JBM - Articles
Dernier ajout : 9 janvier.
This is the same day of a blue moon, August 20, 2013, I had the idea to combine my astrological work within two journals - the Journal of Mundane Astrology (JMA) and the Bulletin of Mundane Astrology (BMA) - complemented by Astrological Studies (AS) for astrological work which does not concern the world. Very quickly, I designed the project to add two other magazines there to cover the whole field of my research : a Journal of Traditional Cyclology (JTC), which will be devoted to the presentation and discussion of works relating to the conduct and the end of great cycles being spoken of various traditions ; and the Journal of the Blue Moon (JBM), where I will publish articles that address mainly literature - whether French literature from the Middle Ages which was the subject of my teaching for many years, or Russian literature, which binds me an attachment that goes back to adolescence or even in childhood, or various aspects of modern and contemporary French literature.
What is a "blue moon" ? A common year has twelve full moons, but it happens from time to time that it contains 13. According to the various schools, this will be considered as "Blue Moon" is the 13th full moon of a year, the third full moon of a season that exceptionally have four full moons. Such was the case 20 August 2013, the last dating back to 20 November 2010 and the next to 21 May 2016. The adjective "blue" does not mean that the moon takes a particular shade at this time : this term is a layer of the English expression “blue moon”, found, for example, in the formula “once in a blue moon” equivalent to the French term "month of Sundays."
The Journal of the Blue Moon will not have a regular periodicity, no binding format ; they appear simply depend on the circumstances and volume correspond to the abundance or the narrowness of the matter.
This first issue of The Blue Moon Journal brings together our works devoted to the work of J.R.R. Tolkien, with the exception of the astrological articles, which are the subject of number 2 of the Astrological Studies, "Tribute to J.R.R. Tolkien".
The first article "The legendarium of age in age" takes up the text of a communication for the colloquium we organized at the Castle of Rambures in collaboration with Michaël Devaux and Vincent Ferré in June 2008.
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The first part deals with the "chronotopes" of the Legendary during the succession of the Ages, that is, the structuring of time and space, as well as the organizing focus of a fictional universe and its dynamic tension.
The second part presents the chronology and the particular theme of each of the four legendary Ages.
This article entitled "Tolkien and Čiurlionis : Two ancient Times Visionaries" was taken from a lecture given in Vilnius on autumn 2005. Its aim is to show the deep spiritual relatedness between two visionaries both considered as unclassifiable in their respective fields. Indeed, each of them is the creator of an original, unique and beautiful imaginary world. The Lithuanian painter and composer M.K. Čiurlionis (1875-1911), as well as the writer and artist J.R.R. Tolkien, who is the author of a significant pictorial work - although not as significant as his literary work – make us enter straight down into the ancient times world. Their works on immemorial memories reawaken legends and great founding myths.
Striking similarities appear between both creators in themes like the Great Wave, their imagination of sea and forests, the sense of the cosmos, the foreboding of near catastrophes and their attraction for popular songs. At the dawn of the 21st century, each of these visionaries contribute to the “re-enchantment” of this world in greatest need.
This article is again about Tolkien and Čiurlionis’ “pictorial art and visionary sense”. It goes back over our lecture at the Čiurlionis Symposium in Kaunas (22nd – 23rd September 2005). Here, the attention has been more precisely taken on the thematic as well as formal relatedness between Tolkien’s pictorial work and Čiurlionis’. One of the main aspect of their works appears to be aesthetics of vertical height that is especially apparent in the themes of forest and mountain.
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The article entitled "The illustrators of Tolkien" stemmed from a communication for an Čiurlionis symposium scheduled in Moscow and then in St. Petersburg in December 2005. While Tolkien himself illustrated some of his literary works, his work provoked A flourishing of illustrators whose main representatives since the 1990s are Alan lee, John Howe and Ted Nasmith. The aesthetics of Alan Lee appear close to that of the pre-Raphaelites, while John Howe tends more towards an expressionism marked by sharp and sharp forms as well as by violent colors. But it also produces illustrations with bluish tints of sublime beauty to evoke the ancient grandeur of the Early Ages. As for Ted Nasmith, his work seems to us marked by an epic breath and by a theatricalization of space close to a cinematic perception.
