Today's Topics:
re: out-of-print books / WB among the scientists
David and the tent -Reply
re: out-of-print books / WB among the scientists
re: out of print books
Re: Lawrence as Prophet and Its Reflection on Blake
Urizen!
re: out-of-print books / WB among the scientists
Frye's Orc --> Urizen in "Mental Traveller"
human form divined
Re: human form divined
DEAD MAN on Vapor records
Re: DEAD MAN on Vapor records
Blake sightings
lists
Re: lists
Re: lists
------------------------------
Date: Fri, 21 Feb 1997 16:57:27 MET
From: "D.W. DOERRBECKER"
To: blake@albion.com
Subject: re: out-of-print books / WB among the scientists
Message-Id: <98108A75B24@netwareserver.uni-trier.de>
February 21st, 1997
This message comes in two parts. And it's a long one, too.
[part 1: out- of- print books]
Yesterday, Elisa Beshero wrote:
> Charlie, you asked:
> >Would anybody be able to direct me to a place where I
> might find the following books for sale?
> >I'm looking for copies of...
> >Blake Records by G.E. Bentley, Jr. (1969) *and* The
Notebook of William Blake: A Photographic and Typographic
> Facsimile by David V. Erdman, ed. (1973, reprinted in
1977)
> >Thanks for any help, Charlie
> I forwarded a copy of your note to my prof, Paul Youngquist,
> who responded with:
> > the easy place to start would be with the Strand in
> NYC. There's also a bookstore in Santa Fe, NM that,
> oddly enough, gets some interesting Blake stuff. It's
> called The Sante Fe Bookseller. But trolling the web
> would probably be just as easy. I wonder if the Blake
> Archive has a query line.
To this conversation I'd like to add the following notes:
(1) Readers of *Blake: An Illustrated Quarterly* know more! Not
always, but more often than not. When Charlie was sending the
initial query to the list, and while Elisa Beshero forwarded it to
Paul Youngquist, subscribers to *BlakeQ* were already placing their
orders for remaindered copies of the facsimile and typographical
transcript of Blake's Notebook with a dealer who offers them at an
incredibly low price.
(2) My bias *in favour* of this journal ought to be, and is quite
easily, explained: I used to be a member of its editorial board for a
number of years, I've occasionally graced the pages of the *BlakeQ*
with some of my own effusions, and I live in a place outside the
Blake-speaking territories where a subscription to the Quarterly is
your only chance to keep in touch with current trends and debates in
Blake scholarship. No needs then to stress any further that for very
good reasons I have a *vital* interest in the *BlakeQ*, and I hope
that more and more of the subscribers to this list will join the
readers of the leading periodical publication in the field of Blake
studies.
(3) Now, let me demonstrate - - by simply quoting from the
"Newsletter" section in the current Winter issue -- just how useful
it is to read the *BlakeQ* regularly. At the price of a $20-magazine
one gets four issues packed with mostly intelligent and challenging
discussions of the work of Blake and his contemporaries, with reviews
of recent Blake-related monographs, and notes such as these:
Blake's Notebook Facsimile Available
Edward Hamilton Bookseller in Falls Village CT 06031-5000 (whole
address) is selling remaindered copies of the hardback edition
of Blake's Notebook (ed. David V. Erdman and Donald K. Moore)
for $13.95 plus $3.00 shipping (no matter how many you order the
total shipping charge is $3.00) (no tax except in CT). The stock
number required is 062839. Checks only; no orders by
phone/credit card.
However, careful readers of the Blake Online list also know more than
unconnected Blake afficionados do. And some of them may feel that I
ought to have chosen a better example in order to verify the claims
I've made on behalf of the *BlakeQ* (which would have been easy
enough, yet not quite to Charlie's and Elisa's point -- but see part
2, below). If my memory serves me right, about a month ago someone
has sent much the same information on remaindered copies of the 2nd,
rev. edn. of the Notebook facsimile prepared by David Erdman and
Donald Moore to the list -- and all for free! So let me combine my
praise for the Quarterly with that for Seth Ross and Mark Trevor
Smith whose enthusiasm allows us to "publish" all those serious and
not-so-serious, "stuffy" or sceptical, cool and theoretical, or
heated and pseudo-religious messages in a manner reminiscent of the
one recommended by Blake when he was poking fun (?) at Henry Crabb
Robinson -- i.e., by simply writing things down and then throwing
them out of the window ... of a computer screen.
