Symbolism in Edgar's artwork
- bigmoog
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read while listening to TD
bigmoog wrote:[...]contradict the intuitive concept[...][...][...][...][...][...][...]characteristics of the sequence of digits[...][...][...][...][...][...]hierarchy of degrees of randomness[...][...][...][...][...][...]consequence of a subtle but fundamental anomaly[...][...][...][...][...]famous theorem devised and proved in 1931 by Kurt Gödel[...][...][...][...][...][...][...]concerning the nature of randomness help to define the boundaries that constrain certain mathematical methods.
read while listening to TD
go on, look for the easy answerbigmoog wrote:a more sensible definition of randomness is required, one that does not contradict the intuitive concept of a ``patternless'' number. Such a definition has been devised only in the past 10 years. It does not consider the origin of a number but depends entirely on the characteristics of the sequence of digits. The new definition enables us to describe the properties of a random number more precisely than was formerly possible, and it establishes a hierarchy of degrees of randomness. Of perhaps even greater interest than the capabilities of the definition, however, are its limitations. In particular the definition cannot help to determine, except in very special cases, whether or not a given series of digits, such as the second one above, is in fact random or only seems to be random. This limitation is not a flaw in the definition; it is a consequence of a subtle but fundamental anomaly in the foundation of mathematics. It is closely related to a famous theorem devised and proved in 1931 by Kurt Gödel, which has come to be known as Gödel's incompleteness theorem. Both the theorem and the recent discoveries concerning the nature of randomness help to define the boundaries that constrain certain mathematical methods.
read while listening to TD
Do you know what Michael, that one did sort of cross my mind.Michael66 wrote:Ok I may be totally, embarrassingly, utterly wrong but... the thing about the OTO cover is that it may be partly very scientific, not abstract. As far as I interpret it, it shows a winter solstice in two ways, scientifically and traditionally:Chris Monk wrote:I've been a scientist all my working life and find it impossible to think in the abstract.
Here's a scientific daylight (sun hours) diagram over the course of one year. And here's the same curve, copied left and right for showing several years. Around the area where the "sun wheel" and the daylight curve meet on the cover, Edgar seems to have "capped" the curve. I've no idea why, but doing the same with the daylight curve linked above, we get this. Looks pretty much the same as the upper part of the red curve on the OTO cover to me.
Remembering that One Times One was (kind of) a Christmas release, here are two links that are interesting regarding the traditional/mystical part of the cover: Link 1, Link 2. Just look at the explanation for "Yule" at Link 2 - I've no idea what the Ravenwood church is about, they just had the nicest sun wheel.
A Christmas release showing "old" Christmas (winter solstice) on the cover made somehow sense to me...Chris Monk wrote:Do you know what Michael, that one did sort of cross my mind.
....but it's about the only one.
Chris Monk wrote:Do you know what Michael, that one did sort of cross my mind.Michael66 wrote:Ok I may be totally, embarrassingly, utterly wrong but... the thing about the OTO cover is that it may be partly very scientific, not abstract. As far as I interpret it, it shows a winter solstice in two ways, scientifically and traditionally:Chris Monk wrote:I've been a scientist all my working life and find it impossible to think in the abstract.
Here's a scientific daylight (sun hours) diagram over the course of one year. And here's the same curve, copied left and right for showing several years. Around the area where the "sun wheel" and the daylight curve meet on the cover, Edgar seems to have "capped" the curve. I've no idea why, but doing the same with the daylight curve linked above, we get this. Looks pretty much the same as the upper part of the red curve on the OTO cover to me.
Remembering that One Times One was (kind of) a Christmas release, here are two links that are interesting regarding the traditional/mystical part of the cover: Link 1, Link 2. Just look at the explanation for "Yule" at Link 2 - I've no idea what the Ravenwood church is about, they just had the nicest sun wheel.
....but it's about the only one.
I find that interestingly the abstract covers are also the most "natural" looking ones - you mention Ricochet, Underwater Sunlight... I like those too. I wish he'd do something like that again, or in the style of Alpha Centauri/Zeit/Atem. We almost live in a photoshopped society, so it's always refreshing for the eyes to get something different that looks organic, natural or handmade.exit81 wrote:TD's best covers for me have been the abstract ones, like Ricochet, Tangram, Underwater Sunlight and DM4, because they contain abstract, diffuse or graphic images that have no apparent meaning, context or relation with the music. You can never explain, solve or interpret the image. And that's what I like because it goes hand-and-hand with the music, which of course, has the same qualities as we all know!
exit81 wrote:Having been around the gallery 2 years ago, and having seen a lot of his work on the CDs, I must admit I'm not a huge fan of Edgar zoom-o-graphics/montage CD covers unfortunately. It often all looks a little bit Photoshopped to me; a collection of unrelated images brought together to create something that might possibly be seen as surreal, yet shallow. His over-use of recognisable objects to suggest metaphor is perhaps why I think his work lacks genuine depth. Images of clockwork mechanisms to represent either the passing of time or the inner workings of the mind are all well and good, but once you've deciphered the simple metaphor, there's little else to interest you.
I much prefer TD's artwork to be open to interpretation (much like the music is) rather than dictating what to feel or think. TD's music has always meant different things to every listener, and I prefer the artwork to do the same thing. TD's best covers for me have been the abstract ones, like Ricochet, Tangram, Underwater Sunlight and DM4, because they contain abstract, diffuse or graphic images that have no apparent meaning, context or relation with the music. You can never explain, solve or interpret the image. And that's what I like because it goes hand-and-hand with the music, which of course, has the same qualities as we all know!