public marks

PUBLIC MARKS from borsky with tag 060-Weirdness





The clock without face

"Is there really buried treasure? Yes. What is the treasure? Twelve emerald-studded numbers pried from the Emerald Khroniker, a legendary clock. But what are they really? Twelve emerald-studded numbers designed and hand-crafted by Anna Sheffield. Anna is a New York-based jewelry designer, the founder of Anna Sheffield Fine Jewelry, Bing Bang and Bespoke. Her work is sold at Barney's, Urban Outfitters, and around the world. What do the numbers look like? Each one is different, and all are pretty sweet. No one will know what each number looks like until that piece is dug up. Where are the numbers now? They're buried in twelve holes across the country. How do I find the treasure? Study the clues in the book — everything you need is there. There will also be extra info on this website and at certain bookstores (full list coming soon). Can I have a clue? Check this website. Visit a bookstore. Attend an event (tour schedule coming soon). Mostly, read the book."

The High Weirdness Project

"In Sanitus Speramus. Welcome to the High Weirdness Project, a SubGenius exercise in high weirdness. In 1994, the First Online Church of "Bob" was founded, based upon the principles of the sacred tome High Weirdness by Mail (Rev. Ivan Stang, 1988). In the years since its foundation, the Church has promoted and encouraged the use of information warfare to expose the inner workings of the Conspiracy. The Web site for the Church was founded in 1995. On the tenth anniversary of its foundation, in 2005, the First Online Church of "Bob" announced the commencement of The High Weirdness Project: an open-source wiki that invites YOU to take part in the ongoing war against the forces of the Conspiracy. Praise "Bob!" "

Encyclopedia Dramatica

A sort of deceptive wikipedia


The museum of extraordinary objects

"Piecemeal bodies sit in high-tech chairs, with nightmarishly inappropriate heads staring at you. It sounds like the laboratory of a mad scientist, but Berlin's Museum for Extraordinary Objects is actually a playground full of jumbles of bizarre found art. The Designpanoptikum, aka the Museum For Extraordinary Objects is the work of Russian-born artist Vlad Korneev, who collected these objects as props for his photographic works. The unifying theme of these weird object is the fact that their outward appearance was determined by function rather than form."


"RE/Search grew out of Search & Destroy, which Jello Biafra, Dead Kennedys founder, called “the best punk rock publication, ever. It combined art and photography with in-depth interviews and articles.” Every RE/Search book continues the Punk Rock Cultural Revolution, but strives to provide permanent inspiration to artists/cultural scientists of the future, providing careful editing, reference sections, photos, art and anthropological history."


Home Page - Hypnerotomachia Poliphili

by 1 other
"The enigmatic, polyglot Hypnerotomachia Poliphili -- the inspiration for the bestselling novel The Rule of Four -- has fascinated architects and historians since its publication in 1499. Part fictional narrative and part scholarly treatise, richly illustrated with wood engravings, the book is an extreme case of erotic furor, aimed at everything -- especially architecture -- that the protagonist, Poliphilo, encounters in his quest for his beloved, Polia. Among the instances of the book's manifesto-like character is Polia's tirade defending the right of women to express their own sexuality, probably the first sustained argument of this type, which lifts the book's erotic theme from the realm of ribaldry to the more daring one of sexual politics. The Hypnerotomachia Poliphili is one of the most unreadable books ever published. The first inkling of difficulty occurs at the moment one picks up the book and tries to utter its tongue-twisting, practically unpronounceable title. The difficulty only heightens as one flips through the pages and tries to decipher the strange, baffling, inscrutable prose, replete with recondite references, teeming with tortuous terminology, choked with pulsating, prolix, plethoric passages. Now in Tuscan, now in Latin, now in Greek –elsewhere in Hebrew, Arabic, Chaldean and hieroglyphs – the author has created a pandemonium of unruly sentences that demand the unrelenting skills of a prodigiously endowed polyglot in order to be understood. One of the woodcuts the reader comes across early in the book is of an unbridled winged steed, charging headlong at full gallop, ears drawn back, head twisted sideways, bucking the unlucky riders who try in vain to cling to its back and mane. The image might serve as an emblem for the whole work. At times even the most devoted reader cannot help feeling bewildered when looking down in this frenetic, fantastic specimen of whirling linguistic furore, hurling great semantic dust clouds into the air as it kicks and reels and pitches along on its impetuous course."