Though this is probably not what Charlie wants to hear, I have to
add that, to the best of my knowledge, copies of Gerald Bentley's
compilation of *Blake Records* (1969, i.e., not the *Supplement*
which is still in print) are now rather difficult to find. In
consequence, and if the antiquarian dealer happens to know her or
his trade, they call for some small investment. Over the past five
years or so I've seen only two copies offered in dealers' catalogues,
one by Barry McKay Rare Books at 110 Pounds Sterling (i.e., more than
those ONE HUNDRED ENGLISH POUNDS asked for the [Who's] "Magic Bus"),
the other by the S.F.-based dealer John Windle who, *inter alia* ,
specializes in both original and secondary Blake materials and who
offered a copy of the *Records* for a mere $75 in his catalogue 26
of November 1995 (which was mostly devoted to the fine Blake
collection of the late Joseph Holland).
[part 2: Blake among the scientists; or, another example for
what's to be gained from the moderately priced pages of the
*BlakeQ*]
Blake and Science: Suggestions for Further Reading and Notes Stolen
from the Annual Checklists of Recent Publications on Blake and His
Contemporaries as Published in *Blake: An Illustrated Quarterly*,
c. 1990-1992
Ackland, Michael. "Ingrained Ideology: Blake, Rousseau, Voltaire
and the Cult of Reason." *Literature and Revolution*. Ed. David
Bevan. Rodopi Perspectives on Modern Literature 2. Amsterdam, Neth.:
Rodopi, 1989.
Ault, Donald. "Blake and Newton." *Epochen der Naturmystik:
Hermetische Tradition im wissenschaftlichen Fortschritt/Grands
Moments de la Mystique de la Nature/Mystical Approaches to Nature*.
Ed. Antoine Faivre and Rolf Christian Zimmermann. Berlin, W. Ger.:
Schmidt, 1979. 364-80. --An article which, I am afraid, has been
overlooked in *Blake/An Illustrated Quarterly*'s checklists for no
less than a decade. The author is here concerned with "1) the
oppositions between Blake and Newton's philosophical presuppositions
about *the world* they experience, . . . ; and 2) the opposition
between their treatments of the *reader* of their works" (367). In
a sense then, the essay supplies both a revised summary and
continuation of some of the chapters in Ault's 1974 monograph on the
same subject (see 368) and a first draft of some of the themes he is
concerned with in his recent book on *The Four Zoas*. Both problems
are seen as closely interrelated since "Blake counters the thrust of
Newtonian thinking not only ideologically but by constructing (in
*The Four Zoas*) a radical form of narration which opposes the
characteristics of what can be called, for our purposes, `Newtonian'
narrative" (373).
Clark, Steven H. "Blake's *Milton* and the Response to Locke in the
Poetry of Sensibility." Diss. U of Cambridge, 1986.
Danchin, Pierre. "Erasmus Darwin's Scientific and Poetic Purpose in
*The Botanic Garden*." *Science and Imagination in XVIIIth-Century
British Culture/Scienza e immaginazione nella cultura inglese del
settecento*. Proc. of the Conference Gargnano del Garda. 12-16 Apr.
1985. Ed. Sergio Rossi. Milan, It.: Unicopli, 1987. 133-50. --Darwin
"could not only accept the most modern theories or technical
achievements of his time, but project them into the future. . . .
this, we must consider, was only possible because the same man
combined within himself an extremely powerful intellect with an
exceptionally brilliant imagination" (148). Both of the plates which
were engraved by Blake after Fuseli and published in Darwin's book
are reproduced (see figs. 40-41). The same volume contains a number
of papers which are of related interest to the study of both Darwin's
and Blake's position in the cultural and scientific history of their
times; see, e.g., John H. Brooke's contribution on "Why Did the
English Mix Their Science and Their Religion?" (57-78), Michael
Hoskin's notes on "Cosmology and Theology: Newton and the Paradoxes of
an Infinite Universe of Stars" (237-40), or A. J. Smith's lecture on
"Sacred Earth: The Advance of Science and the Scope of Imagination"
(359-67).
