“Il faut que je vous fasse un aveu: je suis absolument en faveur du plagiat. Je crois que si on veut arriver à une nouvelle renaissance des arts et des lettres, le gouvernement devrait encourager le plagiat (…) Je ne plaisante pas car les très grands auters n’ont pas fait autre chose que d’être des plagiaires et ça leur a très bien réussi: Shakespeare, Molière… Cette habitude d’utiliser une histoire inventée par un autre vous libère de ce qui n’est pas important. L’histoire n’a pas d’importance, ce qui est important c’est la façon dont on la raconte. Ce qui est important c’est l’attention porté aux détails.”
[I have to confess to you: I am absolutely in favor of plagiarism. I believe that if we are to arrive at a new renaissance of the arts and letters, the government must encourage plagiarism (…) I’m not joking. The greatest authors, Shakespeare, Moliere, haven’t been anything other than plagiarists, to their great success… The custom of using a story created by someone else frees you from the unimportant. The story isn’t important, what is important is the way the story is told. What is important is the attention brought to the details.]
story
A Room of One’s Own
“Fiction is like a spider’s web, attached ever so lightly perhaps, but still attached to life at all four corners.”
“What I’m Talking About When I Talk About Magic”
“…What I’m suggesting is that feng shui and an awful lot of other things are precisely of that kind of problem. There are all sorts of things we know how to do, but don’t necessarily know what we do, we just do them. Go back to the issue of how you figure out how a room or a house should be designed, and instead of going through all the business of trying to work out the angles and trying to digest which genuine architectural principles you may want to take out of what may be a passing architectural fad, just ask yourself, ‘How would a dragon live here?’ We are used to thinking in terms of organic creatures; an organic creature may consist of an enormous complexity of all sorts of different variables that are beyond our ability to resolve, but we know how organic creatures live. We’ve never seen a dragon, but we’ve all got an idea of what a dragon is like, so we can say, ‘Well, if a dragon went through here, he’d get stuck just here and a little bit cross over there because he couldn’t see that and he’d wave his tail and knock that vase over.’ You figure out how the dragon’s going to be happy here, and lo and behold, you’ve suddenly got a place that makes sense for other organic creatures, such as ourselves, to live in.
So my argument is that as we become more and more scientifically literate, it’s worth remembering that the fictions with which we previously populated our world may have some function that it’s worth trying to understand and preserve the essential components of, rather than throwing out the baby with the bath water; because even though we may not accept the reasons given for them being here in the first place, it may well be that there are good practical reasons for them, or something like them, to be there. I suspect that as we move farther and farther into the field of digital or artificial life, we will find more and more unexpected properties begin to emerge out of what we see happening and that this is a precise parallel to the entities we create around ourselves to inform and shape our lives and enable us to work and live together. Therefore, I would argue that though there isn’t an actual God, there is an artificial God, and we should probably bear that in mind…”
— Douglas Adams, “Is There an Artifical God?” (Extemporaneous speech given at Digital Biota 2: Cambridge, SEPTEMBER 1998)
via ekstasis
Monomyth / Hero’s Journey
“The study of hero myth narratives started in 1871 with anthropologist Edward Taylor’s observations of common patterns in plots of hero’s journeys. Later on, others introduced various theories on hero myth narratives such as Otto Rank and his Freudian psychoanalytic approach to myth, Lord Raglan’s unification of myth and rituals, and eventually hero myth pattern studies were popularized by Joseph Campbell, who was influenced by Carl Jung’s view of myth. In his 1949 work The Hero with a Thousand Faces, Campbell described the basic narrative pattern as follows:
‘A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.'”
David Lynch, ‘The Elephant Man’ opening scene, 1980
(via)
Sawley Map ca 1190
…performs an encyclopedic function, bringing together and organizing in a visual compendium a wealth of accumulated geographical knowledge from the Bible, Greek legends, Alexandrian adventure tales, and ancient cosmographies.
“He wrote his plays to make money. “
1. Everyone – all levels of society – went to see Shakespeare’s plays. There weren’t many other forms of entertainment: no TV; no cable; no DVDs; no videos, hand-held electronic game players, or personal CD players; no CDs; no movies; and only the rudiments of a newspaper. People went to the bear-baiting or bull-baiting ring for a thrill, they went to a public execution or two – and they went to the theatre.
2. Shakespeare wrote his sonnets to be applauded and remembered as a writer. He wrote his plays to make money. And he made lots of it.
3. He wrote 37 plays, and some of them were real dogs.
4. Shakespeare’s wife was pregnant when they got married.
5. Shakespeare and his wife had three children before he left them all in Stratford-upon-Avon for the big-time, big-city life in London.
6. Shakespeare never went to college.
7. Reading Shakespeare is hard. Shakespeare’s plays were written to be performed – acted and seen on a stage. About half of Shakespeare’s plays weren’t even published until after his death.
8. In Shakespeare’s time, a woman’s value depended solely on who her husband was, and how valuable he was.
9. Experiencing a play in the Globe Theatre in 1603 was sort of a cross between going to an Oscar de la Hoya fight and an N Sync concert.
10. In Shakespeare’s plays, you can find drunks, ghosts, teenagers running away from home, boy who gets girl, boy who loses girl, king who loses everything, woman caressing her lover’s body that is minus its head, woman caressing her lover’s head that is minus its body, weddings and celebrations, and murder by stabbing, suffocation, poison, decapitation, and drowning in a vat of wine.
– Peggy O’Brien, from the “Acknowledgments” section of The Shakespeare Book of Lists by Michael LoMonico
Film vs Comics
One of my big objections to film as a medium is that it’s much too immersive, and I think that it turns us into a population of lazy and unimaginative drones. The absurd lengths that modern cinema and its CGI capabilities will go in order to save the audience the bother of imagining anything themselves is probably having a crippling effect on the mass imagination. You don’t have to do anything. With a comic, you’re having to do quite a lot. Even though you’ve got pictures there for you, you’re having to fill in all the gaps between the panels, you’re having to imagine characters voices. You’re having to do quite a lot of work. Not quite as much work as with a straight unillustrated book, but you’re still going to do quite a lot of wo-rk.
I think the amount of work we contribute to our enjoyment of any piece of art is a huge component of that enjoyment. I think that we like the pieces that engage us, that enter into a kind of dialog with us, whereas with film you sit there in your seat and it washes over you. It tells you everything, and you really don’t need to do a great deal of thinking. There are some films that are very, very good and that can engage the viewer in their narrative, in its mysteries, in its kind of misdirections. You can sometimes get films where a lot of it is happening in your head. Those are probably good films, but they’re not made very much anymore.
The Comic Strip Art of Lyonel Feininger
Of all the “Masters of American Comics”, Lyonel Feininger is clearly the least well known. Who is this artist placed between Winsor McCay and George Herriman? He’s best known as a “fine” artist, having taught at the famous Bauhaus school.
Paul Greer 