DxS - Curatorial Platform
Dispatx Art Collective is a curatorial platform for the development and presentation of contemporary art and literature. Make is a showcase for work in progress related to the current theme, Appropriation in Creative Practice. Projects are developed online via integrated documentation tools allowing artists to post regular updates to their work in a continuous investigation of the creative method.
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- Brooklyn Arts Council
Emerging and mid-career independent curators are invited to submit proposals for BAC Gallery’s 2008-2009 exhibition season. This is an open curatorial call; however, preference will be given to Brooklyn-based curators. There is no application fee.
Criteria:
All proposals must be for group exhibitions of 10 or more artists, all of whom belong to BAC’s free Artist Registry. All Brooklyn-based artists are eligible to join the Registry, which is free. To sign up, Click Here.
Using the Registry is also a good way for curators to discover new talent. Click Here to look through images posted by artists or visit links to their websites for a sort of virtual studio tour.
BAC Gallery is located in the Brooklyn Arts Council offices in DUMBO, in a building that’s home to several thriving galleries. Before you submit your proposal, we encourage you to make an appointment to see the space and to meet Courtney Wendroff, our gallery coordinator.
Curatorial Application Process:
We review proposals on an annual basis. To apply, please complete the online application form by February 1, 2008. Be prepared to upload a one-page curatorial proposal, your resume, two references, and five images that illustrate your concept of the show. These images need not necessarily be a part of the realized exhibition; they are for reference purposes only. Please note that although BAC supports artists of all disciplines, because of space constraints, our gallery is limited to exhibiting work that can be mounted on the wall. If your proposal is approved, we’ll send a Call for Entries to Brooklyn-based artists, asking them to submit work for the exhibition. We’ll then forward all eligible artworks to you, the curator, to select from works among them. Once the works are chosen, you will be expected to write a curatorial statement for BAC Gallery. Curators also plan an enrichment event to accompany their exhibition, such as a talk, panel discussion, reading or performance. BAC Gallery also considers proposals from individuals, galleries and organizations looking to host collaborative exhibitions in their own spaces. Please feel free to contact us to discuss your ideas by phone, (718) 625-0080, or send an email to BAC Gallery coordinator Courtney Wendroff, gallery@brooklynartscouncil.org.
Application Deadline: February 1, 2008 - scene take place anywhere 2
Search: scene take place anywhere
http://www.scenepointblank.com/features/140
We always had a concept of having a guerrilla show with a generator at one of these strange old abandoned factories that are by the James River, in our hometown of Richmond, Virginia. We had the idea of having this filmed, and then we wanted Instinct to be the song, and then Justin Sacks from Minneapolis, really seemed to get it, instantly, and he submitted the treatment for the film that had this narrative about all of the different kids who were coming to the show - helping to build the show by stealing batteries, siphoning gas, taking Christmas lights, getting power, and us bringing the generator, and having that narrative be worked into the document of a live event. So, it worked out better than we ever thought, and we spent the hottest weekend of last summer in our hometown breathing in red dust that was probably laced with particulate petroleum and lead from the battery reclamation center and gas works where we filmed it.
The whole punk community came out, older legends and bands such as Four Walls Falling gave us lights, we had everybody help with all the different production aspects and about a hundred kids jumping around and screaming their heads off. Instead of it being a story about a generator show, a DIY show, it actually is now a documentary of a DIY show, so it was like that fourth wall or whatever that happens in journalism when it becomes the thing which you think is fiction. We loved it, it was really fun to do.
Scene Point Blank: I heard that youve moved out of Richmond, Virginia, is that right?
Thomas Barnett: Garth and Eric still live in Richmond, Matt Smith lives in Baltimore, Maryland for four or five years. Sherwood has moved to the mountains of western North Carolina, which is... in US terms, not that far, its like ten hours, twelve hours away from Richmond -
Scene Point Blank: - Ten hours away from right here would be a different country.
Thomas Barnett: Yeah, like Denmark or something, right. So I guess its hard to relate that, but I live 3000 miles from Richmond now; I live in Porland, Oregon. But I lived in Richmond for thirty years. My wife is in law school in Oregon, so between tours I stay with her. But yeah, thats why Im there. But Portland is a really neat city, and its newer than Richmond, Virginia, but of course its still got a lot of old history and ghosts and raw industrial beauty, and a hell of an amount of counter-culture, like punk scenes on top of punk scenes, overlapping, like ghosts and the city at the same time. Its amazing.
Scene Point Blank: Does that make it harder to feel attached to Richmond?
Thomas Barnett: No. I mean, after you live thirty years in one place, and not just live there passively but read about the forgotten histories and take place in street marches, spend nights and days on train tracks and in alleys and basement shows, everything that our punk community was about was built in the city itself, and trying to find a space where you can have it, because its very conservative and high-bound and aristocratic place, and theres all this ignorance, but theres these little moments of beauty, like subversive culture; like the history of Southern abolitionists, the American Civil War is seen as this very monolithic thing, its like racist Southerners versus liberating Northerners, when in fact its a lot more complicated and nuanced, and theres a lot of folks in the South, who are agitating for liberation of black people, and they were also helping to subvert the cause, and theres a lot of amazing stories about that. But then, in the present day, theres a great deal of civil rights history that happens, these great marches for the Living Wage, this anti-poverty group we worked for, and still do.
We come to Richmond a lot, I spend a lot of time there, on the bookends of tours, rehearsing, writing songs, playing shows. We have special acoustic benefit shows for the Living Wage group, and we would march with the progressive African-American clergy, the eldest of whom had marched with Dr. King. So, its Caucasian punk kids and other radicals, in this fabric of human civil rights movement, all together, marching for a living wage - thats something I could never forget or be distant from. These are huge things in my consciousness. Theres other things to learn about other cities, but theres so much that was invested in Richmond, and this band wouldnt have happened if it wasnt for Richmond, Virginia and its counter-culture, so we definitely still claim it as our hometown and always will.
Scene Point Blank: Bands with a similar political message to Strike Anywhere such as Anti-Flag and Against Me! have recently signed to major labels. Do you think they deserve the criticism and "sellout" accusations theyre getting?
Thomas Barnett: No. I think that as long as people are critical but they also understand that those folks in those bands - good people, friends of ours - they made these choices to the best of their abilities for good reasons, and everyone changes. And everyone changes, and they still change from the heart. In the States, things feel really desperate and our counter-culture is under attack from all kinds of things, and theres not any sign of support for underground arts. I mean, even on a business level; businesses are closing all the time and, in Richmond, our home town, our university is in collusion with the city council to take away all the spare property, so the all-ages club that wed had for twenty years got shut down the other day, for good.
