1. I promised to post some art works by the crazy artist Yves Klein (1928-1962).



In this video (from a great site called Ubuweb - to which I've previously linked but never outright mentioned), you can see the process for his anthropometry. First, you'll see naked women models cover themselves in Klein blue (patented). Then, under his direction - as he wears his suit - they will rub themselves up against the canvas on the wall to create paintings as 'living paintbrushes'. All the while, the audible rendition of Klein's blue monochrome is performed by well-dressed musicians (though unfortunately this video has no sound). This rendition was one note, sustained for exactly 20 minutes, to be followed by 20 minutes of silence. You can watch a shorter version of the sound only subsequently performed in the video below.



Klein (from what little I know), a Rosicrucian, believed that blue was the gateway between the immaterial and material realms. His quest was proclaimed a spiritual one. Calling himself the Messenger of the Blue Void, he sought to surprise and uplift his audience.

Along with his paint anthropometry paintings (described above), he created anthropometries involving fire. This is also shown in the video. The naked women models are wet with water (and/or with paint), and pose against the canvas. They leave and then Klein, in suit, and with firefighter nearby spraying water, blasts a flamethrower at the canvas! The below is an example of one of these works. Note the 'aura' around the figure.



From here, the Yves Klein archives, you can see all sorts of his works.

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1. This post is merely to preserve the intro from the left frame, the intro that has been around for quite some time. It has shed from the left, and drifts like the rest of the wood on this web.

I don't argue what I believe - so I'm told - cloak & dagger, hiding hidden, eben. This blog seems that way, together with the other one (what we see as we spin past): a split of mind: one science, one silence?...hemispheres of thought trickling, what's left, what's right?.

I don't know where this'll go yet, like any disjointed scenery on the way past, like any yellow line.

Take it this way (if the missing is too much missed): this is a site of my stained glass, broken. This is the spider web of memories forming. These are my tears and these are my joys. Small parcels, each, but present nonetheless. I am the host introducing the guests.

Welcome.

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1. "The clear sense that you know you're in the homeward stretch is a very compelling component in writing," he says. "A lot of other things fall away that you hope would satisfy you like human life, and your work becomes a kind of haven, and you want to go there, and you're grateful when the time opens in such a way that you can actually sit down and work at your own work, because everything else somehow has failed.

"I'm speaking not just for myself," he continues. "Somehow, just in the nature of things, you know, the disappointments accumulate, and the obstacles multiply and you sense the destruction of your body, and your mind, and you feel here is the last arena — 'arena' is too big, the last boxing ring, or the last Ouija board, where you can examine some of the ideas that have intrigued you. That have seized you, really.

- Leonard Cohen, Globe and Mail interview, Feb 27, 2009

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1. Flicking Off George Stroumboulopoulos

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2. Here there is a sort of question, call it historical, of which we are only glimpsing today the conception, the formation, the gestation, the labor. I employ these words, I admit, with a glance toward the business of childbearing -- but also with a glance toward those who, in a company from which I do not exclude myself, turn their eyes away in the face of the as yet unnameable which is proclaiming itself and which can do so, as is necessary whenever a birth is in the offing, only under the species of the non-species, in the formless, mute, infant, and terrifying form of monstrosity.

- Derrida, the ending of Structure, Sign, and Play in the Discourse of the Human Sciences

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3. Il n'y a pas d'hors text. - Derrida
(Il n'y a pas d'hors d'oeuvres.)

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1. Men make their own history, but they do not make it just as they please; they do not make it under circumstances chosen by themselves, but under circumstances directly encountered, given, and transmitted from the past. The tradition of all the dead generations weighs like a nightmare on the brain of the living.

- Marx, The Eighteenth Brumaire of Louis Bonaparte

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1. The 1000 Journals Project

I've always been fascinated by what people scrawl on bathroom walls and in public spaces. I had been taking photographs of this writing for years, and wanted to put together a book. It seemed appropriate to encourage readers to become contributors, and join the conversation by writing in the actual book. From there, I decided that a blank book might be more fun... especially one that traveled around, to gather a variety of thoughts and opinions. And then, why not 1000 of them? It's such an absurd number.

The project officially launched in August of 2000, with the release of the first 100 journals in San Francisco. I gave them to friends, and left them at bars, cafes, and on park benches. Shortly thereafter, people began emailing me, asking if they could participate. So I started sending journals to folks, allowing them to share with friends, or strangers. It's been a roller coaster ever since.

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2. 1001 Journals - seems there are 2391 more journals here...

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3. This page is particularly neat:
1000words.net

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1. Canada's Stonehenge: scientist says Alberta sun temple has 5,000-year-old calendar

An academic maverick is challenging conventional wisdom on Canada's prehistory by claiming an archeological site in southern Alberta is really a vast, open-air sun temple with a precise 5,000-year-old calendar predating England's Stonehenge and Egypt's pyramids.

Canada's Stonehenge website

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