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PATAPHYSICS (General) – Atlas Press https://atlaspress.co.uk Publishers Of The "Anti-Tradition" Since 1983 Mon, 05 May 2025 09:53:03 +0000 en-US hourly 1 https://wordpress.org/?v=7.1 https://atlaspress.co.uk/wp-content/uploads/2024/09/at_only.png PATAPHYSICS (General) – Atlas Press https://atlaspress.co.uk 32 32 Paul Gayot & Thieri Foulc 101 WORDS OF PATAPHYSICS https://atlaspress.co.uk/product/paul-gayot-thieri-foulc-101-words-of-pataphysics/ Mon, 05 May 2025 09:53:01 +0000 https://atlaspress.co.uk/?post_type=product&p=403 This is the essential book about the Collège de ’Pataphysique, assembled by two of its most venerable Proveditors. On 1 Décervelage 86 EP, the Vice-Curator-Founder of the Collège gave his Inaugural Harangue to members, and his speech included these observations: “Pataphysically one can say that all is for the best in the most pataphysical of all possible worlds. There can never be more ’Pataphysics in This World than there already is, because that is all there is. The World itself is the true Collège de ’Pataphysique.” The first of the Statutes of the Collège informs us that its statutes are pataphysical, and the Collège too therefore: both World and Collège are imaginary solutions. This Journal constitutes a summation of this most venerable institution — its persons, offices, administration, ideas, foibles and sociability. And thus the World is introduced to its Collège but only a small minority “by vocation” will pay the slightest attention — and all is indeed for the best. The London Institute of ’Pataphysics, Journal 18/19, Gueules 146, 333 numbered copies. 2019, ISBN: 978-0-9936058-5-7, 128pp, paperbound, illustrated in b+w.]]> This is the essential book about the Collège de ’Pataphysique, assembled by two of its most venerable Proveditors. On 1 Décervelage 86 EP, the Vice-Curator-Founder of the Collège gave his Inaugural Harangue to members, and his speech included these observations: “Pataphysically one can say that all is for the best in the most pataphysical of all possible worlds. There can never be more ’Pataphysics in This World than there already is, because that is all there is. The World itself is the true Collège de ’Pataphysique.” The first of the Statutes of the Collège informs us that its statutes are pataphysical, and the Collège too therefore: both World and Collège are imaginary solutions. This Journal constitutes a summation of this most venerable institution — its persons, offices, administration, ideas, foibles and sociability. And thus the World is introduced to its Collège but only a small minority “by vocation” will pay the slightest attention — and all is indeed for the best. The London Institute of ’Pataphysics, Journal 18/19, Gueules 146, 333 numbered copies. 2019, ISBN: 978-0-9936058-5-7, 128pp, paperbound, illustrated in b+w.]]> Magnus Irvin, Brian Reffin Smith, Jean Ferry & Alastair Brotchie THE PAINTING MACHINE AND ITS REGENT https://atlaspress.co.uk/product/magnus-irvin-brian-reffin-smith-jean-ferry-alastair-brotchie-the-painting-machine-and-its-regent/ Mon, 05 May 2025 09:51:14 +0000 https://atlaspress.co.uk/?post_type=product&p=401 This issue is divided into two parts. The first considers the Painting Machine in the context of both the Collège de ’Pataphysique and the Great External. The second celebrates the recent ascension to one of the Collège’s fundamental chairs: the Regency of Practical Work with the Painting Machine, by Magnus Irvin, the Secretary of Manifestations of the London Institute of ’Pataphysics. This section takes the form of a first sketch of the history of the Institute that has been edited to foreground Irvin’s role within it and his contributions to the Science in this context and in others, namely with regard to his other activities and personae. In passing, an inspiring and little-known story of heroic entrepreneurship is revealed. The London Institute of ’Pataphysics, Journal 17, Phalle 145, texts by Jean Ferry, Alfred Jarry, Raymond Roussel, Brian Reffin Smith and the Secretariat of Issuance, 344 numbered copies.   2019, ISBN: 978-0-9931487-6-7, 138pp, paperbound, illustrations in colour and b+w.]]