Chesterfield County high school coach charged with sexual abuse of students www.privateofficer.com

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COLUMBIA, S.C.Sept 302012 (AP) - Authorities say a coach at a Chesterfield County high schoolsexually abused two middle school students in Oconee County more than a decadeago.
Investigators say 39-year-old Richard Gardner III is chargedwith 11 counts of criminal sexual conduct with a minor and 13 counts of lewdact on a minor.
Authorities say the allegations involve two victims who werebetween the ages of 12 and 14 when they were abused from 1998 to 2003 while Gardner worked in Oconee County.
Investigators say Gardner wasworking at Pageland Central High School when he was arrested Thursday. They saythere may be more victims.
Gardner is being held at the Oconee Countyjail on a $730,000 bail. It wasn't clear if he had a lawyer.

Spokane woman sets herself on fire-jumps from 4th floor of building www.privateofficer.com

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SPOKANE WA Sept 30 2012 -- SpokaneFire officials said a woman died after jumping from the 4th floor of anapartment building.Firefighters responded to the Culmstock Arms Apartments at328 W. 8th around 1:30 p.m. for reports of a fire. When they arrived, theyfound a woman lying on the ground.Bystanders and then emergency crews performed CPR on thewoman, who was transported to the hospital. Firefighters said the woman hadburn marks on her clothing.Officials said the woman’s path out of the apartment wasclear. Firefighters said it appears she set herself on fire, barricaded herdoor, and jumped out the window.Fire companies had to use external stairwells to evacuateoccupants and used the internal stairs for firefighters and their equipment.Crews contained the fire to the woman’s apartment, and said physical damage wasminor.There were no other injuries.
Source:KREM

Oldham County Police officer arrested for having inappropriate contact with a female minor www.privateofficer.com

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Oldham KY Sept 30 2012 An Oldham County Policeofficer has been charged with having inappropriate contact with a female minor.
Harry “Shane” Mosley, 36, of Pendleton, was arrested Fridayand charged with unlawful use of electronics to induce a minor to engage insexual or other prohibited activities, which is a felony. He also is chargedwith first-degree official misconduct and third-degree unlawful transactionwith a minor, both misdemeanors.
The charges came after the juvenile approached the OldhamCounty Police Department on Wednesday after being contacted via text message byMosley, who had told the girl that he was an Oldham Police officer, accordingto a news release.
On Thursday, the girl was contacted again by Mosley, and thecommunications contained “specific, graphic sexual references” and otherillegal and inappropriate communications, the news release stated.
Mosley was taken to the Oldham County Jail, and he has sincebeen released on bond.
He tendered his resignation from the Oldham County PoliceDepartment.
Oldham County Police would not release any furtherinformation due to an ongoing criminal investigation.
Source:Courier-Journal

Tennessee prison escapee captured Wilmington NC mall www.privateofficer.com

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Wilmington, N.C. –Sept 30 2012 Two fugitives wanted in Tennesseewere captured Friday afternoon at Independence Mall in Wilmington but police aren’t saying how theywere able to track them to the area.
Police say Grady Adam Edwards, 36, escaped from a prisonwork crew Thursday.
Another man authorities say was Edwards' accomplice wascaught a short time later.  Policetracked down Kevin Roberson, 32, in the 1900 block of Dawson Street.
Numerous law enforcement agencies including the WilmingtonPolice Department, the Tennessee Department of Corrections and the GreeneCounty Sheriff's Office worked together in capturing the two fugitives. 
Edwards, a non-violent offender walked away from work detailat Northeast Correctional Complex (NECX) Annex located in Roan Mountain,according to Tennessee Department of Corrections (TDOC) spokeswoman CindyDunning. He was a minimum-custody inmate, convicted of burglary andtheft.
Edwards and Roberson are expected to be transported back to Tennessee to facecharges. 

Man stabbed to death at Tennessee State University's 100th homecoming celebration www.privateofficer.com

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Nashville TN Sept 302012 Metro Police responded to a stabbing at the LP Field Saturday duringTennessee State University's 100^th homecoming celebration.
Metro Police Capt. Ben Dicke said there is very littleinformation to go on at this point. He said that the person stabbed had diedand did not release the victim's name.
The male victim was stabbed in the chest, according topreliminary information, Dicke said.
A call for help came through at 8:13 p.m., a dispatcher said.
Police are not saying if they have anyone in custody or knowwho the suspect is.

My Super-post

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Note that I lost the final page of my super-post. Professor Moss has it in her possession, but I must have forgotten to save it.

Timothy Rabb
11/3/09

Failed Kanye West Project

I initially intended to focus my project on proposed sources of narcissism, but since the list of potential subjects was virtually limitless, I decided to narrow my search down to celebrities. After Professor Moss’s revelatory video clip presentation on vibrations in the mass media, I finally settled on the self-proclaimed “voice of this generation,” rapper Kanye West as my study subject. I considered a celebrity figure to be an excellent subject, partly because a celebrity’s high-profile status allows for the analysis of a wide array of video and audio records, but also due to the inherent sense of vanity possessed by many celebrities.
More specifically, my plan was to assemble an array of video clips, accompanied by the popular rapper’s music and arranged in chronological order. This would serve the purpose of creating a sort of visual map of the landmark events in Kanye’s life, revealing causal connections previously unbeknownst to most of Kanye’s listening audience; these connections would hopefully shed some light on his egomaniacal behavior. A good portion of my arrangement was to include clips of Kanye with his late mother, because I considered her death to be a marked turning point in Kanye’s life and a potential source of his subsequent narcissism.
Unfortunately, I was forced to completely abandon the thesis of this project in favor of another. Because of the copyrighted nature of most print, visual and aural materials that feature Kanye, it was nearly impossible to amass a collection large enough to be fit for this comparative analysis.