Doskow, Minna. "William Blake and the Wheels of Compulsion."
*History and Myth: Essays on English Romantic Literature*. Ed.
Stephen C. Behrendt. Detroit, MI: Wayne State UP, 1990. 53-72. --In
this essay, and in order to "understand Blake's relation to the
history of ideas--his reactions to, and his understanding and
transformation of, philosophic thought," the author studies "the use
he made of particular philosophic ideas in his poetry" (53). She looks
with scrutiny at the role of an "unholy triumvirate" (55) that, under
changing names, was assigned to Bacon, Newton, and Locke in Blake's
writings--and she asks important questions. "Looking at Blake's
choice of philosophical targets, one is startled at the presence
there of the political liberals of his time. It is not immediately
obvious why he chooses Locke, Voltaire, and Rousseau to symbolize
human repression and the oppressive forces rampant in Europe when
these philosophers, like Blake himself, object to the reigning
tyrannical European monarchies, enunciate democratic principles, and
justify rights of political revolution" (55-56). Doskow further
discusses Blake's critique of Berkeley, Hume, and Voltaire as well as
the painter-poet's "imaginative alternative" (70) which transforms
"philosophical argument . . . into art through imaginative vision,
myth, and symbolic action" (71).
Hartman, Geoffrey H. "The Discourse of a Figure: Blake's `Speak
Silence' in Literary History." *Languages of the Unsayable: The Play
of Negativity in Literature and Literary Theory*. Ed. Sanford Budick
and Wolfgang Iser. New York, NY: Columbia UP, 1989. 225-40. --A
discourse prompted by "To the Evening Star," and which reaches the
conclusion that "Blake makes a claim here for a science (a mode of
representation) that belongs to poetic perception as such, and does
not presuppose a Newtonian or biblical power vacuum in which creation
supposedly took place. His poetry is a science of signs that
challenges the Newtonian vision" (237-38).
McNeil, Maureen. "Newton as National Hero." *Let Newton Be! A New
Perspective on His Life and Works*. Ed. John Fauvel, et al. Oxford,
Oxon.: Oxford UP, 1988. 223-39. --Blake's and Erasmus Darwin's
reactions toward Newton's scientific method and discoveries are
discussed at some length (223-29), and a few of Blake's pictures are
reproduced.
Peterfreund, Stuart. "Blake and Anti-Newtonian Thought." *Beyond
the Two Cultures: Essays on Science, Technology, and Literature*.
Ed. Joseph W. Slade and Judith Yaross Lee. Ames, IA: Iowa State UP,
1990. 141-60. --Peterfreund addresses Blake's (and others') "Problem
with Prescriptive Thought" (141-43), outlines the understanding of an
"Homo corpusculans in the Eighteenth Century" (143-44), turns to
Blake's understanding of language and its metaphors as "An Inspired
`Stubborn Structure'" (145-47), and then considers the poet's
"Ceaseless Mental Fight against Forgetfulness" (147-57). This fight
was meant to overcome the notion of "the void of Newtonian absolute
space" (148) in an attempt "to look within rather than without . . .
to recognize the figurality of the `bodied forth' world, as well as to
recognize the spiritual cause or origin of that figurality" (155).
Tallis, Raymond. "Newton's Sleep (1): Poets, Scientists and
Rainbows." *PN Review* 17.3 (1991): 47-52. --In this essay (and its
sequels) the author sets out to "examine the reasons, avowed and
implicit, for hostility to science, [to] hazard a guess at some of
the motives behind it, and point out the dangers posed to the health
and happiness of the planet when a large section of the
intelligentsia is ignorant of and hostile to technology and science"
(47). Blake and the English Romantics are discussed in this first
installment. Part "(2): The Eunuch at the Orgy" (17.4 [1991]: 48-51)
is concerned with the literary (and otherwise learned) critic who is
entirely unawares "of the particular facts, general laws and
underlying mechanisms revealed by science and exploited in
technology" (48). Parts "(3): `The Murderousness and Gadgetry of This
Age'" (17.5 [1991]: 39-42) and "(4): Anti-Science and Organic
Daydreams" (17.6 [1991]: 31-39) examine "the irrationality, the
hypocrisy and the dangers of contemporary technophobia" (part 3: 39).