> This issue is divided into two parts. The first considers the Painting Machine in the context of both the Collège de ’Pataphysique and the Great External. The second celebrates the recent ascension to one of the Collège’s fundamental chairs: the Regency of Practical Work with the Painting Machine, by Magnus Irvin, the Secretary of Manifestations of the London Institute of ’Pataphysics. This section takes the form of a first sketch of the history of the Institute that has been edited to foreground Irvin’s role within it and his contributions to the Science in this context and in others, namely with regard to his other activities and personae. In passing, an inspiring and little-known story of heroic entrepreneurship is revealed. The London Institute of ’Pataphysics, Journal 17, Phalle 145, texts by Jean Ferry, Alfred Jarry, Raymond Roussel, Brian Reffin Smith and the Secretariat of Issuance, 344 numbered copies.   2019, ISBN: 978-0-9931487-6-7, 138pp, paperbound, illustrations in colour and b+w.]]> Alfred Jarry, Thieri Foulc, Alastair Brotchie & Frater Plausible THE INSTRUMENTS OF THE PASSION: THE NAILS & THE BICYCLE https://atlaspress.co.uk/product/alfred-jarry-thieri-foulc-alastair-brotchie-frater-plausible-the-instruments-of-the-passion-the-nails-the-bicycle/ Mon, 05 May 2025 09:46:51 +0000 https://atlaspress.co.uk/?post_type=product&p=399 Jarry’s text on “how many nails were employed in the Crucifixion” is notorious, but never before translated. A certain amount of erudition is required to do so, and the Regent of Exegesis of the Collége de ’Pataphysique has made this possible. So this journal, profoundly theological, considers the Instruments of the Passion from a pataphysical point of view. The Nails play an important role, as convention dictates, but the bicycle is perhaps not so familiar. Their conjunction (metaphorically, the crown of thorns) facilitates an exploration of the pataphysics of authenticity and belief. Delightful conclusions are reached. An appendix of monopedal creatures, or potentially so, is shown to be not entirely irrelevant. One of the most precise and coherent issues of the Journal all in all, in which the presence of Alfred Jarry is more evident than is usual. The London Institute of ’Pataphysics, Journal 20, Phalle 146, 333 numbered copies. 2019, ISBN: 978-0-9931487-9-8, 84pp, paperbound, illustrated in b+w and colour.]]> Jarry’s text on “how many nails were employed in the Crucifixion” is notorious, but never before translated. A certain amount of erudition is required to do so, and the Regent of Exegesis of the Collége de ’Pataphysique has made this possible. So this journal, profoundly theological, considers the Instruments of the Passion from a pataphysical point of view. The Nails play an important role, as convention dictates, but the bicycle is perhaps not so familiar. Their conjunction (metaphorically, the crown of thorns) facilitates an exploration of the pataphysics of authenticity and belief. Delightful conclusions are reached. An appendix of monopedal creatures, or potentially so, is shown to be not entirely irrelevant. One of the most precise and coherent issues of the Journal all in all, in which the presence of Alfred Jarry is more evident than is usual. The London Institute of ’Pataphysics, Journal 20, Phalle 146, 333 numbered copies. 2019, ISBN: 978-0-9931487-9-8, 84pp, paperbound, illustrated in b+w and colour.]]> Roland Topor HEAD-TO-TOE PORTRAIT OF SUZANNE https://atlaspress.co.uk/product/roland-topor-head-to-toe-portrait-of-suzanne/ Mon, 05 May 2025 09:40:04 +0000 https://atlaspress.co.uk/?post_type=product&p=393 Illustrated by Roland Topor. Translated and introduced by Andrew Hodgson. The works of the French author and artist Roland Topor, who died 20 years ago, are currently undergoing a major reassessment in his homeland. Major exhibitions have been mounted and all his books are being brought back into print. This is the first of them to be translated into English for some 50 years, and more will certainly follow. Topor was something of an all-round maverick, known for his paintings and drawings as much as for his novels (The Tenant was filmed by Polanski), plays and short stories. He was also a film-maker, actor and the co-founder, with Arrabal and Jodorowsky, of the Panic movement, whose violently orgiastic performances provoked widespread condemnation. Topor’s works are dominated by a sense of irrational everyday menace that could be interpreted as humour, but a form of humour pushed deep into discomfort, almost to the point of total horror. The reader slowly becomes aware that, alongside preoccupations that some might think morbid, all is being orchestrated by a distinctively optimistic sensibility. From the collision of these factors, rooted in the author’s experiences and his irrepressible personality, come works increasingly seen as unique in European art and writing of the late 20th century. The present text is perhaps a fable, perhaps a love story of enormous tenderness, or it may be a sequence of ever more sinister events that culminate in horror and atrocity. It all depends on your point of view. The central event in this narrative cannot be revealed here, but its sheer implausible reality is utterly convincing and the effect is unforgettable. Atlas Eclectics & Heteroclites 19. 