I taped my readings at Booksmith in the Haight in San Francisco and at Black Oak Books in Berkeley. Rather than podcasting the whole readings, I’m just putting up the question-and-answer sessions at the tail ends of the two readings. In some ways the Q&A, being a one-time event, is the most interesting part of a reading. Click on the icon below to access Rudy Rucker Podcasts. with these two Q&A sessions.

I’m still getting my taping skills back together, and there’s some noise from the lavolier mike bumping my sweater. The sound quality is slightly better in the Black Oak reading than in the Booksmith reading .

Before the talk, I hung out with fellow SF writer Terry Bisson; we walked out on this really long pier off the Berkeley Marina — into the setting sun. Terry said this was a symbol of our current status in life.

I got to hang out with my son Rudy and his wife Penny a little bit, too. More upbeat than Terry! And Queen Mu of the Mondo 2000 days turned up at the reading.

[Mustard spoons.]

Lately I’ve been reading Hieronymus Bosch: The Complete Paintings and Drawings, by Jos Koldeweij, Paul Vandenbroeck, Bernard Vermet, (Abrams, 2001). I plan to put him into my PS2 novel. The quotes I post today are all from this Bosch monograph.

Bosch as panpsychist: “Bosch painted all kinds of objects from the life with great precision, as can be seen in the musical instruments [including a harp] that appear in the Hell scene from the Garden of Earthly Delights. He also produced detailed ”˜portraits’ of jugs, plates, knives and other utensils. It is in this degree of realism that the difference lies between copies of Bosch and his own work. The imitators cannot match his quality, reducing real objects to tokens.”

“Bosch’s work is… simultaneously cryptic and inaccessible, yet totally open, with the lowest of thresholds. This is painting for both the most serious art-lovers and for those who virtually never visit a museum…”

Bosch was born around 1450, on the market square in a house of his father Anthonius van Aken, son of Jan, who was son of Thomas — all three previous generations were artists. His brothers Goossen and Jan were artists as well. By 1481 he was married to Aleid van de Meervenne, daughter of a wealthy merchant’s family. He joined the upper crust Confraternity of Our Lady in 1488, and hosted a swan dinner of the Confraternity of Our Lady in July, 1488, in July 1498, and again on March 10, 1510, when he served fish. His funeral ceremony took place in on August 9, 1516. He might have died from a deadly cough that swept the town around then.

[Terry Bisson in the waning light.]

“The donor’s portraits in original Bosch paintings like the Last Judgment in Vienna have been overpainted, probably by the artist himself… Relations with his customers were evidently strained at times…”

Reminder: I'm reading in Berkeley tonight at Black Oak Books, 1491 Shattuck Ave, Berkeley, 7:30 PM Thu, Jan 18.

This is a spirit board; I saw a bunch of them from Papua New Guinea (PNG) in the Jolika Collection of New Guinea Art on the second floor of the DeYoung museum in SF the other day. I got a book about it, the catalog of a show called “Coaxing the Spirits to Dance,” which is at the Met in NYC untl next fall, and includes a lot of stuff from the Hood Museum of Dartmouth.

[Irrelevantly, this is a door from Borneo. Love those BZ scrolls! This is clearly a teleporation portal.]

Used to be that everyone in PNG had a dugout canoe, and when the canoe wore out, they’d salvage some flat wood and carve a spirit representation on it, usually with a face and a navel. The idea was that the spirit could get into the board via the navel. The images are NOT of ancestor spirits, they’re spirits of place like, hmmm, genii loci, or beezies who’ve moved out of the orphidnet into natural computations, inhabiting gnarly spots of the physical world.

Georgia sent me an email about the year’s best fonts, and I went to MyFonts site

to look at some of the grungy or hand-made looking fonts.

You see hand-made-looking fonts on store signs, and it’ll look cute and human, but then of course you notice that, say, two 'e' s are exactly the same.

A few of the fonts, like BOYCOTT come with two versions of each letter so you can avoid the really obvious side-by-side repeats.

As a computer scientist, I’m thinking what is really needed for grunge and handwriting fonts is fonts that produces letters that vary slightly each time an instance is invoked. That is, a letter would have three or four slider parameters with lower and upper bounds so that within this letter-space each version would look reasonably good. And when you called for that letter, a random number would be picked as seed, and attached to that letter-instance in the background, and letter would use that random number to pick the instance in letter space, and when you saved it, you'd be saving the seed number, so if someone viewed it again it would look the same. And if you didn't like a letter's look when you were desigining, you could keep clicking on it and with each click the seed number would change and the letter would change a little.