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Timothy Rabb
11/10/09

Roommate Project Proposal/Failure

After a bit of thought on the reasons for my Kanye project’s lack of success, I decided that I wanted to retain my original theme of a character study of narcissism, but with the aid of a different subject. Since I have a roommate whose behaviors closely correlate to those observed in narcissistic personality disorder, I decided that he might be an appropriate subject for observation. Though one might immediately label this diagnosis as unreasonably judgmental, I’ve included a list of traits below that conclusively categorize him as narcissistic, courtesy of Wikipedia. I consider Wikipedia to be an adequate resource for materials of this nature; as a matter of fact, several studies have been conducted comparing the factuality of Wikipedia with that of the Encyclopedia Brittanica, and Wikipedia has been proven equal in reliability:
Note that, among those listed, I’ve emboldened the specific traits that my roommate most clearly exhibits.
The Diagnostic and Statistical Manual of Mental Disorders fourth edition, DSM IV-TR, a widely used manual for diagnosing mental disorders, defines narcissistic personality disorder (in Axis II Cluster B) as:
A pervasive pattern of grandiosity (in fantasy or behavior), need for admiration, and lack of empathy, beginning by early adulthood and present in a variety of contexts, as indicated by five (or more) of the following:
1. has a grandiose sense of self-importance (e.g., exaggerates achievements and talents, expects to be recognized as superior without commensurate achievements)
2. is preoccupied with fantasies of unlimited success, power, brilliance, beauty, or ideal love
3. believes that he or she is "special" and unique and can only be understood by, or should associate with, other special or high-status people (or institutions)
4. requires excessive admiration
5. has a sense of entitlement, i.e., unreasonable expectations of especially favorable treatment or automatic compliance with his or her expectations
6. is interpersonally exploitative, i.e., takes advantage of others to achieve his or her own ends
7. lacks empathy: is unwilling to recognize or identify with the feelings and needs of others
8. is often envious of others or believes others are envious of him or her
9. shows arrogant, haughty behaviors or attitudes
I had the intent of recording verbal conversations/arguments had between my roommate and other members of my house. My new idea was to attempt to highlight the ways in which a single self-centered individual can cause absolute tumult in a house full of ordinarily well-mannered people.
Ultimately, I rethought my motives for the project and decided that – since my means of collecting information was incredibly deceptive, and the entire process behind my proposal was more mean-spirited than scholarly – it would be best to conduct a study of another subject or find another topic altogether.
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Timothy Rabb
11/20/09
Plans/Reasons for Final Project Proposition

Because of the fact that both my Kanye West and roommate project propositions were somewhat condescending in their approach, I’ve decided upon a more neutral, personal project thesis. For the project, I plan on perusing through 8-12 articles I’ve written during my tenure as a film critic/reporter at the Michigan Daily newspaper. While scanning these pieces, I’ll circle the words I deem most relevant and create a new written poem for each respective article, using my chosen words as a point of reference. My goal in this is to examine the new meaning a word or phrase inherits based on the manipulation of its proximity and order relative to other words and phrases. I also want to juxtapose both the original and manipulated works for the purpose of noting their similarities and differences. In the process of conceptualizing of this project, I formulated a set of rules to govern the writing of my “transitive poetry”:
1. No more than three consecutive words may be circled at once. Because I’m trying to create a legitimate, unique new work, copying whole phrases verbatim would undermine my efforts. Instead, I’ll allow for a reasonable proximity between ideas so as to create autonomous new concepts.
2. These words will not be arranged in the same order in which they appear in the article. My project also explores chronology in addition to proximity, and it would defeat my entire purpose to simply string together gapped words in the same chronology they were originally written in. My goal is to manipulate the work, not simply condense it.
3. To facilitate flow, coherence and originality, extraneous words may be added to the new poem, and existing words may be modified to another tense or exchanged with a synonym. Pertaining to the words I’ve circled in the article, I do intend to use several of the most profound ones in their original form to establish the dominant theme of the poem. However, the majority of the words are only intended as a foundation upon which I will build an entirely new structure.
4. Because I wish this project to be a learning process and not just a personal reflection, a different style of poetry (ex. Ode, sonnet, haiku, etc.) must be used for each individual poem.

After I’ve finished writing these poems, I don’t wish to have naught but a drab, banal verbal presentation to illustrate my project. Therefore, I will use several of the poems – particularly those that were born from film criticisms as opposed to interviews – to create a graphic compilation. To do this, I’ll pick a font that I feel best represents the style of each poem; then, I’ll superimpose each poem in its entirety over a promotional poster of the movie that inspired that poem.

incorporating thoughts

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It began with Kanye West. It was his audacity, jumping on stage, unscripted: he was an interrupter. How rude!

There’s POWER in this. I want to harness this! How can I harness this?

But then: What is a relationship? What defines one? I was curious about the idea of how the relationships I have affect my life: how am I changed by the people with whom I associate? I wanted to dissect this. Years ago I got into voice recording conversations with a friend. Largely they were intended to capture the fragments of “genus” that we believed were spewing out of us, constantly. But looking back, it was something more like self gratification and obsession; both of these things, the cocky manner with which I spoke about ME, and the thought that what I had to say about anything was important enough to have its own digital plot added only to my ego.

So this poam began and I wanted to do something with all this digital landscape. I began carving from this ground work a new informing landmass. But what I found was an egotistical aim that I was fulfilling through the exploitation of other’s criticisms. I have an audio stream flowing into selfish thought after selfish thought. All in the name of art.

