— | Victory | Of | Memes! | —

...valentin yudashkin

Thu, 22 Jun 2006 16:56:18 GMT

this is glamour!

¬ http://video.google.com/videoplay?docid=-1387670356743968158

i´m SO amazed... i´ve been waching his work for about three seaons bow, but what he does HERE, is perverse!!!!!!

bravo!, b r a v o ! . . .

...the invisible designer

Thu, 22 Jun 2006 14:16:08 GMT

taku satoh,
one of my all-time favourite japanese designers...

above: poster for "analysis of the mass product design", 2002.

¬ http://www.tsdo.jp/
¬ http://www.pingmag.jp/2005/08/22/taku-satoh-graphic-design/
¬ http://www.dnp.co.jp/gallery/ggg/gki/g216/g216ki_e.html
¬ http://compe.designtope.net/kokuyo/sato_e.html

¬ http://www.taschen.com/pages/en/catalogue/books/design/new/facts/03820.htm

—

— | Victory | Of | Memes | —

...Full Circle, Not Four Square: An Interview with Dave Allen of Gang of Four

Sat, 13 May 2006 18:35:41 GMT

[7 June 2005]

"It's been a long time, I shouldn't have left you..." So, Gang of Four decided to come back with the original gang of four, rerecord some old tunes, do a tour, and change your world.

by Dan Nishimoto

Establishment of another state, or subversion from within? That is the Western question. Down either route, few bands have sustained both integrity and independence in the face of the music (industry) machine: Fugazi, Crass, and the Ex represent one end of the spectrum; Radiohead, Rage Against the Machine, and Nirvana the other. However, it is telling that two of these groups are viewed by the mainstream as being on the fringe, while another two dissolved within ten years. The industry makes it clear: don't fuck with capitalism.

In a fitting turn, the influence of each group has been monumental. Each of the aforementioned has demonstrated a degree of "success" via its respective path, and countless bands have taken cues. After all, that idyllic balance is irresistible to many burgeoning artists. Additionally, the increasing availability of the Internet and digital media has only precipitated both the amateur and veteran artist's nosedive toward complete control. Simultaneously, mega-corporations merge, forming a firmer affront to creative independence. In short, artists today have more ability to pave their own avenues, while the big boys have more power to close them.

While this highly polarized frame is reductive of the complexity of options available to an artist, the following is certain: amidst this 21st-century brouhaha, few musicians have paid equal attention to the musical and ideological blueprints left by our model gang of six. However, does one necessarily implicate the other? Are the two inseparable? A certain gang of four gives a resounding, "Affirmative!"

Gang of Four is in a position to make such an assertion. The band burst out in 1977 with an aggressive snarl and a knowing smirk, immediately setting itself apart from the UK punk scene. Go4's debut album Entertainment! turned marketing slogans ("Another Day, Another Dollar") and clichés ("To Hell With Poverty!") upside down, dealing diatribes on the modern world: commodification of culture ("Ideal love a new purchase"); social disconnect ("I'm thinking that I love you / But I know it's only lust"); manipulation of public discourse ("No weak men in the books at home"); and, ah, war ("I hear some talk of guns and butter / That's something I can do without"). More immediate perhaps was the music: Go4 ripped rhythm & blues from the stolid clutch of rock 'n' roll, and reinterpreted it as "white boy angular funk". The band wanted to get the word out and major labels saw the pound/dollar potential, so a union was formed. However, corporate backing sealed the fate; the band would form, fold, sorta reform, then fold again over the next decade and a half.

While the original line-up -- Dave Allen (bass), Hugo Burnham (drums), Andy Gill (guitar), Jon King (vocals) -- was last seen over twenty years ago, Gang of Four has nevertheless remained in de facto existence through the continued homage paid to its "punk-funky-jerky-something-or-other" sound (Gill produced the first Red Hot Chili Peppers LP, while Franz Ferdinand contributes to Gang of Four's new disc). While accolades abounded, probity hardly entered the picture. With that, the four lads decided to return to happily thumb its "To Hell with _____!" attitude in the face of the mainstream. In promoting the current US leg of the tour with Radio 4 and an upcoming double-CD, Allen spoke with PopMatters about the band's past and how it connects with the present.

