“The Amphitheater of Eternal Knowledge,” Hamburg, 1595.


“The Amphitheater of Eternal Knowledge,” Hamburg, 1595.


“The Amphitheater of Eternal Knowledge,” Hamburg, 1595.


“The Amphitheater of Eternal Knowledge,” Hamburg, 1595.


“The Amphitheater of Eternal Knowledge,” Hamburg, 1595.

“The images, in other words, invite the viewer to engage in a meditation on the nature of the universe and on the links between the earthly and the divine, the corporeal and the spiritual. Of course, such a statement would be equally true of many other instances of early modern alchemical and Hermetic symbolism. I suspect that a lot of the meaning in these images and the text that accompanies them has actually been lost, due to the fact that alchemical practice depended upon face-to-face interactions (like the one between John Dee and Khunrath) which were never recorded. And this was precisely what was intended – the true secrets of early modern alchemy were intended for a small number of the “elect” and were elaborately concealed in complex and often inscrutable language when they were allowed into printed works.”

Benjamin Breen

see more on his excellent blog post.

Using Meditation as an Anchor of Creative Integrity

“I came from painting. And a painter has none of those worries. A painter paints a painting. No one comes in and says, “You’ve got to change that blue.” It’s a joke to think that a film is going to mean anything if somebody else fiddles with it. If they give you the right to make the film, they owe you the right to make it the way you think it should be — the filmmaker. The filmmaker decides on every single element, every single word, every single sound, every single thing going down that highway through time. Otherwise, it won’t hold together. When there’s even a little hint of pressure coming from someplace else — like deadlines or going overbudget… — this affects the film. And you just want support, support, support… in a perfect world… so that you can really get the thing to be correct.”

David Lynch