BUT I want to do something selfless! Like in the Verse I posted “When the ego interferes in the rhythms of process, there is so much doing! But nothing is done.” I felt as if I was doing something sitting in front of the glowing computer screen making my bits and pieces line up like little links in a chain. But what I was really doing is creating a piece to be trashed. That’s why…

All of this is valuable because it got me here to this point, to this moment where I feel I am doing something that I can be proud of. That is why this selfish movement is not worthless. This path of discovery made what I am doing more meaningful because of the juxtaposition.

A big influence:
Paulo Freire’s work with true words. I want to say true words. There is a difference. We are often bombarded on a daily basis with false words. We are told that because we live in the U.S.A we are granted the right to become anything we set our mind to. To work hard is to achieve anything. This is a LIE! There are plenty of people (we ignore) in this country who’s lives are never told in fairytales and who never have a choice about who they will become.

We are so busy being consumed by consumption that we lose sight of what it means to be completely human. What is a human? There is humanity in all but there is a cloud of possession which obfuscates the realities of what it means to be a human (it is not the possession of, identification with, and consumption of things). This consumption affects the daily routine: It is expected that as we pass one another in the morning, we will not say hello. If you smile you are crazy, something must be wrong with you. At least that’s the way I feel sometimes when people smile at me. I have my things, my friends, my life, why should I validate yours?

Guerrilla theatre posses the same kind of power that Kanye had on stage the night of the VMA’s.



I will now attempt to capture, with words, the first invasion:

I had five people set for the first Moosejaw performance, three showed up. We did not let this detour us. We set out on Wednesday, December 16th at 4:45 from Angel Hall. We arrived at Moosejaw and our “shopper” spy indicated that there were 3 shoppers and 3 work staff present in the store. As this text message came, my partner and I watched five more people walk into the store. We knew it was now or never.
The premise: We were animals. I was a dog and Christopher, my partner in crime, a monkey. Moosejaw believes that prison existence is funny (they made a jail activities book), so we thought we would make them laugh by showing them how prisoners are really treated. We treat prisoners like animals: locked in solitary confinement made to go insane by lack of stimulation, we feed them food lacking nutrition, we kill them, all in the name of safety. After we ran around the store for about thirty seconds acting like our respective animals, Chris and I stopped at the counter and addressed the store. Telling the truth about prison, how their ad campaign is degrading and offensive. We also talked about how we work with these people and we know their names and faces and we see that they are not the stigmatized images that we thrust in the name of commercial gain. They are talented, insightful, intelligent,compassionate people. They are 2.2. million citizens of the United States. They are mothers, fathers, sisters, grandparents.

We plan to do more and more Moosejaw performances until they realize that we are relentless and will not take their simple we-apologize-but-we’re-not-going-to-change-a-damn-thing excuse for an answer.

In my video, if you can decipher anything, you can see a man standing behind the counter applauding us. He was clapping and saying that they (the employees) cannot do anything and we should contact their executive offices if we want something to change. This has already been done (there has been a letter writing effort and a petition) and nothing has changed. So, my group plans to train people on this guerrilla theatre tactic and have people going in every week, if not more often, until they receive the message that we want visible change.

What I hope to capture with my on-going guerrilla theatre project is the power of human-to-human communication. There are a lot of mediums with which we can communicate (mail, e-mail, texting, phone, cell phone) but for me the most productive, meaningful ways to transfer information is between people. You cannot ignore people acting like animals (I have learned this)!

My apple-and-oranges piece gets at this establishment of difference. With the common saying “it’s like comparing apples and oranges,” we tend to see the most monumental of differences between things and people who are fundamentally the same. If we could get away from this assumption, people will treat one another with more respect. We would have a better understanding of human life.

I consider my effort one by and for humanity. I hope to branch out and not do only politically-charged pieces but theatre that originates with this idea of a fundamental sameness. The spectrum of human emotion is representation of these essential needs.

someone else's dread

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and the dread of not knowing if you like a short story, despite its undeniable strain of dread

Two (from the collaborative project Seconds by Adam Simon and Matthew Sharpe)

The meanness of the satirical essay you wrote hit me yesterday like a baseball on the chin. Those Sundays we lay curled up in each other on your hard futon kissing and discussing Marx eventually gave me serious lower back problems but at the time I was having like these day-long orgasms in my brain. You said, "Satire will be an important tool for the revolution," and maybe it will but it also can be a place for someone to hide from the intensity of any real feelings he may have and also to transmute them into a very painful projectile to be hurled at the person he has them about. 

It felt so good to be able to unburden myself to you re my inner conflict over my job at the ad agency, so then to see it lampooned yesterday on your blog in what was basically a "humorous" open break-up letter to me - "I'm hoping my $10 million campaign for the US Army is offset by the fact that I buy only free-range organic granola" - made me feel, well, I don't know, what does Marx say about how it feels to be betrayed by someone you lay naked next to for a cumulative total of fourteen months of your life, someone whom you let pull your hair - hard! - during sex because it game him so much pleasure even though it really hurt you although you sort of liked it but only because of the obviously intense pleasure he was deriving?

Also, do you think those cool hand-printed signs in the window of your bicycle shop aren't advertising?

After I read your thing I had a lot to say and even if you thought you knew what I was going to say and didn't want to hear it from yet another person, it wasn't fair to not let me say it, and the beautiful mixtape you gave me didn't make up for that because if I've gained any knowledge from my time with you it's that beauty is one thing and fairness is another. 

