Kermesse Jette

Kermesse Jette

Chapter 3: The Vacation

They desperately needed to stop.

“Daddy, Daddy!” screamed Tony in a voice of desperate pleading.

They were on the Interstate, about twenty miles from the nearest gas station, and they had just left Burger Junction and Auto Palace. Tony needed to stop.

“Tony,” Mrs. Jones said calmly, turning around in her seat to hit the teen with a flyswatter her husband had given her as a Mother’s Day gift. “You have got to understand that we are trying our best to make it to the gas station as soon as you can, but Iowa is a big, spread out place. If you need to stop that bad, we’ll pull over here.”

The other children screamed with laughter, tormenting their brother with sadistic cruelty, the same kind they learned from their mom.

Tony became enraged, taken by anger. He began lashing out, kicking the dog and shouting obscenities. The dog bit him back. Fido is a pit bull.

Grandma’s house was just down this oak lined street.

“Des Moines is such a pretty town,” Mrs. Jones said. “But I hate your lousy mother.”

Mr. Jones didn’t hear her, as he was chomping on a Mars Bar, noticing that there wasn’t really an almond in every bite. He slammed on the brakes, rolled down the window, threw the candy out onto the street and pulled out a Heath Bar in retaliation.

“Litterbug,” said Toniya.

“Nazi Swine,” Mr. Jones replied laughing.

“Look there’s Grandma!” Little Boy Joey bellowed. “It’s a Miracle.

Grandma was there alright, all 350 pounds or her. Mrs. Jones grimaced in disbelief.

“That fat hippo,” she said, giving the old woman the proverbial finger.

She put down her Mighty Mouseketeer Comic Book, and opened the door, proceeding to roller skate up the driveway’s slight incline.

“Your mom can really skate,” Mr. Jones pointed out to the three children.

TO BE CONTINUED

Video Kingpins of Hades Or, No Mercy For Nonsense

Chapter 2

Something very evil had clutched the residence at 704 Howser Street. Something that hung over the little home like a black widow’s veil. Indeed, something hideous. Sure, it had happened before, but not in Astoria. This was spooky.

Inside the home, she could feel the presence of the evil force as it hovered over her. She could feel it. None of the appliances were working properly, the children had taken up the practice of walking through solid walls while chanting “Go Wisconsin!”, and sirens were piercing the air, their source unknown. This was most definitely frightening.

Actually, this evening was not unlike the previous few.

chapter 2

Only too clearly came the images of the hamsters in the bathroom, and the sailors in the atticway. She also knew the house still reeked of cheap beer and nachos. The smell was overbearing.

Her mind reeled back a few days as she tried to recall the event that might have triggered all of this, but all she could remember was the fight she had with her husband after he replaced their conventional front door with a paper barrier.

As she thought of the incident, her husband, coincidentally, came crashing through the barrier. The tearing of the paper was loud enough that it could have been a truck driving through the door.

Next came THAT voice.

“Hey! I caught that ball!” He exclaimed.

Immediately she knew that Frostie’s Angels had lost the big ball game. Her husband kept babbling about the outcome of the final play, but when he settled down, he asked her where his supper was. She pointed to the recession of the ceiling/wall above the refrigerator. There he saw a drooping wad of spaghetti, clinging for its survival.

“What’d ya do dat fer?” He asked, pointing his finger at her. There was a brief pause.

“I think we got ghosts.” She said, erupting into tears.

“What have you been smokin’?” he retorted.

With those words, the kitchen floor began crackling and crumbling beneath him. Through the crevice that developed, a little green man burst onto the scene. Was this an alien visitor?

No. It was Gumby.

To be continued…

4 Tesems (bas) et 3 hyènes (haut), origine: tombeau de Ptah Hotep à Saqqara.

Franz Marc’s best known writing is his public manifesto-ing, and also his correspondence with colleagues and family. But Marc also wrote on the covers of and inside his various sketchbooks all the time. This verse from around 1910 is really trippy in a Rimbaud sort of way. Some of the imagery and words come up again in paintings and painting titles. Thomas de Kayser, the editor of the volume in which this appears, organizes this material by theme very agreeably.  Text in French follows the English translation.

Notes in the sketchbook XXVIII
— A pink rain fell over meadows.
— The air is like green glass.
— The girl [observed] looked into the water, the water was clear [as] crystal, the girl was crying.
— Trees had their growth rings, the animals their veins.

Notes in the sketchbook XXXI
The storm roared.
I entered the house and saw all
A tall woman red small black cat [playing] on the green table.
Kraak, lightning strikes the vehicle – the beautiful little cats were playing with the woman, she smiled – ah ah [poor] man and horse are [is] dead. [The man cries] [sky] the angel of fear knocks at the window; the [poor woman] I could shake the red heart of the woman and black kittens knew the green table – what it [?], red and black and green? Three colors give it a thought? If we give to the red heart shape, the black that [one of three interspersed] small kittens, green form of [a large square plate ?...] the square.

