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The main collection is a result of Mr. Flinders Petrie's excavations in 1889, and was brought from Deir El-Hammam, three miles N. of Illahun. To it are added a few fragments (Nos. XX, XXVI, XLIX, and LIII), acquired at Hawara. The subjects represented are (I) Biblical texts :—To the one example previously described, a second is now added. (II) Patristic texts:—I have placed among these some curious fragments which give, inter alia, the account of a dream, because I was at a loss more appropriately to class them. (HI) Liturgical texts : A small group, put together since I wrote my former description. (IV) Letters : This section embraces (as in the other collections) a large proportion of the whole. (V) Lists and accounts: Some very small scraps are included here. Of the so-called Legal documents, numerous in Vienna,' there are but three mutilated specimens (Nos. XXXV, XXXVI, XXXVII). These I have held it allowable to class with the letters....

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Having lived as an experimental ‘artist-at-large’ for the past two decades, I took it upon myself to try my hand at representative oil painting this year. I moved to Florence, Italy, in December, 2012, because I wanted to see how renaissance painters created Beauty on canvas. What I found was that far from being hyperrealist in the execution of their paintings, the Old Masters simply attempted to create Beauty in as realistic a way as was possible. Trompe l’oeil was and is a niche technique. The unitiated often fetishise hyperverisimilitude, believing it to possess the greatest intrin- sic artistic value. But my goal is to create Beauty. I’ve even created my own art movement which I call Pulchrism. So I attempted realism in painting this year merely as a potential vehicle for Beauty. Drawn somewhat unconsciously to silent movie imagery, I began this quest with a still image capture from an old movie, interpreting its general form into my Sacred Hermaphrodite diety 5=6 who descends onto Florence’s Via del Moro. From there I pursued more realistic body contouring with Suffrage and Beauty Disarming Love, learning about backgro...

Author’s imagination of how would look the physical micro-universe using composed, found, changed, modified, alternated, or computer-programmed art works. These images are part of a series of about 100 cyberart creations representing the unimaginable little word of physics particles, anti-particles, un-particles that compose the matter, anti-matter, and un-matter....

Electronic Art (forward): 4 QUANTUM: 5 …micro-universe images QUANTUM THEORY: 23 …micro-universe images QUANTIZATION: 39 …micro-universe images QUANTUM NUMBERS: 56 …micro-universe images QUANTUM MECHANICS: 72 …micro-universe images GENERALIZATION OF SCHRÖDINGER EQUATION: 88 …micro-universe images...

It seems that I am an anti-talent to drawings and paitings in a traditional manner. I even disregard this kind of art, wich can easi ly be replaced by mechanical reproduction. Therefore, I gathered nearly a quarter of my "anti-art" art-work done in Turkey, USA (here I got in touch with tbe straight art., in bright basic colors - yellow for the sun, blue for the sky, red for the fire, and black for the night somehow naive, of Navajo, Zuni, Apache, Hopi and Pima Indian tribes), and Mexico, beTWeen 1988 - 2000, in a paradoxist way: - paiting for non-paiting sake - not drawings. but OUf every day's scribblings - paiting overlapping another paiting - found art in the wasting basket of the art - fine ugly an - para-an and contra-an - art without an - scientific an. All of the ahove procedures become, after a period of maybe sbocking time. 'normal' (please read 'traditional') art. Which later would be classified, in their turn as supcrnuated. And again they come back to life wi~h a '"neo" prefix art. because an is cyclic. Let's catch the paradoxism in an - an avante-garde movemcot I set up in 1980's, which is focusing on contradictions (an...

In the history of thought and creation, the decisive events, the great and significant moments, the strongly affirmative stages - then the imposition of the optimizing novelties - have depended on the name and prestige of a personality. Referring to those, we personalize further on. The examples are extremely numerous, even in our nearest past. When we mention a creation - in the largest sense of the term - with the name of the personality who illustrates it most extensively at a given time, we state precisely the specific importance of it; we give it, with other words, the identity to which we can refer continuously with full knowledge and without causing any confusion among the receivers. The facts are called with the name of the man who produced them, and in this way we can compose a parallel onomastic dictionary, in which the work is included in the person’s space, keeping its content. The consecrated proper names evolve through quickly imposed habits, a large range of increments that announce the essential outline of their peak production. No space for ambiguity remains when we address to readers or listeners who are...