PopMatters: You met Andy and Jon through an advert for a bass player. What were your first impressions of them? Why did you want to make music with them?

Dave Allen: My first impressions were not actually of them; I met Hugo first. And he reminded me of a small, punk rock Elton John! He had divey old hair and horn-rimmed glasses. And he's a robust lil' fellow, so he reminded me of Elton (laughs)... I don't think there was anything about the people that made me want to make music with them; I just was young and keen and wanted to make music, period. And so it was one of those fortunate circumstances where the four of us came together, and the chemistry was right, and we made some great records.

PM: It's appropriate that you met Hugo first, because one of the standout qualities of [the first incarnation of] Go4 is the rhythm, the interplay between Hugo and yourself. How did you two write your parts?

DA: Actually, it was never just the pair of us, it was three of us: Andy, Hugo and myself. And Jon having some input, a little less. I think it was a collision of styles that made the songs what they were ... Andy was pretty good at conducting, if you will; he'd kinda say, "Well, why don't you ride on the hi-hat here, or hit that tom there, see how that sounds." He's a producer today; I think he always had a good ear for that. I'd wait 'til Andy and Hugo had worked out their discussion slash argument about it, and then I'd start dreaming up new bass lines.

PM: Each member brought something different to the group. What did you bring?

DA: I brought more musicality to the group cos I had been playing the longest. My approach to bass playing was inspired by Black-American music. I was the "funky" bass player, if you like. I brought a completely different feel to what became our white-boy angular funk. Punk-funky-jerky-something-or-other, as they call it! (laughs)

PM: I was reading an old interview with Andy. From what I gathered, there was an equality of importance placed on each part of your music: meaning, you guys placed an equal amount of interest in the drum parts, the bass parts, the guitar parts, the lyrics. What drove you guys to approach writing with this amount of attention?

DA: I just think it's part of our make-up as artists. As Jon and Andy, they were [fine] artists ... we always had a lot of attention to detail, we definitely wanted to differentiate ourselves from the punk rock scene. We had not a lot of interest in being seen as a punk rock band. That didn't seem very exciting to us ... We wanted to make sure we created a sound that was somewhat removed from the three-chord, cartoon-like punk rock bands that were out there.

PM: When you guys first got signed, you recorded with EMI, which was already a fairly powerful conglomerate at the time.

DA: Global arms manufacturing company.

PM: Yes. Please describe the band's relationship with the label: how did the label treat the band, based on its politics? How did the band view the label and its goals?

DA: Ok, first of all: we had a very high friction relationship with the label. We refused to do a lot of things that they wanted us to do, and we saw no reason to do them. We were happy to sign a record deal, because at the time there was no Internet to work with, so the means of distribution was in the hands of these companies ... We felt it was a necessary evil to have a deal where we could get our copies of this record into as many peoples' hands as possible. We weren't deliberately trying to spittle on our career by being isolationists. We wanted to broadcast our music to as many people as we could possibly reach. We didn't fit comfortably within the EMI set-up, nor the Warner Brothers one. I think that's fine, you're not meant to have a cozy relationship with your record company, especially these days. I think record companies are totally redundant. But bands still choose to sign with them. I find it odd, but that's just the way it is.

PM: You guys are working on a new record, correct?

DA: What it is: we took about two-thirds of Entertainment! and a third of Solid Gold and rerecorded it with the current line-up; the original line-up, the 2005 version. And it sounds frickin' amazing. And the other side of this coin is the double-CD: we gave all the backing tracks to Franz Ferdinand, the Futureheads, Massive Attack, No Doubt, Dandy Warhols, you name it ... The Yeah Yeah Yeahs did a cover of "Love a Man in Uniform". So, they've all done their versions and it's coming out as a double-CD during the tour.

