83:T465,10 röster, 14 par ögon. Särskilt inbjudna kulturpersonligheter delar i ord och bild med sig av sina intryck och reflektioner kring platsen, byggnaden och konsten på Nationalmuseum. En alternativ guide där betraktelserna drar åt olika håll för att åter flätas samman och där inget är rätt eller fel. English: 10 voices, 14 pairs of eyes; an alternative guide to the site, the building and the art of Nationalmuseum. This guidebook highlights the poetic dimensions of Nationalmuseum, inviting visitors to experience the museum through the eyes of a few carefully selected cultural personalities. Together, they form a disharmonious choir of voices that weave together, set off in separate directions and try to drown each other out, all at the same time. Unlike traditional guidebooks, this one doesn't distinguish between right and wrong. "I usually tell myself that Nationalmuseum is a museum for contemporary art. I don't ever want to be in doubt about that. Because, if it is indeed the spectator who makes the art, or at least brings it to life, then there is nothing but contemporary art..." - Peter Cornell.84:T5bd,

I den här boken belyser författaren en förbisedd ockult tradition som går som en esoterisk underström i europeiskt kulturliv. Den var särskilt märkbar decennierna kring sekelskiftet, då rosenkreuziska läror, alkemi, teosofi m.m. attraherade en rad av tidens ledande författare och konstnärer. I den ockulta "hemliga källan" fanns också ett mörkare parti som lockade till sig en del underjordiska politiska rörelser som så småningom skulle bilda en jordmån för nazismen.

Initiation, eller invigning, är ett nyckelbegrepp i den esoteriska traditionen. Initiationen förmedlar en ny insikt och den mödosamma vägen dit gestaltas i olika symbolspråk, ofta inom ramen för ett hemligt sällskap. Den västerländska initiationen har sina rötter i antikens mysteriespel. Den har sedan levt vidare i andra former, som alkemin, tarotkorten och frimureriet, men också i modern konst och litteratur.

Tonvikten i Den hemliga källan ligger på initiationsmönster från modern tid. Författaren spårar gemensamma strukturer bakom fenomen som Aguélis måleri, Bauhausskolan i Weimar, Rudolf Steiners kosmologi, den tidiga nazismen, surrealismen och Malevitjs abstrakta konst.

"Vilket nöje att läsa en bok som denna, saklig, lärd och klar" Bengt Anderberg

"en bisarr och fängslande bok" Ragnar von Holten

"ett svenskt pionjärarbete, som läsupplevelse en stor njutning"Ragnar Strömberg

85:T6c3,

I början av 1960-talet skapade Ulla Wiggen en svit målningar föreställande elektroniska komponenter och datorer. Hon utforskade denna motivvärld då knappast någon kunde förutse hur den digitala teknologin skulle revolutionera våra dagliga liv. Kort därefter, 1966 deltog hon i föreställningarna 9 Evenings: Theatre & Engineering i New York då hon assisterade Öyvind Fahlström, vars radikala konstsyn varit av stor betydelse för henne. 1969 började hon måla människor och gjorde därefter också en serie porträtt. Hon utbildade sig även till legitimerad psykoterapeut som sedan blev hennes huvudsakliga yrke fram till 2013 då hon hade en utställning på Moderna Museet i Stockholm. Sedan dess har hennes fokus på datorernas inre och människans yttre flyttats till insidan av människokroppen och alltmer kommit att inriktas mot hjärnan och ögats iris.

In the early 1960s Ulla Wiggen created a suite of paintings depicting electronic components and computers. She explored this world when hardly anyone could predict how digital technology would revolutionize our daily lives. Shortly afterwards, in 1966, she participated in the performances 9 Evenings: Theatre & Engineering in New York assisting Öyvind Fahlström, whose radical view of art was of great importance to her. In 1969 she started painting humans and then made a series of portraits. She also became a licensed psychotherapist, which became her primary vocation until 2013 when she had an exhibtion at the Moderna Museet in Stockholm. Since then, her focus on the computer's interior and the human exterior has shifted to the inside of the human body and increasingly focused on the brain and iris of the eye.

