Skull Art Quotes

Provided we can escape from the museums we carry around inside us, provided we can stop selling ourselves tickets to the galleries in our own skulls, we can begin to contemplate an art which re-creates the goal of the sorcerer: changing the structure of reality by the manipulation of living symbols ... Art tells gorgeous lies that come true.

My life is like a memento mori painting from European art: there is always a grinning skull at my side to remind me of the folly of human ambition.

It’s of some interest that the lively arts of the millenial U.S.A. treat anhedonia and internal emptiness as hip and cool. It’s maybe the vestiges of the Romantic glorification of Weltschmerz, which means world-weariness or hip ennui. Maybe it’s the fact that most of the arts here are produced by world-weary and sophisticated older people and then consumed by younger people who not only consume art but study it for clues on how to be cool, hip - and keep in mind that, for kids and younger people, to be hip and cool is the same as to be admired and accepted and included and so Unalone. Forget so-called peer-pressure. It’s more like peer-hunger. No? We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it’s stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naivete. Sentiment equals naïveté on this continent... ...Hal, who’s empty but not dumb, theorizes privately that what passes for hip cynical transcendence of sentiment is really some kind of fear of being really human, since to be really human (at least as he conceptualizes it) is probably to be unavoidably sentimental and naive and goo-prone and generally pathetic, is to be in some basic interior way forever infantile, some sort of not-quite-right-looking infant dragging itself anaclitically around the map, with big wet eyes and froggy-soft skin, huge skull, gooey drool. One of the really American things about Hal, probably, is the way he despises what it is he’s really lonely for: this hideous internal self, incontinent of sentiment and need, that pules and writhes just under the hip empty mask, anhedonia.

The moon had risen behind him, the color of a shark's underbelly. It lit the ruined walls, and the skin of his arms and hands, with its sickly light, making him long for a mirror in which to study his face. Surely he'd be able to see the bones beneath the meat; the skull gleaming the way his teeth gleamed when he smiled. After all, wasn't that what a smile said? Hello, world, this is the way I'll look when the wet parts are rotted.

I had a teacher I liked who used to say good fiction’s job was to comfort the disturbed and disturb the comfortable. I guess a big part of serious fiction’s purpose is to give the reader, who like all of us is sort of marooned in her own skull, to give her imaginative access to other selves. Since an ineluctable part of being a human self is suffering, part of what we humans come to art for is an experience of suffering, necessarily a vicarious experience, more like a sort of “generalization” of suffering. Does this make sense? We all suffer alone in the real world; true empathy’s impossible. But if a piece of fiction can allow us imaginatively to identify with a character’s pain, we might then also more easily conceive of others identifying with our own. This is nourishing, redemptive; we become less alone inside.

When it came to the definition of genius, the ultimate measure could never really be the skull - the measure was always the writing, the music, the art itself.

My life is like a memento mori painting from European art: there is always a grinning skull at my side to remind me of the folly of human ambition. I mock this skull.

Sabotaging people romantically might seem timid compared to crushing their skulls with toilet tank lids, but hurting people is an art, and I enjoyed it in all its many forms.

I still smart a little at the slight. When you've suffered a great deal in life, each additional pain is both unbearable and trifling. My life is like a memento mori painting from European art: there is always a grinning skull at my side to remind me of the folly of human ambition. I mock this skull. I look at it and I say, "You've got the wrong fellow. You may not believe in life, but I don't believe in death. Move on!" The skull snickers and moves ever closer, but that doesn't surprise me. The reason death sticks so closely to life isn't biological necessity -- it's envy. Life is so beautiful that death has fallen in love with it, a jealous, possessive love that grabs at what it can.

My life is like a memento more painting from European art: there is always a grinning skull at my side to remind me of the folly of human ambition.

This radiance is so great that it can-not be limited by the skull and it pours out from the head, especially from the back of the neck where the uppermost vertebra of the spine articulates with the condyles of the occipital bone. It is this light pouring our in a fan-shaped aura around the posterior part of the head that has given rise to the halos of saints and the nimbus so often used in religious art. This light signifies human regeneration and it forms part of the auric bodies of man.

As artists and professionals it is our obligation to enact our own internal revolution, a private insurrection inside our own skulls. In this uprising we free ourselves from the tyranny of consumer culture.

Because when you give too many fucks—when you give a fuck about everyone and everything—you will feel that you’re perpetually entitled to be comfortable and happy at all times, that everything is supposed to be just exactly the fucking way you want it to be. This is a sickness. And it will eat you alive. You will see every adversity as an injustice, every challenge as a failure, every inconvenience as a personal slight, every disagreement as a betrayal. You will be confined to your own petty, skull-sized hell, burning with entitlement and bluster, running circles around your very own personal Feedback Loop from Hell, in constant motion yet arriving nowhere. The

This was a face such as I had never seen before, even in the most fanciful of dreams, a face that was, in its way, a work of art. For it was light and dark, night and day, this world and the Otherworld. On the left side, the face of a youngish man, the skin weathered but fair, the eye gray and clear, the mouth well formed if unyielding in character. On all the right side, extending from an undrawn mark down the exact center, an etching of line and curve and feathery pattern, like the mask of some fierce bird of prey. An eagle? A goshawk? No, it was, I thought, a raven, even as far as the circles about the eye and the suggestion of predatory beak around the nostril. The mark of the raven. If I had not been so frightened, I might have laughed at the irony of it. The pattern extended down his neck and under the border of his leather jerkin and the linen shirt he wore beneath it. His head was completely shaven, and the skull, too, was colored the same, half-man, half-wild creature; some great artist of the inks and needle had wrought this over many days, and I imagined the pain must have been considerable.