PM: Are you releasing this CD independently?

DA: Our own label. We just picked up distribution for it through V2.

PM: How did it feel to revisit this material nearly a quarter-century later?

DA: Well, I think the band is just as relevant, if not more so, than when we were around the first time. Go4 has always operated in opposition to everything, and I think that's a really good place to be, given the state of the world. And nobody else picked up the flag ... It's been very intriguing and I've had a really, really good time.

PM: What struck me early on about Go4 was the variety of bands that cite you as an influence. I first learned of the band through the Red Hot Chili Peppers. I next learned that REM cited you guys as an influence. To me, they are worlds apart. What do you think is the source of the wide appeal of the band?

DA: Umm, I really think, without sounding ironic, we created something that was so unique, that has never been effectively copied. We've also been a band of incredible integrity, through our politically charged lyrics, and the fact that we were highly respected for creating a whole new musical genre. Over the years, that has remained steadfast. For example, we're always in the Top 100 Albums of All Time, blah blah blah. That doesn't hold a lot of water with me; I can't stand nostalgia, for one thing. I think the credibility of the band has remained so wonderfully intact over the years, it really seemed we ought to be here doing this.

PM: Considering the number of bands that have reunited in the last ten years alone, many fans and critics have been skeptical about the sincerity of a reunion. However, one could also look at the phenomena as being a validation of a group's critically hailed, but commercially unsuccessful work; case in point being the Pixies, Cocteau Twins, Mission of Burma, etc. Where does Go4 fit in this conversation, if they fit in at all?

DA: I don't think they do fit into the conversation. Again, it goes back to legacy of the band. I think it's very different to these other bands. I know that when we play Coachella [the first date of Go4's North American tour], we're on the same bill as Bauhaus, and all that ... and I don't know what the reasons for them reforming are, and it's fine, it's none of my business. But for Go4 to reform, it has more to do with the political landscape, if you like -- I mean the personal political landscape -- that our relevance is very intact. And I think we're kinda required more now than we were back then ... I certainly don't want to be lumped in with those other bands that are coming back. I have no idea why Bauhaus is coming back!

PM: There have been a number of bands that have taken music cues from Go4, and yet not many have taken moral or ethical cues. What is your opinion on that?

DA: The biggest gulf between any of these bands that apparently sound like us, I think anyone with a critical ear would understand immediately that these bands are not that similar ... Unlike Go4, they don't have much to say ... They're not doing what we did. The way we put it, they're not working in opposition. Because that's what Go4 always did and always will do. So, if you're not working in opposition, you're collaborating ... I think the artist's place in the world is to be disruptive and challenging and [to] create thought. A musical artist's job is not to get on MTV at the first chance.

PM: What does Go4 hope its audience will get from the reunion?

DA: Well, there are two answers ... What's really important to me is attracting a new audience. And that's what we've done very well in the UK and Europe. I'd say two-thirds of the audience is brand new, who couldn't possibly have been there when we were first there. Secondly, I want to challenge the audience ... We play with an intense ferocity onstage, I doubt any of the other bands could keep up, really (laughs). I think it's important for folks to understand. I think when they come and see the show, they're gonna get it 100% and realize, "Jesus Christ, this is not Franz Ferdinand". (laughs) They're very good live! I'm not knocking them! What they do live and what Go4 does live is night and day, years apart. So, it doesn't matter (laughs).

¬ http://popmatters.com/music/interviews/gang-of-four-050607.shtml
¬ http://www.gangoffour.co.uk/

—

...silent fim posters from russia

Fri, 12 May 2006 11:10:17 GMT

Baburina, Nina
The silent film poster
Russia 1900 - 1930
Nina Baburina
Moscow
Art-Rodnik
2001
191 Sites

— | Victory | Of | Memes | —

Thu, 23 Mar 2006 11:12:25 GMT

...Roma Life!

