In alt.atheism we're having for more than a year this woman Georgann
promoting her diagram as a proof of the Bible's accuracy. I don't intend
this thread to discuss about that accuracy of lack thereof, but about the
diagram itself. Please, take a look at it and tell us what do you think
about it. If there's something you don't understand she's willing to
explain you step by step.
You can find the diagram in .pdf format at:
http://www.lexington-on-line.com/Creation_Intro.html
you'll need to zoom in it in order to see the details.
Thank you in advance.
--
Angel Arnal, Valencia, España aa #1443 BAAWA knave aka "Lazarillo"
http://angelico.iespana.es maky m. #(sqrt(5)-1)/2
EAC Chairperson for Bible Translation Mess-up | Official EAC Latin Lover
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John P. Boatwright Award for Creative Scientific Ignorance
> I took 1st year high school algebra, which is all a person needs
> to know in order to prove Einstein and his disciples wrong.
> Robert B. Winn
Rules at http://teleline.terra.es/personal/angelarn/comun/jpbaward.htm
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> You can find the diagram in .pdf format at:
>
> http://www.lexington-on-line.com/Creation_Intro.html
>
> you'll need to zoom in it in order to see the details.
Wow. It takes talent to put together something that complex. Too bad she's as
mad as a Hatter, though...
--
Xaonon, EAC Chief of Mad Scientists and informal BAAWA, aa #1821, Kibo #: 1
Visit The Nexus Of All Coolness (a.k.a. my site) at http://xaonon.cjb.net/
"No more gods, no more faith, no more timid holding back. The future belongs
to posthumanity." -- Max More
Oh man, what the hell is that woman smoking?!
That diagram is SCHIZOID.
Raptor514
>
>"Angelico" <esten...@terra.es> wrote in message
>news:MPG.16b5f080b...@127.0.0.1...
>> This thread is cross posted at several christian newsgroups and
>> alt.atheism.
>>
>> In alt.atheism we're having for more than a year this woman Georgann
>> promoting her diagram as a proof of the Bible's accuracy. I don't intend
>> this thread to discuss about that accuracy of lack thereof, but about the
>> diagram itself. Please, take a look at it and tell us what do you think
>> about it. If there's something you don't understand she's willing to
>> explain you step by step.
>>
>> You can find the diagram in .pdf format at:
>>
>> http://www.lexington-on-line.com/Creation_Intro.html
>>
>> you'll need to zoom in it in order to see the details.
>>
>> Thank you in advance.
>
>Oh man, what the hell is that woman smoking?!
>
>That diagram is SCHIZOID.
Crack.
Erikc (alt.atheist #002) | "An Fhirinne in aghaidh an tSaoil."
BAAWA Knight | "The Truth against the World."
| -- Bardic Motto
Awarded title of "Defacto CLuM" by "kansan" 2001-05-12
======
Remove god to respond.
======
At one point in time, many of us actually had Jesus as
our personal lord and saviour. Unfortunately, we later
had to dismiss him for incompetence, gross negligence,
misconduct and consistent failure to show up for work.
======
Religious people believe IN god.
The religious right believes they ARE god.
======
"Hey, who needs a conscience when jeezuz died for our sins?"
-- Ahriman
>On Tue, 22 Jan 2002 17:26:18 GMT, "Raptor514"
><Rapt...@hotmail.NO-STINKING-SPAM.com> wrote:
>
>>
>>"Angelico" <esten...@terra.es> wrote in message
>>news:MPG.16b5f080b...@127.0.0.1...
>>> This thread is cross posted at several christian newsgroups and
>>> alt.atheism.
>>>
>>> In alt.atheism we're having for more than a year this woman Georgann
>>> promoting her diagram as a proof of the Bible's accuracy. I don't intend
>>> this thread to discuss about that accuracy of lack thereof, but about the
>>> diagram itself. Please, take a look at it and tell us what do you think
>>> about it. If there's something you don't understand she's willing to
>>> explain you step by step.
>>>
>>> You can find the diagram in .pdf format at:
>>>
>>> http://www.lexington-on-line.com/Creation_Intro.html
>>>
>>> you'll need to zoom in it in order to see the details.
>>>
>>> Thank you in advance.
>>
>>Oh man, what the hell is that woman smoking?!
>>
>>That diagram is SCHIZOID.
>
>Crack.
>
>
I like it. I have a tie with a Frank Lloyd Wright design that is very
similar in style. My tie, of course, rebuts Georgann's thesis,
especially when worn with a blue blazer.
Jim (soon to be called 'Jim2002', not (Jim (Red))
> "Angelico" <esten...@terra.es> wrote in message
> news:MPG.16b5f080b...@127.0.0.1...
> > This thread is cross posted at several christian newsgroups and
> > alt.atheism.
> >
> > In alt.atheism we're having for more than a year this woman Georgann
> > promoting her diagram as a proof of the Bible's accuracy. I don't intend
> > this thread to discuss about that accuracy of lack thereof, but about the
> > diagram itself. Please, take a look at it and tell us what do you think
> > about it. If there's something you don't understand she's willing to
> > explain you step by step.
> >
> > You can find the diagram in .pdf format at:
> >
> > http://www.lexington-on-line.com/Creation_Intro.html
> >
> > you'll need to zoom in it in order to see the details.
> >
> > Thank you in advance.
>
> Oh man, what the hell is that woman smoking?!
>
> That diagram is SCHIZOID.
I disagree.