The oldest human skull in existence has a hole in it from a spear. Prostitution is a much older profession than farming. The first son in the Bible was also a murderer. For thousands of years, human achievements were only possible through war—including civilization, art, religion, and even peace. Do you know what that means? About the human race? It means that from the very beginning human beings have been plotting to kill one another in order to live.

at dawn boring holes in the skull bullets

Boys never become men, they become skeletons and skulls.

I was feeling my way toward something honest, hidden under the trapdoor on the top of my skull.

I fell into my typewriter with it and came up with a brand-new, absolutely original tale, which had been lurking under my skin since I first drew a skull and crossbones, aged six.

My life is a memento mori painting from European art: there is always a grinning skull at my side to remind me of the folly of human ambition.

Pugilism is the silliest of all combat arts. It consists of taking the human hand, with its multitude of tiny, frangible bones, and smashing it against the human skull, a most unyielding target.

How can she who had torn his heart open at the waterworks with her art lie now like a human in his arms? Or stand catatonic in front of bananas on Eastern Avenue deciding which bunch to buy? Does this make her more magical? As if a fabulous heron in flight has fallen dead at his feet and he sees the further wonder of its meticulous construction. How did someone conceive of putting this structure of bones and feathers together, deciding on the weight of beak and skull, and give it the ability to fly?

Housed in the Van Gogh Museum in Amsterdam, the following plate was completed in 1886, portraying the unusual subject of a skeleton smoking a cigarette. The work has roused many interpretations, including a depiction of mortality and a prophetic cry of the dangers of tobacco. In the next two years, van Gogh painted two other paintings with skulls, illustrating his fascination with the macabre subject.

We don’t just want people to be better, we expect it to magically happen—that we can simply will other people to change, burning holes into their skull with our angry stare. Although when you think about it that way, it makes you wonder who the rude one actually is.

Whitman himself "accepted" a great deal that his contemporaries found unmentionable. For he is not only writing of the prairie, he also wanders through the city and notes the shattered skull of the suicide, the "grey sick faces of onanists," etc., etc. But unquestionably our own age, at any rate in Western Europe, is less healthy and less hopeful than the age in which Whitman was writing. Unlike Whitman, we live in a shrinking world. The "democratic vistas" have ended in barbed wire. There is less feeling of creation and growth, less and less emphasis on the cradle, endlessly rocking, more and more emphasis on the teapot, endlessly stewing. To accept civilisation as it is practically means accepting decay. It has ceased to be a strenuous attitude and become a passive attitude—even "decadent," if that word means anything.

A big part of serious fiction’s purpose is to give the reader, who like all of us is sort of marooned in her own skull, to give her imaginative access to other selves … I strongly suspect a big part of real art fiction’s job is to aggravate this sense of entrapment and loneliness and death in people, to move people to countenance it.

They had heroes for companions, beautiful youths to dream of, rose-marble-fingered Women shed light down the great lines; But you have invoked the slime in the skull, The lymph in the vessels. They have shown men Gods like racial dreams, the woman's desire, The man's fear, the hawk-faced prophet's; but nothing Human seems happy at the feet of yours. Therefore though not forgotten, not loved, in the gray old years in the evening leaning Over the gray stones of the tower-top, You shall be called heartless and blind.

It’s of some interest that the lively arts of the millennial U.S.A. treat anhedonia and internal emptiness as hip and cool. It’s maybe the vestiges of the Romantic glorification of Weltschmerz, which means world-weariness or hip ennui. Maybe it’s the fact that most of the arts here are produced by world-weary and sophisticated older people and then consumed by younger people who not only consume art but study it for clues on how to be cool, hip — and keep in mind that, for kids and younger people, to be hip and cool is the same as to be admired and accepted and included and so Unalone. Forget so-called peer-pressure. It’s more like peer-hunger. No? We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it’s stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naïveté. Sentiment equals naïveté on this continent (at least since the Reconfiguration). One of the things sophisticated viewers have always liked about J. O. Incandenza’s The American Century as Seen Through a Brick is its unsubtle thesis that naïveté is the last true terrible sin in the theology of millennial America. And since sin is the sort of thing that can be talked about only figuratively, it’s natural that Himself’s dark little cartridge was mostly about a myth, viz. that queerly persistent U.S. myth that cynicism and naïveté are mutually exclusive. Hal, who’s empty but not dumb, theorizes privately that what passes for hip cynical transcendence of sentiment is really some kind of fear of being really human, since to be really human (at least as he conceptualizes it) is probably to be unavoidably sentimental and naïve and goo-prone and generally pathetic, is to be in some basic interior way forever infantile, some sort of not-quite-right-looking infant dragging itself anaclitically around the map, with big wet eyes and froggy-soft skin, huge skull, gooey drool. One of the really American things about Hal, probably, is the way he despises what it is he’s really lonely for: this hideous internal self, incontinent of sentiment and need, that pules and writhes just under the hip empty mask, anhedonia. 281 281 - This had been one of Hal’s deepest and most pregnant abstractions, one he’d come up with once while getting secretly high in the Pump Room. That we’re all lonely for something we don’t know we’re lonely for. How else to explain the curious feeling that he goes around feeling like he misses somebody he’s never even met? Without the universalizing abstraction, the feeling would make no sense.

the people were steeped in the crepuscular gloom of antiquity; and were wise with all manner of accumulated lore; and were subtle in the practice of strange refinements, of erudite perversities, of all that can shroud with artful opulence and grace and variety the bare uncouth cadaver of life, or hide from mortal vision the leering skull of death.