Though Blake probably would not have approved of Tallis's polemics,
the Blake scholar is likely to profit from an examination of his
arguments. Readers who are at all interested in the current dichotomy
between science and the humanities will also want to have a look at
the ensuing discussion between Tallis and a literary critic (see 18.1
[1991]: 36-42 and 42-45). Blake's "Newton" is very much in the
foreground when Grevel Lindop defends the "Romantics" and maintains
that Tallis has got them "quite wrong--could hardly, in fact, have
got them wronger" (36).
The last mentioned article(s) by Tallis and Lindop's rebuke are highly
recommended to those who are actually interested in the larger and --
*horribile dictu* -- non-Blakean issues that are at stake in the
recent discussion of "Blake and Science" on this list.
My apologies for the terrifying and almost "Newtonian" dimensions of
this post.
--DW Doerrbecker
------------------------------
Date: Fri, 21 Feb 1997 10:14:10 -0600
From: David Medearis
To: blake@albion.com
Subject: David and the tent -Reply
Message-Id:
I do not want to fight with people, I just wanted to debate. I have
presented ideas which I hoped might stimulate discussion, but all my
ideas have done was piss people off. I have never been in one of
these chat lists before, so I did not know that emotions could get so hot.
I hoped that people would attack my arguments, but I feel as if no one is
even listening to my arguments; it is almost as if some of you are just
skimming through them looking for a place to attack ME!
PLEASE REMOVE ME FROM THIS LIST
Opposition is true friendship?
I think :/
------------------------------
Date: Fri, 21 Feb 1997 12:26:56 -0500 (EST)
From: Alexander Gourlay
To: blake@albion.com
Subject: re: out-of-print books / WB among the scientists
Message-Id:
Content-Type: TEXT/PLAIN; charset=US-ASCII
I don't know whether this is evidence that one should subscribe to the
list or to the Blake Quarterly. Or what. The copies of Blake's Notebook
offered by Edward Hamilton are not the hardcover edition of the Notebook,
alas, but the softcover. And though I have gotten a couple of flyers from
Hamilton lately I don't recall seeing the Notebook in them, so he may have
sold what he had. I did see several copies at Powell's Books in Chicago
last December, and I have found them around at other places too . . .
probably stores that buy remainders from Hamilton, as many do. Blake
Records is very hard to find -- the copy that Windle had for $75 was sold
even before the list was released. I'd love to find another at twice that
price.
Sandy Gourlay
------------------------------
Date: Fri, 21 Feb 1997 08:43:13 -0800 (PST)
From: Ralph Dumain
To: blake@albion.com
Subject: re: out of print books
Message-Id: <199702211643.IAA08044@igc2.igc.apc.org>
The Strand rarely has any good Blake books. The last time I
checked, all they had was Ackroyd's biography and Ellis'
biography. Before that they had several copies of Anne Mellor's
THE HUMAN FORM DIVINE. But unless Strand has good stuff in its
art section, which I rarely check, it is a waste of time for Blake
criticism. Blake books are hard to find in used book stores. The
best haul I ever made was in Cambridge, Mass.
------------------------------
Date: Fri, 21 Feb 1997 19:29:22 GMT
From: "Chloe.Simon"
To: blake@albion.com
Cc: Unsubscribe@arachnid.btinternet.com
Subject: Re: Lawrence as Prophet and Its Reflection on Blake
Message-Id: <199702211929.TAA09247@arachnid.btinternet.com>
Content-Type: text/plain; charset="us-ascii"
Unsubscribe please. I cannot stand anymore of Allbright's
self-satisfied drivel.