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This article dedicated to "the epic dimension of the Legendary" was published in 2006 in the journal Otranto. The first part presents Tolkien’s activity as a medievalist and philologist, influenced in particular by two languages with singular consonances : Finnish and Welsh and perfectly mastering Anglo-Saxon, which he taught at Oxford for twenty years (1925-1945). But his knowledge of languages covers a good part of the Western heritage of the Indo-European and his philological activity is underpinned by a quest for the logos
A second part exposes the various generic registers present in the Legendary and analyzes two of the great epic gestures of the Silmarillion : that of Túrin Turambar and that of Tuor and the fall of Gondolin. Besides the legendary one is presented the parody epic The Farmer Gilles de Ham, whose adventure is located in Anglo-Saxon England, that of Bede the Venerable and Beowulf, featuring an anti-hero and a monster tired
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The article entitled "In the gardens of Nisimaldar. The flora in the work of J.R.R. Tolkien "was the subject of a communication of a colloquium of Rambures dedicated in 2004 to the Parks and Gardens in the Middle Ages and the Renaissance. It is as an artist that Tolkien "invents" his Legendary that he discovers and explores himself as the most curious of ethnologists. An artist inspired by nature and especially by the exceptional love he brought to the trees.
In the Legendary, a whole set of echoes flows from age to age in a golden chain of reminiscences starting from the two holy trees of Valinor, the Blessed Kingdom, which spread their light Golden and silver, according to an alchemy that operates the synthesis of solar and lunar energies.
Tolkien also invented a flora that is found in privileged places in the middle earth : the elanor, a small yellow flower in the form of a star, the symbelmynë, which means "eternal memory", or the serergon, "Blood-of-stone" which evokes the tragic destiny of Túrin Turambar. A beautiful page of Unfinished Tales and Legends describes the flora of Númenor and opens the imagination of the reader to a "happy reverie", according to the formula of Gaston Bachelard.
The article concludes with an analysis of three aspects of Tolkien’s garden theme : the link between the garden and the dream, the garden and the rebirth of life, and finally the healing garden linked to the theme of the Roi thaumaturge.
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"Bridges to childhood and dreams" : this was the title of our communication at the Clermont-Ferrand colloquium of 2006 on child and youth literature "Becoming an adult and remaining a child".
We first evoke a profound movement in the process of literary creation in Tolkien, the tendency to evolve from a familiar register, mingled with a touch of irony, towards a deeper register adapted to the tragic feeling of history of the world. And we follow the difficulties encountered by the author in escaping from the reductive ethic of the author for youth, and drawing him further towards a childish conception of childhood. Through culinary metaphors, works such as the Farmer Gilles de Ham or Smith from Grand Wootton protested strongly against the decline of marvel and Faerie in a foolish and childish conception of childhood. In the Book of Lost Tales, as well as in the Lord of the Rings, there is a network that associates childhood with dreams and journeys to the Kingdom of Faëria. More than the child himself, it is basically the spirit of childhood that is the key to the Kingdom of Faërie.
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It was in a colloquy held in Besançon in September 2008 that we presented a paper on "The Letters from Farher Christmas by JRR Tolkien" - a work initially intended for the four children of Tolkien and then offered to the public through the " Edited in 1976 by the second wife of Christopher Tolkien, Baillie Tolkien, and augmented in 1999 with the reproduction of the envelopes and illustrations which constitute an essential part of the work.
The first part deals with an expanding micro-universe, initially that of Father Christmas at the North Pole, alone with his companion Polar Bear, but which is gradually being enriched by new characters over the years. We then discuss Tolkien’s artistic talent as a calligrapher and inventor of the writings of Father Christmas, the Polar Bear and the Ilbereth Elf.
A third part analyzes Tolkien’s relationship with childhood, both in the context of his family and in his work. The conclusion places the Letters from Father Christmas in relation to the creative imagination that unfolds throughout the Legendarium. The richness of the inner world of Tolkien is also manifested in writings of a "private" nature as are the Letters from Father Christmas
Tolkien’s oeuvre, conceived and written in the context of a Europe devastated by two world wars, brings with it a message of hope for our times, the fruit of a fertile marriage of European traditions. Tolkien’s critique of modernity does not lead to a call for subversion, but rather an invitation to rediscover the path of traditional values that stems from Europe’s dual heritage, the mythological and the Christian. His work is animated, at the deepest level, by a love of Creation, a profound respect for individual freedom and the refusal to bow down and submit to the machinations of propaganda. This is how Tolkien makes a positive difference to the lives of young people today, in a world under siege from a culture of death and saturated by a morbid aspiration towards the void. In contrast to Islamic State and their ‘Knights of Nihilism’, dressed from head to toe in black, Tolkien offers contemporary society, ravaged as it is by an interior emptiness of soul, a path of ascent towards the light.
