Stunt Writer
An image from this journal on June 29, 2019 —
Related material — The Legends Slot —
See as well . . .
Kingsman 2 Director Reveals
How They Shot The Glastonbury Scene.
Tuesday, March 9, 2021
Glastonbury Meditation:
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Sunday, June 26, 2022
Mockery Day
For Monty Python —
"Glastonbury has been described as having a New Age community[6]
and possibly being where New Age beliefs originated at the turn of
the twentieth century.[7] It is notable for myths and legends often
related to Glastonbury Tor, concerning Joseph of Arimathea, the
Holy Grail and King Arthur." — Wikipedia
For American Democracy —
Related mockery from 2012 —
See also "Triangles Are Square" in 1984 —
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Wednesday, March 18, 2020
Arch vs. Pyramid
This morning’s online New York Times has news of Glastonbury:
Glastonbury Woo in this journal features the arch, not the pyramid.
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Sunday, May 3, 2009
Sunday May 3, 2009
Annals of
Sacred Geometry
Sacred Geometry
(The phrase “sacred geometry”
is of course anathema to most
mathematicians, to whom
nothing is sacred.)
From “The Geometric
Art of John Michell“:
From this morning’s
New York Times:
| John Michell, Counterculture Author Who Cherished Idiosyncrasy, Dies at 76
By DOUGLAS MARTIN Mr. Michell, a self-styled Merlin of the 1960s English counterculture, inspired disciples like the Rolling Stones with a deluge of writings…. |
Michell, who wrote on Glastonbury
(a site associated with King Arthur)
and on sacred geometry, seems to
have had a better education than
most sacred-geometry enthusiasts.
He is said to have studied at
Eton and at Trinity College,
Cambridge.
(a site associated with King Arthur)
and on sacred geometry, seems to
have had a better education than
most sacred-geometry enthusiasts.
He is said to have studied at
Eton and at Trinity College,
Cambridge.
He is not to be
confused with an earlier
Trinity figure, mathematician
John Henry Michell,
who died at 76 on the third
day of February in 1940.
Related material:
See the Log24 entry
from the date of death
of the later Michell —
April 24 —
and, in light of the later
Michell’s interest in
geometry and King Arthur,
the Log24 remarks for
Easter Sunday this year
(April 12).
These remarks include the
following figure by
Sebastian Egner related,
if only through myth,
to Arthur’s round table —
— and the classic Delmore Schwartz
poem “Starlight Like Intuition
Pierced the Twelve.”
Which of the two John Michells
(each a Merlin figure of sorts)
would be more welcome in
Camelot is open to debate.
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Tuesday, January 13, 2009
Tuesday January 13, 2009
The Mists of
Brooklyn
Brooklyn
“Typically, each piece depicts a monumentally sized object that often comments archly on its surroundings….”
|
Architectural |
Arch at |
For some context, see
- an entry of Nov. 25, 2002, that contained the above two images
- and the two entries of last Sunday, with their references to Marion Zimmer Bradley and to the Brooklyn Bridge.
The ashes of Bradley,
who wrote about Camelot
in The Mists of Avalon,
are said to have been
scattered at Glastonbury Tor.
For material on the afterlife
and Brooklyn, see
Only the Dead.
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Friday, February 16, 2007
Friday February 16, 2007
“The much-borrowed Brown formula involves some very specific things. The name of a great artist, artifact or historical figure must be in the book’s story, not to mention on its cover. The narrative must start in the present day with a bizarre killing, then use that killing as a reason to investigate the past. And the past must yield a secret so big, so stunning, so saber-rattling that all of civilization may be changed by it. Probably not for the better.
This formula is neatly summarized….”