Simon Kovesi
Derbyshire
------------------------------
Date: Fri, 21 Feb 1997 15:45:11 -0500
From: albright@world.std.com (R.H. Albright)
To: blake@albion.com
Subject: Urizen!
Message-Id:
Content-Type: text/plain; charset="us-ascii"
Gloudina Bouwer:
I think a discussion of Urizen would be great! And it should start with
_The (First) Book of Urizen_, don't you think? Since this is one of my
favorite Blake visual achievements, the discussion should ideally include
text/visual relationships to see the fuller meaning that Blake intended.
-Randall Albright
http://world.std.com/~albright/
------------------------------
Date: Fri, 21 Feb 1997 21:47:21 MET
From: "D.W. DOERRBECKER"
To: blake@albion.com
Subject: re: out-of-print books / WB among the scientists
Message-Id: <985DD160915@netwareserver.uni-trier.de>
February 21st, 1997
Hi Sandy:
You say you
> don't know whether this is evidence that one should subscribe
> to the list or to the Blake Quarterly. Or what.
Well, what I had in mind was ... both (and I'll stick to that even
though you shatter much of the "evidence" I've presented).
> The copies of Blake's Notebook offered by Edward Hamilton are
> not the hardcover edition of the Notebook, alas, but the
> softcover. And though I have gotten a couple of flyers from
> Hamilton lately I don't recall seeing the Notebook in them,
> so he may have sold what he had.
Bad news, indeed. Maybe Patty Neill can tell us just where the
information in the Quarterly's "Newsletter" came from, and how old it
is.
> Blake Records is very hard to find --
didn't I say the same?
> the copy that Windle had for $75 was sold even before the list
> was released. I'd love to find another at twice that price.
I'll let you know in case another offer comes my way.
Best wishes,
DWD
*................................................*
. "You know how it is in the kid's book world: .
* It's just bunny eats bunny." *
. -- anonymous .
*................................................*
------------------------------
Date: Sat, 22 Feb 1997 10:49:41 -0500
From: albright@world.std.com (R.H. Albright)
To: blake@albion.com
Subject: Frye's Orc --> Urizen in "Mental Traveller"
Message-Id:
Content-Type: text/plain; charset="us-ascii"
Thank you, Gloudina Bouwer, for your disagreement with Frye on his
interpretation of "The Mental Traveller" as I see it on page 229 of my
edition of _Fearful Symmetry_.
I have re-read "The Mental Traveller", and believe the text supports this
view by Frye as much as your dispute with Frye.
After all, as an old saying goes,
"If one is young and not liberal, one has no heart.
If one is old and not conservative, one has no head."
I also must say that I disagree with both you and P.H. Butter that the end
implies a way out of the cycle. To me, it is set up to be an "Eternal
Recurrence", as a guy named Fred once said.
-Randall Albright
------------------------------
Date: Sun, 23 Feb 1997 02:09:59 -0800
From: Hugh Walthall
To: blake@albion.com
Subject: human form divined
Message-Id: <33101777.2E32@erols.com>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
The least biblical thing about Blake is his visual artistry.
Representation of the human form is decidedly a silly greek and roman
thing, how does Blake come to be a visual artist?
To me, Blake's art has always seemed like Dr. Johnson's analogy of the
dog walking on two legs: not that he does it well, but that he does it
at all.
The Bible itself goes out of its way to avoid physical descriptions of
people. We only know Absalom has long hair because we have to know
this. Ditto that Goliath is a tall guy.
How is an artist so appreciative of the deep strategies and rhetorical
and technical devices of the Bible able to side-step what is implicitly
and explicitly one of its strongest weaknesses: you may not utter the
name of G-- nor may you make an image of G--, AND because you are
created in his image....
Suffice it to say if Islam ever succeeds in overthrowing the West, Life
Study Classes in the Art Departments of the Junior Colleges will no
longer be offered.