2018, ISBN: 978-0-9931487-5-0, 86pp, paperback.]]> Illustrated by Roland Topor. Translated and introduced by Andrew Hodgson. The works of the French author and artist Roland Topor, who died 20 years ago, are currently undergoing a major reassessment in his homeland. Major exhibitions have been mounted and all his books are being brought back into print. This is the first of them to be translated into English for some 50 years, and more will certainly follow. Topor was something of an all-round maverick, known for his paintings and drawings as much as for his novels (The Tenant was filmed by Polanski), plays and short stories. He was also a film-maker, actor and the co-founder, with Arrabal and Jodorowsky, of the Panic movement, whose violently orgiastic performances provoked widespread condemnation. Topor’s works are dominated by a sense of irrational everyday menace that could be interpreted as humour, but a form of humour pushed deep into discomfort, almost to the point of total horror. The reader slowly becomes aware that, alongside preoccupations that some might think morbid, all is being orchestrated by a distinctively optimistic sensibility. From the collision of these factors, rooted in the author’s experiences and his irrepressible personality, come works increasingly seen as unique in European art and writing of the late 20th century. The present text is perhaps a fable, perhaps a love story of enormous tenderness, or it may be a sequence of ever more sinister events that culminate in horror and atrocity. It all depends on your point of view. The central event in this narrative cannot be revealed here, but its sheer implausible reality is utterly convincing and the effect is unforgettable. Atlas Eclectics & Heteroclites 19. 2018, ISBN: 978-0-9931487-5-0, 86pp, paperback.]]> Alphonse Allais APRIL FOOLISH ALBUM https://atlaspress.co.uk/product/alphonse-allais-april-foolish-album/ Mon, 05 May 2025 09:37:53 +0000 https://atlaspress.co.uk/?post_type=product&p=391 Translated and with notes by Antony Melville. Allais’s Album Primo-Avrilesque was originally published in 1897. Closely associated with the Incohérents group and the cabaret of the Chat Noir, in this brief “humorous” publication Allais presents seven entirely monochromatic paintings and a piece of silent music with no notes. For this reason, certain persons of a critical persuasion cite him as the precursor by some five decades of the likes of Yves Klein and John Cage. This first English edition closely follows the design of the original publication and is limited to 999 copies.   2018, ISBN: 978-0-9931487-2-9, 20pp, paperbound, illustrated in b+w and colour.]]> Translated and with notes by Antony Melville. Allais’s Album Primo-Avrilesque was originally published in 1897. Closely associated with the Incohérents group and the cabaret of the Chat Noir, in this brief “humorous” publication Allais presents seven entirely monochromatic paintings and a piece of silent music with no notes. For this reason, certain persons of a critical persuasion cite him as the precursor by some five decades of the likes of Yves Klein and John Cage. This first English edition closely follows the design of the original publication and is limited to 999 copies.   2018, ISBN: 978-0-9931487-2-9, 20pp, paperbound, illustrated in b+w and colour.]]> Boris Vian, Alphonse Allais, Gavin Bryars, Thieri Foulc & others EXEGESIS https://atlaspress.co.uk/product/boris-vian-alphonse-allais-gavin-bryars-thieri-foulc-others-exegesis/ Mon, 05 May 2025 09:33:39 +0000 https://atlaspress.co.uk/?post_type=product&p=387 Texts by Alphonse Allais, Boris Vian, Dawn Ades, Fernando Arrabal, Daniel Levin Becker, Gavin Bryars, Adam Dant, Joan Fontcuberta, Thieri Foulc, Robert Irwin, Plausible fr., Joanna Walsh &c. This large double issue traces the digressions of exegesis through various topographies of erudition or expression: Theometry, Eructation, Erotology and the works of Boris Vian (three of his letters to the Collège) and Alphonse Allais (with a translation of his April Foolish Album tipped in). Our guides are not necessarily native to these regions, rather they are thematic: the pataphysics of amateurism, calculation, delusion, limitation and erasure. The London Institute of ’Pataphysics, Journal 14/15, Clinamen 144/Sable 145, Exegesis, 333 numbered copies.   