Tales Of Illuminatus!

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Alan Moore In Conversation With Youth

Alan Moore in conversation with Youth - Super Weird Happening, April 01, 2017 from Jahski on Vimeo.

The 14 hour Super Weird Happening at the Florrie, Liverpool 8, was a day of wonderment, inspiration and discovery. The highlight, for many, was the conversation between Alan Moore and Youth. If anything is gonna make you get off your arse and do something about the talent inside of you, this is it. Just do it!

Rockers, artists pay tribute to James Joyce with massive project

“What I found out,” says Pyle, “was that there were all these niches and subcultures — dead heads, punk rockers, out-there artists, avant-garde classical musicians, Robert Anton Wilson fans — and within their subcultures ‘Finnegans Wake’ has a lot of importance. ... What I think happened was we were able to bring together a bunch of niches, people who were interesting and also supportive — that cult thing, when you’re really into something, you’re really into something. We brought together those people as both audience and contributors.”
http://www.telegram.com/entertainmentlife/20170510/rockers-artists-pay-tribute-to-james-joyce-with-massive-project

The Modernest response to Chinese Art

The Modernist Response to Chinese Art

Plunder or preservation? How Asian art came to U.S.

'America's involvement with China goes back to the late 18th century, when Yankee ships began to trade fur pelts and wheat (and later opium) for tea, silks and dishware. As early as 1845-1847, Boston presented the "Great Chinese Museum."

Harvard University trained and underwrote many early explorers of China's cultural and archaeological heritage. The 19th century scholar Ernest Fenollosa traveled to the East, converted to Buddhism, oversaw the Oriental section at Boston's Museum of Fine Arts and wrote an essay on the Chinese written character which inspired Ezra Pound's translations.--http://hamptonroads.com/2015/03/plunder-or-preservation-how-asian-art-came-us

The Believer interview with Alan Moore

(Believer Magazine) BLVR: Is magic’s most authentic expression through the creative imagination?

(Alan Moore) AM: Actually, art and magic are pretty much synonymous. I would imagine that this all goes back to the phenomenon of representation, when, in our primordial past, some genius or other actually flirted upon the winning formula of “This means that.” Whether “this” was a voice or “that” was a mark upon a dry wall or “that” was a guttural sound, it was that moment of representation. That actually transformed us from what we were into what we would be. It gave us the possibility, all of a sudden, of language. And when you have language, you can describe pictorially or verbally the strange and mystifying world that you see around you, and it’s probably not long before you also realize that, hey, you can just make stuff up. The central art of enchantment is weaving a web of words around somebody. And we would’ve noticed very early on that the words we are listening to alter our consciousness, and using the way they can transform it, take it to places we’ve never dreamed of, places that don’t exist.

When that enchantment is the creation of gods and the creation of mythology, or the kind in the practice of magic, what I believe one is essentially doing is creating metafictions. It’s creating fictions that are so complex and so self-referential that for all practical intents and purposes they almost seem to be alive. That would be one of my definitions of what a god might be. It is a concept that has become so complex, sophisticated, and so self-referential that it appears to be aware of itself. We can’t say that it definitely is aware of itself, but then again we can’t really say that about even our fellow human beings.--http://www.believermag.com/issues/201306/?read=interview_moore

Alan Moore reads from 'Masks of the Illuminati' by Robert Anton Wilson