Getting punk ideas, and ideas about anti-war activities and peace, changing consciousness, changing society, theres not a lot of avenues; theyre all closing, in the sense that you can go into a corporate machine and try your best to save lives through that process, or you can stay extremely isolated in a narrowing field, pulling people into this increasingly elitist and leisure class, middle class white kid specialised university city basement scene that is obsessed with operational purity. It just depends on what you want to do. Like, if you wanna build something that is exclusive, and constantly in this defensive posture, then youll have that, and itll be this precious commodity. But if you want a counter-culture that makes mistakes while it lives and breathes and tries to share its ideas and build something, and bring new people into it, then you will make choices that sometimes that other people will be critical with you for.
We always had a concept. At one of these old abandoned factories by the river, we filmed it, instantly, and submitted the narrative by having that narrative be worked into the document of a live event. So, it worked out better than we ever thought, and we spent the hottest weekend of last summer in the gas works where we filmed it.
The older legends falling gave us lights, a story, a fourth wall or whatever happens in fiction.
Ten hours away from right here would be a different country.
Like Denmark or something, right. I live for thirty years in an old history and industrial hell, overlapping, like ghosts on train tracks and in alleys and basements.
I could never forget huge cities.
Everyone changes from the heart. Things feel really desperate, closing in. All the spare years shut down for good.
Getting ideas, consciousness, theres not a lot of avenues; theyre all closing, you try your best to save
Extremely isolated in a narrowing field, middle class operational purity depends on exclusive, defensive mistakes.
- Reinventing the Eight-Track
Recently while hiking near Menlo Park, I came across this object which I believe is Edisons second or third attempt to invent the eight-track tape. You can see here that he was still at this stage struggling unseuccessfully to break free from the linear-thinking trap of the cassette paradigm. His mobius-inspired breakthrough is obviously yet to come.
- Schematic
- Crank movie clip
- Paper prototype X
- Diaphragm & stylus
- Found Prototypes
We uncovered these two objects in the vicinity of Edison, New Jersey. We have identified them as artifacts, possibly original prototypes. They have a clear similarity to the drawn objects in Edison’s notes. Perhaps they were discarded by their user because they lack functionality, but we may find use for these yet.
- scene take place anywhere jpeg
Search: scene take place anywhere.jpg
I think this search result is fucking brilliant, more for itself than in the context of my project. But I’m going to see what I can make of it. This is the shadow talk.
http://en.wikipedia.org/wiki/User:Ghosts&empties
/Osamas cave
[edit] Salma Hayek
I must have clicked on the wrong version of the article for the revert of the vandalism that was put in. Ill try not to have it happen again. Dismas|(talk) 00:03, 23 May 2006 (UTC)
[edit] Portmanteau
Because it makes us feel smarter than we are? D-Rock (Yell at D-Rock) 01:20, 24 May 2006 (UTC)
[edit] Re: Making a face
Thanks! Im the one on the right, for the record... — Asbestos | Talk (RFC) 11:37, 24 May 2006 (UTC)
[edit] Emma Lazarus winning a contest
On December 28th, 2005, you edited the Statue of Liberty article:
http://en.wikipedia.org/w/index.php?title=Statue_of_Liberty&diff=33048180&oldid=32854887
Among other things, you added the phrase "the winner of a contest underwritten by the New York World to the sentence:
The poem "The New Colossus" by Emma Lazarus, the winner of a contest underwritten by the New York World, was engraved on a bronze plaque in 1903, 20 years after it was written.
Ive been looking for a source for these item about the contest, and havent been able to find one. Most of the readily available material indicates that it was written as part of a fundraising effort in 1883, but the details of its having won a contest or that the contest was underwritten by the New York World are not mentioned. Could you indicate what your source for this fact is? Dpbsmith (talk) 21:57, 28 May 2006 (UTC)
You said to consult the references in the Emma Lazarus article.
But... of those references, http://www.phy6.org/outreach/Jewish/Lazarus.htm| gives a 404 Not Found; one http://www.gutenberg.org/browse/authors/l#a1155 is a collection of her poems; and the third, http://www.jwa.org/exhibits/wov/lazarus/ says nothing about a contest, either on the cited page, or here. Dpbsmith (talk) 17:58, 29 May 2006 (UTC)
[edit] Pamela Smart
Actually, I missed that statement, and have since removed "one of the first of its kind prior to the O. J. Simpson trial." —tregoweth (talk) 15:35, 31 May 2006 (UTC)
[edit] Vichyssoise
You are sub-minutiae detritu
[edit] Anna Ohura
"T157cm B100(I) W58 H88" I have no clue what the T is. However, B 100 means she has a 39 inch bustline, and if the I works the same as western measurements, means that her cup size is 9 cm more than that (a D cup is 4 inches over the line under the bust), which is equivalent to, well, a D cup. So a Japanese 100I = an American 38D, give or take. But the 157 is definitely not her circumference at the breasts. I have no clue what the T is. --Golbez 16:28, 16 June 2006 (UTC)
[edit] Reshad Feild
I have deleted the following comments from the article because 1) I think they refer rather to The Springfields than to Reshad Feild, and 2) because I know from Reshad Feild himself that the story behind the name "The Springfields" was a different one.
"Like the Ramones, all members of the group took the same last name – Springfield – which may have been an expansion on his surname. The groups vocalist took the name Dusty Springfield, giving Feild a putative, if indirect, namecheck on one of the most respected vocalists in modern music."--Alois Alexander 11:17, 12 July 2006 (UTC)
[edit] Fair use
Respond to User talk:Gmaxwell#No gallery of thumbnails
[edit] Fair use image of Ms. A. Barbeau
You said: "I added this image originally. The fair use rational is that its the promotional photo and cover for her autobiography. Its also a well known photo that identifies her better than the other photo from imdb. Sufficient?"
Well, I removed the image because it was missing the mandatory detailed fair-use rationale. If it is the cover of her autobiography, it would presumably not be a promotional photo. it can be at most one or the other. However, assuming it is the cover of her autobiography, it would be reasonable to use it in an article about her provided that the hand-written detailed fair-use rationale makes note of the fact that it is being used to illustrate the publication of the book, not to identify Ms. Barbeau (book covers cannot be used to depict a person). --Yamla 18:49, 21 July 2006 (UTC)
Please do not reinsert copyrighted images without providing the mandatory detailed fair-use rationale for their use. Additionally, please do not remove {{unverifiedimage}} tags from images missing source information. --Yamla 21:53, 21 July 2006 (UTC)
Sorry, Ill give you several hours. Sometimes my fingers get twitchy, particularly on a Friday. --Yamla 21:57, 21 July 2006 (UTC)
You said: "If it was fair use in the middle of the page, why isnt it fair use at the top of the page? The book for which is image is the cover is discussed and quated extensively throughout the article. The MoS layout that a sole image should appear top left."
