these are the timesdirty beloved


Paolo, the artist's son, at two years of age, with a lamb


Osages (detail)
Louis Leopold Boilly 1827
(big file)

these are the eyes of Paul Cezanne


The final version of robostrider incorporated actuated middle legs and four support legs, modeled after live water striders. It sports aluminum construction with stainless steel legs. In one winding, it was able to travel a full 20 cm in five strides

Robostrider MIT
link Boing Boing


David King at Red Top

Mother and Child
Napatchie Pootoogook
Cape Dorset Inuit Art
Schoolnet Digital Collections

link plep

Reminiscences of my Life in Camp
with the 33d United States Colored Troops
Late 1st S.C. Volunteers

Susie King Taylor
Documenting the American South
Univ. North Carolina

Iraqi faces and surfaces 2002-2003
Jan Oberg
Transnational Foundation for Peace and Future Research (CH)

Pillars of Salt
Tony Cragg
Sculpture at Goodwood

The Unbearable Heaviness of Industry
Zhou Hai

Faerie : from the Latin term for "fate" (fata), faeries (or fairies) are a "host of supernatural beings and spirits who occupy a limbo between earth and heaven" (Guiley). This is in recognition of the skill faeries had in predicting and even controlling human destiny. Faeries could be either good or evil creatures, and at various points in history have been confused with witches and demons
Fay or fey is the archaic term for faerie meaning bewitched or enchanted. This word derives from 'Fays' meaning Fates, and thought to be a broken form of Fatae. 'Fay-erie' was first a state of enchantment or glamour, and was only later used for the fays who wielded those powers of illusion. The state of enchantment is fayerie, which became fairy and faerie.

faerie at

Twenty percent of road deaths are buried by The Poh Teck Tung in unnamed graves, their identities unknown.

Photographs by Will Pryce
at Red Top

Gautier Deblonde at Red Top

Rainer Zerback





images from behind the Iron Curtain by David Hlynsky
link from vigna-maru

Alexander's Reputed Kin Cling on in Mountain Idyll
David Brunnstrom Reuters August 6, 2003

hyper-velocity chickens.GM chickens with an extended wing-span. maybe an accidental release of unfinished protein-molding or a bio-pharm alchemical spill, nobody knows. they gyre, spiralling up and up until they can't be seen unaided, then hover, stoop, and dive. predatory screaming but they never pull out. feathery cannonballs of malignant force smacking through windshields, through roofs, taking out the family dog, the neighbor's kid, the bougainvilla, whatever's there at the end of their line of descent. the protectorate's so distracted with human agencies of sabotage they can't afford the manpower to search out the roosts, where they come from. the latest rumor is it's a guerrilla cross-breed of osprey and leghorn, some hippy commune's last act of defiance, working with the Man's own demonic tools...

Also included in the exhibition are three recent works which investigate the mental maps we make to interpret space: In Going Nowhere, 1998, a figure slowly disappears over a hill as it walks through drifting snow. Like an out of body experience, the camera left behind on its tripod, records the figures departure, absence and eventual reappearance. Map, 1999, is literally a simple, line-drawn map but one which seems to describe a parrallel universe. The outlines are familiar and yet the countries and seas are alien. In this map the world has been turned on its head. What was water has become land; what was land has become water. What should be a tool to interpret the world has become untrustworthy; what was familiar is now skewd and strange. Lee Navigation, 1999, again records a journey - traveling from the mouth of the River Lee where it meets the Thames in East London, to its source beneath a tower block in Luton, a series of Palm Pilot drawings reconfigure this strange urban non-space, recording isolated fragments of skyline, objects and signs found in this bizarre and banal landscape.

Simon Faithfull Psychotopography
at Artsway (UK)
simon faithfull's journal
at Namibia International Artists Workshop at Dia Nippon


He invested the money in new white talent, notably Perkins and Cash, as well as the country singer Charlie Rich. After a lengthy theological discussion, it was Phillips who finally persuaded his piano session player, the pulpit-bound Jerry Lee Lewis, to cut Whole Lotta Shakin' Going On in 1957.
Another target of his advice was Fidel Castro, who had been ridiculed by the press on his visit to New York in 1960. Phillips had a certain empathy with those damned by the moral majority and, after a few drinks, decided to call Havana. He eventually pummelled the operator into connecting him with Castro's bemused brother.
"Raul," he said, "you tell Fidel the next time he comes to America he can come to Memphis, Tennessee, and stay with Sam C Phillips. Then maybe we can straighten things out."

Sam Phillips obituary Telegraph UK


"And you are never supposed to eat on the chuck box lid. We have a lid, a box where the cook keeps all of his dishes and his, uh, cooking utensils with a fire about ten feet behind that wagon. The chuck box is lid down, and you are never supposed to walk between that chuck box and that fire, because that part of the ground belongs to the cook. And you're never supposed to eat on a chuck box lid. The beds are thrown off at noontime for the boys to sit on and rest on. And they sit down on the ground and put their plate right on the ground. When we're through eatin,' there's two big wash tubs, right close to the fire. Every man is supposed to clean out his plate, throw it away, and take it and put it over in the tub. That's what we call rackin' 'em, rack the dishes. Sometimes, they'll stand twenty feet and try and see if they can rack, rack 'em but then, that's a, that's an unwritten law that belongs to the wagon. And you are never supposed to ride up to the wagon from the side the wind's comin' from, because your horse and the dust and the hairs off your horse will fly into your cookin' utensils. You're supposed to ride facing the wind coming to the wagon and never get too close..."

Excerpts from DARE Tapes
The Dictionary of American Regional English (DARE)
Learning Support Services
University of Wisconsin-Madison

link from links page at

Mariano Stabile

"I lean forward and rest my hands on the glass top that protects the brown velvet swags. Even now, even as it's gotten this out of hand, I'm distracted from my thoughts of the Xes by the trappings of the Xes. And really, it strikes me, isn't that the point?"

excerpt from The Nanny Diaries
(p. 300 St. Martin's Press hardcover)
by the mysterious Nicola Kraus and the equally mysterious Emma McLaughlin

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