2018, ISBN: 978-1-900565-79-0, 194pp, paperbound, many illustrations in b+w & colour]]> Texts by Alphonse Allais, Boris Vian, Dawn Ades, Fernando Arrabal, Daniel Levin Becker, Gavin Bryars, Adam Dant, Joan Fontcuberta, Thieri Foulc, Robert Irwin, Plausible fr., Joanna Walsh &c. This large double issue traces the digressions of exegesis through various topographies of erudition or expression: Theometry, Eructation, Erotology and the works of Boris Vian (three of his letters to the Collège) and Alphonse Allais (with a translation of his April Foolish Album tipped in). Our guides are not necessarily native to these regions, rather they are thematic: the pataphysics of amateurism, calculation, delusion, limitation and erasure. The London Institute of ’Pataphysics, Journal 14/15, Clinamen 144/Sable 145, Exegesis, 333 numbered copies.   2018, ISBN: 978-1-900565-79-0, 194pp, paperbound, many illustrations in b+w & colour]]> Peter Blegvad & Adam Dant PETRUS BLEGVADUS SE IPSE EFFINGEBAT https://atlaspress.co.uk/product/peter-blegvad-adam-dant-petrus-blegvadus-se-ipse-effingebat/ Mon, 05 May 2025 09:30:12 +0000 https://atlaspress.co.uk/?post_type=product&p=383 With a framing apparatus by Adam Dant. The President of the LIP employs his technique of “Imagined, Observed, Remembered” to explore his own physiognomy. We know that Jarry in Days and Nights explored a ’Pataphysics of reverie in which the protagonist “exhaled [his power] towards the External” before allowing it to flow back enriched with “an influx of mathematical combinations”. But what if this feedback is utilised to depict one’s own appearance? Self-portraits by the President of the LIP. The London Institute of ’Pataphysics, Journal 16, Absolu 145, 299 numbered copies.   2017, ISBN: 978-0-9931487-4-3, 40pp, paperbound, illustrated in b+w and colour.]]> With a framing apparatus by Adam Dant. The President of the LIP employs his technique of “Imagined, Observed, Remembered” to explore his own physiognomy. We know that Jarry in Days and Nights explored a ’Pataphysics of reverie in which the protagonist “exhaled [his power] towards the External” before allowing it to flow back enriched with “an influx of mathematical combinations”. But what if this feedback is utilised to depict one’s own appearance? Self-portraits by the President of the LIP. The London Institute of ’Pataphysics, Journal 16, Absolu 145, 299 numbered copies.   2017, ISBN: 978-0-9931487-4-3, 40pp, paperbound, illustrated in b+w and colour.]]> Thieri Foulc AN EXHIBITION OF NON-PAINTED PAINTINGS https://atlaspress.co.uk/product/thieri-foulc-an-exhibition-of-non-painted-paintings/ Mon, 05 May 2025 09:24:34 +0000 https://atlaspress.co.uk/?post_type=product&p=377 Translated by Chris Allen. According to Alfred Jarry, “Pataphysics will examine the laws governing exceptions,” so we may suppose that it substitutes, for the average point of view, an exceptional one — but an individual point of view none the less, looking out upon whatever world he or she happens to be looking out upon. An agglomeration of exceptions would constitute a category or even a taxonomy, but for ’Pataphysics a category is no more than a challenge, something to be exploded, and a taxonomy represents a minimum crying out to be maximised, so that its lineaments (criteria) may encompass, for example, the equivalence of a lobster and a can of corned beef. The intentional category error is a field wide open to rigorous pataphysical exploration and in the domain of art it already has a long history. Marcel Duchamp, as usual, was first out of the traps, with the invention of the readymade… So yes, a painting can consist of a description of a painting, and Thieri Foulc’s impatience is understandable when he writes: “I paint with words as others do with pigments, and those who categorise me as a writer have not understood a thing.” This issue of the Journal consists of an exhibition of these paintings, whose gorgeous intricacy and virtuoso execution allows us to observe the science close up, so to speak, and operating within a particular defined field (the constraint being painting here) while simultaneously (or symbolically, to use Jarry’s word) reaching far outside of itself. A painting does not need to be painted in order to exist, just as ’Pataphysics “does not need to exist in order to be” (“Message of the Vice-Curator-Founder”, 14 Clinamen 84). The London Institute of ’Pataphysics, Journal 13, As 144, 335 numbered copies.   