In the middle of the page, an argument can be made that it is depicting the book which is fair-use. At the top, it is depicting the person, which is not fair-use for a book cover. --Yamla 17:37, 26 July 2006 (UTC)
By the way, Im sure you are getting quite frustrated over this whole matter. I want to let you know that I really appreciate you remaining civil and especially that you are clearly working very hard to get this whole fair-use thing correct. I am perhaps holding you to an exceptionally high standard wrt fair-use images. It is certainly the case that most fair-use images are not subjected to this level of pedantic scrutiny. Once we get this correct, Ill award you a barnstar if I havent already. --Yamla 17:37, 26 July 2006 (UTC)
[edit] Your edits to Arkham Asylum: A Serious House on Serious Earth
Hello. Please do not remove relavent images from articles, as you did to Arkham Asylum: A Serious House on Serious Earths Image:Arkham.jpg. The critia for removal was proven to be illogical, as the image does "show something", namely, the Bat-like creature which the Arkham family saw. Furthermore, as a direct result of your removal, the image was deleted, disabling better Wikipedians from correcting your mistake. ACS (Wikipedian); Talk to the Ace. See what Ive edited. 01:32, 22 July 2006 (UTC)
Sorry. Its clear now, but with a lot of daylight it looked like a black box. Ghosts&empties 01:36, 22 July 2006 (UTC)
[edit] Re: There once was a man from Nantucket
Your grammar correction ("If my ear were a cunt, I could fuck it.") is much appreciated. Good grammar is the hallmark of decorum. Ghosts&empties 14:37, 26 July 2006 (UTC)
Im actually not so sure now... when I reflect on it and analyse and think carefully, the word "were" is still correct, but not for reasons of past tense. As it is quoting what he said at the time, he was saying that if it were the case that his ear was a cunt, he could then fuck it. Gee, all this naughty language :-) Timeshift 18:00, 26 July 2006 (UTC)
Just trying to say the corrected version blows my mind. Ear were, ear were, ear wear (damn!) ;)--Cúchullain t/c 18:16, 26 July 2006 (UTC)
For maintaining a focus on prosody and grammar in the face of adversity.
Belatedly awarded by Wanderer57 23:18, 2 November 2007 (UTC)
[edit] Somethings gotta give
I have responded to your comments on my talk page. I would normally copy-and-paste my response here but it is rather long. You are not obligated to respond, of course, but I thank you for your input and appreciate what you have to say. --Yamla 03:34, 27 July 2006 (UTC)
[edit] You liked some Honest scenes, didnt you
There is a certain theme to the changes ;) KittenKlub 02:04, 28 July 2006 (UTC)
[edit] You may want to know
Someone may be faking your signatures: [1] Might be copied from some archive, I dont know - just thought I would let you know just in case.--Konstable 06:39, 28 July 2006 (UTC)
You may want to know that Konstable wants to take revenge, because he was not allowed to cover for his buddy, and seems to stalk me. It was a message left on the userpage moved to the talkpage. Thank you for stalking me. KittenKlub 10:15, 28 July 2006 (UTC)
[edit] Miriam G
Anybody complaioning about pics would have a lot of work = I uploaded more than a hundred :-) Stellatomailing 00:42, 31 July 2006 (UTC)
[edit] "Longer than subject warrented" failings
Two people have brought up disputes over your failing of some articles for the reason "Longer than subject warrented". Are these articles off-topic in your opinion, or much too detailed? "Longer than subject warrented" seems entirely subjective, and "is the proper length of the subject" isnt a GA criteria; staying on topic is. Homestarmy 06:37, 8 August 2006 (UTC)
I agree that it is a subjective judgement. Length is a criteria in determining good article status: "A good article may be any length, as long as it properly addresses all major aspects of the topic." The proper length for a given topicis based on what the length and level of detail the reader wants in the editors judgement. Some of the articles being nominated are obsessively long, which doesnt lead to a good encyclopedia. One well-written, well-organized article I failed, with a note of encouragement, was [Eleanor Rigby]], which is an important song , but to be the proper length for the typical reader of an encyclopedia needs to be shorter. Editing for length (even if it means deleting less important content) is an important part of good writing, especially for an encyclopedia. Reducing length is not that difficult and does not require much specialized knowledge. Ghosts&empties 07:23, 8 August 2006 (UTC)
So basically, you felt that the subjects went into too many details, and therefore went off-topic? Its just ive never seen someone put it as "Longer than subject warrented", and you caused two disputes to pop up heh. Homestarmy 16:45, 8 August 2006 (UTC)
Sorry to jump in your conversation but instead of only giving the sentence "Longer than subject warrented", it would be a more helpful review if the writer of the entry would be told what are the sections he can cut or dump in subarticles or re-write in order to eliminate material that seem off-topic. Lincher 04:03, 13 August 2006 (UTC)
[edit] Image:CupcakesFrosted_wb.jpg
Why did you remove the license and source from this image, and add deletion templates to it? If you have some reason to believe that User:Elf is lying about having taken the photograph, please nominate the article at Wikipedia:Possibly unfree images. Thanks. Jkelly 02:45, 13 August 2006 (UTC)
[edit] Re: William Shatner
Thanks. :) RadioKirk (u|t|c) 14:55, 14 August 2006 (UTC)
[edit] Capone in Chicago
The reason you gave for the deletion is obtuse, and the lone bit of folklore was properly identified. Most Americans associate Al Capone with ruthless, based upon both the St. Valentines Day Massacre and the murder of two of his associates at a formal dinner party.
Some of us put time into our contribution, as we are trying to improve Wikipedia. If you delete, at least give a longer explanation, or just refrain in the future.
I see what you mean about how the baseball bat bit is meaningful for character development, but I deleted it for two reasons:
1) there are at least 3 versions of who was doing the beating - or it may be completely myth 2) it didnt really change the arc of Capones career
If you want to treat this incident in an encyclopedic way, you need to consider and reference several sources. As is, the explanation differs from other accounts of the same incident in Wikipedia (See John Scalise).