This article was kindly translated by John Fitzgerald of Manchester, England.
The number 2 of The Journal of the Blue Moon is devoted to the work of the Lithuanian painter and composer Mikalojus Konstantinas Čiurlionis (1975-1911). This issue comprises three elements : an introduction to the work of Čiurlionis (resumption of a lecture given in 1985 at the University of Valenciennes) ; The text of an intervention at the Čiurlionis Centenary International Symposium in Vilnius in September 2011 ; A consistent presentation of numerous works on Čiurlionis and some events associated with the Centenary.
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This introductory text presents an overview of the pictorial work of Čiurlionis, preserved in the Museum dedicated to it in Kaunas. It opens with a brief reminder of the biography of this painter and composer whose work has its roots in the land of Lithuania but also in an invisible world from which the artist looks at the destiny of the world and of civilizations - an artist animated by a vibrant quest for harmony in an incessant movement that leads from chaos to the cosmos. The presentation of the paintings is based on the comments of two exegetes : Marc Etkind, who published in Russian in Leningrad in 1970 a book entitled The World as a Great Symphony ; and Gytis Vaitkunas, author of a philosophica treatise on Čiurlionis, published in German in 1975 in Dresden. The pictorial work of Čiurlionis focuses on a few years, between 1904 and 1909 ; before he dived into a serious illness that prevailed in 1911, at the age of 36 years.
In addition to isolated paintings (Tranquility, Friendship, Truth, Triptych Raigardas, Legend of Kings, Fugue, Rex, Ballade of the Black Sun), the large cyclical compositions tending to form part of the sonata form, borrowed from musical art : Funeral Cycle, World Creation, Princess Travel, Signs of the Zodiac, Spring Sonata, Sonata of the Sun, Sonata of the Sea, Sonata of the Serpent, Sonata of the Stars.
This article presents the text of a conference in Vilnius on 22 September 2011, on the occasion of the International Colloquium of the Centenary of Čiurlionis, entitled "Čiurlionis, a" happy misfortune ". Re-enchantment of the world and eschatological dimension in the post-modern world
The symbol of yin-yang can be applied to the destiny of Čiurlionis, at first glanced cruel, since a serious illness shatters in December 1909 its creative impulse at the very moment when it was going to reach an european reputation. It appears, however, that this work, left in the dark, during the darkness of the Soviet period, resurfaced in its universal dimension in the first decades of the twenty-first century, with a potential for "world re-enchantment" comparable to that of Tolkien’s Legendary . The work of Čiurlionis does not belong to modernity, nor can it be defined in terms of the restricted framework of a post-romantic end-of-century symbolism. The work of Čiurlionis testifies to a sense of the sacred and the beauty of the world, with the awareness of a cyclical time and the actuality of the myths. It is in an "imaginary world" (in the sense that Henri Corbin gave to this term) that the creative fantasy of Čiurlionis unfolds. The world of Čiurlionis is the expression of a metaphysical thought, marked by the presentiment of a growing Shadow extending over the world, but where, as in Tolkien, the notions of beauty, wisdom and protective benevolence predominate.
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The Centenary of the death of Čiurlionis, , commemorated by an International Symposium in Vilnius and Kaunas in September 2011, reveals research on both the musical and the pictorial aspect of the work of the greatest Lithuanian artist known to date. We present, through four documents, an inventory of the richness and complexity of this research, not only in Lithuania but through Europe, as well as in Russia and America. Firstly, an analysis of a book published in 1977 in Vilnius by Lionginas Šepetys, at a time when research on Čiurlionis is in full swing, but still subject to the constraints imposed by the communist regime. The great merit of this work is the reproduction of almost all the pictorial work (214 color pictures and 215 pieces of various drawings and graphic works). In 1970 the publication of the Spring Sonata, whose author, Vytautas Landsbergis, was the first President of Lithuania after the recovery of his independence on 11 March 1990, emphasizes the in-depth unity between the musical and pictorial inspiration of Čiurlionis and includes a chapter on his musical work.
An essential work is published in English in 1994 by Stasys Goštautas, Čiurlionis : Painter and Composer, which encompasses all aspects of the life and work, both musical and pictorial, of Čiurlionis. We analyze several of the articles presented in the five sections of this book.