You said, "The distinction between the public and the private is a distinction internal to bourgeois law." So you keep posting those satires of me on your blog from the back of that little storefront were you work and sleep, and I'll climb up to the roof deck of my nice apartment building and advertise to the world till I'm hoarse that i loved you. 

It's all about the details ...

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If you feel like your Vera Bradley Store is unique, that's because it really is! They still carry the same products, of course, but the wallpaper, furniture, and other details are all especially coordinated to match the personality and character of the region in which it is located. I was able to see this last week when I attended the Beachwood Place store opening in Cleveland. Our Visual Merchandising team put together, as always, an outstanding display!

One tradition is the presence of an Ira Yeager painting behind the checkout counter. It all started when Co-founder Barbara Bradley Baekgaard lent one of the paintings from her personal collection to the Fort Wayne store at Jefferson Pointe. Ever since, the paintings have been a staple for each location's decor, and they are each hand selected by Barb and Anne, the Senior Visual Merchandising Creative Director.

The Ira Yeager at Beachwood ... absolutely gorgeous!

Each Vera Bradley Store is also designed to look like someone's home, hence the comfy furniture, beautiful light fixtures and foyer. I found myself surprised by how effortless it all looked in person, especially knowing each store has it's own personality. The hope is that guests will walk in, feel comfortable and have a great experience.

This ottoman is my absolute favorite piece in the store, hands down.

This loveseat is perfect for husbands to relax on as their wives shop around ...

What a beautiful vanity, and I love the flowered wallpaper - such a nice touch!

The foyer, complete with red doors and a chandelier.

This stack of books and bunny lamp are in the middle of a display of Boysenberry bags, but they make it look just like it all belongs in someone's home!

The coffered ceiling, crown molding, and chandelier look amazing altogether ...

A hidden treasure that you can always find at Vera Bradley Stores is a beautiful restroom. I'm used to our impeccably decorated bathrooms in the Fort Wayne offices, but this was something I was pleasantly surprised by when I went to the Beachwood store, because I didn't expect it to be this cheery and adorable.

This lamp is just too cute for words ...

Surfing the Web ... It's all in a day's work.

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My main project for the summer is basically the dream of any soon-to-be job-seeking college student (like myself). I am working with Human Resources to research and develop a social media strategy for recruiting, observing what kind of cool new methods other companies are implementing. The best part of this job is that my research consists of looking at company websites, twitter accounts, LinkedIn profiles, facebook pages and YouTube accounts all day long. Lately, I’ve been too busy to keep up with my research, but now that our presentations are going to be here oh so soon (exactly two weeks from now) I have to make time so I can be fully prepared to explain what’s going on in the exciting world of recruitment.

Here is a little peek of what I’ve been working on …

twitter – Lots of companies are using their twitter feeds to publicize job openings in addition to sharing information about their culture or their employees, so I follow anyone and everyone from our main competitors to companies like Starbucks and Google. One thing I’ve learned: Recruiters love to tweet … all the time.

So many tweets, so little time ...

YouTube – Some companies are using YouTube to promote their company culture and the organization by posting videos of company events and employee profiles showcasing what they love about their jobs. (How cool is that?!)

Since I’m a marketing major, all of this research is showing me how many different ways social media can be used for one company. Also, I will begin looking for my first post-grad job rather soon, and I’m learning how to be as thorough as possible when preparing for an interview. Most people long for the time to invest in this kind of research, and I’m lucky enough to have it be my job!

I couldn’t end this post without a shameless plug for Vera’s company culture or our open jobs … so check out the official Vera Bradley blog, Inside Stitch, for some fabulous posts about life at Vera Bradley, and be sure to stop by our Careers page to see what openings we have at our home office and in our retail stores!

SITA SINGS THE BLUES as a Tine of Limited Forked Universe

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Nina Paley generously gives her beautiful film Sita Sings the Blues to us, all of us, noting that as part of culture (made of components of culture, which includes dreams), it belongs to us already, is an assemblage, an extension of parts of human experience and human interactions with all things human and all things not human. Idea itself is in part response to that which spawns it; some existing information in some form is at part of idea's heart (as it is in this clever heart umbrella from my design pick.com):




How wonderful it is for the human community to link in inspiration and response; negatively or positively we connect, configure, and reconfigure, making a map of human experience that exposes what is marvelous about us and what is not (at times, according to principles of some temporary configurations, interchangeable).

No matter how brief the configuration in which connections succeed, I am grateful that connection occurs, and I accept that for the possibility of sublime connection, the possibility of brutal connection must be risked. Indeed; perception itself is configurable, winners and losers in the same situation. If there is connection, then all possible forms of connections will manifest on some scale in some location for some duration of time. Forms that are not possible will not manifest. Once a form manifests, that form is possible. Forms not possible in this configuration of now many become possible in the now of other circumstances. And what is not possible in a now of other circumstances will not manifest.

The seeking of interaction, a form of connection, that must occur in Limited Fork Theory, the study of interacting systems on any scale in any location for any duration of time; and the participation in interactions found are the context and focus of my ambition. Perhaps study and participation in some as yet undetermined number (so much falls between the tines of the limited fork, so I cannot be sure of anything, even that there is slippage —an incredible probability of slippage, but I have no proof of exactly what flips between the tines, for to know what slips is to have information that slippage denies; to know what falls through tines would be a form of catching what slips. I assume slippage, but what might disprove slippage I believe has slipped through the tines that themselves sponsor my adherence to slippage probability). Therefore: share, share, share!
This post (and forkergirl's other posts in this blog) joins Nina Paley in being made available for re/continued use with a creative commons share alike license:


This work is licensed under a Creative Commons Attribution 3.0 Unported License.



