The truth is that Pollock had the sobriety to synthesize insights from several sources, influences, experiences, and serendipities.
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What Mr. Guare seems to be after is a dramaturgy that is absurdist not for its own sake but as a kind of last-ditch naturalism, replicating the absurdity of actual life with all its serendipities, hyperlinks, potholes and misprisions.
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"No cultural artifact is too lowly or trivial for Eco's analysis," Ian Thomson, a literary biographer, wrote in The Guardian in 1999 in a review of "Serendipities: Language and Lunacy," Mr. Eco's collection of essays on how false beliefs had changed history.
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Umberto Eco, Serendipities (English translation 1999), p. 64. He was employed by Robert of Naples,Chapters On Jewish Literature - Chapter XVIII. Italian Jewish Poetry (by Israel Abrahams) along with Immanuel and Kalonymos.
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"Discovered" by talent coordinator Fred Weintraub, the Serendipities were a nine-member folk chorale closely patterned after The New Christy Minstrels. The group appeared in eight of the 30 shows produced that season, and had a major hit in spring 1964 with "Don't Let the Rain Come Down (Crooked Little Man)". The group, with various member changes, continued for decades after Hootenanny's demise.
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Kircher was largely neglected until the late 20th century. One writer attributes his rediscovery to the similarities between his eclectic approach and postmodernism. As few of Kircher's works have been translated, the contemporary emphasis has been on their aesthetic qualities rather than their actual content, and a succession of exhibitions have highlighted the beauty of their illustrations. Historian Anthony Grafton has said that "the staggeringly strange dark continent of Kircher's work [is] the setting for a Borges story that was never written", while Umberto Eco has written about Kircher in his novel The Island of the Day Before, as well as in his non-fiction works The Search for the Perfect Language and Serendipities.
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How to Draw a Bunny: A Ray Johnson Portrait, is a feature-length documentary about the Detroit-born pop and performance artist Ray Johnson. Filmmakers John Walter and Andrew L. Moore delve into the mysterious life and death of Johnson, an artist whose “world was made up of amazing coincidences, serendipities and karmic gags,” according to Michael Kimmelman of The New York Times. After Johnson's suicide, Moore and Walter conducted interviews with artists including Christo, Chuck Close, Roy Lichtenstein, Judith Malina, and James Rosenquist. In addition, they gathered photographs, works of art, and home movies, which were edited into a fast-paced narrative exploring the artist's life. The filmmakers “couldn’t have chosen a more elusive subject for a movie; their success in evoking Johnson, and in documenting his world, is a triumph of sympathy over psychology, memory over historicism,” wrote Stuart Klawans for The Nation.
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From 1995-2001, Moore produced and photographed the film “How to Draw a Bunny: A Ray Johnson Portrait,” a collage-style feature-length documentary about the Detroit-born pop and performance artist Ray Johnson. Moore worked with the director and editor John Walter to delve into the mysterious life and death of Johnson, an artist whose “world was made up of amazing coincidences, serendipities and karmic gags,” according to Michael Kimmelman of The New York Times. After Johnson’s suicide, Moore and Walter conducted interviews with artists including Christo, Chuck Close, Roy Lichtenstein, Judith Malina, and James Rosenquist. In addition, they gathered photographs, works of art, and home movies, which were edited into a fast-paced narrative exploring the artist’s life. The filmmakers “couldn’t have chosen a more elusive subject for a movie; their success in evoking Johnson, and in documenting his world, is a triumph of sympathy over psychology, memory over historicism,” wrote Stuart Klawans for The Nation.
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