In aesthetics, the paradox means the apparent resolution of an enigmatic situation (the result of such a process is the satisfaction of a distention), the emotional moving force being the unforeseen, the unexpected (which generates and also perturbs a new tension). Therefore, the paradox is simultaneously a conclusion and a provocation, consisting in the concomitance of the opposites, which gives it a real specificity. The paradox is of the nature of an explosive nucleus resulting from the fusion of satisfaction and anxiety. The first situation, during an instant, is derived from the appearance of something with a convincing meaning; the second one, that comes immediately, is the perception of something concealed and absurd. Something, that is dissimulated under the level of the logical acceptance, jumps out abruptly in the main point to consider and constrains to acknowledgment. It looks as if it were an error, but not so big as to take alarm and not even to be clearly inhibited. It is a mechanism of exception in thought, that will accepted with the complicity of a total sympathetic tolerance. The aesthetic behaviour of ...

A long story written in the form of a scenario. It was set in the last period of Turkish Empire. The period in which appointing a state governor (Pasha) can easily come about by paying small amount of money to the Emperor’s men in Istanbul, without taking into consideration the characteristics and personality of the person who would they send to become ‘Pasha’ of Baghdad. The story contains harsh scenes about the life of Baghdad’s inhabitants, and heavily relies on the true history of the city of Baghdad, including its famous places and characters. The events move dramatically throughout the story with loads of scenes of violence and chaos that reflect the people's psyches, traditions and their sorrows and hopes. ...

Ali and Zahra are sitting next to each other. Zahra: Would it be war? Ali : I do not know, my father says when the Sultan sent his army to Baghdad it must be war, inside or outside the city . Zahra : ( jokingly ) and what about you, are you going to join? Ali : ( proudly , but sarcastically ) I'll be an officer in the cavalry battalion , with the gun "pistol" of three inches. I will occupy this neighborhood in the first day.. and every evening I would hold all guards.., from midnight till morning. (They laugh) Zahra: See, the light of dawn began to appear there over the orchards. Ali: It is scary. Zahra: Why do you see it scary ? Ali: With the full dawn, the war may start. (Pause..) ..Zahra, I thought yesterday to speak with my mother ... Zahra: About what? Ali : So she can talk to my father about our marriage . ...

This book presents a short panorama of commented art theories, together with experimental digital images using adopted techniques from various fields, in order to inspire the actual artists to choose from, and also to invent or adopt new procedures in producing their artworks. This book presents a short panorama of commented art theories, together with digital art images using adopted techniques from various fields, in order to inspire the actual artists to choose from, and also to invent or adopt new procedures in producing their artworks....

Earth Art requires huge work on land, sod, grass. It started in 1968 with Robert Morris utilizing a pile of dirt, and Robert Smithson who filled some boxes with rocks. Some projects demand enormous effort, for example carving the American presidential portraits in Mount Rushmore by Gustom Borglum, or wrapping the Australian coastline in 1969 with plastic and rope by Javacheff and Jeanne-Claude Christo (packed objects). Ephemeral patterns (art) in the snow by Dennis Oppenheim. But some earthworks are criticized of disturbing the nature and upsetting the ecology. Earth Outer-Art takes the work done by nature, such as Volcanoes, Storms, Hurricanes, Tsunami, Earthquakes, etc. as Found Earth Outer-Art, but unfortunately destructive art. Let’s say volcano Krakatoa in Indonesia, Hurricane Katrina in New Orleans… see how impressive destructive earth outer-art they did! Or the falling of a meteor on planet Earth, creating big craters as work of natural art. Thomas Cole, in the 19th century, believed that nature was created by God, who is an Artist. Catastrophic Outer-Art at a large scale is that inflicted by atomic bombs, as those at ...

