Hausmann, 1886 - 1971 Cofondateur du mouvement Dada à Berlin et surnommé le «Dadasophe»

Emanations contributor Marleen S. Barr has a new book: Feminist Science Fiction’s Sartorial Spaces: Fashioning Future Females

 Click the cover image (or HERE) for the Amazon sales page.  Routledge description HERE.

Feminist Science Fiction’s Sartorial Spaces: Fashioning Future Females is a collection of critical essays consisting of established critical voices and cutting-edge new generation fresh perspectives across feminist theory, science fiction, and fashion. This book brings science fiction to bear upon the limiting impact clothing still has upon women. Science fiction literature can envision how yet-to-be-designed clothes can unequivocally signal female power. The contributors argue that it is time to turn to science fiction to lead the way in making empowering female attire real. This book is for scholars and students who are interested in the interplay between fashion and science fiction.

Stimulating Recordings: Todd Rundgren & David Mason - "Utopia" (alt. title "Utopia Theme"), 1974

Cover art from a science fiction gaming magazine with an image evidently derived (loosely so) from Lovecraft - sensational, provocative, speculative, surreal

Journal of the Travellers' Aid Society 13, 1982

Roger Penrose explains describes Godel's incompleteness theorem in 3 minutes

explains

Occult Material in the Invisible Tower Trilogy?

None.  It is adventure, high fantasy, satire, and an inquiry into the character and nature of the Human Condition.

Click the image to view the Amazon descriptions of the books:

Los Angeles' Occult Past: interview with Ronnie Pontiac

Curious subject, curious ideas, curious sub-culture, curious history... indeed a curious city

An abstract crossing the borders of genre

Richard M. Powers’ (1962) for Conditionally Human by Walter M. Miller Jr.

Sample pages from Fluxus

Source

Fluxus materials and books available at AbeBooks

A review by Richard Kostelanetz: The Fluxus Newspaper 1964-1979 edited by George Maciunas and Fluxus Editorial Council for Fluxus

Fluxus has been the moniker for a group of artists mostly in downtown Manhattan, with compatriots in Europe and Japan, that coalesced in the late 1950s. Coming to know many of them personally a decade later, I realized that I might have been one of them had I been born a few years earlier than 1940 and not been a graduate student at uptown Columbia until 1966.

Their esthetic descended from Dada and John Cage (as did mine, later), as they worked in music, visual art, literature, and especially performances. (Only the last I didn’t do.) Though initially attended by a choice few, some of the last have been memorialized in art writing and eventually scholarship.

Respecting Cage’s demand of freedom in choosing esthetic materials, they eschewed heaviness with innovative work that was initially esthetically acceptable to everyone who cared. Two intentions were audacity and comedy, which are ideals I want for my own art.

Their leader and most brilliant exemplar was George Maciunas (1931-1977), a Lithuanian who’d come to America after WWII and initially trained as an architect at first-rank US universities. In addition to organizing and helping his colleagues, he did many things in his own name, some more brilliantly than others, some ephemeral and others permanent. Among the latter I count his publishing, and the first achievement of The Fluxus Newspaper (Primary Information, 2024) is bringing together scarce issues from nearly fifty years ago, mostly only a few pages long, all bound together in a single book outsized at 10.5” x 14”.

The first departure is that Maciunas as an inventive designer used the larger printed page as a field for various elements both visual and verbal and then in different typefaces. The book’s cover exemplifies his departure.

A second departure was the seemingly unlimited variety of materials on a single page, ranging from abstract designs to pseudo-news clipping to historic photographs to price lists for other items that Maciunas was publishing. Look at the cover. The disparities among the items make many Fluxus pages funny, as indeed was he.

On the front page of February 1964 are these blocks in five vertical columns: a headlined news story about mosquito extermination, “Latest News” above an array of five-digit numerals, more news about the complaints of women wearing girdles at high altitudes, a defaced one-dollar bill, a thumbnail about “knots,” a “curve” street sign, “WOW!,” a short Scottish news article about “yeggs” (burglars) locking themselves in a “Ladies’ Room,” a current price list for Fluxus editions, another vertical thumbnail photo of a 19th century West Coast bean dealer who resembles Maciunas, the reproduction of an ancient patent for a “saluting device” hat, and much, much else, again all within a single page. Otherwise, another whole page of this book is devoted to George Brecht’s legendary conceptual texts, horizontal thumbnails each less than a few lower-case words long, nearly all of them incorporating the word “page”: “spit on this page,” “eat something on this page,” “turn 14 pages slowly,” “hide this page,” “write as much as you can on this page,” “listen five minutes before turning this page,” “astonish someone quickly with this page,” etc. In the middle is a blank thumbnail, literally an empty page, that implicitly enhances the others. 