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In this second document dedicated to the Centenary of Čiurlionis, we present a book published in 2003 under the title Le temps de la reconnaissance, whose authors are Stasys Ubonas (Director of the House of Čiurlionis in Vilnius) and Antanas Andrijauskas (specialist of Art and Culturology and member of the Academy of Sciences of Lithuania), this work, like that of Stasys Goštautas (Čiurlionis : Painter and Composer), is a remarkable synthesis on the apprehension of the work of Čiurlionis at the beginning of the XXIst century. Stasys Ubonas brings together the main stages of the life of Čiurlionis, which are centered around four cities : Druskininkai, Warsaw, Vilnius and St. Petersburg.
Antanas Andrijauskas presents a study entitled "Čiurlionis, the" World of Art ", the birth of abstract and metaphysical painting", which is articulates in six parts : News of the legacy of Čiurlionis ; Čiurlionis in the entourage of the "World of Art" in St. Petersburg ; Sources and artistic and aesthetic influences of Far Eastern art ; Čiurlionis and Kandinsky - The question of priority in the genesis of abstract art ; The sources of metaphysical painting and Surrealism : Čiurlionis and Chirico ; The cosmic visions "
The part devoted to the study of the sources and the artistic and aesthetic influences of the art of the Far East is of particular interest. From his youth, Čiurlionis was interested in philosophy, mythology, cosmology and the art of the East. His work is close to the Chinese and Japanese landscapers of the traditional painting of the aesthetics of Chan Buddhism, marked by pantheism and a sense of the unity of man and nature.
In the final part of this study, which deals with the question of cosmic visions, Antanas Andrijauskas abdicates the Zodiac Cycle, the Sonata of the Stars, and Rex, the last painting of Čiurlionis, where the apocalyptic and historiosophical resonances are deployed with particular acuity .
The music is not absent from this work, since Vytautas Landsbergis dedicates a part entitled "The music of his soul", where the attraction of Čiurlionis for the sea is at the forefront.
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The third part of our reports in connection with the Centenary of Čiurlionis includes a review of works devoted to music, as well as various texts and contributions that have accompanied various events in connection with commemorations of the centenary of the death of the artist Lithuanian.
The number 59 of the magazine Acta Academiae Artium Vilnensis tries to situate the creation of Čiurlionis among its contemporaries. There are references to the concept of "life", a theme that has been marked by philosophers such as Schopenhauer, Nietzsche and Bergson, Richard Wagner, and thinkers such as Oswald Spengler.
Laima Marija Petruševičiute offers a comparative analysis of the art of Čiurlionis and the Norwegian expressionist painter Edvard Munch, in a book with thetitle evocative, Melancholy and Sun, published in Vilnius in 2008.
Darius Kučinskas, who teaches at the Technological Institute of Kaunas, analyzes one of the most singular aspects of the music of Čiurlionis : his visuality. Just as one finds musical principles in the painting of Čiurlionis, one also finds visual aspects in its musical writing. Darius Kučinskas is also the author of two books published, one in Vilnius in 1999, a very valuable work on the manuscripts of Čiurlionis piano works ; The other in Kaunas in 2003, under the title of Three Studies on Music by M.K. Čiurlionis.
The publication by Vytautas Landsbergis in 2004 of a book containing all the piano compositions by Čiurlionis was also a decisive step in the full recognition of Čiurlionis as a composer. There are over 400 pages of scores, followed by a commentary by V. Landsbergis. In 2011 the book of Rokas Zubovas, Compositions for piano by Čiurlionis, has been published, with six CDs enabling the reader to listen to the complete piano work performed by Rokas Zubovas.
Various conferences, exhibitions and concerts accompanied this Čiurlionis Centenary ; Including an exhibition in Milan in 2010 and a piano recital given at the House of Čiurlionis in Vilnius on 25 September 2011 by the Italian pianist Orazio Sciortino. The International Congress held in Vilnius and Kaunas in September 2011 gave rise to numerous papers, four of which are the subject of a review in this third part of the Cahiers de la Lune Bleue. The Finnish musicologist and semiotician Eera Tarasti, who has devoted a thesis to Sibelius and is the author of numerous works presenting a semiotic approach to music. Professor Leonid Fleyderman of Moscow, who presents the group Amaravella, a name chosen by a group of six painters living in Moscow in the middle of the 20th century, united by their sense of the cosmic dimension in painting. A group that experienced a tragic destiny, since half of them were victims of the Stalin purges. Nathalie Lorand of Paris presented a paper on "imaginary alphabets of Čiurlionis to Max Ernst". Vance D. Wolverton, professor of music at the University of North Kentucky, recalls a choral ensemble that, from 1950 to 1993, was like a Lithuanian "cultural ambassador" in America under the direction of Alfonsas Mikulskis.
