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The_dimka: codex seraphinianus

The_dimka: codex seraphinianus
in the late 70s italian architect, illustrator and industrial designer luigi serafini made a book, an encyclopedia of unknown, parallel world. it’s about 360-380 pages. it is written in an unknown language, using an unknown alphabet. it took him 30 month to complete that masterpiece that many might call “the strangest book on earth”. codex seraphinianus is divided to 11 chapters and two parts - first one is about nature and the second one is about people.btw five hundred years ago there was another book somewhat like that - voynich manuscript. take a look at some pages (click on image to see a bigger version) amazon sells those for 500 bucks or more you can read about it in wikipedia.i can’t even tell you how much i like stuff like that phat a? update 2 i ordered the book and it arrived. it is gigantic in size, thick and large. print, paper and binding quality is superb. they also insert a booklet - decodex, but it is in italian and i have not mastered that one yet.

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Voynich manuscript The Voynich manuscript is an illustrated codex hand-written in an unknown writing system. The vellum on which it is written has been carbon-dated to the early 15th century (1404–1438), and may have been composed in Northern Italy during the Italian Renaissance.[1][2] The manuscript is named after Wilfrid Voynich, a Polish book dealer who purchased it in 1912.[3] Some of the pages are missing, but about 240 remain. Fuck Yeah Bruce Timm! 30th October 2014 Photo reblogged from ComicsAlliance with 58 notes comicsalliance:

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Aspen no. 5+6, item 3: Three Essays Every era has to reinvent the project of "spirituality" for itself. (Spirituality = plans, terminologies, ideas of deportment aimed at the resolution of painful structural contradictions inherent in the human situation, at the completion of human consciousness, at transcendence.) In the modern era, one of the most active metaphors for the spiritual project is "art." The activities of the painter, the musician, the poet, the dancer et al, once they were grouped together under that generic name (a relatively recent move), have proved to be a peculiarly adaptable site on which to stage the formal dramas besetting consciousness, each individual work of art being a more or less astute paradigm for regulating or reconciling these contradictions. Of course, the site needs continual refurbishing. Whatever goal is set for art eventually proves restrictive, matched against the widest goals of consciousness.

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