As most of us (to whom Sita Sings the Blues belongs) still exist in circumstances that require us to have a source or sources of income, Nina Paley is not prospering from free distribution of her wonderful film, so please consider supporting the ethics of sharing and collaborative building (the collaborative is a prevailing nature of things, it would seem, according to Limited Fork Theory, among other tools of perception/understanding) by making a donation at the Sita Sings the Blues site and/or by purchasing some of the products at Question Copyright.com Perhaps a Copyleft Tee shirt or a Valmiki Violin Shirt or jewelry, stickers, etc.

Nothing but praises for Sita Sings the Blues and Nina Paley!


No better example of Limited Fork Theory in action!

MERMAID AS METAPHOR (a beginning consideration from forkergirl's temporary fish eye lens advantage)

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fish eye lens advantage image from forkergirl's photostream

In this consideration of Mermaid as Metaphor, a point of entry and a point of departure (bifurcation hub) are formed by two elements brought together (in a range of manipulations) forming a third element that is a composite of the two (1 element plus 1 element = a 3rd element [1+1=3], as Rima pointed out in a limited forked multimedia story class). At this hub is a common depiction of mermaids in which two unrelated biological segments of two organisms are brought together in (primarily visual) unification usually depicted as horizontally split halves forming wholeness: a mermaid.

This (visual) wholeness is a form of marriage, an easily imagined evolutionary progression or regression of marriage. Though the one mermaid outcome of wholeness formation is usually offered, there are at least two composites that would emerge from each union in this imagined evolution or regression. Human upper body + fish lower body, and human lower body + fish upper body. This is an answer to where's the other halves? —the human lower body and the fish upper body? An example of this more complete merger outcome scenario supplies the horror factor of The Fly (1958). The human/fly hybrid is created when a teleportation experiment meant to be an exclusively human teleportation experiment becomes a human/insect teleportation experiment when a fly is discovered inside the teleportation chamber with the scientist when the experiment is already underway and no one is there to stop the experiment. Though the human/fly hybrid is an unintended outcome, that the hybrid is an outcome indicates a form of successful, if horrifying, biological union. The film features both composite forms: human body with fly head/hand and fly body with human head/hand. Once the hybrids emerged, the assumption was that capturing the fly body/human head composite and repeating the experiment with both hybrid outcomes in the chamber, would restore the human and the fly to pre-composite forms though other possibilities would have been as likely had the fly body/human head variation not been snared in a web of spider for whom the genetic modifications of the humanized insect changed nothing.

A cautionary tale, to be sure. A scientist accused of playing God to be sure.

Though I hesitate the use the term, this serves, in part, as a, well, deconstruction of the mermaid metaphor. It is a closer look inside what is and isn't occurring in the architecture of the metaphor that a mermaid is, and simultaneously is an invitation to explore what can happen/is happening inside other metaphors, using the outcomes of those explorations to establish other opportunities and forms of expression: the making of other poams (products of acts of making).

In popular depictions of mermaids, biological segments contributed by the human and by the (unspecified species of) fish seem interchangeable, largely because each segment apparently remains intact with crossover of fish into human, human into fish. The fish and human portions of a mermaid hybrid system could be separated easily. It is obvious where to cut. The human and fish segments seem closed systems stitched together (or in some other way held in place) superficially. The forming of human/fish composites seems exceedingly neat with a well-defined boundary separating fish function and appearance from human function and appearance. No transgression of species apparently occurs; nothing, well, fishy in the merger. Mermaids, rather, seem models of respect for species purity despite their being linked. No tinkering with the actual DNA as human DNA and fish genetic code don't mix, but instead exist side-by side. Good neighbors who share much, but not everything. Good spouses who share much but not everything.

If a deeper connection is considered, the external division and separation of fish and human raises questions about function, form, and layout of internal organs. Just how is the mermaid metaphor creature mapped internally? Surely anatomical mingling occurs, or it is difficult to imagine viability of this trans-species as a species distinct from human and fish with its own biological frameworks and systems; the fish, in the more frequent ichthyological bottom half mermaid configuration, would have no heart, no brain, no circulation of human blood in fish areas. If the halves are stitched together superficially and not integrated into a single being, each half would then need separate and contained systems of respiration, systems of ingestion, systems of excretion, etc. A romanticized depiction (and why not such a depiction!) of mermaids does not support contamination of the beautiful, usually, woman, with fishiness. Indeed, the mermaid might even be a purer form of woman for rejecting genitalia in favor of fishtail; with breasts, she may suckle a child and could even seem, depending on who's constructing the idea system, nearly as wholesome and good as Mary, Mother of Christ. In this wonderful anatomical chart (to the right) of a mermaid from gearfuse.com, the internal revelation is still decidedly human in keeping with the biological structure of most mermaids; no doubt a common or typical mermaid is dissected in the well-imagined image of mermaid reality wherever it exists, in imagination, gaming, and/or virtual worlds, for instance. Mermaid Diaries is a blog all about a little mermaid named Natalia Zelmanov and her adventures in second life. Below is a video of a Spore mermaid followed by a video of a Second Life mermaid show:






The common mermaid is uncomplicated, unproblematic in biological terms. She (usually) looks good,
and, in keeping with her fish contribution, is an excellent catch.