Our review concludes with the presentation of the International Festival of Druskininkai, organized by Rimantas Astrauskas, which brings together every year, during the summer, various specialists in the two fields of music and painting of Čiurlionis.
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Finally, the fourth part of our review of the Čiurlionis Centenary is devoted to the work carried out by Vytautas Landsbergis, the first President of independent Lithuania in 1990, throughout his life. In the first place comes an extraordinary testimony on his journey with Čiurlionis, and even on the relations of his grandfather, Gabrielius Landsbergis, with the artist he knew personnally. This is a very valuable document not only on the career of Vytautas Landsbergis but also on the extreme difficulty of making known the work of Čiurlionis during the Soviet era.
Secondly, we present a few other works by Vytautas Landsbergis devoted to Čiurlionis : M.K. Čiurlionis, Time and Content (1992), Creation by the word (1997), Un art alone (2005). Our review concludes with Letters to Sophie, published in Vilnius in 2011, which contain the letters of Čiurlionis to his fiancée, Sophie Kimantaité, now his wife. This book is partly a memoir of the last years of the life of Čiurlionis and reveals the uncovering of a vast panorama of cultural life in Lithuania in the early twentieth century.
The number 3 of The Journal of the Blue Moon is devoted to the work of Professor Antanas Andrijauskas, member of the Lithuanian Academy of Sciences (section “Philosophy”), director of the Department of Comparative Culture Studies at the University of Vilnius , Professor at the Academy of Fine Arts of Vilnius and Professor at the Center of Philosophy of Oriental Studies at the University of Vilnius.
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A first document presents the works published by Antanas Andrijauskas as well as those published under his direction. After two works of general character, The Philosophy of Art (1990) and The Beauty of Art (1995), the twofold orientation of the Lithuanian scholar towards comparative studies and oriental studies is already apparent. Among them, the Theory of Civilizations and Comparative Research (1999), Morphology of Culture (2000), Aesthetics and Traditional Art of Japan (2001), Comparative History of the Idea of Civilizationand comparative studies (2001), History of the evolution of relations between the civilizations of East and West (2002), History and theory of culturology (2003), Comparative vision : aesthetics and philosophy of art In the East (2006).
Antanas Andrijauskas also directs the publication of a review devoted to comparative studies : East - West : Comparative Studies, which has been published regularly since 2002 and which is in volume XIV in 2016.
An English translation of what Professor Andrijauskas regards as his opus magnus : A History of Aesthetics and the Philosophy of Art : Orient-Occident, a large work of 1400 pages.
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The second document in this issue devoted to Professor Andrijauskas presents his training, his career and his scientific work.
The number 4 of the Journal of th Blue Moon is devoted to the career and work of Paul Bernard, a mathematician and polytechnician attached to Ponts et Chaussées, who has deployed his activity in many fields : poetry and graphic art, demography, Astrology, associating everywhere a step of mathematician with an original poetic spirit.
This homage begins with an interview friendly granted by Paul Bernard kindly, on October 19 and 20, 2016, in Saint-Jean-aux-Bois, in the heart of the Compiègne forest.
Paul Bernard first evokes his childhood and adolescence in Algeria, where he was born on February 18, 1923, his father’s death in May 1942, and the war years, when he finds himself a young officer in a brigade preparing the landing in Provence. Fate bifurcates when, following a ministerial directive, he is led to prepare the entrance examams to the « Grandes Ecoles ». In autumn 1945, he entered Polytechnique. At the end of his studies, his first professional experience is in Morocco, in hydraulic services, where he is in charge of the irrigation of one quarter of the Protectorate and the region of Casablanca. A five-year mission in Iran, as a consultant on irrigation and construction of large dams and port facilities, left a strong imprint on Paul Bernard, in contact with a refined civilization, of which he had learned the language , the Farsi. Returning to France in 1963, he spent ten years in the framework of OCIL, the construction of social housing in the Paris region. His experience in reconstruction led him to missions in Japan and China and in the United Arab Emirates. Paul Bernard also evokes his initiation to astrology by Jean Barets, active person too in the field of the open industrialization and in the technique of the prestressed concrete. He is also the author of an entitled work « The Astrology meets the science ». Within the framework of the CSTB (Scientific and Technical Center of the Building). Paul Bernard has the opportunity to establish numerous contacts, during two decades, all over the world.