Another section of this book has first a recto and then a two-page spread with dozens of thumbnails both horizontal and vertical of several Fluxus performances in 1969 and 1970, all accompanied by a numbered sidebar in Maciunas’ signature sans-serif typeface in which individuals and details are identified. 

Therefore, within this book’s 80 unenumerated pages are really 10 times as many distinct blocks of printed matter. As pages offer different configurations, merely flipping from a recto to a verso often offers surprise. Therefore as well, anyone reading through this book for the second time or even a third time will discover marvelous blocks that he or she missed on first reading. 

The customary promotion for this anthology lists all the contributors, many of whose names are remembered a decade later, reminding us that few reprints from any historic periodical can offer such a distinguished exhaustive list: “Ay-O, Carol Bergé, Joseph Beuys, Elaine Bloedow, George Brecht, Christo, Philip Corner, Walter De Maria, Willem de Ridder, Bern Erismann, Nye Ffarrabas [participating as Bici Forbes], Robert Filliou, Henry Flynt, Ken Friedman, Carolyn Krumm, Heinz Gappmayr, Eugen Gomringer, Raymond Hains, Dick Higgins, Geoffrey Hendricks, Jon Hendricks, Alice Hutchins, Tatsu Izumi, Ray Johnson, Joe Jones, Allan Kaprow, Milan Knížak, Alison Knowles, Arthur Köpcke, Takehisa Kosugi, Ruth Krauss, Philip Krumm, György Ligeti, George Maciunas, Angus MacLise, Jackson Mac Low, Larry Miller, Peter Moore, Hans Nordenström, Yoko Ono, Nam June Paik, Benjamin Patterson, James Riddle, Dieter Roth, Takako Saito, Mieko Shiomi, Tomas Schmit, Daniel Spoerri, Christer Strömholm, Yasunao Tone, Stan VanDerBeek, Ben Vautier, Jacques Villeglé, Wolf Vostell, Yoshimasa Wada, Robert Watts, Emmett Williams, William S. Wilson, La Monte Young, and Marian Zazeela.” (Yes, I regret not being among them.) I’m not aware of any other periodical, neither in literature nor in art, offering such a comprehensive inventory decades later, simply because nearly all the contributors’ names would have become unfamiliar.

With materials no less deviant than they were several decades ago, this Newspaper book is a treasure, a monument to the continuing life of Fluxus. 

P.S. Regarding Maciunas’ achievement as a highly original arts historian, may I recommend this appreciation by a German scholar writing in English:

© Copyright 2026 Richard Kostelanetz, reproduced by permission. Source: KostelOmnibus on Substack 

Richard Kostelanetz by Leonid Drozner,

Exploiting a Typology?

Wifredo Lam - Rumblings of the Earth, 1950 

Staccato Onomatopoeia (text or typology?)

 

Zzzzzzz... 

First French rigid airship "Spiess" (1913)

 

Будет ласковый дождь - 1984 Soviet animation based on Ray Bradbury's "There Will Come Soft Rains"

A prose poem? An ultimatum? A theological treatise? A schismatist's enthusiasm for an eccentric myth?

"When Man faces doom from outer space, he must choose between escape to other worlds or life in giant cocoons."

Dean Vollmar - "A perspective on life, death, human consciousness, and the eternal nature of the soul"

 

Highbrow adventures in comparative choreography: Bob Fosse and Vito Paulekas

Bob Fosse: "The Aloof", "The Heavyweight", "The Big Finish" from Sweet Charity:

 

Meet Bob Fosse:

Vito Paulekas: "Invocation and Ritual Dance Of The Young Pumpkin":



Meet Vito Paulekas:

How Economic Power Shifted Over 200 Years

Please click HERE for discussion.

