these are the timesdirty beloved


PS: From having lived in different countries I think I'd claim the more mercantilistic a society the more unwilling it is to support art and the more people you find who say artists are wasting taxpayers' money. Needless to say, if you approach art like a commodity you are negating art's inherent value - which cannot be bought, owned or even exhibited.

Joerg Colberg Conscientious - a photography weblog

Chapter 25 - The Love Story Of The Awkward Man
(Written by the Story Girl)
The Golden Road
Lucy Maud Montgomery

Online Library of Literature
Read. Learn. Think.
"Our mailing lists have now been closed down due to abuse."

...just a grip in the dark, in the walk-in,
six adults in a cooler in the middle of a nation
with almost no ears left, and certainly no roof. Barely
walls when we got out. A foot of wall
hardly. Just a mess—paper cups and brick,
that one sobbing girl, scoops, void of wind...

Tornado at the Dairy Queen
Arielle Greenberg
Poetry Daily August 23, 2003


What is Universal Design?
subversive explication at Social Design Notes

Peter Kuper
also Michael Klein and others, many others
MOCCA, Museum of Comic and Cartoon Art

Escondido, California
Baile Oakes

{Not a fast-food-sponsored kids' playground.}

The long slab was airlifted to one of the wildest parts of the moor in November 2001. Hughes's friends have kept its location secret, fearing it would become a shrine.
The grave of his former wife Sylvia Plath, in Heptonstall, West Yorkshire, has become a shrine to admirers of her work. Their daughter Frieda and Hughes' widow, Carol Hughes, would not comment on the discovery of the Dartmoor memo rial, which is more than three miles from the nearest road and in a part of the moor still used for live firing on the army's Okehampton range. It was discovered by walkers visiting nearby Cranmere Pool.
Ian Cook, a close friend of the poet, said: "Ted Hughes left instructions in his will for me to locate a spot and he gave directions for it and I carried that out in a very appropriate and beautiful space.
"His instructions were that it should be near the rising of the rivers Taw, Dart, East Oke ment and Teign. The area is wild and wonderful and exactly right."

Mark Oliver Guardian UK August 22, 2003
{Wild and wonderful and exactly right on target.}


...mud from a muddy spring,
Rulers who neither see, nor feel, nor know,
But leech-like to their fainting country cling,
Till they drop, blind in blood, without a blow,
A people starved and stabbed in the untilled field,
An army, which liberticide and prey
Makes as a two-edged sword to all who wield
Golden and sanguine laws which tempt and slay;
Religion Christless, Godless a book sealed;
A Senate, Time's worst statute unrepealed...

Sonnet: England in 1819

Percy Bysshe Shelley

The profit of rhyme is that it drops seeds of a sweeter and more luxuriant rhyme, and of uniformity that it conveys itself into its own roots in the ground out of sight. The rhyme and uniformity of perfect poems show the free growth of metrical laws and bud from them as unerringly and loosely as lilacs or roses on a bush, and take shapes as compact as the shapes of chestnuts and oranges and melons and pears, and shed the perfume impalpable to form. The fluency and ornaments of the finest poems or music or orations or recitations are not independent but dependent. All beauty comes from beautiful blood and a beautiful brain. If the greatnesses are in conjunction in a man or woman it is enough . . . . the fact will prevail through the universe . . . . but the gaggery and gilt of a million years will not prevail. Who troubles himself about his ornaments or fluency is lost. This is what you shall do: Love the earth and sun and the animals, despise riches, give alms to every one that asks, stand up for the stupid and crazy, devote your income and labor to others, hate tyrants, argue not concerning God, have patience and indulgence toward the people, take off your hat to nothing known or unknown or to any man or number of men, go freely with powerful uneducated persons and with the young and with the mothers of families, read these leaves in the open air every season of every year of your life, re examine all you have been told at school or church or in any book, dismiss whatever insults your own soul, and your very flesh shall be a great poem and have the richest fluency not only in its words but in the silent lines of its lips and face and between the lashes of your eyes and in every motion and joint of your body...

Walt Whitman
Introduction to Leaves of Grass 1855
Walt Whitman Archive

He's gone. I write this in a petrified state of semi-arousal. I draw on these memories knowing what I cannot bring back: the white sun of that day we waded the river with our jeans and army fatigues rolled, our sneakers in hand (I wore a measly size nine). How heavy the future seemed. Him before me. We'd drunk straight vodka and smoked up until we were too cloudy to see. We couldn't stop laughing over how muddled our sound had become -- low-fi, twisted, intransigent, earthbound. He lobbed through the river ahead of me, his hips cutting the water, and I watched the line of his back as he balanced with thrown-out arms.

Clean Sheets 05/21/03


Margaux Williamson
Katharine Mulherin Contemporary Art Projects

Welcome to the Radical Software Web Site. Our purpose is to make all the historic issues of Radical Software freely available to everyone. This site is designed for easy browsing and downloading, and hosts a sophisticated search engine to help you find the information you require on all aspects of independent video and video art back in the "Portapak Era."

The historic video magazine Radical Software was started by Beryl Korot, Phyllis Gershuny, and Ira Schneider and first appeared in Spring of 1970, soon after low-cost portable video equipment became available to artists and other potential videomakers. Though scholarly works on video art history often refer to Radical Software, there are few places where scholars can review its contents. Individual copies are rare, and few complete collections exist. This Web site makes it freely available and searchable on the Internet.

Radical Software was an important voice of the American video community in the early 70s; the only periodical devoted exclusively to independent video and video art at the time when those subjects were still being invented. Issues included contributions by Nam June Paik, Douglas Davis, Paul Ryan, Frank Gillette, Beryl Korot, Charles Bensinger, Ira Schneider, Ann Tyng, R. Buckminster Fuller, Gregory Bateson, Gene Youngblood, Parry Teasdale, Ant Farm, and many others.

Daniel Langlois Foundation

Eliza Griffiths is not slowing down

Untitled #34
Paul Cunningham
Featured Artists

Tarek Al-Ghoussein

Sharjah International Biennial 6

Mad Boy

Rosângela Rennó
50th Venice Biennale


Untitled #95
Simen Johan
{from the archives}

Al Capone With His Lawyer

Ed Wood having lunch with Bob Steele's shoe



...It's not just tacked on like a musical appendage. The band cuts out to a reprise of the solo guitar line that opened the tune. Is this the end? Is it over? No! The guitar repeats the figure a half-step up, and the band comes back in with the signature horn line in a whole new key!
The song is reborn! It's the same, but different! All the people get to keep dancing!. The Soul Man modulation is musical rope-a-dope, startling the audience with an unexpected twist and inspiring them to rock even harder than before. Follow up Soul Man with Brickhouse and you might as well call the paramedics, but then, cover band setlist architecture is the subject of another post.

Begging To Differ August 18, 2003


Good hert makith the good thought

The Romaunt of The Rose
by Geoffrey Chaucer
digitised facsimile of Middle English manuscript
Special Collections, Glasgow University Library


Manet was one of the first great painters of modern urban life. One day, while walking through the streets of Paris, he saw a woman with a guitar emerging from a modest café. He asked her to pose for him, but she laughed and ran away. Although Street Singer was ultimately created in the studio using a professional model (eighteen-year-old Victorine Meurend), it retains the impact of Manet’s initial experience— including the swiftly brushed glimpse of a petticoat as the woman lifts her skirt, her enigmatic expression, and the blurred impression of an aproned waiter beyond the swinging doors.


Young Woman in a White Hat
Jean Baptiste Greuze

MFA Boston

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