I hate to be the guy that nags "More references!", "Explain other theories!", but when it comes to Capone, theres often more myth than fact, as Geraldo learned the hard way. Ghosts&empties 17:26, 14 August 2006 (UTC)
[edit] Magazine Covers and Stuff
You said: "As you know better than anyone, an image of a magazine cover is fair use for an article about that magazine. So why did you delete the cover images for Stuff (magazine) and Blender (magazine) despite our previous dialogue? If theres a minor problem with the image tag, fix that if you like, but dont obliterate the images that obviously are not a copyright violation. I cannnot figure out how to retrieve the cover images you deleted for Stuff (magazine) and Details (magazine) so Id appreciate your help."
Im sorry, I havent had the chance to go back and verify. Im not ignoring you. My understanding is the following. Legally, we are probably permitted to use a magazine cover to depict the magazine generally. However, Wikipedia policy, which is more restrictive than the law requires (for example, no copyrighted images in user space, no matter what the rationale) still does not permit this. I havent had the chance to double-check to see if this has changed recently so I may be out to lunch. I am sorry that you and I are running up against this. --Yamla 03:33, 15 August 2006 (UTC)
Also, if you can remember the file names, Im sure I can pull the files out of the history. It may be easiest to email the resulting files to you. Is your email hooked up to the Wikipedia? Im quite happy finding some other means of recovering the images, though, if you desire your privacy. --Yamla 03:33, 15 August 2006 (UTC)
OK, good. If magazine covers are not OK in articles about the magazine, then about 100 articles about magazines have copyvios. As far as restoring the imaages, it seems were in the realm of tort law so you carry out a remedy yourself or pay compensatory damages of 43KB. Thanks Ghosts&empties 03:43, 15 August 2006 (UTC)
[edit] Lisa
Hi, Ghosts&empties. My editions to Lisa Fonssagrives were not vandalism, as you though. The article had some very POV statements ("She was both muse and inspiration to the cream of fashion photographers..." and "...but she was so much more"), weasel words ("Many people consider..."), unfree images lacking a sound rationale and extraordinary unsourced claims ("no model has surpassed her number of Vogue magazine covers"). Im not saying the text marked with {{fact}} is untrue, I just think they should be properly sourced (using the <ref/> tag). Lets work on improving this article. Best regards, --Abu Badali 17:14, 29 August 2006 (UTC)
Thanks for your message Ghosts&empties, Ill try to get to citations on this article soon. I remember doing the research and it shouldnt be too hard, but Im quite busy, just now and will try to get it done next week. At the time I made my contribution to the article, there wasnt the amount of focus that has been made more recently on individual citations. Doc ♬ talk 18:24, 29 August 2006 (UTC)
Please stop and talk issues out with other editors on article talk pages or their talk pages. You are currently, in my viewpoint, edit warring with another editor. This is unacceptable, we need to talk our differences out and not insult other uses. I know you can settle this out peacefully. Thank you, Yanksox 04:57, 30 August 2006 (UTC)
With the comments in the edit summaries and my request to the original author regarding Mr. Badalis requests, quite a bit of polite dialogue was occuring. The edits in article show some convergence. Currently there are too many [citation needed] tags, but I think the original author will fill in the salient references.Ghosts&empties 12:36, 30 August 2006 (UTC)
[edit] Your edit of Jennifer Lopez
Thank you for experimenting with the page Jennifer Lopez on Wikipedia. Your test worked, and has been reverted or removed. Please use the sandbox for any other tests you want to do. Take a look at the welcome page if you would like to learn more about contributing to our encyclopedia. Kylef81 19:51, 29 August 2006 (UTC)
[edit] Please cite sources
Hello, and thank you for your contributions to the Robert Chesebrough article. Please find and add reliable citations to your edits so that others may verify your work. Uncited information may be removed at any time. Thanks for your efforts, and happy editing! Cant sleep, clown will eat me 23:41, 5 September 2006 (UTC)
[edit] Seven dirty words by the man from Nantucket
I have one word for you, in all due respect: "cocksucker". The difference between "suck it" and "cocksucker" is not much of a stretch, especially compared to the flexibility required to perform such an act. This article is like Scrabble; the point is to score by wikifying as creatively as possible. "Seven dirty words" is definitely a 10-point link. Ghosts&empties 17:53, 6 September 2006 (UTC)
All right, if you its really worth that many points, I guess you have a point.--Cúchullain t/c 17:55, 6 September 2006 (UTC)
[edit] There once was a man from Nantucket
Well have to agree to disagree on this rubirosian item, it seems, since its a judgement call. But I think a word that confuses virtually every reader isnt a very good word for an encyclopedia to use when explaining something. - DavidWBrooks 19:12, 13 September 2006 (UTC)
[edit] About Image:Barbeaus.jpg
Image:Barbeaus.jpg doesnt have its mandatory detailed fair-use rationale. It certainly can be used to illustrate the book itself, though it cannot be used at the top of the page to depict Barbeau. To be clear, it can be used in the article itself if attached to a paragraph dealing with the book, and with a detailed fair-use rationale. --Yamla 18:12, 22 September 2006 (UTC)
[edit] Comments
Thanks for your comments nice to hear from someone who has a similair mind set as i do on wikipedia. And congrats as being the first person to comment on my efforts of my userpage, Thanks! KingstonJr 16:22, 25 September 2006 (UTC)
[edit] Adrienne Barbeau
You said: "Why is the image from the cover of her book no longer fair use? The image and its location on the page have been contested several times, but its fair use status was upheld. Have WP policies changed?"
Yes, Im sorry to say, they have. Recently, it was decided that we may no longer use copyrighted non-free images to depict living people except in extraordinary conditions. We may only use free images. Please see WP:FUC. While I would not blame you for not assuming good faith on my behalf, please understand that I did not instigate this policy change. --Yamla 03:01, 30 October 2006 (UTC)
[edit] Another playboy breast list deletion debate
I notice that you were involved in the last deletio debate for this article. Have you seen this: Wikipedia:Articles for deletion/List of Playboy Playmates with D-cup or larger breasts. Interestingstuffadder 19:38, 20 December 2006 (UTC)
[edit] Adrienne Barbeau image
You said: "After reading Wikipedia:Fair use I still disagree with your interpretation of copyright law in your deletion the image of Adrienne Barbeau used in her iconic poster and her autobiography, both of which are mentioned in the article. The discussion of her poster comes as close to critical commentary as feasible for a poster. Lets fix this omission."