You see you can use a hammer to build a house or crack a skull. (Isaac The Forgemaster)

It was astonishing how loudly one laughed at tales of gruesome things, of war’s brutality-I with the rest of them. I think at the bottom of it was a sense of the ironical contrast between the normal ways of civilian life and this hark-back to the caveman code. It made all our old philosophy of life monstrously ridiculous. It played the “hat trick” with the gentility of modern manners. Men who had been brought up to Christian virtues, who had prattled their little prayers at mothers’ knees, who had grown up to a love of poetry, painting, music, the gentle arts, over-sensitized to the subtleties of half-tones, delicate scales of emotion, fastidious in their choice of words, in their sense of beauty, found themselves compelled to live and act like ape-men; and it was abominably funny. They laughed at the most frightful episodes, which revealed this contrast between civilized ethics and the old beast law. The more revolting it was the more, sometimes, they shouted with laughter, especially in reminiscence, when the tale was told in the gilded salon of a French chateau, or at a mess-table. It was, I think, the laughter of mortals at the trick which had been played on them by an ironical fate. They had been taught to believe that the whole object of life was to reach out to beauty and love, and that mankind, in its progress to perfection, had killed the beast instinct, cruelty, blood-lust, the primitive, savage law of survival by tooth and claw and club and ax. All poetry, all art, all religion had preached this gospel and this promise. Now that ideal had broken like a china vase dashed to hard ground. The contrast between That and This was devastating. It was, in an enormous world-shaking way, like a highly dignified man in a silk hat, morning coat, creased trousers, spats, and patent boots suddenly slipping on a piece of orange-peel and sitting, all of a heap, with silk hat flying, in a filthy gutter. The war-time humor of the soul roared with mirth at the sight of all that dignity and elegance despoiled. So we laughed merrily, I remember, when a military chaplain (Eton, Christ Church, and Christian service) described how an English sergeant stood round the traverse of a German trench, in a night raid, and as the Germans came his way, thinking to escape, he cleft one skull after another with a steel-studded bludgeon a weapon which he had made with loving craftsmanship on the model of Blunderbore’s club in the pictures of a fairy-tale. So we laughed at the adventures of a young barrister (a brilliant fellow in the Oxford “Union”) whose pleasure it was to creep out o’ nights into No Man’s Land and lie doggo in a shell-hole close to the enemy’s barbed wire, until presently, after an hour’s waiting or two, a German soldier would crawl out to fetch in a corpse. The English barrister lay with his rifle ready. Where there had been one corpse there were two. Each night he made a notch on his rifle three notches one night to check the number of his victims. Then he came back to breakfast in his dugout with a hearty appetite.

Every reporter who came up in legacy media can tell you about a come-to-Jesus moment when an editor put them up against a wall and tattooed a message deep into their skull: show respect for the fundamentals of the craft, or you would not soon be part of it.

As artists and professionals it is our obligation to enact our own internal revolution, a private insurrection inside our own skulls. In this uprising we free ourselves from the tyranny of consumer culture. We overthrow the programming of advertising, movies, video games, magazines, TV, and MTV by which we have been hypnotized from the cradle. We unplug ourselves from the grid by recognizing that we will never cure our restlessness by contributing our disposable income to the bottom line of Bullshit, Inc., but only by doing our work.

My life is like a memento mori painting from European art: there is always a grinning skull at my side to remind me of the folly of human ambition. I mock this skull. I look at it and I say, “You’ve got the wrong fellow. You may not believe in life, but I don’t believe in death. Move on!” The skull snickers and moves ever closer, but that doesn’t surprise me. The reason death sticks so closely to life isn’t biological necessity—it’s envy. Life is so beautiful that death has fallen in love with it, a jealous, possessive love that grabs at what it can.

His eyeless skull took in the line of costumes, the waxy debris of the makeup table. His empty nostrils snuffed up the mixed smells of mothballs, grease, and sweat. There was something here, he thought, that nearly belonged to the gods. Humans had built a world inside the world, which reflected it in pretty much the same way as a drop of water reflects the landscape. And yet... and yet... Inside this little world they had taken pains to put all the things you might think they would want to escape from - hatred, fear, tyranny, and so forth. Death was intrigued. They thought they wanted to be taken out of themselves, and every art humans dreamt up took them further in.

And after the briefest flowering of understanding, my own generation had grown complacent. At some level, we must have started taking it for granted that the way the universe worked was now obvious to any child ... even though it went against everything innate to the species: the wild, undisciplined love of patterns, the craving to extract meaning and comfort from everything in sight. We thought we were passing on everything that mattered to our children: science, history, literature, art. Vast libraries of information lay at their fingertips. But we hadn't fought hard enough to pass on the hardest-won truth of all: Morality comes only from within. Meaning comes only from within. Outside our own skulls, the universe is indifferent.

And are we not guilty of offensive disparagement in calling chess a game? Is it not also a science and an art, hovering between those categories as Muhammad’s coffin hovered between heaven and earth, a unique link between pairs of opposites: ancient yet eternally new; mechanical in structure, yet made effective only by the imagination; limited to a geometrically fixed space, yet with unlimited combinations; constantly developing, yet sterile; thought that leads nowhere; mathematics calculating nothing; art without works of art; architecture without substance – but nonetheless shown to be more durable in its entity and existence than all books and works of art; the only game that belongs to all nations and all eras, although no one knows what god brought it down to earth to vanquish boredom, sharpen the senses and stretch the mind. Where does it begin and where does it end? Every child can learn its basic rules, every bungler can try his luck at it, yet within that immutable little square it is able to bring forth a particular species of masters who cannot be compared to anyone else, people with a gift solely designed for chess, geniuses in their specific field who unite vision, patience and technique in just the same proportions as do mathematicians, poets, musicians, but in different stratifications and combinations. In the old days of the enthusiasm for physiognomy, a physician like Gall might perhaps have dissected a chess champion’s brain to find out whether some particular twist or turn in the grey matter, a kind of chess muscle or chess bump, is more developed in such chess geniuses than in the skulls of other mortals. And how intrigued such a physiognomist would have been by the case of Czentovic, where that specific genius appeared in a setting of absolute intellectual lethargy, like a single vein of gold in a hundredweight of dull stone. In principle, I had always realized that such a unique, brilliant game must create its own matadors, but how difficult and indeed impossible it is to imagine the life of an intellectually active human being whose world is reduced entirely to the narrow one-way traffic between black and white, who seeks the triumphs of his life in the mere movement to and fro, forward and back of thirty-two chessmen, someone to whom a new opening, moving knight rather than pawn, is a great deed, and his little corner of immortality is tucked away in a book about chess – a human being, an intellectual human being who constantly bends the entire force of his mind on the ridiculous task of forcing a wooden king into the corner of a wooden board, and does it without going mad!