Sun, 22 Jan 2006 15:19:07 GMT

Cigány Tanya a Szentmiklósi Téglagyár-nál.

The depicted individuals are non-vagabond, sedentary Gypsy-People of Trynsylvania; -"Roma" by ethnicity.
The pictures were taken last year on the 24th day of december.

24/12 2005 Dialogue at the Gypsy Quarter
Myself: "...Well, Tonigt is christmas eve,
Hoy do you actually celabrate?"
Little Gypsy Lad: (ponders a while).. then exclaims: "We drink. - And you??"
...
"-We too!"
;)

I´ve been meditating about these people ever since I can think. -Maybe it´s because of this lie of total liberty they are perfectly able to eradiate.
It´s too bad I can´t thank them for their unawaited hospitableness 'til next summer, when I intend to do a bigger session at the ex-german gypsy-populated saxony territories.

Photographs taken with
Minolta mirror reflex camera,
black & white, process C-41, small format, Ilford, analogue.

—

— | Victory | Of | Memes | —

...dogs don´t bite

Thu, 29 Dec 2005 12:28:20 GMT

"Meditatio"

When I carefully consider the curious habits of dogs
I am compelled to conclude
That man is the superior animal.

When I consider the curious habits of man
I confess, my friend, I am puzzled.

by Ezra Pound

"A Poem"

Tell me, if I caught you one day
and kissed the sole of your foot,
wouldn't you limp a little then,
afraid to crush my kiss?...

by Nichita Stanescu

—

— | Victory | Of | Memes | —

...photography between 1910 and 34

Thu, 13 Oct 2005 21:44:50 GMT

Photography of Ezra Pound, 1917
Alvin Langdon Coburn
(1882-1866)

Alvin Langdon Coburn The Octopus,
New York, 1912 (The Coburn Archive,
The International Museum of Photography,
George Eastman House)

Kasebier Gertrude (1852-1934)
Gargoyle in Latin Quarter
ca. 1910
gum bichromate print
18.7 x 14.7 cm.

Alexander Rodtschenko (1891-1956)
the girl with „Leica“, 1934
45x29,5 cm
The Moscow House of Photography

Kuhn Heinrich (b. Germany, 1866-1944) , Austrian
Tonwertstudie
1929
29.4 x 23.3 cm.

— | Victory | Of | Memes | —

...court

Thu, 13 Oct 2005 20:22:39 GMT

trad. spanish fan language:

pulling through hand -I hate you.
holding in right hand -follow me.
holding in left hand -I´m seeking for aquaintance.
holding to right ear -leave me alone.
gliding over forehead -you have changed.
letting flutter with left hand -we are obeserved.
carrying in right hand -you are venturous.
letting flutter with right hand -I love someone else.
gliding over cheek -I love you.
presenting in closed state -do you love me?
gliding over eyes -please forgive me.
touching outer edge with finger -I want to talk to you.
letting rest on right cheek -yes.
letting rest on left cheek -no.
opening and closing -you are gruesome.
letting hang down -we remain friends.
fan slowly -I am married.
fan quickly -I am engaged.
open widely -wait for me.
on lips -kiss me.
holding in hand in open state -come, converse with me.
holding behing head -do not forget me.
holding with splayed little finger -good bye.

emerged from the 17th century (spanish aristocracy) ...passed over mainly to england and france (fan academies founded in paris and london).
all the tendences using this form of communication finally died out by the second world war (at the latest).

somewhat of a reality-historical "capriccio",, isnt it? :)
.......the only reality about mankind is noting but naked lunacy

—

— | Victory | Of | Memes | —

the cure in szeged, hungary

Mon, 29 Aug 2005 12:09:58 GMT

WHAT a show.
WHAT an atmosphere.
I´m inebrated,,,
-still.

porl

robert

simon

robert

robert

porl

simon

audience, venue

pictures are NOT mine
(as I spent my entire third and most grandious cureshow clinging from a scaffold balancing my weight through one leg... ;)
look at these encores. (there was THREE of them)

1st encore: At Night, M, Play For Today, A Forest
2nd encore: The Drowning Man, Faith! (.........by which I´m PERSONALLY flattered)
3rd encore: Three Imaginary Boys, Grinding Halt, Boys Don't Cry, 10:15 Saturday Night, Killing (Kissing) An Arab.

