If the strength of growth creates line and shape, one place to look at is the heroic drawings by such luminaries as Smith, Alcala, Leifeld and Buscema.
Starting with a Greek figure vase as a graceful foundation.
#1
Black figure vase
Straight-up I'd better say I'm no great admirer of Buscema's draftmanlike flair, and point you to the ink rendering of Alfredo Alcala.
#2
Savage Sword #7
Buscema, by sticking to anatomical figure-work, tends not to bother with ornate line-work which Alcala deftly renders. BWS is much more of a linesman, and the fluidity he is able to engender contrasts well with his use of classical perspective technique.
#3
Opus
This determined style of rendering does come out in fussy gadgetry, which is not a million miles from Liefeld (despite Smith's evident disdain).
#4
Lady Deathstrike & Friend
Focusing on the rigor of line can create a wonderful simplicity, as well as a powerful sense of shape.
#5
Turlough O'Brien
All of that tends to imply there is a powerful simplicity at work, which is not just the delineation of anatomy, but a sense of balance in line and shape.
If we live in a sorcery of straight-lines (the mirror of illusions), the mirror will tend to detect things that are composed of information. IE, DNA by means of X-ray diffraction (see prev.)
Information then becomes the fundamental constituent of living matter. However, an alternate possibility is that information is simply the apex of the fundamental constituent of living matter - which is the metamorphosis of rhythmical line (see Ovid, prev.)
Line cannot be explained by information but, on the other hand, information can be delineated by line - as in the double-helix.
By that criterion, all.our sorcerous illusions (of electromagnetism, number, algorithm) do is cover-up the strength of primitive shape with the weakness of information.
The information -as with DNA - convinces with its ultra-accuracy ("facts"). However, it is the strength of shape that produces information by growth over time.
The strength of shape is a fundamental constituent of primitive economy - see prev on Radin - in the fields of hunting, fishing, agriculture.
Associated with all that are primitive rituals such as Maypole dancing. What that seems to imply is that the entire area of fertility and the sexual dynamic are outwith the dogma of information.
This leads to confusion over whether DNA is a sexual component or simply a tool. This is where the profane serpent of corrupted rhythms can enter the fray (see also "clean meat" prev.)
Metamorphosis, and the strongly sexualised rituals, bring in psychic connections to the primitive physical. The rituals connect Man to the fecundity of nature.
#6
Duncan Grant, harvest mural of seasons on chancel of Berwick church (religio-economy of the Middle Ages). Grant was part of the Bloomsbury group who harked back to PreRaphaelites.
The physical world also decays, and is another fundamental component of nature. The florid lines of BWS hint at decadence and moonlight.
The "dark blood" of Satoko (Mishima, prev) or the Darkchilde (prev) are symbols of the life and death struggle.
Darkness is again something that is outwith modernity, where positive news creates a lot of nothing (ie information). The stories of negativity constituting history are airbrushed away (see prev on Redskins, Cherokee, the route out of Southern bondage).
You could almost say the world of the South had a primitive economy of line and shape that tallies with religious rites. The entire milieu was fecund swamp-ridden redolent of steaming jungles.
The strength of that rustic simplicity is airbrushed out of modern accounts. The premise of modernity is that a primitive rustic economy is negative, when the truth is it has the strength of grace and line and shape.
That strength and that simplicity apply equally to white or black or red. If you take the music of gospel and Appalachian, there was s cross-fertilization of differences.
Difference are paramount in establishing strength of living systems, otherwise a certain type tends to predominate. As Radin has said (P153), the shaman was a neurotics compulsive type of dreamer.
That type for sure appeared amongst the legends of the blues in the South. The shaman or magician is able to imbue disproportionately a spiritual foundation on the "day-to-day" type.
That historical situation is now reversed, in that our magicians are no longer subjective dreamer-types. They are objective-scientists, but the object is itself an illusion (see prev.)
The illusion - electromagnetism, parallel lines - doesn't recognize differences, or negatives, or the dark decay that regenerates. It is pure information of the sorcerous ego.
Parallel lines - or basically ones and zeros of a two-tone reality of sorcerous illusion (see Jirel Meets Magic, prev) - are a case of, "The more you look, the less you see" (Max Romeo).
There is a lot more to see in the bold patterns of BWS's figure design, redolent of primitive pleasure as well as of sophisticated allure.
#7
Adastra