One thing you can say for the middle ages, in those days, if you went out to find something, like say, the True Cross, you always managed to find it. Those were the days. Even when two different people were sent out in search of the same thing, say John the Baptist’s skull, for example, they both found it. Just try finding that kind of efficiency these days [http://www.port-magazine.com/art-phot...].

It's of some interest that the lively arts of the millenial U.S.A. treat anhedonia and internal emptiness as hip and cool. It's maybe the vestiges of the Romantic glorification of Weltschmerz, which means world-weariness or hip ennui. Maybe it's the fact that most of the arts here are produced by world-weary and sophisticated older people and then consumed by younger people who not only consume art but study it for clues on how to be cool, hip -- and keep in mind that, for kids and younger people, to be hip and cool is the same to be admired and accepted and included and so Unalone. Forget so-called peer pressure. It's more like peer-hunger. No? We enter a spiritual puberty where we snap to the fact that the great tanscendent horror is loneliness, excluded encagement in the self. Once we've hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the sahpe of whatever it wears. And then it's stuck there, the weary cynicism that save us from gooey sentiment and unsophisticated naïveté. Sentiment equals naïveté on this continent (at least since the Reconfiguration). One of the things sophisticated viewers have always liked about J. O. Incandenza's The American Century as Seen Through a Brick is its unsubtle thesis that naïveté is the last true terrible sin in the theology of millennial America. And since sin is the sort of thing that can be talked about only figuratively, it's natural that Himself's dark little cartridge was mostly about a myth, viz. that queerly persistent U.S. myth that cynicism and naïveté are mutually exclusive. Hal, who's empty but not dumb, theorizes privately that what passes for hip cynical transcendence of sentiment is really some kind of fear of being really human, since to be really human (at least as he conceptualizes it) is probably to be unavoidably sentimental and naïve and goo-prone and generally pathetic, is to be in some basic interior way forever infantile, some sort of not-quite-right-looking infant dragging itself anaclitically around the map, with big wet eyes and froggy-soft skin, huge skull, gooey drool. One of the really American things about Hal, probably, is thie way he despises what it is he's really lonely for: this hideous internal self, incontinent of sentiment and need, that pules and writhes just under the hip empty mask, anhedonia.

The midwife laid her hand on his thick skull, With this prophetic blessing—Be thou dull; 60 Drink, swear, and roar, forbear no lewd delight Fit for thy bulk, do anything but write. Thou art of lasting make, like thoughtless men, A strong nativity—but for the pen; Eat opium, mingle arsenic in thy drink, 65 Still thou mayest live, avoiding pen and ink. I see, I see, ’tis counsel given in vain, For treason, botched in rhyme, will be thy bane; Rhyme is the rock on which thou art to wreck, ’Tis fatal to thy fame and to thy neck.

Because when you give too many f*cks—when you give a f*ck about everyone and everything—you will feel that you’re perpetually entitled to be comfortable and happy at all times, that everything is supposed to be just exactly the fucking way you want it to be. This is a sickness. And it will eat you alive. You will see every adversity as an injustice, every challenge as a failure, every inconvenience as a personal slight, every disagreement as a betrayal. You will be confined to your own petty, skull-sized hell, burning with entitlement and bluster, running circles around your very own personal Feedback Loop from Hell, in constant motion yet arriving nowhere.

More or less the same can be said for Art Therapy, which is organized infantilism. Our class was run by a delirious young woman with a fixed, indefatigable smile, who was plainly trained at a school offering courses in Teaching Art to the Mentally Ill; not even a teacher of very young retarded children could have been compelled to bestow, without deliberate instruction, such orchestrated chuckles and coos. Unwinding long rolls of slippery mural paper, she would tell us to take our crayons and make drawings illustrative of themes that we ourselves had chosen. For example: My House. In humiliated rage I obeyed, drawing a square, with a door and four cross-eyed windows, a chimney on top issuing forth a curlicue of smoke. She showered me with praise, and as the weeks advanced and my health improved so did my sense of comedy. I began to dabble happily in colored modeling clay, sculpting at first a horrid little green skull with bared teeth, which our teacher pronounced a splendid replica of my depression. I then proceeded through intermediate stages of recuperation to a rosy and cherubic head with a “Have-a- Nice-Day” smile. Coinciding as it did with the time of my release, this creation truly overjoyed my instructress (whom I’d become fond of in spite of myself), since, as she told me, it was emblematic of my recovery and therefore but one more example of the triumph over disease by Art Therapy.

