Projective Ornament by Claude Bragadon, and: Projective Geometry: Creative Polarities in Space and Time by Olive Whicher (review)

Books 77 here, in taking over the suggestive spatio-structural component in physical entropy while conveniently forgetting the dynamic disorder in thermodynamic processes whose correspondence in art is on a different , figurative and altogether more el usive level. REFERENCES 1. R. Arnheim, Art and Visual Perception (London: Faber and Faber, 1960). 2. R. Arnheim, Visual Thinking (London: Faber and Faber, 1970). 3. P. G . Wright, Entropy and Disorder, Contemporary Physics 11, 581 (1970). 4. T. Tanner, The American Novelist as Entropologist , London Magazine 10, No. 7 (Oct. 1970). Editor'snote: A further discussion ofArnheim's book appears in this issue (Leonardo 6, 29 ([973». Projective Ornament. Claude Bragadon. Unicorn, J. Baker Pub., London, 1972. 79 pp. , illus. 95 p. Projective Geometry: Creative Polarities in Space and Time. Olive Whicher. Rudolph Steiner Press, London, 1971. 292 pp., illus. $3. Reviewed by: Anthony HiII* It is often but a step from geomitrie ala culte to geometrie a l'occulte, if one remembers that for geometry one may also read numbers (namely, numerology) and that Ie nombre d'or is contingent on la section d'or. The whole subject (one might call it para-mathematics) lends itselfto extensive treatment, one which would cover a wide variety of topics both as regards mathematics and its applications. History reveals that the majority of mathematicians served no other god but, of course, there are exceptions. By contrast, art would seem to reveal a pathetic invoking of the 'survival of the fittest' in contrast to the natural sciences wherein it is likely one will, with a little luck, at least get some recognition . With regard to art, one cannot overlook the fact that thousands have answered the calling but few get a piece of the cultural cake. As for philosophy , there are but a few teachers of some 'true way' but what lasting effect do they make? Recently, in The Times Literary Supplement, under the title 'Keep It Dark', two books were reviewed: 'The Secrets of Ancient Geometry- and Its Uses' by the Danish engineer, Tons Brunes, and 'Magic, Supernaturalism and Religion' by the Surrealist painter, Kurt Seligman. The reviewer opened with: 'There are few greater mysteries than the source of the never-ending stream of books on the mysterious .. .' but nowhere in the review was an answer forthcoming. [For a review of the first book see Leonardo 5, 362 (1972).] The two books I am reviewing have little in common save that (a) they both feature the word * 24 Charlotte Street, London W.l ., England . 'projective' in the title and (b) each speaks from a cultist point of view. Whicher would appear to be more the mathematician of the two. But concerning Bragadon, I can offer next to no information. Although the author of some six books, he is a shadowy figure and, if I am not mistaken, he will be little more than a footnote to modern architecture's attempt to involve the 'higher' geometries and to the efforts of popularizers- via a mystic turn-to explain higher dimensions. Bragadon has two cards to play: the hypersolids, limiting himself to twodimensional schemata, and, surprisingly, 'magic lines in magic squares', the latter being as old as the former is new in mathematics. His argument that we should employ these images to decorate the naked surfaces of modern buildings to re-vitalize design and decoration is in my view naive and stupid beyond belief. The Bragadon phenomena would seem to be as trivial as its claims are profound. The publishers of his book are an 'underground' organization that also offers 'Leaves of GrassA Complete Guide to Marijuana', ' Key to the Tarrot' etc. The [972 date of reprinting of the book is given but not the date of its first publication. An introduction would help to solve this and other minor mysteries. The cover of the book, shown in Fig. I , is its most attractive feature and promIses something better than one finds inside. ORNAMENT CLAUDE BRAGDON UNICORN Fig. 1 78 Books Starting with the exterior of Whicher's book (Fig. 2), we have the reverse situation: the cover 'motif' is horrendous- Mickey Mouse Borax-and what is one to make of the cult's (Rudolph Steiner) preoccupation...