Quotes of All Topics . Occasions . Authors
I've kind of always done diagrams. It helped me think.
[Buckminster Fuller] would pretend to be deaf at the right times.
The Mobius strip is only an analog for the reality of what it is.
I did do, well before Pop Art, all the cartoon characters as paintings.
I first heard of [Orfeo Angelucci] from Giuseppe Conti who gave me some books by him.
I mean, even New York isn't in any great shape anymore in relation to the rest of the world.
My father said he did have the mathematics of mind physics, or the physics of consciousness.
You know, people who can draw get upset when people who can't start telling them what to do!
Boston is not an avant garde place. It stays literally 15 to 20 years behind New York at all times.
You know, in the suburbs, most people believe in gravity, but they don't have much of a sense of humor.
I think [Theosophical and Masonic books] wasn't that I was inspired so much. I was corroborated by them.
Any sort of working drawings are simply diagrams. Architecture encourages your imagination to work that way.
The tetrahedron was [ Buckminster Fuller's] big thing. He'd talk about it in the same way Plato talked about angles.
I really wanted to study with Bruce Goff [one of the masters of "organic architecture"] at the University of Oklahoma.
I would say that it's probably impossible for a lot of people to even think what H.P. Lovecraft's theological state was.
[Buckminster Fuller] was quite a Newtonian in certain ways. But he was an excellent inventor and kept people on their toes.
I always had a sense of liking diagrams, from the time I was studying architecture. Architecture is built diagrams, basically.
[Nikola Tesla and Leon Theremin] were European gentlemen, very well-mannered, all of the stuff you associate with living in Europe.
My father knew all about this stuff [C.W. Leadbeater]. I owe a lot of what I'm doing, I think, to him. I'm sort of continuing my father's work.
I could do Superman, the Green Lantern, Wonder Woman, this kind of stuff [at school]. And kids would give me their lunch money to have these things.
[Buckminster Fuller] always liked to say that he got kicked out of Harvard three times. Mostly you only got kicked out once, but he kept coming back.
I like Colin Wilson, mainly because he never went to school. When you don't go to school you can say anything you want like that and not have to worry.
[Buckminster Fuller] could do four, five hours straight where some people would leave, eat, get a snooze and come back and he's still going. He was like a fireplug.
[My father] was always saying I'd end up like my grandfather. Okay. My grandfather was an architect, I'm an architect. It's true, certain characteristics are similar.
I was sent to the regular public schools until I had to go to Belmont Hill. Because I wasn't doing anything. The public school was nothing, just a total waste of time.
I thought George Adamski was actually a fraud. Looking at him, I found him repulsive. In other words, he didn't have the wide-eyed, innocent look that Orfeo Angelucci did.
Carl Jung put [Orfeo Angelucci] in his last book [Flying Saucers: A Modern Myth of Things Seen in the Sky, Harcourt, Brace & World, 1959]. He said Orfeo had made up a new bible.
I started modeling myself on [ Buckminster Fuller], like with the hair. I reached an age where I sort of, kind of, looked like him a little bit, you know? I thought it was great.
I think [H.P. Lovecraft] recognized what he was dealing with, he was dealing with demons. And he was dealing with creatures that're suffering. There's no way out of this suffering.
The whole theory of what Satan is, it's Lucifer, the highest of the seraphim, the bearer of God's light, who at a certain point comes to believe he is what is being revealed to him.
In other words, [ H.P. Lovecraft] was areligious, asexual, neurasthenic, he just didn't want to react to the world. Like Virginia Woolf, who considered religion the ultimate obscenity.
I think [H. P. Lovecraft] knew the whole gamut. He just didn't believe any of it! He probably liked to use the esoteric stuff because he knew it would tick people off and freak them out.
Long John I think went off the air in about '79 or something, so there was a hiatus. That's why I think Art Bell thought there was a spot to be filled. He was doing exactly the same thing.
When I was at Brown. In other words, I'd heard about [H.P. Lovecraft], but I didn't pay that much attention till I happened to go to a meeting about it. And then I got just totally turned on.
Anyway, my father became super-responsible. You know, he was the kind of person that absorbs all responsibility in the family, and then everybody else can act like a child in relation to him.
[Nikola Tesla] was thinking of parts actually moving, like exchanging positions in space through time. This would go over here, then that would go over there, and then something else would happen.
Forms of energy from nature gave my father trouble. He refused to believe he was going to die. He had these weird delusions. It's amazing. Along with all the great thoughts, he had all this funny stuff.
I was always doing paintings. I actually started painting with oil paints when I was four years old. Not crayons, not pencils and that kid of stuff. I'd paint birds. Anything that moved, stuff like that.
You know, Mick Jagger's "Sympathy for the Devil." I think it was inspired by that [H.P.Lovecraft stories]. You don't know who's reading what, you know. It just comes out once in a while in the pop culture.
My father would conclude his dissertations by saying, "Of course, [Albert] Einstein never believed in gravity. It was a distortion of space." And so my father couldn't believe that an attraction at a distance was a reality.
I'd had the experience with Giuseppe Conti, I said, "My God, that's my movie!" I kept seeing [The Day the Earth Stood Still] everywhere I could. Then finally, when VHS and DVDs came out, I got that. And I keep watching it all the time.
I started with "Pickman's Model," because it was about Boston. I mean, what I loved about [H. P. Lovecraft], at first is his sense of scholarship of an area, setting an environment, enlivening it. I think that's one of the secrets of writing.
Walter C. Wright has a more cogent presentation than my father did about [gravity] being a push. But he had the same basic belief, that the idea of magnetism attracting something was not the reason why the effects of what we call gravity occur.
I met a guy who had the same theory and wrote a book about it. His name is Walter C. Wright Jr. His book is called Gravity Is a Push. I wrote to him and told him about my father, and he said he wished he'd met him. My father died quite a while ago.
When I was in New York working for [Frederick] Kiesler, at night I listened to Jean Shephard who lasted from 1957 until 1976 and then went off the air. But also I was listening to Long John Nebel. Now, Long John was what Art Bell and George Noory do now.
[My father] had this quirky thing of not believing in gravity. And giving me a constant headache about that one. He would say if I showed any interest in gravity, I was becoming a dupe of the system. He could see indications I was beginning to believe in it.
[My father] was also a lawyer in his bank and specialized in tax law. He would have to do the tax returns for all the Harvard profs because they were buffaloed by that kind of reasoning. Professors in the economics department, even they knew nothing about it.
I would be constantly brought up on the carpet by these teachers who were brought up with Abstract Expressionism, saying, "You're too uptight, you're not expressing yourself, why don't you feel freer?" I said, "Well, I don't like that stuff. It means nothing to me."
I hear some guy teaches a course in diagrammatic thinking now; he's written books on it and stuff like that, and so it was kind of natural for me. Because it was a way in which words naturally fitted into something that's visual. I was always interested in doing that.
In other words, you've got a journey as the plot, but it has to be in a lively environment, being able to create the mood. If you read "Pickman's Model," in other words, they're winding their way through the Boston Streets and [H.P.] Lovecraft researched what was there.