Are you angry when someone’s armpits stink or when their breath is bad? What would be the point? Having such a mouth and such armpits, there’s going to be a smell emanating. You say, they must have sense, can’t they tell how they are offending others? Well, you have sense too, congratulations! So, use your natural reason to awaken theirs, show them, call it out. If the person will listen, you will have cured them without useless anger. No drama nor unseemly show required.” —MARCUS AURELIUS, MEDITATIONS, 5.28 The person sitting next to you on the plane, the one who is loudly chattering and knocking around in your space? The one you’re grinding your teeth about, hating from the depth of your soul because they’re rude, ignorant, obnoxious? In these situations, you might feel it takes everything you have to restrain yourself from murdering them. It’s funny how that thought comes into our heads before, you know, politely asking them to stop, or making the minor scene of asking for a different seat. We’d rather be pissed off, bitter, raging inside than risk an awkward conversation that might actually help this person and make the world a better place. We don’t just want people to be better, we expect it to magically happen—that we can simply will other people to change, burning holes into their skull with our angry stare. Although when you think about it that way, it makes you wonder who the rude one actually is.

I own thy speechless, placeless power; said I not so? Nor was it wrung from me; nor do I now drop these links. Thou canst blind; but I can then grope. Thou canst consume; but I can then be ashes. Take the homage of these poor eyes, and shutter-hands. I would not take it. The lightning flashes through my skull; mine eye-balls ache and ache; my whole beaten brain seems as beheaded, and rolling on some stunning ground. Oh, oh! Yet blindfold, yet will I talk to thee. Light though thou be, thou leapest out of darkness; but I am darkness leaping out of light, leaping out of thee! The javelins cease; open eyes; see, or not? There burn the flames! Oh, thou magnanimous! now I do glory in my genealogy. But thou art but my fiery father; my sweet mother, I know not. Oh, cruel! what hast thou done with her? There lies my puzzle; but thine is greater. Thou knowest not how came ye, hence callest thyself unbegotten; certainly knowest not thy beginning, hence callest thyself unbegun. I know that of me, which thou knowest not of thyself, oh, thou omnipotent. There is some unsuffusing thing beyond thee, thou clear spirit, to whom all thy eternity is but time, all thy creativeness mechanical. Through thee, thy flaming self, my scorched eyes do dimly see it. Oh, thou foundling fire, thou hermit immemorial, thou too hast thy incommunicable riddle, thy unparticipated grief. Here again with haughty agony, I read my sire. Leap! leap up, and lick the sky! I leap with thee; I burn with thee; would fain be welded with thee; defyingly I worship thee!

The creature you find in Speak, Memory is rare enough to be zoo-worthy. He’s not just smarter but somehow more effete than most of us without seeming put on. Resenting him for it would be like resenting a gazelle for her grace. He doesn’t sound prissy painting himself as a cultivated synesthete who can hear colors and see music, nor vain talking as a polyglot who translates his own work back and forth into many languages. He’s just your standard virtuoso aristocrat from a gilded age. Which is the miracle of his talent. He has shaped the book to highlight his own magnificent way of viewing the world, a viewpoint that so eats your head that you never really leave his very oddly bejeweled skull, and you value things in the book’s context as he does, never missing what you otherwise adore in another kind of writer.

Strauss finished Metamorphosen on April 12, 1945. Franklin Delano Roosevelt died the same day. Samuel Barber's Adagio for Strings, vaguely similar in tone to the music that Strauss had just composed, played on American radio. That afternoon in the ruins of Berlin, the Berlin Philharmonic presented an impeccably Hitlerish program that included Beethoven's Violin Concerto, Bruckner's Romantic Symphony, and the Immolation Scene from Götterdämmerung. After the concert, members of the Hitler Youth distributed cyanide capsules to the audience, or so the rumor went. Hitler marked his fifty-sixth birthday on April 20. Ten days later, he shot himself in the mouth. In accordance with his final instructions, the body was incinerated alongside that of Eva Braun. Hitler possibly envisaged his immolation as a reprise of that final scene of the Ring, in which Brünnhilde builds a pyre for Siegfried and rides into the flames. Or he may have hoped to reenact the love-death of Tristan—whose music, he once told his secretary, he wished to hear as he died. Walther Funk thought that Hitler had modeled the scorched-earth policy of the regime's last phase on Wagner's grand finale: "Everything had to go down in ruins with Hitler him-self, as a sort of false Götterdämmerung" Such an extravagant gesture would have fulfilled the prophecy of Walter Benjamin, who wrote that fascist humanity would "experience its own annihilation as a supreme aesthetic pleasure." But there is no evidence that the drug-addled Führer was thinking about Wagner or listening to music in the last days and hours of his life. Eyewitness reports suggest that the grim ceremony in the bombed-out Chancellery garden—two gasoline-soaked corpses burning fitfully, the one intact, the other with its skull caved in—was something other than a work of art.

Tanaghrisson stepped up to where Jumonville lay. “Tu n’es pas encore mort, mon père,” he said; Thou art not yet dead, my father. He raised his hatchet and sank it in the ensign’s head, striking until he had shattered the cranium. Then he reached into the skull, pulled out a handful of viscous tissue, and washed his hands in Jumonville’s brain.

Art is a complementary source of truth, for it enlists the help of the imagination to carry mankind beyond a mere observation of facts. Real achievement is possible only when both work in association.

when you give a fuck about everyone and everything—you will feel that you’re perpetually entitled to be comfortable and happy at all times, that everything is supposed to be just exactly the fucking way you want it to be. This is a sickness. And it will eat you alive. You will see every adversity as an injustice, every challenge as a failure, every inconvenience as a personal slight, every disagreement as a betrayal. You will be confined to your own petty, skull-sized hell, burning with entitlement and bluster, running circles around your very own personal Feedback Loop from Hell, in constant motion yet arriving nowhere.

He got out a sapphire mark for light, avoiding pools of water strewn with bones. A skull protruded from one, wavy green moss growing across the scalp like hair, lifespren bobbing above. Perhaps it should have felt eerie to walk through these darkened slots alone, but they didn’t bother Kaladin. This was a sacred place, the sarcophagus of the lowly, the burial cavern of bridgemen and spearmen who died upon lighteyed edicts, spilling blood down the sides of these ragged walls. This place wasn’t eerie; it was holy.