Consideration of shared biological functioning is not meant to discredit the mythic or aesthetic function of mermaid systems, and certainly does not undermine an ability of imagination to overcome problems of mermaid existence within shared physical realities. That closed biological and chemical systems can align themselves without sharing structures or circulation, may give a nod to some of the power of imagination as part of the glue maintaining the human/fish alignment. Not that everyone can (or should) use imagination in tis manner; what I refer to as imagination may be referred to differently in other cultural and/or belief systems that configure reality differently, including religions in which what some might consider supernatural is real; prayer connects a human mortal reality with a divine system of existence; prayer and belief function as bridges between these configurations.

It is quite odd, I think, that more mingling apparently does not occur at the juncture of fish and human in a mermaid system of co-dependency to be one being, one creature; why not more raggedness as these halves struggle to come together? In the production of mermaids, if something is occurring biologically, why not more evidence of mutation in the manipulation of humans and fish to produce mermaids? Where are the failures? Where are the monsters of human/fish alliances? Where are the other creature from black lagoons (gill-men) and other evolutionary missing links along the evolutionary road to mermaid? What is it about certain environments that seem to encourage emergence of human/fish hybrids? So much perfection! —similar, it seems (sorry for a lack of statistics) to a rate of perfection in production of angels or other beings embodying some human elements and some divine elements. Something in imagination apparently overcomes potential conflict in human and fish unions —did not George W. Bush say that he hoped the human and the fish could coexist peacefully? In configuring scenarios of this coexistence, some of that peaceful cohabitation would exist within a single body, half human, half fish; the bi-species creature practicing a form of political correctness in blending —indeed, Bush's statement could be construed as a call for transspecies experimentation, phase one focusing on human and fish peacful coexistence scenarios.

Had W seen Shiloh Pepin on a Discovery Channel documentary (Mermaid Girl) when he said that?
Did he realize that there was such a condition as sirenomelia, that humans were sometimes born with their legs fused in a disease commonly called mermaid syndrome, a challenging coexistence that might look peaceful? What hope for the future of humans did he foresee in improving human/fish coexistence? What's in that enhanced coexistence for Americans? for democracy? for capitalism?

In written metaphor also things come together with suspicious ease, perhaps in part because of familiarity with a long history of mythical part human creatures from ancient, classical, and sacred texts ; indeed, even Jesus Christ is a half-human outcome of a human/divine union. Evolutions occur inside metaphor; there is a journey from something to something, and details of the journey are seldom mapped. Mapping of what occurs inside metaphor could be quite revelatory and could lead to other revelatory forms of making, thinking, and/or understanding. To the left, Gort becomes The Stig, and to the right, Sambo becomes Obama in two metaphork evolutions by forkergirl. Much, much (compelling and exciting, among other forms of work) remains to be done.

This is actually a response to David's DJ Shadow post down there but the comment wouldnt allow my video

To contact us Click HERE
I was under the impression that John Oswald's Plexure, released in 1993, was the first entire album to depend solely on other musicians' work. Plexure is about 20 minutes of mixed and mashed snippets of pop songs released between, I think, 1980-1990, or at least somewhere in that span of years. It’s pretty disorienting, but also extremely interesting, if you can stand what essentially sounds like somebody fiddling with a radio tuning knob, constantly cycling through radio stations for 20 minutes.

However, I think Oswald has been quick to distance himself from "sampling" in the traditional sense, like what is done in hip-hop. Oswald labels what he does as Plunderphonics (essay: Plunderphonics or Audio Piracy as a Compositional Prerogative) and seems to draw the distinction between Plunderphonics and sampling in that hip-hop and other sample-heavy genres, e.g. glitch, normally attempt to fit their samples into an existing peice, or a peice which will exist; either way, the sample is merely a layer among layers. To "plunder" is instead to make music exclusively out of samples, to use the sampling machine as a musical instrument in itself. To create plunderphonic music is then to use such an instrument to recreate "noise" (what we hear around us, natural or unnatural) the same way that composers (Oswald dwells on Ives in particular) create melody out of existing tone scales and public domain pieces (since many of those older composers were creating in a copyright-free era).

It seems that Oswald is aligning himself with Futurist composer Luigi Russolo, who created “music” out of assembled devices which would recreate noises such as whistling, thundering, creaking, etc, and John Cage, whose compositions using radios in the 40s and 50s (I think that’s right) preface Oswald’s own radio-derived pieces. Essentially, Oswald provides an avenue out of the copyright dilemma by asserting that A. “plundering” has been a musical tradition stretching from Bach to jazz to contemporary pop music, and B. the sampler is a unique instrument, just as are pianos, trumpets, guitars, capable of producing music that, though it may be derived entirely from other pieces, is wholly unique on its own and is thus a creation equal to any other musical or artistic creation.

I have Plexure if anybody is interested in hearing any of it, but I won’t post anything from it since I don’t want anybody unwillingly bombarded by such abrasive dissonance. I will, however, post a Girl Talk song; Girl Talk is the pseudonym for DJ Gregg Gillis, who is a contemporary mash-up artist. Mash-up, as a genre, I believe probably comes closest genre-wise to reproducing Oswald’s aims in Plunderphonics, except that mash-up, generally speaking, is party music.



The song is track number 10, I think, from Gillis' 3rd album, Night Ripper (Warning: Explicit language). The video was created by Concordia University professor Matthew Soar, for the Open Cinema Source Project.

Part of the fun of mash-up music, and Girl Talk's in particular, is also being to recognize all the samples (there's something like 200 or so,maybe more, samples spread out over 16 songs) which relates to a buzzword thats been circulating recently about the "pleasure of the known," in which culture has become so reflexive and referential that part of the cultural experience, and part of participating in society, is being able to place references (think of such fare as Mystery Science Theater 3000, Family Guy, the Simpsons, not to mention tons of poetry, etc). To be a participant and to derive pleasure from participation seems increasingly tethered to knowing sources, and being appreciate the layering of sources (a source referencing a source refering a source). Of course, this is incredibly off topic and deserves a different post entirely.