2016, ISBN: 978-1-900565-78-3, 120pp, paperbound, illustrated in b+w and colour.]]> Translated by Chris Allen. According to Alfred Jarry, “Pataphysics will examine the laws governing exceptions,” so we may suppose that it substitutes, for the average point of view, an exceptional one — but an individual point of view none the less, looking out upon whatever world he or she happens to be looking out upon. An agglomeration of exceptions would constitute a category or even a taxonomy, but for ’Pataphysics a category is no more than a challenge, something to be exploded, and a taxonomy represents a minimum crying out to be maximised, so that its lineaments (criteria) may encompass, for example, the equivalence of a lobster and a can of corned beef. The intentional category error is a field wide open to rigorous pataphysical exploration and in the domain of art it already has a long history. Marcel Duchamp, as usual, was first out of the traps, with the invention of the readymade… So yes, a painting can consist of a description of a painting, and Thieri Foulc’s impatience is understandable when he writes: “I paint with words as others do with pigments, and those who categorise me as a writer have not understood a thing.” This issue of the Journal consists of an exhibition of these paintings, whose gorgeous intricacy and virtuoso execution allows us to observe the science close up, so to speak, and operating within a particular defined field (the constraint being painting here) while simultaneously (or symbolically, to use Jarry’s word) reaching far outside of itself. A painting does not need to be painted in order to exist, just as ’Pataphysics “does not need to exist in order to be” (“Message of the Vice-Curator-Founder”, 14 Clinamen 84). The London Institute of ’Pataphysics, Journal 13, As 144, 335 numbered copies.   2016, ISBN: 978-1-900565-78-3, 120pp, paperbound, illustrated in b+w and colour.]]> Daniel Spoerri, Robert Filliou, Emmett Williams, Dieter Roth & Roland Topor AN ANECDOTED TOPOGRAPHY OF CHANCE https://atlaspress.co.uk/product/daniel-spoerri-robert-filliou-emmett-williams-dieter-roth-roland-topor-an-anecdoted-topography-of-chance/ Mon, 05 May 2025 09:15:16 +0000 https://atlaspress.co.uk/?post_type=product&p=368

German translation by Malcolm Green, introduced by Alastair Brotchie and Malcolm Green.

“Since my first reading I have been convinced that An Anecdoted Topography of Chance is one of the great books of the century, a comic masterpiece that touches significantly on many areas of human thought. It is a maquette for a realisation of the dream that human intelligence might take any fragment of the world and reconstruct the universe from the evidence it provides.” — Richard Hamilton in The Spectator

An Anecdoted Topography of Chance is now acknowledged as the most important, and most entertaining “Artists’ Book” of the post-war period, and this edition is the definitive appearance of a unique collaborative work by four artists associated with various avant-garde art movements, including Fluxus and Nouveau Réalisme. What is the Topography? Hard to explain an idea so simple yet so brilliantly executed. Following a rambling conversation with his dear friend Robert Filliou, Daniel Spoerri one day mapped the objects lying at random on a table in his room, adding a rigorously scientific description of each. These objects subsequently evoked associations, memories, anecdotes, not only from the original author, but from his friends as well: a beguiling creation was born, and each time a new edition of the book appeared it grew larger and more elaborate. Many of the principal participants in Fluxus make an appearance, and texts by Higgins, Jouffroy, Kaprow, Restany and Tinguely are included, among others. It is a novel of digressions in the manner of Tristram Shandy, an archaeological game, a poem to the arbitrary, an encyclopaedia, a cabinet of wonders, but above all else, it is a celebration of friendship and creativity. The Topography both personifies and pre-dates the spirit of the Fluxus movement, and constitutes one of the strangest and most compelling insights into the artist’s life. From out of the banal detritus of the everyday a virtual autobiography emerges: of four perceptive, eloquent and engaging members of the human species. Atlas Press, a new version of Arkhive 4. There is a signed limited edition of the first Atlas edition in “Rare”.   2016, ISBN: 978-1-900565-73-8, 274pp, hardback with decorated endpapers, illustrated in colour and b+w.]]>

German translation by Malcolm Green, introduced by Alastair Brotchie and Malcolm Green.