The neck is also a viable target. Given our understanding of diffuse axonal injury as the result of stretching forces on the axons in the brain (particularly near the base of the skull), it is reasonable to assume you could generate the same damage by applying a force on either side of the same axon. Since it appears that knockouts occur as a result of diffuse axonal injury involving the brainstem (Smith, et al., 2000), we should be able to apply our force to the neck to get a knockout as well. Of course, if you land a left hook to the chin, you get to use the head as a lever, but there are no levers for the neck, so you will have to apply more force to your strike in order to get the same result. We can see this in action in muay Thai, MMA, and kickboxing matches, where a kick to the side of the neck can cause an opponent to lose consciousness immediately. Strikes directly to the back of the head (at the base of the skull) generate the same effect, but the minimum force required is lower, possibly because there is less muscle and other tissue between the axons and the point of impact. These strikes are illegal in most styles of fighting for sport, but they are still good to know, just in case you find yourself in a life-or-death scenario with an opportunity to strike there.

Equation: mv In English: Mass times velocity The special part: It has a specific direction assigned to it. Mass and velocity are multiplied together to get the magnitude of the momentum, so a large 200-pound man jogging 5 miles per hour (mph) (200 * 5 = 1000) and a petite 100-pound woman running 10 mph (100 * 10 = 1000) will each hit you with the same momentum and knock you back just as hard. The only difference between mass and velocity when it comes to momentum is that the velocity is what gives momentum its direction. This means if you tackle someone, the direction of the momentum you transfer to your opponent is the same as the direction you were running before the tackle. This may seem like a trivial statement at first, but the directional component of momentum is the key to redirecting and controlling an otherwise unstoppable blow. A high-momentum strike, or “push” strike, has the ability to move your opponent, or parts of your opponent, and that is an incredibly powerful tool to have in a fight. If your opponent is rigid, light on his feet, or if you strike him near his center of mass, a high-momentum strike can push him back, knock him off balance, push the air out of his lungs, or even send him to the floor if the stars are aligned properly. If your opponent is loose, a high-momentum strike to the hands can move them away from his face and leave him open. Whether he is loose or stiff, a high-momentum strike to the chin can make your opponent’s head rotate quickly about the base of his skull, resulting in a knockout.

Oh, sweet revenge, thou art best served with a baseball bat to the skull.

Most of them were simply mounted skulls. The others hailed from the days when the art of taxidermy was not quite so advanced as it is now. Perhaps it was the trophies that were so upsetting. I have seen that expression in particularly debauched absinthe drinkers, but you hate to see it on a deer.

Still magic continued, the sort of practical magic that cured and healed and helped both with love desired and love gone wrong. Everyday people had their horoscopes written out and visited fortune-tellers on Miller Street, also known as Mud Avenue after downpours in the spring. There were magical items for sale in many of the markets, often hidden behind the counter or found in a back room or kept under cloths. Most residents did not trust doctors, who were often unschooled and lost more patients than they saved, using worthless remedies: saltpeter, tinctures of distilled powdered human bone used as a cure-all, a false remedy that was called skull moss, a plant grown from the remains of violent criminals who had been hanged which was inserted into a patient’s nostrils and was said to staunch bleeding and stop fainting and fatigue. Folk medicine was far less dangerous than the work of medical doctors. Practitioners of the Nameless Art were held in high regard when it came to their talents and their knowledge of curative tonics, seeds to induce sleep or cure insomnia, packets of dried lavender and rose hips for teas that would calm the nerves.

As I said in the chipping chapter, I don’t want the grip end of the club moving very far. If you get the idea that you need to make a faster swing with your arms doing most of the work, the first thing that’s going to happen is that the pulling action of the left arm will send your left shoulder up, tilt your spine back, away from the target, move the bottom of your swing way behind the ball, and there it is—a fat shot, or a skull from hitting it on the upswing. Think of it as a bigger pivot and you’ll start to feel the chain reaction

We view art in order to escape our own skins, to get outside of the commotion inside our skulls.

Mortmain is an old French word that should be tattooed on the inside of any historical novelist's skull. This wonderful and terrible word means “dead hand.” Its definition is: “The influence of the past regarded as controlling the present.” (It is also used as a legal term with the same basic meaning.

want Mercer. We both want the skull. You know too much about my operations, and you don’t wanna join.  You know The Art, and that makes you doubly dangerous. But mostly… you and me, we just plain don’t like each other. So. You know the drill. It ain’t nothin’ personal, it’s just business, yada yada yada…

Keep your weak hand up by your face, so that you can easily defend your head if a punch is unexpectedly thrown. Use the weak hand to scratch your head or cheek, brush your hair, wipe your brow, adjust your hat, etc., but keep that hand up. Remember that you will most likely be reacting to an assault, and therefore it will take too long to bring a hand up from your waist to your head to defend yourself against a sneak attack. Cover This block/cover comes from boxing, and is identical to the one taught in my book The Cook Method of the Sap for Law Enforcement and Civilians. The weak (left) hand comes up and brings the hand to the ear as though you are talking on the phone. The upraised elbow and bent arm create a large, strong defense against any type of blow, especially a hook punch, which is difficult to defend against by trying to parry or block with the hand. You can also think of this move as raising the left elbow upward. In close, this shielding move can be used as a strike, hitting the attacker with an upward elbow strike. Train this move by having a partner slowly and lightly swing with his right hand at your head. If you get boxing headgear and gloves, you can gradually increase the speed and power of this strike. It is also possible for your partner to swing at your head using the punch mitts. Hammerfist As the left elbow comes up and the left hand is placed just off your ear, your right hand –which has been resting near your left armpit-- snaps outward, striking with the bottom of the fist. Aim for the opponent's jawline. A problem with punching on the street is that it's easy to damage your knuckles when hitting someone's skull or teeth. The bottom-of-the-fist blow, also known as a hammerfist, is a very powerful blow that can be delivered with little risk of injury to the knuckles or wrist. It has proven itself to be devastatingly effective in the full-contact cage matches of the mixed martial arts. Practice doing both motions at the same time; raising the left elbow up to cover the head while striking out with the right hammerfist. Practice slowly at first, then move to the heavy bag. You can also have a partner with the focus mitts swing the right mitt while holding the left mitt up as a target for you to hit with the right hand. Once you have the form down, make the move explosive. Burst outward with the elbow and hammerfist simultaneously. Snap the hammerfist, bringing it quickly back to the start position. Another tip as you practice this move is to drop your head down, so that your chin and the side of your face are not exposed. With your chin down, the striking right hand and arm will help to shield your head from attacks with the opponent's left hand. This is how you defend yourself when an opponent has surprised you with a flurry of punches –not by trying to block a rain of blows, but by striking while protecting your head.