In fact, it embodies some of the boldest themes of a later, more mature
Suprematism, a modern movement in art often attributed to the Russian
painter and sculptor Kasmir Malevich (1878-1935)*. In the initial
Suprematist composition, _Basic Suprematist Element_ (pencil on paper,
1913), Malevich's black square within a white square was neutral in
effect. Later Suprematist compositions (almost entirely by Malevich)
expressed the relations of abstract geometric shapes to the space that
confined them, leading progressively to a more dynamic organization of
diagonally placed rectangles arranged in a complex state of tension
with one another. I find Georgann's diagram to be no less startling in
its expression of pure spacial tension occuring in a finite visual
space.
Of course, she has added several elements that the early Suprematists
would have eschewed, notably the use of gradients and textures,
although her palette seems tightly controlled and aesthetically
pleasing despite the obvious detour from pure Suprematist principles.
We can assume that her choice of medium, a computer graphics/CAD
program and its limited tonal capabilities (combined with the image's
method of display, generally on [shudder] _uncalibrated_ RGB computer
monitors), which the first Suprematists never even knew about,
influenced her departure from those principles.
While the early Suprematists were interested in the primal aspects of
geometric shape, there is a certain mathematical satisfaction with
Georgann's compositions, which are faintly remeniscent of the recent
fascination with fractal-based works. The viewer is able to zoom in on
any portion of Georgann's diagrams, almost to an unlimited degree,
without losing the overall sense of balance or detail. The scale itself
is as herculean as the sweep of mythology she is obviously attempting
to portray, yet can be compressed into a space no larger than a
matchbook on a viewer's computer screen. Malevich could never have
conceived of such abilities but one feels he would have embraced them
with open arms had they been available ninety years ago.
Additionally, Georgann's use of typographical elements calls to mind
the (much) later works of Frank Stella, Robert Rauschenberg and a
number of other Minimalist artists whose works were often done on a
grand scale; the entire wall of a gallery covered with geometric shapes
interspersed with cryptic messages, sometimes scrawled in barely
recognizable handwriting, sometimes meticulously lettered so the
message was clear, as was seen recently at one Upper East Side gallery:
A mechanically precise but thinly penciled twelve-meter arc from floor
to ceiling with the words, almost unnoticed, "DEUS ARCO IRIS" two
centimeters high in the lower left-hand corner -- a Suprematist /
Minimalist 'painting' suggesting that the "Rainbow of God" is, in fact,
monochromatic, empty, and devoid of meaning in a world gone mad with
electronic color.
Ten years from now, or a hundred, you can be sure that Georgann's name
will be mentioned in the same breath as da Vinci, Michelangelo, Mark
Rothko and David Hockney. Her works are the logical 21st Century
extension of last century's earliest departures from "traditional,"
"representational," or even "iconographic" art. You should reserve your
seats at Sotheby's now because, when her works finally become available
to discerning collectors, it might be too late.
-chib
==================================================
*Malevich influenced a variety of early artists, especially Russion
artists, including Kandinsky, Lissitzky, Rodchenko, Goncharova, Tatlin
and Gabo. His influence was later felt by some of the most famous
artists of the 20th Century, including Bracque, Picasso, Piet Mondrian
and Jasper Johns. I have a small Malevich hanging in my living room, a
sort of white square tilted crazily on a (slightly different) white
background. Very stark, but also very intense, very evocotive. I hope
one day to add its complement, a new and highly energetic work by the
most brilliant artistic genius of our time: Georgann Chenault.
--
Member of SMASH
Sarcastic Middle-aged Atheists with a Sense of Humor
(Email: change out to in)
Wow. You worked your tail off writing that.
And I thought you were a literature guy (because of the name). Come to find
out you're a modern art scholar.
Raptor514
chib:
> I disagree.
georgann:
Chib, while I certainly admire your knowledge of 20th century art and
artists, your fluid and pithy if backhanded style of expression, and I
appreciate the time you devoted to this review, it should be noted that you
have dismissed the import of the work almost entirely. Which is to dismiss
all that it truly is or intends to be.
Your scant reference to the work's scale being as "herculean as the sweep of
[her] mythology"" shows that while you appreciate the elements of art, the
matter about which and the manner with which it is presented, you reject the
notion that some art is capable of significance on the whole much greater
than the appeal of its parts.
Therein lies the essential difference between designers and painters.
Painters are content to construct and reconstruct the imagery by which they
have become haunted. Designers are intent on communicating the origins of
such imagery. In that designers may not be judged as fine artists. They are
intentionally different.
I suppose if it has to have a name, this kind of work should be be called
Iconographic Representationalism since it is intent on describing the
reality of the invisible world and motivated much in the same way as the
religious painters that heralded in the entire world of painters. It that
endeavor, it is is more Morandi than Mondrian.
http://www.museomorandi.it/index_exp.htm
Finally, since it does not purport nor attempt to be "fine art" for the
world to judge and consume, I wouldn't look for it to ever appear on the
block at Sotheby's.
--
(`'ท.ธ(`'ท.ธ(`'ท.ธ ธ.ท'ด)ธ.ท'ด)ธ.ท'ด)
ซดจ`ท.ธธ ธธ.ทดจ `ป
Attend church this Sunday for a faith lift!
http://www.lexington-on-line.com/Creation_IntroII.html
(ธ.ท'ด(ธ.ท'ด(ธ.ท'ด `'ท.ธ)`'ท.ธ)`'ท.ธ)
An essential quality of art criticism is that it is rarely written for
the benefit of the artist. :)
-chib