Source: Visual Capitalist

A Hermaneutic Fantasy: Prolegomena to Any Past Zenoic Proverbialness (repost, from April 14, 2016)

And now dear friend, I shall ask you to consider it possible to travel back through time upon the sedan chair of the imagination, so passing through an infinite number of moments to at last settle into a clear picture of what it is Zeno is saying, moreover with true proverbialness. We move back from one moment to the next, but only to encounter another moment, so on forever, as the number of moments is infinite, and thus the proverbialness we seek remains perpetually an unobtainable carrot at the end of an infinitely long stick.

(Kind thanks to Professor Hodges for allowing me to derive from his theoretical work on one-line poems the neologism "Zenoic Proverbialness.")

Preparing to Meet Zeno

Can the Human Condition be allegorized effectively? To what end?

Antony Williams - Intergalactic Castaway - oil on canvas

John Geraghty: an acrostic in the Hymn to Hermes

For some time now, Professor John Geraghty has been using AI to explore acrostics in Paradise Lost. Recently, he has been identifying acrostics in Chapman's translation of the Homeric Hymns:

Medieval Philosophy - Bryan Magee & Anthony Kenny

The appearance (verb) of an invisible tower, and that tower's appearance (noun)

            Naivete

Afar off an orchid tower

   Purple prose arranging

Mounting expectations

  Distant, arising, a spectacle

Coaxing a young soul

  Earnest and wild and breathing

Grasping a known unknown

    Credulous colors coalescing

An adhering moment viewing the future

   Persistent impression, fostering dreams

 

 

More? Please click HERE.

If the Invisible Tower was Visible

More? Please click HERE.

The Paradise Lost Legacy - November 7-15, 2026 - Davao City, Philippines, curated by Bienvinedo Bones Bañez, Jr.

Bienvinedo Bones Bañez, Jr. has announced "The Paradise Lost Legacy" art show scheduled for this November in the Philippines.  The show will feature the work of Terrance Lindall, Mr. Banez, and forty-one Philippines artists. Several volumes of Emanations will also be part of the exhibition. Here is the latest announcement for the show and, below that, Terrance Lindall's remarks on a broad range of subjects relating to the exhibition.

Paradise Lost has been translated into Chinese. Various editions are available, including both classical and modern translations. Translations can be found in bookstores and online platforms in China.

 Paradise Lost has been translated into several African languages. Various editions are available in countries like Nigeria and South Africa. Online platforms provide access to digital copies across the continent. Literary festivals in Africa sometimes feature discussions on the work.

Southeast Asia nations altogether probably have many translations. What is unique about the upcoming presentation of Milton’s work in both art & literature is that art and interpretive versions in early 21^st century productions are presented. This is our time to celebrate the greatest work in the English language by some of the greatest proponents of this work in our time.

Philippine art combines indigenous folk art, East-Asian and classical traditions. During the Spanish colonial period, art was used to spread Catholicism mainly through paintings and sculptures. Victorio Edades, known as the father of Modern Philippine Art, popularized Modernism in the Philippines in 1920s and 1930s.

Bienvenido Bones Banez Jr. was born in 7. 1962 in Davao City, Philippines, and attended the Learning Center of the Arts (now Ford Academy of the Arts) in Davao, where he studied Drawings and paintings from Professor Calota Abellana de Pio, and Professor Victorio Edades.

Banez’s work revolves around the theme of Paradise Lost, the 666 Human Imperfection, the reign of spiritual darkness in the world, which expresses itself through psychedelic depictions of evil human nature and sub-human auras. The bible message in Matthew 4 :8 is the point of departure for his proposition. It is a proposition that stems from mythology and faith into the strong belief in the Tower of Babel, Christendom and in the Judeo-Christian metanarrative wherein the Devil's rebellion is an overarching end prevailing in the mundane world. Bones using jewel-toned colors, and human "evil" promulgating the idea of feelings that rise up in themselves when we are faced by wars, experimental vaccines, racism and environmental degradation.