“Since my first reading I have been convinced that An Anecdoted Topography of Chance is one of the great books of the century, a comic masterpiece that touches significantly on many areas of human thought. It is a maquette for a realisation of the dream that human intelligence might take any fragment of the world and reconstruct the universe from the evidence it provides.” — Richard Hamilton in The Spectator

An Anecdoted Topography of Chance is now acknowledged as the most important, and most entertaining “Artists’ Book” of the post-war period, and this edition is the definitive appearance of a unique collaborative work by four artists associated with various avant-garde art movements, including Fluxus and Nouveau Réalisme. What is the Topography? Hard to explain an idea so simple yet so brilliantly executed. Following a rambling conversation with his dear friend Robert Filliou, Daniel Spoerri one day mapped the objects lying at random on a table in his room, adding a rigorously scientific description of each. These objects subsequently evoked associations, memories, anecdotes, not only from the original author, but from his friends as well: a beguiling creation was born, and each time a new edition of the book appeared it grew larger and more elaborate. Many of the principal participants in Fluxus make an appearance, and texts by Higgins, Jouffroy, Kaprow, Restany and Tinguely are included, among others. It is a novel of digressions in the manner of Tristram Shandy, an archaeological game, a poem to the arbitrary, an encyclopaedia, a cabinet of wonders, but above all else, it is a celebration of friendship and creativity. The Topography both personifies and pre-dates the spirit of the Fluxus movement, and constitutes one of the strangest and most compelling insights into the artist’s life. From out of the banal detritus of the everyday a virtual autobiography emerges: of four perceptive, eloquent and engaging members of the human species. Atlas Press, a new version of Arkhive 4. There is a signed limited edition of the first Atlas edition in “Rare”.   2016, ISBN: 978-1-900565-73-8, 274pp, hardback with decorated endpapers, illustrated in colour and b+w.]]> Pascal Varejka CHARACTERISTICS PARTICULAR TO THE EUROPEAN ELEPHANT https://atlaspress.co.uk/product/pascal-varejka-characteristics-particular-to-the-european-elephant/ Mon, 05 May 2025 09:07:41 +0000 https://atlaspress.co.uk/?post_type=product&p=362 Translated by Florence Uniacke. The Collège de ’Pataphysique defines its principal activity as the pursuit of “inutilious research”. In this context the Regent of Elephantology, Pascal Varejka, must be considered something of a failure, for what could be more useful than the discovery of a whole unknown species, and not of some insignificant specimen of the genus Lumbricus, but a great beast which has roamed unseen through the most populous of physical and psychological spaces — namely Europe? How could this magnificent creature have gone unrecognised? An enigma made even more unanswerable by the documentary evidence presented here, in some 85 colour and b+w illustrations, and extensive citations from the most unimpeachable authorities. Never before has the veracity of a popular saying (the elephant in the room) been so triumphantly demonstrated. “What is the connection between the European elephant and the body hair of the Virgin Mary? It is by means of such considerations that this sly and erudite work remorselessly tramples epistemological boundaries both terrestrial and metaphysical — while simultaneously delineating a new realm in emblematic and metaphorical elephant studies” (Roberto Fortunato). The London Institute of ’Pataphysics, Journal 11, Clinamen 142, 366 numbered copies.   2015, ISBN: 978-1-900565-68-4, 98pp, paperbound, profusely illustrated in b+w and colour]]> Translated by Florence Uniacke. The Collège de ’Pataphysique defines its principal activity as the pursuit of “inutilious research”. In this context the Regent of Elephantology, Pascal Varejka, must be considered something of a failure, for what could be more useful than the discovery of a whole unknown species, and not of some insignificant specimen of the genus Lumbricus, but a great beast which has roamed unseen through the most populous of physical and psychological spaces — namely Europe? How could this magnificent creature have gone unrecognised? An enigma made even more unanswerable by the documentary evidence presented here, in some 85 colour and b+w illustrations, and extensive citations from the most unimpeachable authorities. Never before has the veracity of a popular saying (the elephant in the room) been so triumphantly demonstrated. “What is the connection between the European elephant and the body hair of the Virgin Mary? It is by means of such considerations that this sly and erudite work remorselessly tramples epistemological boundaries both terrestrial and metaphysical — while simultaneously delineating a new realm in emblematic and metaphorical elephant studies” (Roberto Fortunato). The London Institute of ’Pataphysics, Journal 11, Clinamen 142, 366 numbered copies.   2015, ISBN: 978-1-900565-68-4, 98pp, paperbound, profusely illustrated in b+w and colour]]>