Cover illustration
for
The Judas Seat:
for
The Judas Seat:
The Narrative:
The Secret:
Part I
“Little ‘Jack’ Horner was actually Thomas Horner, steward to the Abbot of Glastonbury during the reign of King Henry VIII…. Always keen to raise fresh funds, Henry had shown a interest in Glastonbury (and other abbeys). Hoping to appease the royal appetite, the nervous Abbot, Richard Whiting, allegedly sent Thomas Horner to the King with a special gift. This was a pie containing the title deeds to twelve manor houses in the hope that these would deflect the King from acquiring Glastonbury Abbey. On his way to London, the not so loyal courier Horner apparently stuck his thumb into the pie and extracted the deeds for Mells Manor, a plum piece of real estate. The attempted bribe failed and the dissolution of the monasteries (including Glastonbury) went ahead from 1536 to 1540. Richard Whiting was subsequently executed, but the Horner family kept the house, so the moral of this one is: treachery and greed pay off, but bribery is a bad idea.” –Chris Roberts, Heavy Words Lightly Thrown: The Reason Behind the Rhyme
Part II
“The Grail Table has thirteen seats, one of which is kept vacant in memory of Judas Iscariot who betrayed Christ.” —Symbolism of King Arthur’s Round Table
“In medieval romance, the grail was said to have been brought to Glastonbury in Britain by Joseph of Arimathea and his followers. In the time of Arthur, the quest for the Grail was the highest spiritual pursuit.” —The Camelot Project
and the three entries preceding it:
“And what the dead had no speech for, when living,
they can tell you, being dead:
the communication of the dead is tongued with fire
beyond the language of the living.”
they can tell you, being dead:
the communication of the dead is tongued with fire
beyond the language of the living.”
— T. S. Eliot, Four Quartets
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Monday, November 25, 2002
Monday November 25, 2002
The Artist’s Signature
This title is taken from the final chapter of Carl Sagan’s novel Contact.
“There might be a game in which paper figures were put together to form a story, or at any rate were somehow assembled. The materials might be collected and stored in a scrap-book, full of pictures and anecdotes. The child might then take various bits from the scrap-book to put into the construction; and he might take a considerable picture because it had something in it which he wanted and he might just include the rest because it was there.”
— Ludwig Wittgenstein, Lectures and Conversations on Aesthetics, Psychology and Religious Belief
“Not games. Puzzles. Big difference. That’s a whole other matter. All art — symphonies, architecture, novels — it’s all puzzles. The fitting together of notes, the fitting together of words have by their very nature a puzzle aspect. It’s the creation of form out of chaos. And I believe in form.”
— Stephen Sondheim, in Stephen Schiff, Deconstructing Sondheim,” The New Yorker, March 8, 1993, p. 76
“All goods in this world, all beauties, all truths, are diverse and partial aspects of one unique good. Therefore they are goods which need to be ranged in order. Puzzle games are an image of this operation. Taken all together, viewed from the right point and rightly related, they make an architecture. Through this architecture the unique good, which cannot be grasped, becomes apprehensible. All architecture is a symbol of this, an image of this. The entire universe is nothing but a great metaphor.” — Simone Weil, sister of Princeton mathematician André Weil, First and Last Notebooks, p. 98 |
This passage from Weil is quoted in
Gateway to God,
p. 42, paperback, fourth impression,
printed in Glasgow in 1982 by
Fontana Books
“He would leave enigmatic messages on blackboards,
signed Ya Ya Fontana.”
— Brian Hayes on John Nash,
The Sciences magazine, Sept.-Oct., 1998
“I have a friend who is a Chief of the Aniunkwia (Cherokee) people and I asked him the name of the Creator in which
he replied… Ya Ho Wah. This is also how it is spoken in Hebrew. In my native language it is spoken
Ya Ya*,
which is also what Moses was told
at the ‘Burning Bush’ incident.”
— “Tank” (of Taino ancestry), Bronx, NY, Wednesday, April 17, 2002
From a website reviewing books published by
Fontana:
“Master and Commander (Patrick O’Brian)”
1/17/02: NEW YORK (Variety) – Russell Crowe is negotiating to star in 20th Century Fox’s “Master and Commander,” the Peter Weir-directed adaptation of the Patrick O’Brian book series.
Hmmm.
*For another religious interpretation of this phrase, see my note of October 4, 2002, “The Agony and the Ya-Ya.”
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