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'Born into a family of Swiss weavers under poor conditions in 1892, Kunz created mandala-like grids with colored pencil on graph paper that she regularly used as instruments of healing.
'When Emma Kunz was about 18 she started practicing healing. She claimed to have telepathic and prophetic capabilities. Later, her work made her go looking in the Swiss countryside for materials with healing properties. The search was a success. In the beginning of the 1940s, Kunz discovered a stone that she said was unique. The stone, which she found in a quarry in Würenlos, was named AION A. She was convinced of its power to heal, and felt that it had to be known to the whole of humanity. The cave where the stone was found is called the Emma Kunz Grotto.
'Between 1923-1939 Kunz worked for the artist and art critic Jacob Friedrich Welti. It was at the end of this period, in 1938, that she started to make her typical square metre sized drawings on graph paper. The artworks were created using graphite and colour pencil, as well as wax crayon. At that point, Kunz was in her mid forties and had no formal art education. Instead, Kunz was posthumously included in art history, and today she is looked upon as a visionary artist.
'Each of Kunz's diagrams were drawn in a single sitting, some of which could reportedly last over 24 hours at a time. The drawings were used to help her visualize the invisible realities that exist beyond the tangible, everyday world, and were composed with the aid of a divining pendulum that allowed her to plan the ultimate structure of their geometric configurations.
'They operated both as documentation of research into and as conduits for patterns of vibrational energy that could be used to realign the psychic imbalances underlying her patients’ medical conditions, and thereby to cure them. She believed that art, nature, and life were all interwoven: drawing allowed her to take part in a world of forces, seize that world and orient it for an energetic sum leading to cosmic consciousness.
'Her pieces were never meant to be displayed on a museum wall, but to lie on the floor between Kunz and one of her patients to function as diagrams and aid to meditation for the locating of a patient's lifeline.
'At the time of her death in 1963, Emma Kunz left behind about 400 works of art. But it wasn't until the 1970s that her images were beginning to be exhibited in museums. It's not unlikely that more people will pay attention to her art. This was something Kunz herself prophetically stated: "My art is destined for the 21st Century".'-- collaged
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Further
The Emma Kunz Center
'Art for the Third Eye'
'MASTER OF THE MONTH: EMMA KUNZ'
Emma Kunz @ Facebook
AION A
'EMMA KUNZ PFAD'
'The time will come when my pictures will be understood'
'Une artiste visionnaire et spiritualiste : Emma Kunz ou la géométrie thérapeutique'
Emma Kunz's books
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Video
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At work
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At work
'In 1942, the financial adviser to the royal family of Lichtenstein asked the artist Emma Kunz if she would attempt to repolarize Adolf Hitler from a distance. Citing excessive negative energies, she at first declined. When she later relented, the 63-centimeter metal spring Kunz used as a transmitter flew up and began to slash at her body, before wresting itself from her grip and flying across the room. As is often the case, art had failed to make an impact on worldly events.'-- Doug Harvey, LA Weekly
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The grotto
'This special place of power and vitality in the Roman Quarry in Würenlos constitutes the heart of the Emma Kunz Center. It has become a spiritual and energetic meeting point for mankind. The rock Grotto is a large wide space, a place of contemplation with strong and at the same time subtle forces. Emma Kunz visited it repeatedly in order to, as she herself said,"to recharge her batteries".
'The fascination that this retreat of stillness and contemplation exercises on people has a quite special reason. Countless biophysical measurements endorse the amazing level of energy, which, originating in the inner mantle of the earth, has been permeating the rocks for millions of years.