The events of 9/11 were predicted in the ‘Back to the Future’ movies, and, in dozens of other, movies, magazines, and album covers…including Busta Rhymes’ 1997 album, titled, ‘When Disaster Strikes.’ When Disaster Strikes, was released a mere four years before the events of 9/11 unfolded. The art on the DVD features a sinister-looking

many people eating industrialized foods were sick; they might explain why so many were getting cavities and why their bones were growing thin and weak. But they couldn’t fully explain the sudden and extreme shrinking of the mouth and blocking of airways that swept through modern societies. Even if our ancestors consumed a full spectrum of vitamins and minerals every day, their mouths would still grow too small, teeth would come in crooked, and airways would become obstructed. What was true for our ancestors was also true for us. The problem had less to do with what we were eating than how we ate it. Chewing. It was the constant stress of chewing that was lacking from our diets—not vitamin A, B, C, or D. Ninety-five percent of the modern, processed diet was soft. Even what’s considered healthy food today—smoothies, nut butters, oatmeal, avocados, whole wheat bread, vegetable soups. It’s all soft. Our ancient ancestors chewed for hours a day, every day. And because they chewed so much, their mouths, teeth, throats, and faces grew to be wide and strong and pronounced. Food in industrialized societies was so processed that it hardly required any chewing at all. This is why so many of those skulls I’d examined in the Paris ossuary had narrow faces and crooked teeth. It’s one of the reasons so many of us snore today, why our noses are stuffed, our airways clogged. Why we need sprays, pills, or surgical drilling just to get a breath of fresh air.

You will be confined to your own petty, skull-sized hell, burning with entitlement and bluster, running circles around your very own personal Feedback Loop from Hell, in constant motion yet arriving nowhere.

We emerge from prison bearing agonies that would crush a stone. How do we survive these? We transform them. We get a tattoo. We ink an entire sleeve. We cover our chest and back with swastikas, death’s-heads, and quotes in bogus Mandarin from Kill Bill, Volume Two. We blast our pecs. We pierce our flesh. We customize Harleys. We shave our skull. We craft an image of ourselves, even if it’s one—especially if it’s one—as predictable as low-ride jeans and chrome-link wallet chains. That’s art. That’s our novel. This is what the writer wrestles with. This is the passage. You pound keyboards until you wear the sonsofbitches out. Each page is trash. Unreadable. Unpublishable.

[Why waste energy with wasted movements?] Very commonly, tightening and furrowing the brow while concentrating... Is the brain a muscle that works better by tensing the skull?

There are two methods of delivering a blow. First is a boxing-like movement, and the second is the traditional karate strike. While equal in force, the boxing-style strike has a greater range and is easier to execute. The boxing-style strike uses gravity and shift of weight to support the strike, while the traditional karate-style strike uses a sudden tightening of your body’s muscles to deliver a short blow. The longer range of the boxing blow facilitates greater acceleration to a higher speed and is more efficient in creating a knockout effect. The traditional karate-style strike is more suitable for breaking boards of wood, but the composition of wood fibers is quite different from the human body's protective tissues. The traditional straight karate strike takes longer to execute and requires slight preparation. Since even a split second is of the essence and the force used is more efficient with the boxing style, it has won popularity in the martial arts field. From the split second you decide to move your body and deliver the strike, all you need is to aim at the opponent’s chin. You then need to accelerate your arm to maximum speed, and maintain that speed as your fist lodges in your opponent’s face. The opponent’s skull will then shake the brain and nerves to a concussion. The ancient Olympics had fighting sports. Sparta is believed to have had boxing around 500 BC. Spartans used boxing to strengthen their fighters’ resilience. Boxing matches were not held since Spartans feared that it would lead to internal competitions, which could reduce the morale of the losers. Sparta did not want low morale on the battlefield. For many years the question of Bodhidharma’s existence has been a matter of controversy among historians. A legend prevails that the evolution of karate began around 5 BC when Bodhidharma arrived to the Shaolin temple in China from India, and taught Zen Buddhism. He introduced a set of exercises designed to strengthen the mind and body. This marked the roots of Shaolin-style temple boxing. This type of Chinese boxing, also called kung fu, concentrates on full-body energy blows and improving acrobatic level. Indian breathing techniques are incorporated, providing control of the muscles of the whole body while striking. This promotes self-resistance that helps achieve balance and force when striking and kicking. Krav Maga shows that it is not the most efficient approach. It is certainly forceful, but cannot be mastered quickly enough, and also does not promote a natural and fast reach to the opponent's pressure points, nor does it adhere to the principle of reaction time.

