546 high relief Hindu. [for Lance Blomgren] The novel stupefied him with its peaks The phrases place us in euphoric states An altar in the tide, proceed and drink The city is the source of comedy A bomb is faithful to the rhetoric Jam ambition into frequency Regard the feeling of the holidays A painting trumps most fiction for a king Apartments reckless in the open sea The newest style of making a retreat Tea is served in fields of energy A pants and skirt are spirits in a heap Black words abound suggesting Persian stock Equal to a vehicle, and that includes the lock

Result #1

up its owner covets, the clothes are driven in; the characters, the little heroes, act in accord with the motley. Are the Iraqis jubilant? Or are they insistent? dapper? Theres a lawlessness there?-hint (from the pulpit) there is no law, a central dogma.

Result #2

546 high relief Hindu. [for Lance Blomgren] The novel stupefied him with its peaks The phrases place us in euphoric states An altar in the tide, proceed and drink The city is the source of comedy A bomb is faithful to the rhetoric Jam ambition into frequency Regard the feeling of the holidays A painting trumps most fiction for a king Apartments reckless in the open sea The newest style of making a retreat Tea is served in fields of energy A pants and skirt are spirits in a heap Black words abound suggesting Persian stock Equal to a vehicle, and that includes the lock and the lure of the Persian languageEqual to a vessel, and that includes the bars and the stick and the start and the finish of a tripConfiguring the street of a visitor, yet in a few cases a sign contradicts the words of a foreign language: the London-Birmingham and the American-Champagne, for example.The makers of this work, which is to say, the Iranians, the British, and the Americans, employ a wide variety of techniques to make the bedazzlement of orientalism. The painters in question are drawn from Iran. I am not just saying this. When writing, Iran has the most prosaic names and almost no subtlety, and when the words are employed in an obviously literary context, their importance to the art of Iran is noticeable. One thinks of the Persian avant-garde but of the most traditional art. The Iranian avant-garde has never been the creation of men. It is the creation of a culture.The British, and to a certain extent the Americans, in the current exhibition have the same artistic credentials as the Iranians. The art of their country is not a product of their minds. The attitude of these works, which we see in the display cases and the video installation, is highly individual, in the spirit of an individual.It is worth emphasizing, however, that the work is not one-dimensional, not a product of an identity as a particular people. These are paintings. One might wonder what the intention was of the Irani painters to have a one-sided, reductive, low-critical attitude toward the Persian tradition. This is a consequence of their ignorance of the tradition, and it is a serious lapse of intelligence that results in a wild, rather retrogressive, approach to the Iranian tradition. To a certain extent, the Iranian art is not the product of men, it is the result of the mind.

Result #3

stepzy of tires, egocomics, in the styles of the Iraniancrypto-atheists toadies, the core of the Iraniancrypto-sect is its desire to comprehend and discuss the big picture. On the one hand, it must be a highly prepossessed medium in a market dominated by riddles. On the other hand, in their posture, words become a sentence in the strangest manner, as a confession, a statement, or the theme for a movement. In the case of Iran, its a classic epiphany, an introduction to the polyphonic logic of the eternal substance—the mystery—that is destined to be transmitted and reinforced by a new and brighter era of Iran.

Result #4

546 high relief Hindu. [for Lance Blomgren] The novel stupefied him with its peaks The phrases place us in euphoric states An altar in the tide, proceed and drink The city is the source of comedy A bomb is faithful to the rhetoric Jam ambition into frequency Regard the feeling of the holidays A painting trumps most fiction for a king Apartments reckless in the open sea The newest style of making a retreat Tea is served in fields of energy A pants and skirt are spirits in a heap Black words abound suggesting Persian stock Equal to a vehicle, and that includes the lock,the key, the keylanguage schema, the carrier, the drive, and the ignition targessafety is an occupational hazard to American students, but the problem has been solved in the information age. In the I-communications age, the Diverse Language environment also offered a kind of vocational training for young artists who would later find their own creative roots in the I-sign. The process of creating this kind of landscape often produced an exchange of ideas that would be highly meaningful for others.Sophie Seidel is a painter who takes a curious approach to language. She uses the same kind of pictographic devices to create a new kind of narrative, using different techniques. She constructs a series of pictures that are filled with a kind of jumbled language. These pictures are about history, about the history of the mind, about the world. Her captions are nothing more than a number of ideas that might be thought to be only five words in their own right, but that also add up to a very complex pictorial structure. The picture that is the most interesting is the one that most closely resembles the image of a cave, or, more specifically, a grid. This is the one that shows the most time. The other pictures in the series that are about the world are of the greatest significance, but the most complex and convoluted, like a dream. She constructs these pictures out of different color combinations, which are used to make the work seem to become a symbol for the world.For example, in the Garden of Songs, 1985, the borders of the picture are drawn in black, and the colors are combined in a kind of rhythmical composition. The picture is a pentagon, a circle, a pentacle, a pyramid, a pyramid, and the grid itself. The colors are used to make the colors visible and to add to the meaning of the picture.

Result #5

iak, substance; an outline of a potential transformation, an idea of a future, a dream scenario in which the future is the present, an ascendant, a going-on. In the period since the Persian empire ceded its territories to the Western world, this de facto saying has long served as a rehashing of the title of many philosophers. The linguistic element in the name of the boat is now to be found in the use of the term to describe any geographical area that is both natural and artificial.The scholars who study the linguistic history of language—in Persian, for example, linguists-in-training—undermine the banality of language and the loss of the abstract, in favor of an ordered language. This is an effort to transcend the language, to make it a kind of mind, in the process becoming the most beautiful mind-body. Not the mind but the body is the subject of The Art of the Mind, 1991. The mind-body is a body that is made of thought, with the thought itself the soul of the body.The key word in The Art of the Mind is the interior. An interior is a mind-body whose body and thoughts are created by the interior; it is the interior that guides the body and mind. All that is made by the interior is made of interior. The interior, the mind, and body are all contained within the interior.The interior is an arena, a sanctuary, a space of silence. A space of pure, rational thought. The interior is a world of possibilities, a realm of being that is never subject to the law of gravity. The interior is a world of illusion, a realm of the mind that is always bound by the laws of physics. The interior is a space of androgynes, a realm of signs, a time of luminous light. Its the contemplation of the inner, the contemplation of a good dream that is the interior.