As for what David said about subdivision, I like the application to text poetry and I agree that prosody seems to be the replacement for the music that would accompany a video poem (I guess that should be reversed: music is the replacement for prosody). Or even for a video poem without music, video itself has a rhythm to it, as Russian director Andrei Tarkovsky noted in his book Sculpture in Time: "The dominant, all powerful factor of the film image is rhythm, expressing the course of time within the frame....[The expression of time]...is the very foundation of cinema...Rhythm...is not the metrical sequence of peices; what makes it is the time-thrust within the frames. Rhythm...is the main formative element of cinema....Rhythm in cinema is conveyed by the life of the object visibly recorded in the frame." (Sculpting in Time, pgs 113-120).

Anyway, I agree that sampling, or plundering involves the subdividing of ideas in a LFT kind of way; the only quibble I have, David, is your statement that "[DJ Shadow] unit[es] others' fragments". Isnt it the other way around, though? Don't his sources, and the sources for most other musical sampling/plundering begin as united, and then the artist/sampler/Dj/plunderer fragments those compositions? At least, that really only applies to music-- not that a DJ couldnt unite out of fragments, I just dont know of any case where a DJ has done so. I think the point you made is still relevant for poets though, and maybe this is where the alikeness between a DJ and a poet ends: a poet can unite fragments or fragment unities and create poetry out of either. We're lucky to have it both ways.

As for what I was supposed to post, about the supposedly French Oulipian idea about how any word has the potential and the weight of all other words (which I think I now actually picked up from Derrida, not Oulipo) I'll get to that this weekend, since what began as a simple "Hey, here's the link" has turned into something else.

DJ Adio at Beachwood Place with Phillip Bimstein's Door music reveal some of the Vibrational Ways of Doors in Augmenting [Limited Forked Theory] Configurable Spaces, including idea spaces, and a fondling of ripples of creation —riding some of those wavy portals

To contact us Click HERE


While at Beachwood Place Mall, looking, as usual, for evidence of interaction (such as shadows and reflections), I came upon DJ Adio in a shop window, positioned where both he and his reflection could be seen on two glass planes on which reflections from passersby also temporarily converged, diverged, then converged again on the second plane. A sampling, if you will, of space, of occupancy; a sharing of moment as he spun red discs of music I could not hear.

The sharing of space as reflections converged seemed to be a visual aspect of what the DJ was mixing; persons he did not know, could not see were becoming part of him, walking through his image, enlarging what his image could contain, just as he was enlarging sonic space and sonic meanings.

DJ Adio was functioning as a door, as a bifurcation point, as an entrance and exit point, an access point —and his gestures seemed to be shuffling what was converging, configuring the sonic and visual geometries of the connections. A fantastic door system that I wanted to highlight and explore further with Philip Bimstein's Door music and added vocal tracks expressing and exploring some gist of my observations that were part of the convergence, part of the collaboration.

DJ Adio Door Ways Ghost Relay: an adventure in vibration studies was a poam outcome of an unplanned investigation of a convergence of DJ, reflection, observation, meaning as transit system, the mixing of elements by a DJ in the configuration of a moment.

In this investigation, the movements and gestures took on more context as ripples of experience, shockwaves fanning out from a central event: the DJ's role as an assembler of realities within realities; DJ Adio was acting as a hub into which realities fed, a hub of convergence where he reassembled what converged and transmitted alternate versions, more of the other possibilities for the information that converged in his hub. DJ Adio as relay station, as transformer.

"You are mathematical. You don't have to do math; you are math." -Thylias Moss

To contact us Click HERE
Here's a little math I can get with:

“A Thaum is the basic unit of magical strength. It has been universally established as the amount of magic needed to create one small white pigeon or three normal-sized billiard balls.” --Terry Pratchett

Also, I may consider a side-gig in thaumaturgy.

Yes. I think I may.

“I believe anything is possible.
Research into quantum physics
proves that a system changes
simply by someone observing it.
Therefore, all you have to do is be
awake and aware of your environment,
and that enables you to
transform everything around you.
It sounds like hocus pocus, but
scientists are coming to realize that
just thinking about something can
make it happen. Turns out maybe
faith can move mountains.”
--Christine Anderson

MERMAID AS METAPHOR (a beginning consideration from forkergirl's temporary fish eye lens advantage)

To contact us Click HERE
fish eye lens advantage image from forkergirl's photostream

In this consideration of Mermaid as Metaphor, a point of entry and a point of departure (bifurcation hub) are formed by two elements brought together (in a range of manipulations) forming a third element that is a composite of the two (1 element plus 1 element = a 3rd element [1+1=3], as Rima pointed out in a limited forked multimedia story class). At this hub is a common depiction of mermaids in which two unrelated biological segments of two organisms are brought together in (primarily visual) unification usually depicted as horizontally split halves forming wholeness: a mermaid.