In later renditions of the Life of Adam and Eve, the archangel Michael gives Seth a twig from the tree as a consolation prize, which he carries back to place on Adam’s grave. The twig grows up to be a lofty tree and, in time, is hewn down and becomes Christ’s cross. This legendary detail occurs in other early medieval stories. The long-standing tradition that the site of Jesus’s crucifixion, Golgotha, was so named because it was over the site of Adam’s grave gave this story a biblical basis.28 This is why a skull regularly appears at the base of the cross in Christian iconography of the crucifixion.

GB-3 This vital point is located near the lower aspects of the temple area of skull, along the Zygomatic Arch, and is directly forward of the ear. It is bilateral, meaning it is found on both sides of the head, which is unlike any of the centerline points that only occur once. It is not directly associated with any of the Extraordinary Vessels, but is an Intersection Point for the Gall Bladder Meridian, Triple Warmer Meridian, and the Stomach Meridian. This makes it valuable to martial artists, since Intersection Points provide the ability to disrupt multiple meridians with a single strike. It makes attacking them economic from a time and motion standpoint. In a standard defense of being grabbed at the waist, with your arms free, slapping the ears forcefully will allow activation of this point with the meaty part of your hand. It is one of several points in this region of the skull and other would likely be activated while striking it given their proximity and size of the surface you are striking with. EYES If you asked a non-martial artist what are vital points on the human body, most of them would include the eyes. This is just basic common sense, as the eyes allow us to see our environment and determine any possible threats. If you happen to be struck in the eye it would inhibit your ability to effectively defend yourself. This is as true today as it was at the time that the author(s) were putting together what became the Bubishi. Though the eyes are not pressure point per se, these organs are extremely sensitive to attack. Flicking, poking, or thrusting into the eyes directly will greatly inhibit your opponent’s ability to see you in a combative situation. In fact, many of the old school Western hand-to-hand instructors of the World War II area were adamant in attacking the eyes. Likewise, it is common place in many martial arts systems, especially the ones that are truly combative and not sport oriented. Quick flicks of the wrist, with the fingertips striking the eyes, is a method that most opponents aren’t expecting. Thrusting your fingers into the eyes, either all or singularly, is another effective technique. More extreme is thrusting one finger into the inner corner of the opponent’s eye and then jerking forward and to the outside. This technique will dislodge the eye from its socket and should only be used in extreme circumstances. Defending against eye attacks is built into each of us, as we instinctually know their importance. If you recognize an eye attack from your opponent, dropping, raising and/or turning the head will many times save you from eye injury.

From the dark furnace of the human skull dawns the light of humankind.

Shakespeare Zombie Apocalypse Sonnet 18b Shall I compare thee to a rotting carcass? Thou art more tangy and more pungent. Shotgun shells pierceth thy heart vent not Thy voracity, nor impair fair purpose of thy judgment. Sometimes I taketh a ball-pein to thy head and shatter thy skull with explosive splatter. Thy complexion doth dims from ash to dust As yolk spilleth from egg of thy gray matter. In two-fortnights hence, thou art undying Thy eternal winter's promise shall not fade, Nor lose possession of thy Zombie leg-drag, Nor shall death brag thou wand'rest in his shade, So long as the dead can walk, or blind eyes can see, So long lives this gentle ode, and gives thee phantasy.

This is a sickness. And it will eat you alive. You will see every adversity as an injustice, every challenge as a failure, every inconvenience as a personal slight, every disagreement as a betrayal. You will be confined to your own petty, skull-sized hell, burning with entitlement and bluster, running circles around your very own personal Feedback Loop from Hell, in constant motion yet arriving

His eyeless skull took in the line of costumes, the waxy debris of the make-up table. His empty nostrils snuffed up the mixed smells of mothballs, grease and sweat. There was something here, he thought, that nearly belonged to the gods. Humans had built a world inside the world, which reflected it in pretty much the same way as a drop of water reflects the landscape. And yet . . . and yet . . . Inside this little world they had taken pains to put all the things you might think they would want to escape from – hatred, fear, tyranny, and so forth. Death was intrigued. They thought they wanted to be taken out of themselves, and every art humans dreamt up took them further in. He was fascinated.

You will see every adversity as an injustice, every challenge as a failure, every inconvenience as a personal slight, every disagreement as a betrayal. You will be confined to your own petty, skull-sized hell, burning with entitlement and bluster, running circles around your very own personal Feedback Loop from Hell, in constant motion yet arriving nowhere.

As he approaches third, Art Devlin of the Giants—an honors graduate of the McGraw school of baseball—slows him down with an artful elbow. Tinker shrugs him off and keeps going. The next barrier is his own coach, infielder Heinie Zimmerman, who grabs him and tries to drag him back toward third. Tinker breaks the tackle and beats the peg to the plate86 as the crowd “wailed, roared, guffawed, and squalied.”87 In the excitement, fourteen-year-old William Hudson, leaning over to get a better view, falls fifty feet from the roof of a nearby apartment building. So engrossed are his fellow spectators in watching the race around the bases that no one even notices for several minutes. The boy dies of a fractured skull.88 The players are unaware of the first (but not last) death by baseball in 1908, and Brown gives up a single hit the rest of the way. The Cubs win 1–0.

The gallerist Nosei could see that, while only twenty, Basquiat already had a fully formed social conscience, so she wasn’t surprised by the unapologetically critical interpretation of law enforcement. The work wasn’t just about color or design, she marveled decades later; it was about ideas. Basquiat heard about Michael’s hospitalization during a night out at the Roxy. In the middle of the dance floor, a man approached him and whispered the news in his ear. The artist, who once estimated that his work was “about 80% anger,” reacted with passionate intensity. Later, he drew black skulls in crayon on paper on the floor of a girlfriend’s apartment.

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He carried on painting those skulls, because then it flet like Christian was still alive in his fingertips. Perhaps its like that for you too. Art is what we leave of ourselves in other people.

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