 Between 2009 and 2014 several drawings and paintings of Banez were acquired for the Robert J. Wickenheiser John Milton collection at the University of South Carolina. In 2017 a portrait of John Milton was added to the Milton’s Cottage collection, and he was named to the editorial board of Emanations, a print anthology of poetry, fiction, essays and fine arts published by International Authors founded by Professor Carter Kaplan. In 2010 he was included in Lexikon Surreal and KunstHerz 2021 by Prof Gerhard Habarta.    

 

 The exhibit includes Terrance Lindall, as seen in Milton for Moderns:

https://issuu.com/lindall/docs/lindall_s_milton_for_moderns                
                                                                          -- Terrance Lindall

"This memory of the present passes human comprehension, and the Time-distortion factor spells frustration!"

Jack Binder, 1939

Wassily Kandinsky - "Brown Ray" (1924)

"Actually, right now I'd kind of like, um, to just get some knowledge like from some things that like... the stars and the sky, you know, and fire and things like that that have seen it all, man... and the sun and the moon because they just you know been here since the very beginning...

   

                                                  - Miss Lucy and Miss Johna

 

Zeus, a Capacitor (a prose poem)

"A warning horn wails. Then comes a 30-second delay during which a trapped electrician could hit one of the nine handy scram switches and stop further action. Putnam presses a button, and direct current from a roomful of transformers and rectifier tubes flows into Zeus."

More?  Click HERE.

Enigmatic? Why? Or, how is it engimatic?

 

Representative Highbrow Questions

  

  

 

Aesthetic "Phenonmenon"? Psychological "Artifact"? Beyond the discussion of semantic mysteries, is "it" pretty?

unknown artist

 

Liminal Disinformation

"Transfer Student" by artist known as Kiginobiru (Hayapi)

Leo Pellegrino plays the Contrabass Saxophone

Man Ray (American/French, 1890-1976) - The Eye That Sees Everything (1919) - Airbrush & brush & gouache on tan wood-pulp laminate board, 30.5 x 24.6 cm. - The Art Institute of Chicago (Gift of Mr. Frank B. Hubachek)

Haiku proceeds syntax?

the moon is gone wild

grammar am a lost ethos

specificity?

An interesting distinction

"Frustrated by being referred to as a mere "caricature" artist, William Hogarth produced this print in 1743 explaining the difference between characters and caricatures — which he saw as radically different — and demonstrating his style as being firmly aligned with the former." Source

The Beats... Philosophic Warriors? (pre-)Psychedelic Messengers?

I'm not sure what to make of the Beats. Easily parodied on TV and in the movies... an instrument of cultural and personal promotion...  obviously unsound (and unwholesome) lifestyle choices...  closely-related to consumer culture... interesting energy, fashions and forms... directly--obviously but also merely vaguely and superficially "counter-cultural"--indeed, how effective in this measure (as a cultural/counter-cultural "movement") and in what ways?

It's interesting how the Beats were so rapidly left behind by the culture they helped to foster. In the wake of Frank Zappa, Gentle Giant, Genesis, Jethro Tull, King Crimson, Alice Cooper, Firesign Theatre... by the mid-70s the average "hippie" kid in the Midwest was in a position to possess a more sophisticated and appropriate "philosophical tool kit" and "psychedelic understanding" than the Beats ever achieved. Henceforth, the cup of trendy hipster hipness would runneth over into infinity...  (And along these lines, look at the unfortunate "insights" Michel Foucault came away with after his "famous" psychedelic experience at Zabriskie Point... and more on him, Zabriskie Point... and Antonioni's films in a forthcoming Highbrow post.)

Moving beyond the question of their interesting place--and it is interesting and it is a "place"--in the stream-of-culture: from academic and aesthetic perspectives, when I go back and read the Beats today, their work seems... hmmm? Weak/embarrassing?  Nihilistic?  Insipid? (Do they make of poetry a thing that it is not?  Hmm...) Along these lines, as I read Tom Wolfe's book The Electric Kool-Aid Acid Test, in passages where Wolfe parodies "Beat writing", I am struck that his passages are more impressive than the originals. And as far as that goes, Nathaniel Hawthorne, Herman Melville, Edgar Allan Poe and John Milton have written things that are far more "psychedelic" and "cosmic" and "transgressive" than anything the Beats ever came up with. Indeed, most of the Beats' "transgressive" and "cosmic" insights are little more than either gauche exercises in staring at their own belly-buttons, or Dutch-angle encomiums to the Goddess of Self-Destruction.  And this goes for hippies, freaks, new wave'ers, grungesters, goths, emos, witches (and whatever trendy or hipster "bag" you might crawl into, wear, evoke, or "conjure") as well...