I meditate on that thought.
The red heart of the woman breaks.
It [comes] springs a [blood ...] [a streak of blood] A stream of blood [across the sky due] which falls into the river, it flows through the now red green pastures grazed by sheep or black.
The storm has withdrawn his hand from the earth.
The blue sky [?] Ogle like a gigantic glass eye the scene [of] red, green, and black, this thought is not it terrible? [...] Do you understand what the painters paint?

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Aperol-fueled hipsters congregate in Venice, Italy, during the Biennale Venice in July, 2009.

A small boat approaches a low bridge…

The exciting conclusion: Boat travel in Venice, Italy, during the Biennale Venice near the Arsenale hall, July 2009.

artshowflyer3

 

The Remorse of the Emperor Nero After the Murder of His Mother

The Remorse of the Emperor Nero After the Murder of His Mother, John William Waterhouse, 1878


INTRODUCTION

An important distinction between Roman Emperor Nero and Chinese Emperor Kublai Khan (and his modern descendent, the William Randolph Hearst character entombed in Xanadu in Citizen Kane (1939) ), is that many of Nero’s ostentatious and ambitious construction projects – beyond and including the Golden Palace – contained spaces for the creation and display of art as well as libraries. In fact Nero’s baths offered one of the largest “public” libraries of the ancient world (Boese 2005, 102) (Staikos, K. 2000).

The purpose of this paper is to present a biography of Nero in relation to the development and subsequent destruction of First Century libraries in Rome, and to present an argument about how access to libraries and knowledge ebbs and flows, and how this access does not always correlate in predictable ways around what we normally think of as civilized and progressive behavior. Nero’s strategy – to earn the love and support of the Roman people by providing culture, food, entertainment, and the constant diversion of a capricious sociopath running the Empire – was successful; it was the senatorial class who actually despised Nero. As Christendom ascended, it adopted some of Nero’s tactics – the spectacular persecution of a minority, for one thing – while other beneficial societal institutions – the aqueducts and the libraries, for example – fell away (Kiefer, Highet, and MacInnes 2000).

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Pere Ubu by Dora Maar, 1936

Pere Ubu by Dora Maar, 1936

Authorship by Dora Maar gives this photograph authentic historic and even feminist credibility but I chose it because my main interest in art overall is the representation of animals. This is a very interesting view of a creature commonly seen in Florida (and all over), an armadillo (though this armadillo is of a different species than the nine-banded creatures who sadly cannot navigate traffic).
There is something primitive and otherwordly about armadillos and whatever Maar’s intent may have been in elevating such a seemingly lowly creature into this eerie portrait it is quite a lovely study. Since Maar was interested in primitivism, this seems apt.
With respect to technique, placing the pale, scaly armadillo against a grainy dark background removes it from a natural setting and allows for contemplation of the texture of its skin. The shadows on its chest accentuate its claws. There is no way to tell, framed in this manner, how big the armadillo is, whether he is, as Maar’s title suggests, “king” sized, or tiny like a fetus, which the armadillo also resembles.

Scene from Cory Arcangel installation Super Mario Clouds, 2002

Super Mario Clouds, 2002,  Cory Arcangel

Representation of three-dimensional forms through the single-point, single-plane perspective of the cathode-ray tube projection used for most views and projections of Internet urls has long been problematic for designers of Web pages intended to convey concepts of collected information. Understanding three-dimensional objects with only one viewpoint can be deceptive. In the context of viewing information displayed on Web pages, either for casual browsing or deep contemplation, users understand the limitations of what is seen and unconsciously process the limitations in experiencing volume, texture, space, gravity, mass, and weight, inherent in computer screen displays.
The technology created in 2001 by Pennsylvania-base CubicEye.net thus seems at first a movement toward unconventional and forward-thinking information display yet proves ultimately to be severely limited in scope, execution, and fundamental concept.
According to a story from an August 13, 2001, business news wire routing service for press releases, “The CubicEye metaphor of content management and delivery is based on effectively harnessing the mind’s ability to quickly and easily utilize spatial context.” What this means, basically, is that CubicEye displays linked, related Web pages in a perspectival format that appears to create depth as it theoretically reveals the content of numerous pages upon a single computer screen.

In fact CubicEye presents a visual organization system that is biologically, as well as logically, counterintuitive; this is likely the reason this “new” technology has not taken off. Viewed in light of Edward Tufte’s theories of graphic display, CubicEye is fails several of his stated criteria for good Web page organization and design. While CubicEye does show a lot of data, it does so clumsily and with a great deal of redundancy. The human eye cannot distinguish easily which marks, texts, and colors are critical to comprehension and which are irrelevant.

Some of Tufte’s principles are not directly applicable to the CubicEye program since the pageview system is user-generated and not limited to a specific collection of data or search parameter. Thus the “blame” for unattractive, unfriendly displays lies partially with the information manipulator. However, some violations of Tufte are inherent in the CubicEye interface. Some text by default will run along a vertical axis; graphics, when displayed out of their intended plane, are repulsive and ugly; and incongruent, viewer-deficient color combinations are unavoidable. Examples replicate an old-fashioned Autocad type of architectural rendering, shows how confusing a perspectivally disoriented amalgam of discrete Web pages can be when viewed using CubicEye’s system.
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