Wednesday, 17 September 2008

just found: Splash Page-MTV has a great Steve Lieber drawing on their opening page (and a nice photo of the artist too), but you only see it briefly before a bunch of text boxes cover up most of it, unless you freeze the screen like I did. Do that and get a look at it full size. Steve and i have long shared an interest in the atmospheric effects that can be achieved by mixing up the various techniques of black line art, including dot tones and white paint.

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huge long article on the state of publishing.
NY Magazine: Have we reached the end of book publishing as we know it?

Lately, the whole, hoary concept of paying writers advances against royalties has come under question. Following their down payments to authors, publishers don’t have to pay a cent in royalties, which are usually 15 percent of the hardcover price, 7.5 for paperbacks, until that signing bonus is earned back. The system is supposed to be mutually beneficial; the publishers guarantee writers a certain income, and then both parties share in the proceeds beyond that level. But it only works for publishers if they’re conservative in their expectations. As auctions over hot books have grown more frequent, prudence has gone out the window— paying a $1 million advance to a 26-year-old first-time novelist becomes a public-relations gambit as much as an investment in that writer’s future
That money has to come from somewhere, so publishers have cracked down on their non-star writers. The advances you don’t hear about have been dropping precipitously. For every Pretty Young Debut Novelist who snags that seven-figure prize, ten solid literary novelists have seen advances slashed for their third books.
In particular, note this:
The remaindering and shredding of books—a cost borne largely by the publisher—is a relic of a consignment model developed during the Depression that makes no modern sense.


Monday, 15 September 2008

i don't have time for much blogging this week as I'm chasing a deadline on the art for a short John Constantine story for Vertigo's 250th issue of the title due out in December. I've completed just enough of it to feel that it won't defeat me.
Meanwhile, I'm stunned by the suicide of writeer David Foster Wallace, a couple of days ago at age 46, and am reading assorted obituaries. This one by Nilanjana S Roy in the India Business Standard, in fond recognition of Wallace's best known literary technique, has 290 words of footnotes.

On David Foster Wallace’s Wiki page, some hacker with a twisted sense of humour inserted the word “nigger” into random sentences on Monday. Wallace, who hanged himself this weekend at the age of 46, would have approved of the hack, but lamented the lack of imagination. Wallace’s own prose swooped into footnotes [i], marginalia, diagrams, parentheses, footnotes within footnotes, parentheses within parentheses, as though he was signalling that life was too big, too unwieldy to be contained by an instrument as puny as language. He wrote relatively little — the mammoth contraption that was Infinite Jest, incisive essays (A Supposedly Fun Thing I Will Never Do Again, his account of life on a cruise ship), short stories — and was teaching at Pomona University at the time of his death.


Sunday, 14 September 2008

monkeynonymous has posted the Alan Moore interview from Arthur magazine that appeared in 2003. Magic is the main topic:

Alan Moore: Brian Eno has remarked that a lot of artists, writers, musicians have a kind of almost superstitious fear of understanding how what they do for a living works. It’s like if you were a motorist and you were terrified to look under the bonnet for fear it will go away. I think a lot of people want to have a talent for songwriting or whatever and they think Well I better not examine this too closely or it might be like riding a bicycle–if you stop and think about what you’re doing, you fall off.

Now, I don’t really hold with that at all. I think that yes, the creative process is wonderful and mysterious, but the fact that it’s mysterious doesn’t make it unknowable. All of our existences are fairly precarious, but mine has been made considerably less precarious by actually understanding in some form how the processes that I depend on actually work. Now, alright, my understanding, or the understanding that I’ve gleaned from magic, might be correctly wrongheaded for all I know. But as long as the results are good, as long as the work that I’m turning out either maintains my previous levels of quality or, as I think is the case with a couple of those magical performances, actually exceeds those limits, then I’m not really complaining.

Arthur: You work mostly in comics, which is interesting, as so many magicians–maguses? magi?–have been involved in the visual arts in the last century. Austin Osman Spare, Harry Kenneth Anger, Maya Deren. Aleister Crowley did paintings and drawings.

Crowley lamented that he wasn’t a better visual artist. I went to an exhibition of his and well, some of the pictures work just because they’ve got such a strange color sense, but…it has to be said that the main item of interest was that they were by Crowley. But yes, there’s that whole kind of crowd really: Kenneth Anger, Maya Deren, Stan Brakhage, Harry Smith. And if you start looking beyond the confines of self-declared magicians, then it becomes increasingly difficult to find an artist who wasn’t in some way inspired either by an occult organization or an occult school of thought or by some personal vision.

Most of the Surrealists were very much into the occult. Marcel Duchamp was deeply involved in alchemy. “The Bride Stripped Bare by Her Bachelors”: that relates to alchemical formulae. He was self-confessedly, he referred to it as an alchemical work. Dali was a great many things, including a quasi-fascist and an obvious scatological nutcase, but he also was involved deeply in the occult. He did a Tarot deck. A lot of the Surrealists were taking inspiration from alchemical imagery, or from Tarot imagery, because occult imagery is perhaps a natural precursor of a lot of the things that the Surrealists were involving themselves with.

But you don’t have to look as far as the Surrealists, really. With all of those neat rectangular boxes, you’d think Mondrian would be rational and mathematical and as far away from the Occult as you could get. But Mondrian was a Theosophist. He [borrowed] the teachings of Madame Blavatsky–all of those boxes and those colors were meant to represent theosophical relationships. Annie Besant, the Theosophist around the turn of the last century, published a book where she had come up with the idea, novel at the time, that you could represent some of these abstract energies that Theosophy referred to by means of abstract shapes and colors. There were a lot of people in the art community who were keeping up upon ideas from the occult and theosophy, they immediately read this and thought, Gosh you could, couldn’t you? And thus modern abstract art was born.

One of the prime occult ideas from the beginning of the last century, which is also interesting because it was a scientific idea, and this was the sudden notion of the fourth dimension. This became very big in science around the end of the 19th century, beginning of the 20th, because of people like these eccentric Victorian mathematicians like Edwin Abbot Abbot–so good they named him twice–who did the book Flatland, and there was also C. Howard Hinton, who was the son of the close friend of William Gull, he gets a kind of walk-on in From Hell, who published his book, What is the Fourth Dimension?

And so ‘the fourth dimension’ was quite a buzzword around the turn of the last century and you got this strange meeting of scientists and spiritualists because the scientists and the spiritualists both realized that a lot of the key phenomena in spiritualism could be completely explained if you were to simply invoke the fourth dimension. Two woods of different materials, two rings of wood, different sorts of wood, but at seances could become interlocked. Presumably. This was some sort of so-called stage magic. The idea of the fourth dimension could explain that — how could you see inside a locked box? Or a sealed envelope? Well in terms of fourth dimension, you could. Just as sort of three-dimensional creatures can see the inside of a two-dimension square. They’re looking down on it through the top, from a dimension that two-dimensional individuals would not have.

So you got this surreal meeting of science and spiritualism back then, and also an incredible effect upon art. Picasso spent his youth pretty well immersed in hashish and occultism. Picasso’s imagery where you’ve got people with both eyes on one side of their face is actually an attempt to, it’s almost like trying to create, to approximate, a fourth dimensional view of a person. If you were looking at somebody from a fourth dimensional perspective, you’d be able to see the side and the front view at once. The same goes with Duchamp’s “Nude Descending A Staircase” where you’ve got this sort of multiple image as if the form was being projected through time, as it descends the staircase.