Two pieces by Henri Lievens (1920 - 2000), Belgium

Cover for the Marabout pocket edition of La Guerre des salamandres (War with the Newts/Válka s Mloky) by Karel Čapek

Cover art for An...2391 by B.R. Bruss. 1974 
 

Writing about witches...

Mod paradigms...

(The building at the beginning of the video (starting at 0:21) is the Department of Water and Power building (Los Angeles Department of Water and Power) in Los Angeles, California.)

Bienvenido Bones Bañez, Junior announces an exhibition: The Paradise Lost Legacy - November 7-15, 2026 - Davao City, Philippines

A tribute to John Milton's 418th Anniversary! Including the world famous art book of Robert J Wickenheiser and Terrance Lindall: The John Milton Projects 2009-2015 by Terrance Lindall featured in an exhibition, with photos montages of historical events. And also Emanations Third Eye on Surrealmageddon, Emanations Zen, Emanations 11, and Emanations 12... 

"Behold the power of Golden Bat!"

A departure from Richard Powers' usual style... with the exception of the humanoid figure, bottom-center-right

1959 Ballantine Books Original (first) Edition; cover art by Richard Powers. Stories: "Danger! Child at Large" by C. L. Cottrell; "Twin's Wail" by Elizabeth Mann Borgese; "The Holy Grail" by Tom Purdom; "Angerhelm" by Cordwainer Smith; "The Dreamsman" by Gordon R. Dickson; "To Catch an Alien" by John J. McGuire; "Press Conference" by Miriam Allen deFord; and "Invasion from Inner Space" by Howard Koch. 156 pages.

Inquiry onto a self-portrait and a photograph: a case study, but studying what? Abnormal psychology? Aesthetics? Culture? Cultural production? The phenomenology of a "self" reading and viewing a clever blog post on a more-than-usually-clever blog? Books are listed on the right.

Ohne Titel (Selbstporträt) ~ Untitled (Self-portrait) by Raoul Hausmann, ca1915-1920, Oil on canvas Berlinische Galerie

Raoul Hausmann, 1919

Mi-Go brain cylinder in which the Outer Ones can convey a human brain across the interstellar void

Form and Substance Stabilizing through the Maximization of Bio-kinetic Equilibrium, Regardless of Verisimilitude and its Niceties -- a Menace to Conventional (and Civil!) Ontological Self-Concepts?

Okariyan from Ultraman Taro ep. 16e

 

The Sun card from the Summer "suit" of the Astronomia playing card deck, 1829

 

The deck featured three other seasonal suits (Autumn, Winter, Spring). The pack was released with instructions, "Explanation of the Celestial Cards", that details two games: Conjunction and Combination. Instead of suits, Astronomia uses color-coded seasons, with Zodiac constellations and other galactic bodies, like the Great Comet of 1680. 

Click HERE for more images from the deck.

Solar Surge Prominences & Active Coronal Arches — H-Alpha Time-Lapse (July 6, 2026)

"Master Terrance Lindall Leaping For Joy!" by Bienvenido Bones Bañez, Jr. (from Emanations 12)

Emanations and Penumbras - Emanations 12 reviewed on Amazon

A review by M-A Berthier:

I received a copy of this latest incarnation of Carter Kaplan's Emanations series, and this is perhaps the most interesting issue to date, and also in some ways the most adventurous. It contains stories, poems, essays, and several remarkable portfolios of art from various artists. I usually read these issues for the stories and the poems, and this one does not disappoint. One of those stories is a large excerpt of a work-in-progress by editor Kaplan, and his neo-picaresque fragment leaves me highly interested to see the rest -- it may well be his most enjoyable work to date. The opening story by Elkie Riches is a suitable keynote entry way for the entire book. The poems are a nice selection. Some of the high points were from Hodges, Falla, and Hassler, but I am still digesting this part of the book. The overall impression of this edition was its variety and its density. Applause.

Click the cover image to view the Amazon description: