~lascaux

“L’Occidental n’est que le rouage d’un système qui le broie. L’Européen, lui, est l’hériter d’une civilisation trente fois millénaire qui va des fresques de Lascaux à la fusée Ariane, des poignards de bronze aux chasseurs Rafale. L’Européen est le frère de Faust et de Don Quichotte. Il a été peintre à Altamira, musicien à Versailles ; il a chanté l’Odyssée et Beowulf ! Il a acclamé Eschyle et Racine, il a bâti les cathédrales gothiques et les centrales nucléaires ! Sa terre est faite de landes et de forêts, de rivières et de montagnes, toutes bruissantes de fées, de génies et de lutins ! Oui, je suis un Européen, mieux un Vieil-Européen !”

Christopher Gérard, Le Songe d’Empédocle, L’Age d’Homme, 2003.

anonymous asked:

Here you stand, at the top of the world. Human carcasses scattered about and a thousand miles up with nothing but empty space below your worn boots. You might be king of the world now, but there’s no one to witness your glory. All the world’s a stage and all the world’s a sin — and you? You are the lone wolf in a land of barrenness and empty victories.

In this dream, he sees walls built by human flesh, red blood dripping all and skin carved like red ochre in the Caves of Lascaux. It should be a nightmare, but nothing ever beats the scent of burning flesh and the screams of terror of his people burning at the stake; he watched with both eyes opened and cried so much that day, all of his tears and fear have dried away into nothingness. The boy is fragile, but blood and gore does not break him.

Hell did not break him.

Here I stand, at the top of the world. Human carcasses scattered about, and all I can think of is the fact that I am safe. I recite these words like the national anthem; I am king of the world now, all the world’s a stage, and I am the lone wolf that eats the hearts of men,

Words of mortals will not break him.

I may be alone, but my howl will spread the barren lands and call all wolves back to the pack.

[Wikipedia] Hypotheses about prehistoric sympathetic magic

The term [sympathetic magic] is most commonly used in archaeology in relation to Paleolithic cave paintings such as those in North Africa and at Lascaux in France. The theory is one of prehistoric human behavior, and is based on studies of more modern hunter-gatherer societies. The idea is that the paintings were made by Cro-Magnon shamans. The shamans would retreat into the darkness of the caves, enter into a trance state and then paint images of their visions, perhaps with some notion of drawing power out of the cave walls themselves.[citation needed] This goes some way towards explaining the remoteness of some of the paintings (which often occur in deep or small caves) and the variety of subject matter (from prey animals to predators and human hand-prints). In his book Primitive Mythology, Joseph Campbell stated that the paintings “…were associated with the magic of the hunt.” For him, this sympathetic magic was akin to a participation mystique, where the paintings, drawn in a sanctuary of “timeless principle”, were acted upon by rite.
In 1933, Leo Frobenius, discussing cave paintings in North Africa, pointed out that many of the paintings did not seem to be mere depictions of animals and people. To him, it seemed as if they were acting out a hunt before it began, perhaps as a consecration of the animal to be killed. In this way, the pictures served to secure a successful hunt. While others interpreted the cave images as depictions of hunting accidents or of ceremonies, Frobenius believed it was much more likely that “…what was undertaken [in the paintings] was a consecration of the animal effected not through any real confrontation of man and beast but by a depiction of a concept of the mind.”
However, as with all prehistory, it is impossible to be certain due to the relative lack of material evidence and the many pitfalls associated with trying to understand the prehistoric mindset with a modern mind.

The cost of flight is landing.
On this warm winter day in the southwest,
down here on the edge of the border I want
to go to France where we all came from
where the Occident was born near the ancient
caves near Lascaux. At home I’m only
sitting on the lip of this black hole, a well
that descends to the center of the earth.
With a big telescope aimed straight down
I see a red dot of fire and hear the beast howling.
My back is suppurating with disease,
the heart lurches left and right,
the brain sings its ditties.
Everywhere blank white movies wait to be seen.
The skylark dove within inches of the rocks
before it stopped and rose again.
God’s toes are buried deep in the earth.
He’s ready to run. But where?
—  The Present by Jim Harrison

ashekeh asked:

I don't know how I've only JUST read Warmth, but it was so sweet and I loved it. Besotted Eames and emotionally vulnerable Arthur are like crack to me. You've got oodles of talent babes. I'd love to read some of your other fics, but I can't cope with anyone else having Arthur. I can't complain though. You've already given me WPF and Lascaux. I'll just be lurking over here with heart eyes forever. <3

awww ty bb <3 Someone requested a drabble about cuddling for warmth and that was the outcome. definitely one of my lesser read fics, so I’m pleased you enjoyed it :D

New forms of Art : Installation

An Installation: Any arrangement of objects and materials or images can be claimed as installation art 

 Is installation a distinct artist practice?

Any arrangement can be installation, no specific process is involved

Where did installation begin?

cave paintings in Lascaux?

Sistine Chapel, Michelangelo?

Marcel Duchamp, Fountain?

Where ever it was created it is nothing without the gallery,…

View On WordPress

ITA

Quando è nata l’arte? Per quale motivo gli uomini primitivi disegnavano complicatissime scene di caccia e precisissimi ritratti di animali sulle pareti della loro caverna? e per quale motivo non ritraevano gli uomini con la stessa facilità e con la stessa frequenza? Georges Bataille, grandissimo filosofo, antropologo e teorico dell’arte spiega in questo manoscritto la sua originale divisione tra sacro e profano, tra lavoro e gioco, tra arte e storia.

ENG

When was art born? Why did the primitives draw complicated hunting scenes and very specific animals portraits on the walls of their caves? And for what reason didn’t they depict humans with the same facility and frequency? George Bataille, great philosopher, anthropologist and art theorist explains, in this manuscript his original division between sacred and profane, between work and play, between art and history.

DEU

Wann ist Kunst geboren? Warum haben die Primitive sehr komplizierte Jagdszenen und furchtbare genaue Tieresporträts gezeichnen? und warum haben sie Menschen mit der gleichen Leichtigkeit und Häufigkeit nicht bemalt? Georges Bataille, bedeutendener Philosoph, Anthropologe und Kunstshistoriker erklärt in diesem Buch sein Unternehmensbereich zwischen das Heilige und das Profane, zwischen der Arbeit und das Spiel, zwischen Kunst und Geschichte. 

5


http://www.citrinitas.com/history_of_viscom/rockandcaves.html (Pictures from)

Cave or rock paintings are paintings painted on cave or rock walls and ceilings, usually dating to prehistoric times. Rock paintings are made since the Upper Paleolithic, 40,000 years ago. It is widely believed that the paintings are the work of respected elders or shamans.

The most common themes in cave paintings are large wild animals, such as bison, horses, aurochs, and deer, and tracings of human hands as well as abstract patterns, called Macaroni by Breuil. Drawings of humans are rare and are usually schematic rather than the more naturalistic animal subjects. Cave art may have begun in the Aurignacian period (Hohle Fels, Germany), but reached its apogee in the late Magdalenian (Lascaux, France).

The paintings were drawn with red and yellow ochre, hematite, manganese oxide and charcoal. Sometimes the silhouette of the animal was incised in the rock first. Stone lamps provided some light. Abbé Breuil interpreted the paintings as being hunting magic, meant to increase the number of animals. As there are some clay sculptures that seem to have been the targets of spears, this may partly be true, but does not explain the pictures of beasts of prey such as the lion or the bear.

An alternative and more modern theory, based on studies of more modern hunter-gatherer societies, is that the paintings were made by Cro-Magnon shaman. The shaman would retreat into the darkness of the caves, enter into a trance state and then paint images of their visions, perhaps with some notion of drawing power out of the cave walls themselves. This goes some way towards explaining the remoteness of some of the paintings (which often occur in deep or small caves) and the variety of subject matter (from prey animals to predators and human hand-prints). However, as with all prehistory, it is impossible to be certain due to the relative lack of material evidence and the many pitfalls associated with trying to understand the prehistoric mindset with a modern mind.


I decided to try and research when pictographs originated, This research shows that we have had pictographs as a use of communication since cave men. This shows me that using pictographs to communicate can actually work especially for my project idea. 

Los inicios de la civilización

El neolítico. La era de la nueva piedra.

La Venus de Willendorf. La imagen como algo vivo.

Lascaux. Los animales en la llanura.

Altamira. Un grupo de bisontes.

Çatal Huyuk. Los primeros vestigios conocidos de una organización superior

Mohenjo Daro. El misterio de Mohenjo Daro.

Harappa. Ciudad en el Valle del indo.

Jericó. La ciudad amurallada. Historia de sedentarios y nomadas

La Agricultura. La primer revolución tecnológica.

Producción ceramica. Identidad y manufactura.

Sumeria. Cuna de las civilizaciones.