4.06.2011
Multimagic Alchemy xxxxxxxtra-ordinary
A contact has asked me for some information about Fludd's theory of spontaneous generation.Philip Ball in his book on Paracelsus, The Devil's Doctor, (pages 380-391) says,
For years Fludd sought to isolate the spiritus mundi, the substance in the air that (according to Paracelsian philosophy) could create new life in non-living matter through the process of putrefaction. This, Fludd explained, in his Philosophical Key (c.1619), is what gave rise to the spontaneous generation of creatures in decaying matter.
My contact has not been able to find the actual text where Fludd writes about this idea. He has searched Allen Debus book, Robert Fludd and His Philosophical Key, which supposedly contains the text and cannot find it. He wonders if it is possible that Ball's rather general reference is inaccurate, that he has got the wrong book.
Does anyone know about Fludd's theory of spontaneous generation and remember the text where Fludd refers to this?
Paul Ferguson
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Posted: Thu Feb 4th, 2010 07:47 pm
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adammclean wrote:
A contact has asked me for some information about Fludd's theory of spontaneous generation.
Philip Ball in his book on Paracelsus, The Devil's Doctor, (pages 380-391) says,
For years Fludd sought to isolate the spiritus mundi, the substance in the air that (according to Paracelsian philosophy) could create new life in non-living matter through the process of putrefaction. This, Fludd explained, in his Philosophical Key (c.1619), is what gave rise to the spontaneous generation of creatures in decaying matter.
My contact has not been able to find the actual text where Fludd writes about this idea. He has searched Allen Debus book, Robert Fludd and His Philosophical Key, which supposedly contains the text and cannot find it. He wonders if it is possible that Ball's rather general reference is inaccurate, that he has got the wrong book.
Does anyone know about Fludd's theory of spontaneous generation and remember the text where Fludd refers to this?
I think this may be a reference to Fludd's treatise on wheat, referred to here:
http://books.google.com/books?id=wsm8r2oXYp4C&pg=RA1-PA303&dq=%22robert+fludd%22+%22anatomiae+amphitheatrum%22&lr=&ei=ZWlrS_b0CYyUzgS806iZDg&cd=5#v=onepage&q=%22robert%20fludd%22%20%22anatomiae%20amphitheatrum%22&f=false
As Josten explains, subsequently the text was incorporated into Fludd's Anatomiae Amphitheatrum, see Josten: 'Truth's Golden Harrow: an unpublished alchemical treatise by Robert Fludd', pp. 94-95.
See the third experiment of Chapter 4 of Book Two in the list of contents quoted by Josten: 'The third experiment teacheth us that this aereall spirit inviteth vegetation abundantly'.
4.04.2011
3.31.2011
3.25.2011
3.22.2011
3.18.2011
3.13.2011
DIRGE 哀歌
Tatìllu mìju, tatìllu mìju,c’haji rumàsu ‘mmiézz’a na vìja,tatìllu mìju!
そのペナルティをtinìmu王子、
tatìllu mìju！
Hints of Revolution
“...En then he swings it, - Like ... just went all crazy on em! The fukkin guy just kept smashin em over n over! I was screamin in my head, “This is ain’t real!”...he was bleedin so bad n the shit was sprayin everywhere! Neva seen or heard nuthin like it... I kept sayin- ‘coodn be real, coodn be happnin!’– didn’t know what was goin on - what I shood do, happened so fast – and ... and then Jack ain’t tryin to fight back no more n he ain’t movin neether!”
“The guy just throws the bat at Me n Alex feet... and real fast, goes walkin away! Just cuts us one last look n he’s gone... across the lot thru ‘bum’s alley’ ... Down there, that way! Gone man, like that!”
“Hold on a minute Beatle! - u said he kept hitting em, u mean like ‘them’ over and over again- was someone else involved?”
“No!... not Them! Him... Jack!” “With that wooden bat lying there! - is that right?”
“Yeah, we all seen em comin up the street, just... walkin regular like! Seen the stick or whateva he was holdin n went bak to drinkin n laffin... ya know? We was laffin at a joke Weed just told...He was just sum guy... ya know!”
3.03.2011
2.28.2011
2.24.2011
Such Ignorance
http://www.aids-3d.com/Unbelievable.mp3
Great article I wasn't aware of this area of Turnings work! It was such a such that he took his own life. For those of you that don't know to much about his history I suggest looking it up and reading about it, it is actually quite an amazing and disgusting story.
He was a war hero and a major influence in the code breaking the nazi's encryptions, without his contributions there may have been different outcomes in the war. Yet a few years down the road he is taken off the streets and injected with a cocktail to cure his "gayness". Such ignorance.
Great article I wasn't aware of this area of Turnings work! It was such a such that he took his own life. For those of you that don't know to much about his history I suggest looking it up and reading about it, it is actually quite an amazing and disgusting story.
He was a war hero and a major influence in the code breaking the nazi's encryptions, without his contributions there may have been different outcomes in the war. Yet a few years down the road he is taken off the streets and injected with a cocktail to cure his "gayness". Such ignorance.
2.21.2011
2.17.2011
FLUX AND FURRY
optical illusion of movement’, whether achieved
through photographing drawings, moving clay models
and recording the tweaks frame by frame, drawing
directly on film or devising models digitally. But the
definition is a weak one, or only a starting point. Not
only animation but all film/video proceeds by generating an ‘optical illusion of movement’. A recording
device samples fragments of the world, repeatedly
biting a moment of time from its flow. Later the resulting still frames of a film or video strip are cranked
or streamed into motion, generating a second-order
re-creation of the motion of which they had once been
part. Furthermore, to define animation as ‘the optical
illusion of movement’ makes it impossible to think of
animated stillness – perhaps rightly so. But, in one way
or another, there is much stillness in animation: from
the aforementioned individual cels or frames at animation’s root to the static backgrounds that accompany
a scene’s main action; from production storyboards to
those moments, occasioned by the narrative or gag,
when everything has to stop. This must be qualified:
it is true only inasmuch as stillness can ever be said
to exist and is not itself something of an illusion. It
is, after all, a question of scale whether the movement
that inhabits all things is perceived and, in addition, the
perceiving eye itself is always in movement. Moreover,
what animation or any cinematic production presents
is not simply an illusion of movement. It is movement itself: movement of the image data through the
projecting mechanism, which produces movement on
the screen. There is, indeed, an animation technique
that explores vision’s contingency and the relativity of
stillness and movement through the extreme extension
of time. Bullet time or time slice or view morphing
stills the scene or object within the flow of the film
or moves it only at extreme slowness, while our view
of it changes constantly, as the visions of multiple
cameras are sequenced. Thereby a frozen moment of
time is stretched out, presenting us not so much with
an example of the optical illusion of movement of an
object but rather with the perception of movement
itself in motion.
http://www.radicalphilosophy.com/pdf/highlight_estherleslie152.pdf
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