You are mistaken, it has nothing to do with copyright law. The policy in question is entirely Wikipedias, and is listed in WP:FU. We are only permitted to use freely-licensed images to depict living people. Certainly, we could use the poster in an article about that poster, or to illustrate the movie advertised (assuming it is a movie poster). The problem comes in to play when using a fair-use image in the infobox (that is, as a "lead image"); we are strictly prohibited from doing so. --Yamla 03:23, 31 December 2006 (UTC)
[edit] Man from etc.
Hey, what fun is this argument if youre going to reasonable and adult???? I dont see how adding a jarringly out-of-place word makes this article more suitable for an encyclopedia - I think the article is a fine example of the unorthodox approach that makes wikipedia valuable - but I will bow to your conviction. - DavidWBrooks 21:36, 31 December 2006 (UTC)
[edit] Quick question re: Shae Marks
Just curious, why did you remove the link to Marks Playboy Playmate page from the external links section of her article? Dismas|(talk) 05:26, 4 January 2007 (UTC)
Woops. Deleted one more than the two dead links. Ghosts&empties 12:43, 4 January 2007 (UTC)
[edit] Orphaned fair use image (Image:RC-anytime-anywhere.jpg)
Thanks for uploading Image:RC-anytime-anywhere.jpg. The image description page currently specifies that the image is non-free and may only be used on Wikipedia under a claim of fair use. However, the image is currently orphaned, meaning that it is not used in any articles on Wikipedia. If the image was previously in an article, please go to the article and see why it was removed. You may add it back if you think that that will be useful. However, please note that images for which a replacement could be created are not acceptable under fair use (see our fair use policy).
If you have uploaded other unlicensed media, please check whether theyre used in any articles or not. You can find a list of image pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any fair use images not used in any articles will be deleted after seven days, as described on criteria for speedy deletion. Thank you. This is an automated message from BJBot 05:28, 2 February 2007 (UTC)
[edit] Picture change
Erm, if you like that pic better, I guess thats fine, though I was a bit surprised at the edit summary that you used. [2] Since its not an area that you normally edit in though, I was curious how you ran across it? :) --Elonka 20:59, 2 March 2007 (UTC)
Aha, thanks for letting me know. Well, though I realize that it may not have been intended as a WP:BLP violation, I would still argue that since Im not notable for cleavage, that such a caption is probably original research. ;) --Elonka 21:57, 2 March 2007 (UTC)
[edit] Book and magazine cover photos
You said: "How is the book jacket picture of this author Image:Lahiri2.PNG OK, but not Adrienne Barbeaus? WP uses hundreds of magazine cover photos of article subjects. Are magazines different than books? I suspect that youd agree that WP application of policies regarding photos is inconsistent just as interpretation of image copyright laws is complex and often subjective. Has WP ever received compliants about use of magazine or book cover photos? Many articles (such as Jhumpa Lahiris so please dont delete it) benefit tremendously from a photo. If someone has gone to the work of uploading a book or magazine cover photo to illustrate the articles subject person, why delete it? It seems counterproductive. When different fair use policepersons apply different standards, the seemily arbitrary outcome can be especially agravating for rookie image uploaders."
That image is not okay. Its a fair-use image used solely to depict a living person so is in blatant violation of WP:FU. I would agree that a large number of fair-use images violate WP:FU and that it is a huge job tagging all the images accordingly. As to why we should delete the image if it violates WP:FU, that is because Wikipedia is trying to build a free encyclopedia. Its one of our core policies. Using fair-use images where a freely-licensed image would suffice is in direct contradiction to that core policy. --Yamla 22:46, 16 April 2007 (UTC)
[edit] Historical couples edits
I noticed you removed the Radiguet picture but gave no reason for it. Was the deletion unintentional? Also, about the Chinese emperors, I will try to locate the source for that statement, it was not made up. Haiduc 01:40, 9 May 2007 (UTC)
Thanks for the note. I do not feel strongly about it, one way or the other, but I am not sure that is a legitimate reason. After all, where does it say that symbolical representations are not allowed? This seems to strive for a literalism that diminishes rather than enhances the project. Haiduc 02:22, 24 May 2007 (UTC)
[edit] Spam in XL (magazine)
Hello, this is a message from an automated bot. A tag has been placed on XL (magazine), by Joie de Vivre, another Wikipedia user, requesting that it be speedily deleted from Wikipedia. The tag claims that it should be speedily deleted because XL (magazine) is blatant advertising for a company, product, group, service or person that would require a substantial rewrite in order to become an encyclopedia article.
To contest the tagging and request that administrators wait before possibly deleting XL (magazine), please affix the template {{hangon}} to the page, and put a note on its talk page. If the article has already been deleted, see the advice and instructions at WP:WMD. Please note, this bot is only informing you of the nomination for speedy deletion, it did not nominate XL (magazine) itself. Feel free to leave a message on the bot operators talk page if you have any questions about this or any problems with this bot. --Android Mouse Bot 2 16:59, 31 May 2007 (UTC)
[edit] Superhero
Pretty authoritative def! Nice! --Tenebrae 20:20, 19 June 2007 (UTC)
I have — great book. The language is so lyrical and the characters so human and complex, it makes you just want to stop and never try to write anything again. "Im not worthy!" :-)
If you like Chabon, Thomas Bergers work might also appeal. Cheers! --Tenebrae 20:50, 19 June 2007 (UTC)
[edit] Orphaned non-free media (Image:Charlton.jpg)
Thanks for uploading Image:Charlton.jpg. The media description page currently specifies that it is non-free and may only be used on Wikipedia under a claim of fair use. However, it is currently orphaned, meaning that it is not used in any articles on Wikipedia. If the media was previously in an article, please go to the article and see why it was removed. You may add it back if you think that that will be useful. However, please note that media for which a replacement could be created are not acceptable for use on Wikipedia (see our policy for non-free media).
If you have uploaded other unlicensed media, please check whether theyre used in any articles or not. You can find a list of image pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that all non-free media not used in any articles will be deleted after seven days, as described on criteria for speedy deletion. Thank you. BetacommandBot 14:37, 9 September 2007 (UTC)
[edit] Handbra
An article on which you previously commented has been proposed for deletion again, at Wikipedia:Articles for deletion/Handbra (second nomination). You may wish to comment.DGG (talk) 03:54, 29 November 2007 (UTC)
FIRST EDIT
This scene take place anywhere. Ghosts & empties haunt Osamas cave. Olde English 88s, gold & brown, clanking underfoot.
I’d like to [edit] Salma Hayek. Because it makes me feel smarter than I am.
I must have clicked on the wrong version of the article for the revert of the vandalism that was put in. Among other things, 20 years after it was written. Ill try not to have it happen again.