'This pulsing, energetic force is concentrated especially here in the mighty Grotto. It is sought out by visitors in order to utilize the equilibrating and harmonizing effect on body and mind. What effect does a visit to the Emma Kunz Grotto have? Just expose yourself to the experience. Everyone coming here can experience stored biodynamic powers, for the Grotto holds for each of us its own personal language and its own messages.'-- Emma Kunz Museum
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Work
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*
p.s. Hey. ** Bernard Welt, Hi, B. Oh, really? Huh, thank you, I think, ha ha? Well, isn't everybody like that, i.e. imperfectly matched in the taste zone? I don't know. I am really interested when I read writers who are intriguingly and even convincingly doing something that I wouldn't do or would want to do myself. I like being confused, you know, and I even like encouraging things that manage confuse me and make me question my tastes. But everyone is like that a bit, aren't they? I don't know. Penguin Classics, ha ha. See, now there is something confusing that I hadn't thought about at all and want to encourage. Oh, you should come over for Chris's thing! You should! Check the flights/$$ out. You really need to go to Therme Val one of these days, like I repeatedly said when you were here. I swear you'll be in hog -- or at least bear -- heaven. Holy crap, it's hot here. Be glad you're not here. Yesterday and, it looks like, today are going to be the worst yet. ** David Ehrenstein, Hi, D. Yeah, the amount of reading I get done surprises me a lot too. W.S. Trow is just wonderful, I agree. A superb writer, and very undervalued/under-known. Oh, Stillman doing Trow ... that is indeed an inspired thought you have right there. ** Steevee, I'm not sure if she still does this, but, when I first moved here, apparently one could meet Varda very easily. She has some kind of storefront in Montparnasse, and, at least for a time, she was always there, and you could just walk in and have a long, casual talk with her. I should see if that's still the deal. Oh, are you going to see/write about 'Straight Outta Compton'? I've read some very promising reports, and I'm really in the mood for what I hope that film could be. ** Bill, Hi, Bill. Yeah, the rule is that everything has to be found. I would like to wok more with texts, so the question is whether it's worth bending my rules and making text gifs, although I would only use found texts, at least to start with. Not sure yet. Nice: Seattle, friends. And Vancouver. Very nice city, Vancouver. Do you like it there? What's the conference? ** Thomas Moronic, Hi. The gif works can start in any number of ways. Well, like written fiction can. I mean, to make an assumption, you know how sometimes you'll come up with and jot down a really isolated good phrase or sentence or few of them, and then that will end up forming the seed of a longer fiction? And, contrarily, how a fiction work will start with a burning desire to write about something, someone, etc.? And other starting points in-between? Making gif fiction is exactly the same. Sometimes a whole piece will end up being generated by the finding of a single, inspiring gif. Or by combining one gif with another, which will suggest/demand a longer work. Or sometimes I'll want to address or represent something -- an idea, an emotion, story, etc. And a gif work will start that way. It's a similarly flexible medium, just like written fiction. Does that answer your question? I'd like to hear 'Flowers of Romance' again. Just the other day I was talking with someone about PiL and trying to decide if their great period ended with 'Metal Box' or with 'Flowers of Romance'. ** _Black_Acrylic, Hey, Ben. Oh, I see. Thank you for explaining that. There is a ton of spin flying around about/over Corbyn, and it's really hard to parse from so far away. Very interesting situation. ** Kyler, Enlightening/ corrupting your nephew under your brother-in-law's nose, yes! No more shrink? Well, congrats, right? Maybe you'll find the artist on the blog today interesting. Or I wondered while I was making it what you would think of her and of her practice, let's say. ** Chilly Jay Chill, Hi, Jeff. I can't remember how I found the Fasano book. But the case that the book is 'based' on completely fascinated and horrified me when it happened, and it really interested me to see someone try to write poetry from inside Lee's head. Gracq is great! You make me want to read him and/or do a post about him. I think I will, internet resources willing. Mm, it would extremely hard to parse how I determined when 'TMS's' prose was the right consistency. It was a very obsessive process, and it involved an equal partnership of planning and instinct, and the prose had to have different levels of thickness/ consistency in different places. Yeah, I think how that was done is pretty lost to me now in terms of being able to explain. And the fact that it's boiling hot here at just after 9 am here isn't helping my thinking, ha ha. Oh, since I think I remember you asking, and barring the unexpected, I finally get to announce the 'LCTG' premiere info tomorrow. ** H, FSG is pretty great, but, ha ha, I really, really don't think they'll ever publish something of mine unless I accidentally end up in some anthology or something that they put out. But that's cool. I hope the job hunt is fruitful, very fruitful, in fact. ** Misanthrope, The Dead Boys, yeah. I did like them, and I saw them live a few times. I haven't listened to them in ages apart from random spins of 'Sonic Reducer', which I think is probably their best song. I think I remember thinking the albums weren't consistently great or anything. They were raucous and a lot of fun live. Steve Bators was very charismatic. ** Jeffrey Coleman, Hi, man. Oh, hm, I see, about her book. Then it'll depend on my mood, I guess. It's not like I don't think those are very interesting topics. But they can rattle me. I'll note down the book and go for it when I feel steeled. I will definitely read her writing in any case. Very interesting sounding, yeah. And it sounds like I should see what Less Wrong is too because I don't think I've ever known of that before. As always, you're teaching and opening my eyes to a bunch. I really appreciate it. I still haven't read 'Pacific Agony', and I really need to. It's time for me to shut and go smoke too, actually. What a coincidence! Good day, bud. ** Okay. I think Emma Kunz's art and its reason for existing and the way she made it and so on are quite interesting, and I wonder if you'll agree. Guess I'll find out tomorrow.