via The Art of Sculpture:
Xu Bing, A Book from the Sky. 1987-91.
An installation that took Xu Bing over four years to complete, A Book from The Sky is comprised of printed volumes and scrolls containing four thousand “false” Chinese characters invented by the artist and then painstakingly hand-cut onto wooden printing blocks.
via Bailey, whose tags for this are important:
#oh wow #you guys #she literally invented as many characters as an educated Chinese person knows #she literally invented an entire ideographic writing system #you guys #art #A Book from the Sky #I wonder who translated the title #in Japanese the character for sky also means void
Onomatopoeias for Shots Fired, an inventory by Robert.
Pew pew.
(I just shot you.)
(With lasers.)
PEW PEW PEW
I just shot you again.
‘Cause you came back as a zombie.
Please note that I shot louder because it was distressing to see you come back as a zombie.
Kerblammo!
katow!-katow!-katow!
chickachickachickachickachicka
(a very tiny gatling gun)
kchtung!kchtung!kchtung!
High power bullets bouncing off of really heavy armor.
psiwpsiwpsiw
(even smaller laser pistol, the kind that are wielded by space gremlins)
(they really sting)
clankkchtingshlunkclack… … …
(impotent high-powered rifle)
(being loaded)
waaaaaaaaaaaaahthud
(human cannonball)
blargity blargity blarg blarg!
(that’s a monster gun that shoots puke)
BORGES:
I remember what Bernard Shaw said, that as to style, a writer has as much style as his conviction will give him and not more. Shaw thought that the idea of a game of style was quite nonsensical, quite meaningless. He thought of Bunyan, for example, as a great writer because he was convinced of what he was saying. If a writer disbelieves what he is writing, then he can hardly expect his readers to believe it. In this country, though, there is a tendency to regard any kind of writing—especially the writing of poetry—as a game of style. I have known many poets who have written well—very fine stuff—with delicate moods and so on—but if you talk with them, the only thing they tell you is smutty stories or they speak of politics in the way that everybody does, so that really their writing turns out to be a kind of a sideshow. The had learned writing in the way that a man might learn to play chess or to play bridge. The were not really poets or writers at all. It was a trick they had learned, and they had learned it thoroughly—except four or five, I should say—seemed to think of life as having nothing poetic or mysterious about it. They take things for granted. They know that when they have to write, then, well they have to suddenly become rather sad or ironic.
via chromatichouse
"I have always believed that you not only cast a strip to enable the characters to do things you want them to, but that the characters themselves, by their very nature and personality, should provide you with ideas. These are the characters who remain in the feature and are seen most often. The more distinct the personalities are, the better the feature will be. Readers can then respond to the character as though they were real."
Charles M. Schulz, PEANUTS: A Golden Celebration.
(via docshaner)
(via drawnblog)