Ive been looking for a source and havent been able to find one.
I’d like to [edit] Vichyssoise. Sub-minutiae detritus.
I have no clue what the circumference at the breasts [edit] fair use gallery of thumbnails [edit] fair use image of Ms. A. Barbeau, not to identify Ms. Barbeau without providing the mandatory detailed rationale for their use.
Sorry, Ill give you several hours. Sometimes my fingers get twitchy, particularly on a Friday.
By the way, Im getting frustrated over this whole matter.
Sorry. Its clear now, but with a lot of daylight it looked like a black box.
There once was a man from Nantucket. If my ear were a cunt, I could fuck it.
Good grammar is the hallmark of decorum.
When I reflect on it and analyse and think carefully, the word "were" is still correct, but not for reasons of past tense.
Maintaining a focus on prosody and grammar in the face of adversity.
[edit] Somethings gotta give
You liked some honest scenes, didnt you?
[edit] "Longer than subject warrented" failings
The deletion is obtuse, and the lone bit of folklore is properly identified. If you want to treat this incident in an encyclopedic way, you need to consider and reference several sources
Dialogue occurring shows some convergence. I think the original author will fill in the salient references.
I’d like to [edit] your edit of Jennifer Lopez.
Cant sleep, clown will eat me.
I have one word for you, in all due respect: "cocksucker.”
[edit] Another playboy breast list deletion debate
List of Playboy Playmates with D-cup or larger breasts.
Woops. Deleted one more than the two dead links.
I do not feel strongly about it, one way or the other, but I am not sure that is a legitimate reason. After all, where does it say that symbolical representations are not allowed? This seems to strive for a literalism that diminishes rather than enhances the project.
- A Ladder, A Bolt
~ A drop out here, a momentary lapse.
~ A ladder in the dark... the sawn rungs...!
~ Bolts tied with white cloth thrown on selected vectors... picking out a route in the midst of the transparent change.
~ The text is a bag of feathers...
~ The roll call comes again - Teacher or Stalker?
~ Professor and Writer...
~ Welcome to the black out. The syncope.
~ The Zone.
- About the Relative Size of Things in the Universe
Martin Beck
EN | NL | Print
25/11/07 - 13/01/08
Opening 25 November, 18.00
Martin Beck in conversation with Steve Rushton, 13 January 2008, 16.00
Martin Beck’s video work About the Relative Size of Things in the Universe’ (2007) continues his longstanding interest in the history of exhibitions. The video shows the gradual assembly and disassembly of a reproduction of the 1948 Struc-Tube exhibition system, a portable and infinitely expandable display structure designed by the American designer George Nelson in 1948. The video is installed at Casco in a specially built screening-environment composed of four suspended panels, and is contextualized with works by Sol LeWitt, Eadweard Muybridge, and an assortment of books on modern exhibition history.
Nelson’s Struc-Tube exhibition system is emblematic of a particular moment in the history of exhibiting. Modularized exhibition systems that allowed for quick, unskilled assembly and endless rectangular growth gave form to a profoundly modern and humanist utopia: that the dissemination of and access to information functions as a key to the development of a modern and emancipated society. At the same time, it points to a wider cultural shift of the modern era in which flexibility entered into the workplace. One of Struc-Tube’s selling points was that its simple connector joints enabled it to be easily assembled by unskilled workers who need not be familiar with the system, be a union member, or demand fair pay. Thus, without intending to, Nelson’s system heralded a shift from industrial, unionised labor relations to a more casual, precarious labor market. The workers in About the Relative Size of Things in the Universe’, on a video loop in the gallery, repeat a Sisyphean task of continuous assembly and disassembly without rest breaks or payment for overtime.
The exhibition is accompanied by a new publication on the work with essays by Bill Horrigan, Emily Pethick and Martin Beck, which contextualize the work and elaborate on aspects of sovereignty and control in modern exhibition history, co-published by Four Corners Books, London.
About the Relative Size of Things in the Universe’ is a satellite programme of Utrecht Manifest, 2007, the second biennial for social design. - Notes on how we work on Last Days/Rich Hours
Notes on how we work on Last Days/Rich Hours.
by Peter
The work in the Dispatx entries under Last Days and Rich Hours consists of digital scans of double page spreads from two artists sketchbooks which Gill and I exchange at regular intervals.
We work to a number of principles:- Each time we add something to one of the books, it either responds to, continues or elaborates on a previous entry or entries or introduces a new element which can in turn be responded to, continued or elaborated.
- We are both free to enter visual and verbal elements onto the pages of the sketchbooks.
- An entry does not need to be, and is often best not being, consecutive in the sketchbook: there will thus be blank pages between current entries which can be used for later ones.
- The entries may be, and usually are, partial: thus pages can be revisited for further material to be added (or, indeed, removed): for example, on Rich Hours 3 I handwrote Dance Syllogism’ as an afterthought just before scanning.
- The work is essentially palimpsestic: sometimes the palimpsest is opaque, obscuring previous marks, but is often quasi-transparent, especially with oiling and waxing over scratched or glued entries, giving a multilayered effect.
- Scans are cropped and may be rotated or otherwise edited and altered before being posted on Dispatx.
- As the entries are work in progress, we expect that some will not survive to the SHOW’ stage of Dispatx and others will be altered and re-rentered along the way.
- Be Creative! The creative imperative.
The exhibition "Be Creative! The creative imperative" took place from 30 November 2002 to 02. March 2003 at Museum für Gestaltung Zürich
The exhibition started with a conference introducing the Leipzig projects art- and design-historical in Zurich with contributions from Beatrice von Bismarck (art historian, Berlin/Leipzig), Sabeth Buchmann (art historian and critic, Berlin), Helmut Draxler (cultural historian and curator, Munich).
As well as this, four evening events with invited guests offered more detailed discussion of the exhibition themes:
03.12.2002 The training situation for designers HKGZ;
10.12.2002 Boom town Zurich ;
21.01.2003 Working conditions in the IT industry;
28.01.2003 Creativity and intelligence as requirements
Available online are a full tour of the exhibition and a collection of essays in German including three in English:
Postscript on the Societies of Control
Gilles Deleuze
Everyone is Creative’. Artists as Pioneers of the New Economy?
