"An imposing edifice of thought. Every one of its twenty chapters will richly repay careful reading. Those passages dealing with ethics, love, the significance of knowledge, and the meaning of life are hard to surpass." - New York Evening Post The title of this book, Tertium Organum, boldly refers no less to a reorganization of all knowledge, but it is primarily a study of psychology, more specifically the psychology of our higher mind. For Ouspensky what we can call the higher mind represents, within a single person, the development of an entirely new way of understanding. In short, psychology is the art of self-study. With remarkable scope and sophistication, Ouspensky shows us in this book, which has been hailed as "a work of genius," just how vast and strange our universe really is.
The artists’ books made in Russia between 1910 and 1915 are like no others. Unique in their fusion of the verbal, visual, and sonic, these books are meant to be read, looked at, and listened to. Painters and poets—including Natalia Goncharova, Velimir Khlebnikov, Mikhail Larionov, Kazimir Malevich, and Vladimir Mayakovsky— collaborated to fabricate hand-lithographed books, for which they invented a new language called zaum (a neologism meaning “beyond the mind”), which was distinctive in its emphasis on “sound as such” and its rejection of definite logical meaning. At the heart of this volume are close analyses of two of the most significant and experimental futurist books: Mirskontsa (Worldbackwards) and Vzorval’ (Explodity). In addition, Nancy Perloff examines the profound differences between the Russian avant-garde and Western art movements, including futurism, and she uncovers a wide-ranging legacy in the midcentury global movement of sound and concrete poetry (the Brazilian Noigandres group, Ian Hamilton Finlay, and Henri Chopin), contemporary Western conceptual art, and the artist’s book. Sound recordings of zaum poems featured in the book are available at www.getty.edu.
Western Sufism' is sometimes dismissed as a relatively recent "new age" phenomenon, but in this book, Mark Sedgwick argues that it actually has very deep roots, both in the Muslim world and in the West. In fact, although the first significant Western Sufi organization was not established until 1915, the first Western discussion of Sufism was printed in 1480, and Western interest in some of the ideas that are central to Sufi thought goes back to the thirteenth century. Sedgwick starts with the earliest origins of Western Sufism in late antique Neoplatonism and early Arab philosophy, and traces later origins in repeated intercultural transfers from the Muslim world to the West, in the thought of the European Renaissance and Enlightenment, and in the intellectual and religious ferment of the nineteenth century. He then follows the development of organized Sufism in the West from 1915 until 1968, the year in which the first Western Sufi order based not on the heritage of the European Middle Ages, Renaissance and Enlightenment, but rather on purely Islamic models, was founded. Later developments in this and other orders are also covered. Western Sufism shows the influence of these origins, of thought both familiar and less familiar: Neoplatonic emanationism, perennialism, pantheism, universalism, and esotericism. Western Sufism, then, is the product not of the new age but of Islam, the ancient world, and centuries of Western religious and intellectual history.
The long-awaited new edition of a groundbreaking work on the impact of alternative concepts of space on modern art. In this groundbreaking study, first published in 1983 and unavailable for over a decade, Linda Dalrymple Henderson demonstrates that two concepts of space beyond immediate perception—the curved spaces of non-Euclidean geometry and, most important, a higher, fourth dimension of space—were central to the development of modern art. The possibility of a spatial fourth dimension suggested that our world might be merely a shadow or section of a higher dimensional existence. That iconoclastic idea encouraged radical innovation by a variety of early twentieth-century artists, ranging from French Cubists, Italian Futurists, and Marcel Duchamp, to Max Weber, Kazimir Malevich, and the artists of De Stijl and Surrealism. In an extensive new Reintroduction, Henderson surveys the impact of interest in higher dimensions of space in art and culture from the 1950s to 2000. Although largely eclipsed by relativity theory beginning in the 1920s, the spatial fourth dimension experienced a resurgence during the later 1950s and 1960s. In a remarkable turn of events, it has returned as an important theme in contemporary culture in the wake of the emergence in the 1980s of both string theory in physics (with its ten- or eleven-dimensional universes) and computer graphics. Henderson demonstrates the importance of this new conception of space for figures ranging from Buckminster Fuller, Robert Smithson, and the Park Place Gallery group in the 1960s to Tony Robbin and digital architect Marcos Novak.