Definition of Unification of Art Theories (UAT) --- 1, and back cover Preface – essay: Unification of Art Theories (UAT), a manifesto --- 5 Mail oUTER-aRT --- 34 Mail oUTER-aRT 2007 ------------- first cover Mail oUTER-aRT 1 ------------------ 35 Mail oUTER-aRT 2 ------------------ 36 Mail oUTER-aRT 3 ------------------ 37 Mail oUTER-aRT 4 ------------------ 38 Mail oUTER-aRT 5 ------------------ 39 Mail oUTER-aRT 6 ------------------ 40 Mail oUTER-aRT 7 ------------------ 41 Mail oUTER-aRT 8 ------------------ 42 Mail oUTER-aRT 9 ------------------ 43 Mail oUTER-aRT 10 ----------------- 44 Mail oUTER-aRT 11 ----------------- 45 Mail oUTER-aRT 12 ----------------- 46 Mail oUTER-aRT 13 ----------------- 47 Mail oUTER-aRT 14 ----------------- 48 Mail oUTER-aRT 15 ----------------- 49 Mail oUTER-aRT 16 ----------------- 50 Mail oUTER-aRT 17 ----------------- 51 Mail oUTER-aRT 18 ----------------- 52 Mail oUTER-aRT 19 ----------------- 53 Mail oUTER-aRT 20 ----------------- 54 Mail oUTER-aRT 21 ----------------- 55 Mail oUTER-aRT 22 ----------------- 56 Mail oUTER-aRT 23 ----------------- 57 Mail oUTER-aRT 24 ...

Spanning periods spent in a vast range of locations, an identifiable style begins to crystallize, which links seemingly disparate expressions, heedless of media employed. A forthright, earnest, and earthy vein courses through the works of Jesse Waugh, as he endeavors to deliver pulchritude manifest. The compendium concludes with The Pulchrist Manifesto, which should serve to define the art movement which has been inaugurated by Jesse Waugh....

I first noticed Jesse Waugh as a young student at L.A.City College in 1995. He would sit in the History of Cinema class, on the right hand side of one of the front rows of the college movie theater, with his roaring twenties-style, buzzed-on-the-back-and-sides, neatly-combed-on-top haircut. When I saw him working at the Temporary Contemporary Art Museum downtown I approached him to model for some photos, not realizing how well my offer fit into his particular style of self-expression. The intention behind Jesse’s art, while it can’t be pinned down in a few words, has a lot to do with exploring—or a more precise word might be celebrating—the self and the ego. His work is informed by his religious upbringing in a California church with a doctrine based in Hinduism. While riffing on the church’s mythology and iconography, Jesse’s art is in part a howl of dissent against its core ideas, or at least the way they have become codified. There’s a concept I once heard expressed by Guru Singh of Yoga West—one of the pre-eminent American teachers of Kundalini Yoga—that rather than suppressing the ego, we should work to expand it out to infi...

FOREWARD 4 INTRODUCTION 5 FILM 7 OBJECTS 23 IMAGES 43 PERFORMANCES 63 MUSIC 71 ARCHITECTURE 79 GALLERY 93 LOGOS 113 PUBLICATIONS 115 PRODUCTS 125 THE PULCHRIST MANIFESTO 141...

NonNovel is indeed a novel of drawer, carried year after year in the bottomless sack of the exile. This fierce parabola about totalitarianism, about alienation, guilty obedience and lie, opportunism, cruelty, violence, monstrosity, written in a strong tensioned and lacking bashfulness style, situates Florentin Smarandache closer by Orwell, Konwicki, Koestler, Baconsky, and marks a new dimension of the Paradoxism....

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WARNING!: 5 Mister Editor (a letter arrived at the editorial office): 6 I: 7 Dedication: 10 The Adventures of Hon Hyn: 11 Happenings from Wodania: 23 II: 26 About patriotism: 28 The royal feast: 29 The press: 30 Post Office: 31 The State control: 32 Non-values’ Epoch: 36 Pluralism: 43 A leader not like anyone else: 45 Invisible barriers: 46 The graduates’ allocation: 49 The lunatic asylum: 50 The abolishing of the difference between man and animal: 56 III: 59 The Earthquake: 60 Modern gallinacean: 62 The crop of pea: 63 The peasantry: 64 The intellectuality: 66 A little meditation does not hurt: 67 The Fonfoist Party: 69 An unsafe life was provided to us: 70 A certain kind of speech: 72 The Fonfoist Society: 83 “We will live here in abundance”: 87 The multilateral development of personality: 93 The Police and the Revolution: 95 Imposing buildings of prisons: 97 Football: 99 Public genuflection: 100 The contemporary history: 102 Hon Hyn’s visit to Paris: 103 The National Museum: 104 The Management of the Economical Systems: 105 A few notions of psychology: 106 (editor’s note): 109 The wise po...