Angela McRobbie
Common Property
Michael Hardt - This scene could take place anywhere
- Search: flickering between the tower blocks
http://www.lrb.co.uk/v22/n15/cann01_.html
When we finally reached the capital, the city seemed to be in darkness. Tower blocks were just discernible, darker shapes against the moonless sky. In the main station, a few suspended light bulbs picked out shadowy crowds. Disorientation, then two figures approach: Mr Jon, welcome to our country. We are your guides. We hope you will come to understand the situation here. This is not like other countries.’ I was the first Western tourist of the year. Two minders and a car were at my disposal; my hotel was a vast (and very comfortable) bronze-coloured tower block. It was inhabited by diplomats, mostly from African and South-East Asian countries; delegations from the former Eastern Bloc; a scattering of Western aid workers. From my bedroom window a city of clean, well-maintained tower blocks stretched out in all directions. People moved about with intent, stood in endless queues. A few trucks, Toyota Land Cruisers and old Mercedes moved around the streets. My minders were professional and friendly, accompanying me from eight in the morning to nine in the evening, disappearing only when I ate.
There can be no more complete monument to Stalinism than Pyongyang, almost entirely rebuilt after the war and littered with edifices ranging from the genuinely impressive to the laughably ugly. Of the nine sites we visited, seven were monuments: none were schools or factories. We took the road south from Pyongyang to Kaesong: motorway all the way, and we were the only people on it. There were frequent army checkpoints at which my hosts looked genuinely nervous, and the countryside was beautiful, if largely deserted, apart from the tanks under camouflage that seemed to line every ridge, their muzzles pointing south. Kaesong was pleasant, if poor, its historical monuments oddly lacking in any sense of age or history.
The motorway stops abruptly at the South Korean border with a checkpoint and tank traps, and an armed guard accompanies you on down a narrow tarmac track into the demilitarised zone. The DMZ is a strip of almost empty, heavily armed countryside, four kilometres wide, that cuts the Korean peninsula in two. The air was filled with propaganda, broadcast from both sides of the border. A military escort took us to a viewing hall in the enclosure within the DMZ called Panmunjom. This complex is the one valve’, providing overland contact between North and South. No one crosses this border by land, but occasionally negotiations are held here.
I’ve reached the top of a flight of steps facing a small military hut. A semicircle of North Korean guards stand around the door. Each pair of eyes is focused on a different part of my body, unblinking. A few yards beyond, Americans and South Koreans and a big Post-Modern building for tourists on the other side. Inside the hut, more guards – big guns, fur hats, set faces – and a neatly set table where, every few years, the two sides have met. Peering in at each window, a GI or South Korean soldier, big dark sunglasses, hand on forehead checking the activity within. At predetermined intervals, the sides change: the North checks the outside, the South guards the inside. The power of the place is enhanced by the sense that – like the Chinese tourists in Sinuiju – I am visiting my own past. Fears I’d been delighted to forget return: emotions formed at Upper Heyford, Molesworth, Greenham Common, suddenly as urgent as if Cruise had just been delivered to the UK. History here is still frozen over.
North Korea is the only place I have ever been – outside the super-cosmopolitan cities of the West – where people don’t register a foreigner in the street. Everyone seemed intent on something, and somehow detached from each other, like figures in a Lowry painting. It was as if I was haunting, or being haunted by a country rather than actually being in it. Even style here is from the past: books and posters display the same smiling, idealistic, modernised’ 1950s world familiar from both Soviet propaganda and the billboards in US suburbs. Somehow, I am sure, I am failing to really visit North Korea. The old’ places seem empty, wiped of memory. The new’ places, though, are charged with tension. I keep on being told of the hell of Japanese occupation, of the total flattening of the country by the Americans. Every old place has had to be renewed, they seem to be trying to say; and the new places are marked by the horror of their origin. A phrase keeps recurring. The situation here is very complicated. We hope one day you will understand us.’ I become slightly paranoid, super-sensitive, watching people closely for signs of their inner life, suspicious of the way emotions jump into pre-ordained positions; fascinated by the moments of silence certain questions produce, moments where shadows of emotions I cannot discern move back and forth across faces before an answer is made.
Until the 1980s, North Korea had been ahead of China economically. The quality of its goods was highly prized across the border. The infrastructure was superior, too, with good roads and motorways. Unlike China, North Korea had successfully introduced universal literacy, free health care and education – and had never abandoned a respect for classical Korean culture. These achievements are considerable. What’s it like living here? I ask some Nigerian diplomats. Amused smiles. Peaceful,’ they say. Quiet and clean.’ Perhaps the reality of life in North Korea is more Surbiton without money than hell frozen over.
North Korea is unique in two respects. It has sustained a single system, more or less Stalinist, since the 1950s without any significant change in direction or political upheaval – not even Romania and Albania, the countries to which it can best be compared, managed this – and it has taken its political ideology more explicitly into the region of spirituality than any other similar country. The North Korean political philosophy, juche, has its own understanding of ideas like God’ and the afterlife’, which are re-interpreted as a semi-mystical integration between the political leader and people. The North Koreans claim their historical situation – the depth of their submission to Japan before the last war; the devastation by American bombing during it; and the seriousness of the threat posed by the US and its puppet state’ in the South – has produced a unique set of circumstances. Simultaneously, they argue that the juche idea is a universal one – Marx updated for the late 20th century and beyond – whose time will one day come. The recent North-South rapprochement should be understood in this context. A meeting in Pyongyang between the leaders of the two Koreas is a major step by any standards. Nevertheless, Kim Jong Il, the current North Korean leader, is one of the architects of juche and is unlikely to have become a secret liberal. But he faces crippling problems with an economy dominated by military spending. The desire for improved relations with the South must be partly a result of the need to survive.
The other respect in which North Korea is unique is that it has established the only hereditary Communist dynasty by handing power from the Great Leader Kim Il Sung to his son, the Dear Leader Kim Jong Il. Behind the immense statue of Kim Il Sung in Pyongyang – since our Great Leader’s death this has become our country’s most sacred site. Please act with the utmost decorum’ – is a vast relief of the mountain I climbed on the Chinese side, Changbaishan, or Paektusan, as it is called in Korean. According to the juche year 89/Year 2000 edition of the magazine Democratic People’s Republic of Korea, it is the ancestral mountain . . . the symbol of Korea and the cradle of Korea . . . From the 1930s the mountain began to acquire a new meaning on top of its original symbolic meaning. In Paektu forests President Kim Il Sung mapped out the great plan to liberate Korea . . . and led the arduous and glorious anti-Japanese resistance.’