The interview continues with the evolution of Paul Bernard in the field of astrology. For him, astrology is "a non-causal reading of universal ordinance" and not a predictive art. Paul Bernard evokes his two major works in this field : Logos, conceived as the projection on the zodiacal circle of the barycenter of the zodiacal points representing the ten planets, and the “Blasons astrologiques”, a topological study of spaces of full and void around the zodiacal circle.
Then the interview went on other fields of activity such as demography, poetry and graphic art. It finally concludes with a few brief comments on the view of almost a century of world history and the quest for wisdom whicht basically livens up Paul Bernard’s life since his childhood.
Following this interview, various documents allow to enter into the many sides of the creative activity of Paul Bernard. A brief "Manifesto for digital art" (dating from 2009) introduced to works entitled "Graphics" and "Showcase".
Among the literary texts, Paul Bernard pays tribute first to his son Pierre, whose dark and tragic destiny, gave us strong testimony in his poems. A scientific and metaphysical meditation on the Point illustrates the "learned" face of Paul Bernard, while a series of Astrological Tales, under the title "The Shepherd of the Clouds", testified to a creative fantasy, often inspired by the East.
For the first time, the Logos study is published, in its initial form, always a starting point for generating fruitful research. As for the “Blasons astrologiques”, we will find in this homage the commentary I gave at a mundane astrology seminar which too place in Vilnius on April 27 and 28, 2002.
Paul Bernard is the creator of a series of astrological software applicable both to the classical planets of the solar system (from the Sun to Pluto) and to the factors represented by the Transneptunians of the Hamburg School (from Cupido to Poseidon). These software offer opportunities for explorations over time in dimensions never seen before, up to ten million years.
This software is now available to all researchers who will request it from Paul Bernard and who will receive them free of charge, in order to promote research.
This article presents these software, with their instructions and examples for use.
A first software allows the study of the positions of the "active centers" F, to the number of twenty, which are presented in the n° 1 of the Journal of Mundane Astrology in the article of Paul Bernard entitled "Astral Order of the Solar system". The maximum duration of research is ten million years before or after our era.
The K-Index allows the study of planetary cycles, including two or more planets (paracycles), both among the "classics" and among the Transneptunians.
A third software (MPU - mid-points universal) extends the search possibilities to classical or transneptunian mid-points, associated with various factors (planetary or not).
The interview between Paul Bernard and Charles Ridoux - October 19-20, 2016 - Saint-Jean-aux-Bois
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This interview evokes the childhood and youth of Paul Bernard in Algeria, where he was born on February 18, 1923, his involvement as a young officer and his vision of war, his studies as a mathematician admitted to the École Polytechnique, and then his career to the Ponts et Chaussées that will take him to Morocco, Iran, China, Japan. Paul Bernard evokes his discovery of astrology, his work in this field - Logos, the “Blasons astrologiques”. He is also interested in demography, graphic arts, and poetry.
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Paul Bernard pays tribute to his son Pierre, whose dark and tragic destiny, left behind him the strong testimony of his poems. Pierre Bernard has lived through the life like a meteor, in the night and fulgurances. Born on January 5, 1946, just after the war. He was, like many of his generation, rebel insecure and desperate.
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All those who appreciate the « Arabian Nights » will delight in Paul Bernard’s Astrological Tales, which combine a creative literary fantasy with an astrological science and a marked taste for history and beautiful stories.
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Logos was the first of the astrological manuscripts of Paul Bernard. The entity "Logos" is defined in function of ten planetary points (Sun, Moon, Mercury, Mars, Venus, Jupiter, Saturn, Uranus, Neptune, Pluto) and its role is what could be called zodiacal kinematics. From this role comes an important astrological significance. This is the beginning of a research, which promises to be fruitful.
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A reflection both scientific and metaphysical on the point, which has long accompanied the reflections of Paul Bernard. The text here presented is the reworking of several others dating from different eras.
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A brief Manifesto for digital art, dating from 2009, can be used as an introduction to some of the graphic works of Paul Bernard, gathered in a series of PDF documents under the headings "Graphics" and "Vitrines" (the latter are clustered in five galleries).
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Drawing, engraving and painting are all attempts to mediate between the divine order and the human order. This is the case for numerical representations. Graphics, symbols, resonances, synchronicities, correspondences, but also numbers, structure of the universe, bridges between the said and the unspeakable, an attempt to read what is not written, acceptance of the mystery, certainty that will not be able to understand and nevertheless dialogue.