=2 h 42 min.

—

— | Victory | Of | Memes | —

...1870

Wed, 10 Aug 2005 18:20:41 GMT

I went off with my hands in my torn coat pockets; my overcoat too was becoming ideal; I travelled beneath the sky, Muse! and I was your vassal; oh dear me! what marvellous loves I dreamed of!

My only pair of breeches had a big hole in them. — Stragazing Tom Thumb, I sowed my rhymes along the way. My tavern was at the Sign of the Great Bear. — My stars in the sky rustled softly.

And I listened to them, sitting on the road-sides on those pleasant September evenings while I felt drops of dew on my forehead like vigorous wine;

and while, rhyming among the fantastical shadows, I plucked the strings of a lyre the elastics of my tattered boots, one foot close to my heart!

»My Bohemian Existence«
by
A. Rimbaud

—

— | Victory | Of | Memes | —

antique costumes 1880s - 1910s

Wed, 10 Aug 2005 12:56:41 GMT

1.: c. 1892 Black Dotted Swiss Lace Spring Jacket with Passementerie Dropped Balls and Ribbons

4.: c. 1899 Navy Wool Twill Military Inspired Tailored Gown. As "Girlish" as the women's clothing was in the mid 1890's, at the turn of the century, for a few years anyway, the fashionable look became extremely tailored! A few years later, circa 1903, "Frilly" became vogue. So these very tailored gowns were only in vogue for 2-3 years.

10.: c. 1882 Black Silk Broche and Black Silk Satin Visiting Gown. Never Worn, Never Completed. historic tailoring. A fully completed, long, double-breasted jacket of black silk broche and trimming of black silk satin and lace. With original black silk satin "skirt" front with fabulous detailing! Original basting threads on the front skirt, though it's 99% finished at front. Skirt: 38" long in front and 43" long in back (-slight train).

9.: c. 1891 Wool Soutache Jacket. Black soutache over beige or light tan wool jacket.

11.: c. 1870-1890 Mechanical Italian Paper Painted Fan with Mirror. Paper fans don't get any better than this. A very similar fan is listed in a fancy Italian book called "Ventagli Italiani" published in 1990 by Marsilio Editori. The book is actually the catalogue of an exhibition which took place in Florence at the Palazzo Pitti (that's the Pitti Palace for us Americans) from Sept 21 - Nov 15, 1990. All the information from the book is written in Italian, but the gist is that this fan was a souvenir fan from the late 1800's.

13.: c. 1909 Black Dinner or Reception Gown of Black Dotted Net Elaborately Decorated with Braid and Satin Rouleau

21.: c. 1890 Tall Wired Hat with Black Silk, Net, Chiffon and Black Pallettes! (A wired base with black chiffon, large black pallette sequins, net and silk "petals". Hats were very tall about this era... then started getting shorter and wider until about 1910 when the were at their widest. Then brims started to droop to late 1910's and then get smaller and smaller into the 1920's cloches. How's that for a simple overview. Excellent condition. 1890´s).

3.: c. 1889 World's Fair Silver Medal Winner Black Velvet Visite Mantle.
This garment design was awarded the Silver Medal from the 1889 Parisian Exposition Universelle - the World's Fair for which the Eiffel Tower was built, and which served as an entrance arch to the fair. The silk soutache trimmed leaf and scroll design is amazing throughout the garment. Long chenille and twisted rope fringe trim down front and all around sleeves and hemline. The high neck is trimmed in short ostrich feathers. Measures: 52" long.

—

achtung achtung!

