I've just lately discovered Atlanta's newist right-wing radio. We had two, both sounding progressively nuttier. But this new radio station not only doesn't sound as nutter as Limbaugh and Hannity, it's got this other Buy Christian, Sell Christian, Get educated Christian, Buy tires, get your book published, Christian message.
I really don't want to be considered " anti-Christian"
But these crazoids are pushing me to it.
--- Chuck Grimes <cgrimes at rawbw.com> wrote:
>
> ``..man doth not live by bread _alone_, but man doth
> live by bread.
> Unite and take the bread from the Man, and spread
> the bread... CB
>
> -------
>
> Get the Bread and spread the Bread, Amen brother.
> Get down,
> Reverend Brown.
>
> Butt seriously. I was thinking about jobs in
> religion. Religion used
> to have plenty of jobs, and they were all art jobs.
> So, I have to
> reconsider this whole business. I guess that's why I
> was always
> attracted to the Catholics and didn't much care for
> the
> Protestants. Not enough jobs. Paint, plaster, some
> interior finish
> work in hardwoods and that was it. The Protestants
> just didn't have
> much to do, except stand around dressed in black and
> talk shit
> about other people.
>
> The Catholics on the other hand changed their
> clothes all the time,
> sometimes twice an hour. And they had lots of jobs
> in stone work,
> fancy plaster work, gold leaf, lots of silver work
> in pots and pans,
> lace, stained glass, big projects in wood, fresco,
> tile and
> mosaic. Here look at this:
>
>
http://en.wikipedia.org/wiki/Image:StMarkBasilicaCeilingView.JPG
>
> I think everything you see in this picture is made
> out of little cut
> pieces of venetian mosaic. That's a lot of work, a
> lot of religion
> jobs.
>
> Some of my first art projects were mosaic done in
> high school, because
> my teacher, Joe Gatto liked mosaic, and mosaics were
> popular for
> coffee table tops in that era.
>
> The real key to it is the design, which has be gone
> over and over in
> order to get the desired effect. You sketch it out
> in pencil, then
> apply water colors in the approximate colors of the
> tiles you
> have. You set the tiles out, and then mix the
> watercolors to match
> (and you number the colors to the tiles). Then you
> paint the
> watercolor on between the lines like the paint by
> numbers painting
> kits. You rule a grid over the the design and
> project or proporition
> the grid on the surface you intend to cover, and
> estimate by eye the
> lines of the finished design drawn between the grid
> lines. For each
> area, you spread a thin layer of mastic, now made of
> industrial
> adheshive, but it used to be a very sticky mortar.
> Then you start
> cutting and setting the pieces of glass tile in
> place following your
> color chart. For large single color areas you can
> lay out a sheet of
> cloth (or paper) and cover it with a water base glue
> and set the tiles
> upside down, then cut the back of the sheet to fit
> the area. Lay on a
> thin smear of mortar and set the entire sheet in
> place at once. When
> the mastic dries, you soak the paper and scrub it
> off or soak the
> cloth backing in water and peal it off. This is
> probably how the large
> areas in St. Marks were covered. Since the pieces
> are small they will
> conform to the rounded surfaces.
>
> The finish coat is a white, high lime content mortar
> (called grout)
> towelled or brushed into the steams, pressed between
> each piece and
> then wiped. (How to make lime. You mine limestone,
> crush it, and then
> burn it with charcole in a kiln. The calcium residue
> is lime. The lime
> is mixed with various grades of sand and water for
> finidhed product. Lime
> beaters are a separate trade by tradition. More jobs
> in religion).
>
> After this has set, you go back over the whole
> surface with
> a stiff bristle scrub brush and polish the surface
> clean. Since these
> surfaces are never touched except for an odd
> millennium cleaning, they
> essentially last forever. Even the Roman baths that
> were used daily
> were covered in mosaic (same job, different
> religion) and essentially
> out lasted the fucking empire.
>
> The Arabs, Persians, and Indians were real masters
> of this craft, even if
> most of their designs were non-figurative. They all
> had the
> same jobs in religion even if the religions were
> different.
>
> Fresco is essentially a light duty variant. You mix
> the lime mortar
> in a different ratio to sand, spread it and paint
> directly with a
> crude watercolor made of finely ground earths or
> colored minerals
> mixed in water. The mineral color particles are
> fused to the curing
> lime and produce a very rich color. This shit is
> like magic. If you
> have ever liked to paint watercolors on expensive
> paper that sucks up
> the color and illuminates it, you should try fresco.
> One stroke on a warm
> lime surface and that's it. When everything is just
> right, it is
> watercolor on steroids and powered by neon.
>
> Our gods were never created by philosophers or
> priests and there was
> absolutely nothing divine about them. They were
> created by the working
> class trades, all those nameless people, just doing
> their jobs in
> religion. From Tutakhamen to Venus, from the winged
> Victory and Diana
> to Shiva, Molach, Jesus and Allah---just a bunch of
> men hammering in
> stone, wood, brass, casting in bronze, working gold,
> or painting on
> lime, cutting glass tile or fitting tiny pieces of
> marble and
> alabaster onto a wall, or drawing letter forms in
> octopus or squid ink
> on sheep skin or recycled cotton cloth, screened and
> cured into paper.
>
> And all through the millienia, these nameless minons
> never knew they
> were the gods they were so studiously making. But it
> doesn't end in
> the past. Our gods of modernity are forces,
> historical, ahistorical
> and beyond, laden with time and space, abstract
> entities, mysterious
> thrusts and pulls, and sure enough our arts are full
> of these
> abstractions that have no figurative element at all.
> Violent clashes by
> night dominate our imaginative interior landscapes,
> ironic icons
> full of self-reflextive cartoons and the manque of
> conscieousness,
> critiques absent a subject, and on and on. We can
> see them all in the
> art movements of the last century. These are the
> nameless entities of
> power and privilage that battle one another over our
> souls and our
> fate in a vast pantheon of obscure origin. Contrary
> to Octavio Paz's
> Labyrinth of Solitude, we are haunted by the din of
> the multitude of
> the gods that assail us...like Ovid's Song of
> Pythagarus,
>
> Full sail, I voyage
> Over the boundless oceans, and I tell you
> Nothing is permenant in all the world.
> All things are fluent; every image forms,
> Wandering through change. Time itself a river
> In constant movement, and the hours flow by
> Like water, wave on wave, pursued, pursuing,
> Forever fugitive, forever new.
>
> That which has been, is not, that which was not,
> Begins to be; motion and moment always
>
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