Hugh Walthall hugwal@erols.com
------------------------------
Date: Sun, 23 Feb 1997 12:04:28 -0500
From: albright@world.std.com (R.H. Albright)
To: blake@albion.com
Subject: Re: human form divined
Message-Id:
Content-Type: text/plain; charset="us-ascii"
Hugh:
Despite those 10 Commandments-- aren't they just a bunch of "Thou Shalt
Nots" that are in a supposed Garden of Love, anyway?-- at least that's one
way to put it-- people in the Christian as well as Buddhist worlds LOVE
graven (and engraven) images. True, if the Islamic world ever gets this
far, they may be... subsumed like in Indonesia and have to take on native
customs such as Wayang Kulit... or... we'll be reduced to seeing things
only in abstract, geometric form?
I personally love Botticelli, Michelangelo, Blake... and it was precisely
in reaction to Luther's stark decree that I believe a Pope in Rome came up
with the idea of "Let's bring sensuality back into the church, to show that
life in this fallen world can be... HOT!" It worked, by the way. Trevi
Fountain, Piazza Navonna... they stand to this day as utterly amazing
achievements, in my humble opinion. (I emphasize the "humble" because some
people don't seem to realize that I'm in Lent right now, repenting for
appearing "arrogant" when I was simply presenting "views". My sense of
humor gets lost compared to private e-mail, too, from what one anonymous
Blake lister once told me.) Anyway... that same Pope had Michelangelo doing
the Sistine Chapel and many other things, before the next Pope did an
about-face, as I recall. (History buffs-- feel free to correct me if this
isn't quite right or you have a different point of view. I really don't
care if I'm "corrected" or "opposed".............)
But what has this got to do with Blake and his illuminated books? To me,
everything. They were presented, fused, into one amazing package,
handwriting intertwined with vines at a time when he could have typeset the
words alone, maybe stood them side by side with the images (this was
something he did for Thomas Gray's "Elegy in a Country Churchyard"-- he was
going through a much more Apollonian period of his career at that time,
again... in *my* humble opinion!). And then, beyond the swirl of visual and
verbal art that was printed, the hand-coloring showed how he could evoke
different moods even within one piece to a point that is, in my mind, far
greater than any of a number of, say, Debussy "Clair de Lune"
interpretations that I've heard. The range of Blake's moody watercoloring
palette is utterly amazing, enigmatic, and without them his sense of
"meaning" in those books would be greatly diminished.
And then there are the stunning print/paintings that hang, just by
themselves, in places, most notably that room of the Tate Gallery in
London. "Newton", "Good and Evil Angels", and "Pity" are among my favorite
paintings in the world, period, without any text needed. And how much does
one have to read the little "priest of Blake" explanation that the Tate
provides, versus what a Protestant may call "a direct relationship with God
(!)" and come to one's own conclusions about what is going on?
There's a guy named Howard Gardner, who my friends in education talk about
sometimes. He says there are at least seven ways of getting into things
like "art" or "history" or "literature" or a number of other things to make
it ENGAGING. Some people key into it through biography (Peter Ackroyd, for
example); you can see if, for some odd reason, it just "speaks to you", or
you can focus on the historical context (Erdman does this well in _Prophet
Against Empire_, Nurmi's _William Blake_, Jennifer Michael's point about
the chimney sweepers, for example-- not that Nurmi is clear-cut "history",
not "biography", because he isn't).
Gardner's theory has "breathed new life" into museums such as the Isabella
Stewart Gardner, one of the great museums of the world but which had grown
moribund and rather staid... in need of new keys into it through
docentship... as well as in education, where kids that are otherwise
bouncing their pencil erasers on the desk, but all of a sudden think,
"Wow!" when presented with another key into the material that excites them.
And the power of someone who CARES about what they're supposed to learn,
versus someone who thinks of it as a mechanistic chore... doesn't this
sound like Blake's difference between being inspired and Newton's sleep?
Getting back to the title of your post, Mr. Walthall:
I like the pun on "human form divided".
Take care.