Fri, 15 Jul 2005 11:38:39 GMT

event-news von gestern;

Konzerte U-Musik

Stadthalle Wien
Halle/Saal
Vogelweidplatz 4
1150 Wien 15.
Do, 15.12.05 19:00 Uhr

Kurz vor Weihnachten beschenken uns die Schotten mit einem Konzert in der Wiener Stadthalle[...]

¬ http://www.franzferdinand.co.uk/

—

— | Victory | Of | Memes | —

...you should urgently go to the cinema and see

Sat, 09 Jul 2005 20:42:06 GMT

»my summer of love«

mona drawing tamsin´s face

Mona (NATALIE PRESS) has just got hold of a brilliant moped that only cost a tenner. No engine but still dirt-cheap. She lives with her brother, Phil, (PADDY CONSIDINE) who used to run a pub before he found God and poured away all the booze. Tamsin (EMILY BLUNT) is rich, spoilt and trying to live a life of seductive decadence.

They meet on the moors, above their quiet Yorkshire village and begin an intense, unlikely friendship. Tamsin is tragic and fantastical, Mona, rough and witty. Tamsin is charmed and Mona is hooked.

Tamsin and Mona want to escape their lives but Phil wants to save them and save everybody else. Mona wants the old, dangerous, Phil back; the brother that she loved. Tamsin wants to see what it takes to break him.
(...)

¬http://www.mysummeroflove.co.uk/
¬http://www.my-summer-of-love.de/

—

...kikirarashoten

Mon, 13 Jun 2005 22:36:30 GMT

—

¬ http://www.kikirarashoten.com

...kós károly graphics 1907&9

Mon, 13 Jun 2005 12:18:53 GMT

Kós was a hungarian (transylvanian) architect and graphican who occupied with national art. these are
illustrations for folkloral songs and ballads;

székely magyar dalok from the year 1907
(székely hungarian songs)

atila ballads and songs from the year 1909

...inhibiting the artist

Sat, 11 Jun 2005 13:49:39 GMT

Photograph of Egon and his collegues at the academy (June 1907) -he left soon insurgently quenched
by his lector Griepenkerl.
(Schiele is the second frim the right in the last row.)

the class doing "aktstudien". ;)
(Egon is on the left, -the young man with the high white coller) -... I do not know date or year
according to this picture.

Nude model (dancer Moa) before mirror. dated 1910, Sammlung Albertina Vienna. This would be my favorite
of all graphics resp. drawings I´ve seen in origlinal
Schiele works with three reality-layers,- Look at her eyes. This is delicate...

...photos

Mon, 30 May 2005 17:23:41 GMT

Interpol Live

Kotzpuppe...

Interpol in Italia, Stadion in Mestre (Venezia mainland) on the 25th of April 2005
*photographs taken with
Casio Exilim
Color, Digital

Anne Clark Live

Anne Clark in Vienna, Mozarthalle on the 25th of June 2005
*photographs are analogue, Color film by Kodak

The Vanishing and Bettina Koester of Malaria! Live

The Vanishing in Vienna, Club Rhitz Austria on the 27th of April in 2005
*photographs taken with
minolta mirror reflex camera (without stage),
black&white C41 process film by ilford, analogue

— | Victory | Of | Memes | —

...collected photographs

Tue, 17 May 2005 16:48:31 GMT

some of my collected photographs circa 1900-1980

...I like this

Mon, 25 Apr 2005 18:09:23 GMT

...mark o' laferty

Tue, 12 Apr 2005 15:10:24 GMT

</font>
photography by mark o' laferty
¬ http://www.markcoflaherty.com/

[style: julian ganio and katsaros emmanuel]

—

...digital dada library

Thu, 31 Mar 2005 13:09:52 GMT

(at the international dada archive)*

¬ http://sdrc.lib.uiowa.edu/dada/collection.htm
*for reasons of copyright, no documents published after 1923 have been included.