Bringing together ecology, evolutionary moral psychology, and environmental ethics, J. Baird Callicott counters the narrative of blame and despair that prevails in contemporary discussions of climate ethics and offers a fresh, more optimistic approach. Whereas other environmental ethicists limit themselves to what Callicott calls Rational Individualism in discussing the problem of climate change only to conclude that, essentially, there is little hope that anything will be done in the face of its "perfect moral storm" (in Stephen Gardiner's words), Callicott refuses to accept this view. Instead, he encourages us to look to the Earth itself, and consider the crisis on grander spatial and temporal scales, as we have failed to in the past. Callicott supports this theory by exploring and enhancing Aldo Leopold's faint sketch of an Earth ethic in "Some Fundamentals of Conservation in the Southwest," a seldom-studied text from the early days of environmental ethics that was written in 1923 but not published until 1979 after the environmental movement gathered strength.
Burn your candle of life from both ends! Burn it so intensely... if it is finished in one second it is okay, but at least you will have known what it is. Only intensity penetrates. And if you can live an intense life you will have a different quality of death, because you will die intensely. As life is, so will the death be. -Osho
Explores the influence of Russian aesthetics on British modernistsIn what ways was the British fascination with Russian arts, politics and people linked to a renewed interest in the unseen? How did ideas of Russianness and the Russian soul - prompted by the arrival of the Ballets Russes and the rise of revolutionary ideals - attach themselves to the existing British fashion for theosophy, vitalism and occultism? In answering these questions, this study is the first to explore the overlap between Slavophilia and mysticism between 1900 and 1930 in Britain. The main Russian characters that emerge are Fedor Dostoevsky, Boris Anrep, Vasily Kandinsky, Petr Ouspensky and Sergei Eisenstein. The British modernists include Roger Fry, Virginia Woolf, Mary Butts, John Middleton Murry, Michael Sadleir and Katherine Mansfield. Key Features: Draws on unpublished archive material as well as on periodicals, exhibition catalogues, reviews, diaries, fiction and the visual artsAddresses the omission in modernist studies of the importance of Russian aesthetics and Russian discourses of the occult to British modernismChallenges the dominant Western European and transatlantic focus in modernist studies and provides an original contribution to our understanding of new global modernismsCombines literary studies with aesthetics, modernist history, the history of modern esotericism, film history, periodical studies and science studies
Esotericism in African American Religious Experience: “There is a Mystery”..., brings together groundbreaking essays that inaugurate Africana Esoteric Studies (AES): a new trans-disciplinary enterprise that investigates esoteric lore and practices in Africa and the African Diaspora.
The artists of the Organic School of the Russian avant-garde found inspiration as well as a model for artistic growth in the creative principles of nature. Isabel W?nsche analyzes the artistic influences, intellectual foundations, and scientific publications that shaped the formation of these artists, the majority of whom were based in St. Petersburg. Particular emphasis is given to the holistic worldviews and organic approaches prevalent among artists of the pre-revolutionary avant-garde, specifically Jan Ciaglinski, Nikolai Kulbin, and Elena Guro, as well as the emergence of the concept of Organic Culture as developed by Mikhail Matiushin, practiced at the State Institute of Artistic Culture, and taught at the reformed Art Academy in the 1920s. Discussions of faktura and creative intuition explore the biocentric approaches that dominated the work of Pavel Filonov, Kazimir Malevich, Voldemar Matvejs, Olga Rozanova, and Vladimir Tatlin. The artistic approaches of the Organic School of the Russian avant-garde were further promoted and developed by Vladimir Sterligov and his followers between 1960 and 1990. The study examines the cultural potential as well as the utopian dimension of the artists? approaches to creativity and their ambitious visions for the role of art in promoting human psychophysiological development and shaping post-revolutionary culture.