86:T4bb,

"En bok av fotnoter där romanens text uppfinns av läsaren själv varvid endast kommentarerna till texten står till förfogande." (Milorad Pavic, Die Zeit)

"Paradisets vägar är ett konstverk, ett mål i sig en rik och gåtfull bok." (Kristoffer Leandoer, AB)

"Ämnen vävs samman på ett lika intelligent som fantasieggande sätt. Cornells bok är ett bevis på författarens lärdom som mognat till visdom. Cornells labyrint lever och kommer att leva så länge det finns läsare." (Crispin Ahström, GP)

"Vällustiga texter, och detta är en sådan, kan man inte tala om utifrån, menar Barthes, bara 'besinningslöst plagiera' och 'hysteriskt betona vällustens outsäglighet'. En stimulerade och mycket elegant antiessä." (Jan Söderqvist, SvD)

"Med 'Paradisets vägar' har den svenska litteraturen tillförts något så sällsynt som essäer i den fragmentariska, antihistoriska tradition som var Walter Benjamins. (Mikael Löfgren, Expressen)

"Detta är en författare som omedelbart intagit en ledande plats bland dem som arbetat med den ickelinjära skriften som redan har auktoriteter som Cortazar, Stanislaw Lem och Borges." (Ivan Gorev, Literaturnaja gazeta)

87:T6e5,

Liksom regn och snö faller från himlenoch inte vänder tillbaka ditutan vattnar jorden,får den att grönska och bära frukt,och ger säd att så och bröd att äta,så är det med ordetsom kommer från min mun:det vänder inte fruktlöst tillbakautan gör det jag vill och utför mitt uppdrag.Jesaja 55:10-11

Ingen bok har haft så stor betydelse i västerlandet som Bibeln. Likt ett kvarnjul rör den sig genom vår kulturhistoria, som en ständig inspiratör och livstolkare. Den första översättningen till svenska kom 1541. Den andra 1917. Första advent 1999 utkommer den tredje officiella översättningen; ett arbete som påbörjades 1973 av Bibelkommissionen. 1981 var kommissionen klar med en del av sitt enorma arbete, nyöversättningen av Nya testamentet, och sedan den översättningen utkom (mellan 1981 och 1998) så har Bibeln i Sverige sålts i mer än 5 miljoner exemplar!

Att Bibeln måste nyöversättas beror givetvis på att språket hela tiden utvecklas och förändras. Men också på att ny kunskap om Bibelns grundtexter tillförs ¿ kunskap som gör en ny översättning mer troget originalet. I Liksom regn och snö möter en mängd författare och teologer var sin bibeltext ur den nya, kommande Bibeln och ger sin personliga kommentar och tolkning av textens språkdräkt och betydelse. Varje bibeltext i boken har även en bildkommentar i färg av Andreas Berg, professor i illustration på linjen för Grafisk design & illustration på Konstfack i Stockholm.

Liksom regn och snö introducerar den största bokhändelsen i Sverige på många år ¿ nyöversättningen av Böckernas bok ¿ genom att vara en rik, spännande och tankeväckande vägvisare till den nya bibeltexten.

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Vilka teorier och verktyg står oss till buds när vi skall analysera en bild? Förhoppningsvis skall denna bok kunna ge ett svar. Den är ett resultat av ett flerårigt projekt med deltagande av flera av Nordens främsta experter inom bild- och mediaforskning.

Uppslagsbok i bildanalys behandlar olika media samt skilda teoribildningar, hämtade från konstvetenskap, semiotik, hermeneutik, marxism, kommunikationsteori och andra vetenskapsgrenar. Detta tillsammans med mångfalden av författare, deras personliga stil och varierande utgångspunkter har bidragit till bredden i denna första, stora handbok i bildtolkning.

ISBN 10: 91-7844-129-3

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In his foreword to The Ways of Paradise, Peter Cornell presents this so-called found manuscript, the work of a now-deceased, obscure researcher who spent three decades in the National Library of Sweden working on his magnum opus. Upon his death, no trace of this work remains aside from this set of notes and fragments which form an enigmatic set of texts on the connections between art, literature, spirituality and the occult through history, with a particular focus on spirals and labyrinths. Ranging from the Crusades to Ruskin, Freud to surrealism, cubism, automatic writing, Duchamp, the Manhattan Project, Pollock and Smithson, this cult book, first published in Sweden in 1987, is translated into English for the first time by Saskia Vogel.

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Det ses snarare som ett slags sätt att tänka och fantisera, en förmåga till oväntade perspektiv och lösningar; egenskaper som en gång ledde till konstnärsyrket och som där kunde omsättas i traditionella konstnärliga medier.\"
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\"När samhället utvecklas, och bildteknologierna och den visuella kulturen förändras, så måste den konst som gör anspråk på realism också förändras med sin tid.\"
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