—

— | Victory | Of | Memes | —

Sat, 12 Mar 2005 16:44:52 GMT

LAST PIECE YOU SAW IN A THEATER:	last theater piece; some modern interpretation of f. kafkas 'verwandlung' at pygmalion theater -vienna
WHAT BOOK ARE YOU READING NOW:	a funny free-bruchure by jehovahs witnesses and death in venice (never read anything from Mann before)
FAVORITE BOARD GAME:	have none... but i enjoyed to play UNO when i was very small
FAVORITE MAGAZINE:	another magazine
FAVORITE SMELLS:	luscious musk, styrax, lily of the valley ...and moss
COMFORT FOOD:	radishs on butter bread -and heart cherries as desset
FAVORITE SOUNDS:	everything rythmic and bass-oriented
WORST FEELING IN THE WORLD:	being what some call "medicore"
WHAT IS THE FIRST THING YOU THINK OF WHEN YOU WAKE UP IN THE MORNING:	pardon?- ...may I lie?
FAVORITE FAST FOOD PLACE:	burger king, mc donald´s, subway and everything deeply american
FUTURE CHILD'S NAME:	definitively::: • male: Aaron / • female: Ivana (Ivy)
FINISH THIS STATEMENT: "IF I HAD A LOT OF MONEY, I WOULD":	...buy things
DO YOU DRIVE FAST:	haha!
DO YOU SLEEP WITH A STUFFED ANIMAL:	if I´d sleep on the only stuffed object in my room it´d empirically keep waking me up with its favorite remark; "mmmmmh yum yum yum - meat loaf cookies.."
STORMS -- COOL OR SCARY:	usually they´re cold over here in central europe ..so: QUITE cool I´d say
WHAT WAS YOUR FIRST CAR:	ok, so you try to be funny, right?
FAVORITE ALCOHOLIC DRINKS:	vine (esp. red sorts), spanish rum, tequila, hungarian schnaps and some irish vhiskey
FINISH THIS STATEMENT,'IF I HAD THE TIME, I WOULD LOVE TO':	...have more
DO YOU EAT THE STEMS OF BROCCOLI:	no
IF YOU COULD DYE YOUR HAIR ANY COLOR, WHAT WOULD YOU CHOOSE:	I´d raise willam turner from the dead and beg him to dye them in the most luscious ruddily color-code he ever invented
GLASS HALF-EMPTY OR FULL:	:/ unfortunately rather 'half empty',,, but i´m STILL working hard on sensing the second variant more clearly
HOW MANY CITIES/TOWNS HAVE YOU LIVED IN:	too many
FAVORITE PLACE TO RELAX:	in bed
FAVORITE SPORT TO WATCH:	hmm,.........-only special olympics, the rest usually bores me to death... okey me likes to watch fencers
WHAT IS UNDER YOUR BED:	dust, about a dozen """fragments""" of lost earrings ;) , some old photographs I took in art school, and those certain things we don´t know of
TOILET PAPER/ PAPER TOWEL--OVER OR UNDER:	under!?

Sat, 26 Feb 2005 16:16:07 GMT

Es war nicht in mir. Es ging aus und ein.
Da wollt ich es halten. Da hielt es der Wein.
(Ich weiß nicht mehr, was es war.)
Dann hielt er mir jenes und hielt mir dies,
bis ich mich ganz auf ihn verließ.
Ich Narr.
Jetzt bin ich in seinem Spiel, und er streut
mich verächtlich herum und verliert mich noch heut
an diese Vieh, an den Tod.
Wenn der mich, schmutzige Karte, gewinnt,
so kratzt er mit mir seinen grauen Grind
und wirft mich fort in den Kot.

"Das Lied des Trinkers"
von Rainer Maria Rilke

—

ripped-open, rumpled envelope lying on the kitchen table...

Wed, 23 Feb 2005 16:08:28 GMT

...showing a quote of my sister´s newest 'literature' in seemingly absent-minded state:
"Ich bin noch da und ich -
Hundekette
Seele normal"

= "I am still here and I -
houndleash
soul normal"

point.