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Published by Lewis, Michael, 2018
ISBN 10: 1324002646ISBN 13: 9781324002642
Seller: HPB-Movies, Dallas, TX, U.S.A.
Book
Hardcover. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!.
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Published by Port of Ness Lewis: Michael Robson, 2004
Seller: Sheriffmuir Books, Dunblane, United Kingdom
8vo. 62pp. Illus in colour. Maps. Pictorial card covers. Some small light scratches on front cover. Otherwise fine copy.
Published by Michael Lewis, Chicago, 1924
Seller: Twice Sold Tales, Capitol Hill, Seattle, WA, U.S.A.
Book
Staple Bound. Condition: Very Good. Minor wear and handling soil to cover. A little sunfading. Pages clean and free of marks.
Paperback. 8vo. Condition: Very good. 309p. White pages unmarked with large print text. Binding firm and covers minimally worn.
Published by Michael Byars Lewis, 2021
ISBN 10: 1733098933ISBN 13: 9781733098939
Seller: GreatBookPrices, Columbia, MD, U.S.A.
Book
Condition: New.
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Published by Michael S. Lewis, 2020
ISBN 10: 1618501836ISBN 13: 9781618501837
Seller: Ria Christie Collections, Uxbridge, United Kingdom
Book Print on Demand
Condition: New. PRINT ON DEMAND Book; New; Fast Shipping from the UK. No. book.
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Published by Lewis, Michael, 2005
ISBN 10: 0393060918ISBN 13: 9780393060911
Seller: Front Cover Books, Denver, CO, U.S.A.
Book
Condition: new.
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Published by Lewis, Robert Michael, 2021
ISBN 10: 1666733792ISBN 13: 9781666733792
Seller: Front Cover Books, Denver, CO, U.S.A.
Book
Condition: new.
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Published by Michael Robson, Port of Ness, Isle of Lewis, 2011
ISBN 10: 0953401561ISBN 13: 9780953401567
Seller: Rosley Books est. 2000, WIGTON, United Kingdom
Book First Edition
Soft cover. Condition: Near Fine. Coloured Illustrations. Maps (illustrator). First Edition. FIRST EDITION. LEWIS : 2011. Paperback. Coloured Illustrations; 16pp. of plates. Maps. Colour pictorial covers. No owner name or internal markings. Bright, tight and clean. Minor use only. NEAR FINE. (xii), 127 pages. Includes bibliographical references. Now an uncommon book. 8vo. **Will be well-packed for posting/shipping**. [ Rosley Books for Antiquarian books, CHS, Cumberland, Everyman, GKC, Inklings, Keswick, Literature, MacDonald, Rarities, Theology and History. ].
Published by Hand Set & Printed by Michael Martin & David Lewis, apprentices at Uranian Press N.Y.C., New York, 1960
Seller: W. C. Baker Rare Books & Ephemera, ABAA, Brooklyn, NY, U.S.A.
First Edition
Softcover. Condition: Near fine. First Edition. Bifolium, [4] pp., with 2 inserted leaves (printed rectos only), all 12 x 9 inches, printed in red and black on brown paper. Light wear at edges, 1 3/4- inch crease in outer edge of first leaf, else near fine. The existential manifesto of the Uranian Press, presenting the original basis of Tyler's integrative vision of art, life, creativity, and journeys through forms of consciousness. Its main text, printed in three pages on a bifolium, is supplemented with two broadside inserts, one of which introduces the manifesto: In this this paper Creativity is to be understood in the sense of a Self Documented life work toward a more fully integrated individual, able to bridge consciousness between these states, & impart the result in a symbol system seeking to evolve self transcendence to the point of holding in consciousness the knowledge of unity with the universe. From his decision to leave Chicago in 1958 to his final years conducting underground tattoo and burial ceremonies under the aegises of the Uranian Phalanstery and the First New York Gnostic Lyceum Temple, Tyler was committed to the vision outlined in this document. He also increasingly came to know the "very real dangers" with which "exploration of this dark & terrible, spaceless primordial realm is fraught." He warns in both CREATIVITY's main text and a second broadside insert about these risks: demon possession, "the nihilistic necromancer becom[ing] the False Magician," the "Yang & Yin balance of Violent, vandalistic, nihilistic, Murderous destruction." Stefan Brecht, who dedicates a chapter of his history of the Bread and Puppet Theater to Tyler, suggests that Tyler ultimately succumbed to those dangers, casting him as both an influence on and a kind of antithesis to Bread and Puppet s founder, Peter Schumann. In their early acquaintance, the two had both seen "the threat of nuclear war as crucial, contemporary fact, saw it as a symptom of the preponderant form of madness, rational madness, and saw as only salvation a mass transformation of consciousness from the intellectual to the intuitive" (Brecht, p. 68). Whereas Schumann s "sacrifice of consciousness," however, called on radical love traditions and archetypes from Christian sources, leading him to become a major, transformative player in the peace movement, Brecht contends that Tyler's art was stuck in the sacrifice alone the "mission is reported on, not any achievement of it" (p. 66). Peter Schumann's son, Max Schumann, himself remembers Tyler as "part genius, part madman" and has long been engaged with his art and philosophy, recently curating the first major retrospective of Tyler s work, The Schizophrenic Bomb, at Printed Matter. He contrasts Tyler's work not with Bread and Puppet's but with the commercial gallery culture surrounding Tyler on one hand and insipid New Age movements that emerged around him, using similar symbolic systems, on the other. Tyler defied them all to the end, "not only not being engaged or aspiring to high art or the institutions of arts just completely not recognizing the values" and remaining fully committed to an integrated "art-life practice" that never yielded its "dark, death current" to facile spiritual formulas (Lynch, 2017). A rare and significant document in postwar psychic exploration and American antiestablishment art. OCLC records two copies, at Northwestern and the Harry Ransom Center.Sources: Dennis Lynch, "Rolling Out a Slice of Village Art Psychedelia," in THE VILLAGER, April 6, 2017.