From some time in the mid-1980s, a new attraction at Paektusan has featured in the tourist literature and iconography of North Korea: The log cabin in the secret camp on Mt Paektu’ from which Kim Il Sung is meant to have conducted his campaign. It is also said to be the birthplace of Kim Jong Il. That was why Mt. Paektu became more significant place,’ the magazine continues. Kim Jong Il grew up there as “son of Mt Paektu”, “son of guerrillas”, hearing the sound of guns in the flames of the anti-Japanese revolution as if a lullaby . . . He had extraordinary nature and outstanding predisposition from his childhood.’
The log cabin, snowbound among pines, with a peak of Paektusan behind it, is at the heart of a kind of nativity scene to be found everywhere in the country, especially on 16 February, Kim Jong Il’s birthday. Little painted models of the cabin are placed in the streets, surrounded by laudatory mottos. Perhaps it is no coincidence that Kim Jong Il’s grandparents were Christians as well as nationalists. News of the birth, it is said, spread swiftly to all parts of Korea’ through the medium of inscriptions scratched by the guerrillas on the trunks of Korean pines. Twenty million compatriots boast of the Paektu star’ is the translation of one such inscription; Kim Jong Il is the lodestar’ that rose in the sky over Mt Paektu’. The inscribed pines are preserved all around the log cabin. My magazine shows tree stumps ringed by protective tubes of perspex, capped with aluminium and a little black cotton preservative shroud.
Most external academics agree that Kim Jong Il was born in exile in Siberia. The Paektusan area was the focus of a certain amount of fighting during the Korean war, but the anti-Japanese forces – which did not organise into the present Korean Communist party until 1946 – were based over the border in Jilin Province, China. The regime is keen to establish Kim Jong Il as a product of the same generation as his father, the generation of nationalist guerrillas who, with military support from the Chinese and political guidance from the Russians, founded North Korea. What they have created in order to do this is the North Korean heritage site par excellence: new, imbued with memories of war, frozen.
The journey back to Dandong involved a 36-hour wait. Another power cut. Anticipating this, the Chinese traders on board had come armed with large quantities of pot noodle, and went up and down the train selling them to the North Korean passengers. Together we relaxed: idleness in adversity produced friendships fuelled by hard liquor. Myself, the Chinese traders, some diplomats grabbing rest and recreation in Dandong and a few hesitant North Koreans who struck up drunken conversations in quiet corners of the train. We sang My Way’ together.
Soon after I get back, I take a late night walk along the Dandong riverfront to clear my head. Families and young couples are all around me, talking with relaxed animation in the freezing air. On the other side of the river a single pool of light marks the huge bronze statue of Kim Il Sung in Sinuiju town square; the rest is darkness. It should be three hours’ drive from here to Pyongyang, and another three on to Seoul, but first you have to grapple with power cuts, near-starvation and a border locked on the brink of World War Three. On the riverbank opposite, someone is welding.
- - -
http://www.hu.mtu.edu/~blueice/2001/mj/index.htm
That’s it. The memory ends there, what memory remains of that experience. I could fill in more "must haves" to complete the story. I could tell that eventually the water must have become shallower and that we likely had to cross a short area of wet grey clay that had been under water the day before, but had soaked in all the water that had covered it, and how slippery it was there. How we finally emerged from the trees and whipping sticks–those tiny trees that grew straight up into what looked like rounded huts–to the main trail that we could follow, still toward the watertower, and back home. How we dumped out the pints of gritty, grey water that filled our waterproof boots. I could say how my parents must have reacted when they saw me soaked to mid thigh and covered with thick mud from the knees down. I could even mention that I learned to walk out to the road and take the long walk home around the great block that defined my eighty-acre field to keep such ridiculous adventures at bay. I could tell these things, but they would all be only logically deduced details or amalgamations of other events, strung together to provide some sort of narrative cohesion of the same sort as when I told how we got so deep into that mess. I could even guess at the childish thought process that made such "exploring," as we called it, seem a reasonable justification for such trouble and discomfort, though I could never replicate this way of thinking again. And all of these details, even those I have presented as if they were truth, certainly could have been otherwise in reality, in objective history, except, maybe, for that short, sensory image in the middle when I saw the watertower and could feel the water, thick with grains of mud, between my toes and the suction rushing more water in as I tried to step forward. That may be the only real memory here. The truth of that may even be suspect, though it seems as though I remember it. Maybe only the stench was a real memory. Stinking clay mud filled with centuries of organic material, giving off fumes, breeding molds, a noxious rotting. Maybe it is only this that is true. And how many other explorations of the field did this same clay stench define?
FIRST EDIT
When I finally reached the main station, a few suspended light bulbs picked out shadowy crowds.
Tower blocks against the moonless sky. Disorientation.
Figures approach the situation here. This is not like other countries.
From my bedroom window endless queues stretched out in all directions.
A few trucks moved around the streets, disappearing only when I ate.
There can be no complete monument.
I took the road south, genuinely nervous. The countryside was beautiful, deserted, under camouflage. Lacking in any sense of age or history.
The motorway was filled with propaganda, broadcast from viewing hall in the enclosure within the complex, the one valve.’
No one crosses this border by land, but occasionally at predetermined intervals, the change.
the place is enhanced by the sense that I am visiting my own past. Fears return, delivered to history still frozen over.
in the street everyone intent on something, detached from each other, like figures in a haunting, haunted rather than actually being.
Even here the same world: propaganda and failing memory. The new’ tension of total flattening. Every old place marked. Horror recurring. The situation.’
I become paranoid watching people. I cannot move.
What’s it like living here?
more money than hell frozen over.
more explicitly into the region of spirituality than any historical situation
the depth of submission to the seriousness of the threat is a vast relief
symbol of the arduous and glorious
The secret’ sound of guns in a lullaby. Snowbound at the heart of a kind of nativity scene in the streets, surrounded by spread swiftly to all parts.’ Inscriptions of inscription; the sky inscribed by a black shroud.
External memories, frozen.
The journey back to anticipating. Up and down the train passengers. Idleness in adversity and a few hesitant drunken conversations in quiet corners. We sing together in the freezing air on the side of the river. A single pool of light marks the town square; the rest is darkness and on the brink of the riverbank opposite, someone is welding.
- - -
That’s it. Memory ends the story. I eventually cross a short area under water the day before. How slippery it is.
I finally emerge from the whipping trees to the main trail that I follow, still toward the watertower, and back home. Dumped out my boots. Soaked from the knees down.
I learned to walk the long walk.
Ridiculous adventures or amalgamations of other events, strung together to provide narrative cohesion. I got so deep into that mess.
I could even guess at the justification, this way of thinking all of these details as if they were truth.
Objective history, maybe.
I saw the watertower and the memory of that. Suspect, though it was a real memory.
Centuries rotting.