-Randall Albright
http://world.std.com/~albright
------------------------------
Date: Sun, 23 Feb 1997 16:10:02 -0600 (CST)
From: reillys@ix.netcom.com (susan p. reilly)
To: blake@albion.com
Subject: DEAD MAN on Vapor records
Message-Id: <199702232210.QAA15623@dfw-ix5.ix.netcom.com>
This may already have been discussed on the list in connection with the
recent postings on the film _Dead Man_ (I haven't been reading too
closely lately) but Neil Young & Johnny Depp (!) have put together a
recording with "music from and inspired by the motion picture _Dead
Man_." Johnny Depp does the poetry readings. Has anyone heard it?
S. Reilly
------------------------------
Date: Sun, 23 Feb 1997 18:43:23 -0600
From: tomdill@wc.stephens.edu (TOM DILLINGHAM)
To: blake@albion.com
Subject: Re: DEAD MAN on Vapor records
Message-Id: <97022318432366@wc.stephens.edu>
I had the CD recording before I ever saw the movie, not expecting that
it would have fragments of actual dialogue from the movie as well
as Depp's readings. Young's guitar work is amazing, of course,
and I have found (after initial annoyance about the dialogue
interfering with the music) that the album has a very strong
effect on repeated hearings. (The only comparable effects that I
can think of occur with the "soundtrack" album of _The Thin Blue
Line_, with Philip Glass's score and quite a lot of the voice over
from the film--it's one of Glass
's better scores and the album has a truly eerie quality to it.
Some of John Zorn's made-for-cd albums are also slightly similar.)
I'm not sure people who have not seen the movie would enjoy it
as much as I did, but it is worth a listen--just not for any great
illumination, however, about Blake.
Tom Dillingham
------------------------------
Date: Sun, 23 Feb 1997 21:40:35 -0800
From: Steve Perry
To: blake@albion.com
Subject: Blake sightings
Message-Id: <331129D3.113E@surf.com>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
The fine arts museums of San Francisco have a great searchable site on
the Web for art images. A search of "Blake" turned up 102 'hits', which
include a lot of obscure images from Blake.
The URL is http://www.thinker.org/
Additionally, I went to see George Coates 20/20 Blake. It was a
sumptuous visual feast, with music that ranged from curious to
excellent. I wasn't expecting to like Blake's images in 3D, but I was
amazed at how they turned out. The take on Blake's poetry was
interesting, and Coates has made somewhat of a new drama out of some
Blake characters, with Urizen "a false god of fear and punishment"
stalking Enitharman and Los. One needs to check out ones academic
concerns when you put on the 3D glasses.
I went with a friend who had minimal knowledge of Blake before the
show. He enjoyed the visuals and music, and assured me he didn't have
too much more of an uderstanding of Blake after the show. That's not
the point however. Some of the images that Coates created were very
striking. One particularly excellent moment came when Los was exploring
the emensity and the webs of Vala, which were illustrated using an
expanding rotating web illuminated by multi-colored lights, which gave
the effect of jewelled nets.
If the show moves on and moves to your town it is definetly an
experience not to miss.
The web site is: http://www.georgecoates.org
------------------------------
Date: Mon, 24 Feb 1997 11:05:25 +0000
From:
To: blake@albion.com
Subject: lists
Message-Id: <19970224105952.AAA17101@mailhost.worldnet.att.net>
lists
------------------------------
Date: Mon, 24 Feb 1997 13:00:49 +100
From: "VLADIMIR GEORGIEU"
To: blake@albion.com
Subject: Re: lists
Message-Id: <2359FD458EF@picasso.ceu.hu>
> Subject: lists
> Priority: urgent
> Date: Mon, 24 Feb 1997 11:05:25 +0000
> From:
> To: blake@albion.com
> Reply-to: blake@albion.com
> lists
>
>
What does that word mean???
Vlado
vladimir Georgiev
------------------------------
Date: Mon, 24 Feb 1997 13:56:49 +0000
From: timli@controls.eurotherm.co.uk (Tim Linnell)
To: blake@albion.com
Subject: Re: lists
Message-Id: <25681.199702241356@merlot.controls.eurotherm.co.uk>
Content-Type: text/plain; charset="us-ascii"
>> lists
>>
>>
>
>What does that word mean???
The question is not what it means, but whether you instinctively
like it....
--------------------------------
End of blake-d Digest V1997 Issue #23
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