This (visual) wholeness is a form of marriage, an easily imagined evolutionary progression or regression of marriage. Though the one mermaid outcome of wholeness formation is usually offered, there are at least two composites that would emerge from each union in this imagined evolution or regression. Human upper body + fish lower body, and human lower body + fish upper body. This is an answer to where's the other halves? —the human lower body and the fish upper body? An example of this more complete merger outcome scenario supplies the horror factor of The Fly (1958). The human/fly hybrid is created when a teleportation experiment meant to be an exclusively human teleportation experiment becomes a human/insect teleportation experiment when a fly is discovered inside the teleportation chamber with the scientist when the experiment is already underway and no one is there to stop the experiment. Though the human/fly hybrid is an unintended outcome, that the hybrid is an outcome indicates a form of successful, if horrifying, biological union. The film features both composite forms: human body with fly head/hand and fly body with human head/hand. Once the hybrids emerged, the assumption was that capturing the fly body/human head composite and repeating the experiment with both hybrid outcomes in the chamber, would restore the human and the fly to pre-composite forms though other possibilities would have been as likely had the fly body/human head variation not been snared in a web of spider for whom the genetic modifications of the humanized insect changed nothing.

A cautionary tale, to be sure. A scientist accused of playing God to be sure.

Though I hesitate the use the term, this serves, in part, as a, well, deconstruction of the mermaid metaphor. It is a closer look inside what is and isn't occurring in the architecture of the metaphor that a mermaid is, and simultaneously is an invitation to explore what can happen/is happening inside other metaphors, using the outcomes of those explorations to establish other opportunities and forms of expression: the making of other poams (products of acts of making).

In popular depictions of mermaids, biological segments contributed by the human and by the (unspecified species of) fish seem interchangeable, largely because each segment apparently remains intact with crossover of fish into human, human into fish. The fish and human portions of a mermaid hybrid system could be separated easily. It is obvious where to cut. The human and fish segments seem closed systems stitched together (or in some other way held in place) superficially. The forming of human/fish composites seems exceedingly neat with a well-defined boundary separating fish function and appearance from human function and appearance. No transgression of species apparently occurs; nothing, well, fishy in the merger. Mermaids, rather, seem models of respect for species purity despite their being linked. No tinkering with the actual DNA as human DNA and fish genetic code don't mix, but instead exist side-by side. Good neighbors who share much, but not everything. Good spouses who share much but not everything.

If a deeper connection is considered, the external division and separation of fish and human raises questions about function, form, and layout of internal organs. Just how is the mermaid metaphor creature mapped internally? Surely anatomical mingling occurs, or it is difficult to imagine viability of this trans-species as a species distinct from human and fish with its own biological frameworks and systems; the fish, in the more frequent ichthyological bottom half mermaid configuration, would have no heart, no brain, no circulation of human blood in fish areas. If the halves are stitched together superficially and not integrated into a single being, each half would then need separate and contained systems of respiration, systems of ingestion, systems of excretion, etc. A romanticized depiction (and why not such a depiction!) of mermaids does not support contamination of the beautiful, usually, woman, with fishiness. Indeed, the mermaid might even be a purer form of woman for rejecting genitalia in favor of fishtail; with breasts, she may suckle a child and could even seem, depending on who's constructing the idea system, nearly as wholesome and good as Mary, Mother of Christ. In this wonderful anatomical chart (to the right) of a mermaid from gearfuse.com, the internal revelation is still decidedly human in keeping with the biological structure of most mermaids; no doubt a common or typical mermaid is dissected in the well-imagined image of mermaid reality wherever it exists, in imagination, gaming, and/or virtual worlds, for instance. Mermaid Diaries is a blog all about a little mermaid named Natalia Zelmanov and her adventures in second life. Below is a video of a Spore mermaid followed by a video of a Second Life mermaid show:






The common mermaid is uncomplicated, unproblematic in biological terms. She (usually) looks good,
and, in keeping with her fish contribution, is an excellent catch.

Consideration of shared biological functioning is not meant to discredit the mythic or aesthetic function of mermaid systems, and certainly does not undermine an ability of imagination to overcome problems of mermaid existence within shared physical realities. That closed biological and chemical systems can align themselves without sharing structures or circulation, may give a nod to some of the power of imagination as part of the glue maintaining the human/fish alignment. Not that everyone can (or should) use imagination in tis manner; what I refer to as imagination may be referred to differently in other cultural and/or belief systems that configure reality differently, including religions in which what some might consider supernatural is real; prayer connects a human mortal reality with a divine system of existence; prayer and belief function as bridges between these configurations.

It is quite odd, I think, that more mingling apparently does not occur at the juncture of fish and human in a mermaid system of co-dependency to be one being, one creature; why not more raggedness as these halves struggle to come together? In the production of mermaids, if something is occurring biologically, why not more evidence of mutation in the manipulation of humans and fish to produce mermaids? Where are the failures? Where are the monsters of human/fish alliances? Where are the other creature from black lagoons (gill-men) and other evolutionary missing links along the evolutionary road to mermaid? What is it about certain environments that seem to encourage emergence of human/fish hybrids? So much perfection! —similar, it seems (sorry for a lack of statistics) to a rate of perfection in production of angels or other beings embodying some human elements and some divine elements. Something in imagination apparently overcomes potential conflict in human and fish unions —did not George W. Bush say that he hoped the human and the fish could coexist peacefully? In configuring scenarios of this coexistence, some of that peaceful cohabitation would exist within a single body, half human, half fish; the bi-species creature practicing a form of political correctness in blending —indeed, Bush's statement could be construed as a call for transspecies experimentation, phase one focusing on human and fish peacful coexistence scenarios.

Had W seen Shiloh Pepin on a Discovery Channel documentary (Mermaid Girl) when he said that?
Did he realize that there was such a condition as sirenomelia, that humans were sometimes born with their legs fused in a disease commonly called mermaid syndrome, a challenging coexistence that might look peaceful? What hope for the future of humans did he foresee in improving human/fish coexistence? What's in that enhanced coexistence for Americans? for democracy? for capitalism?

In written metaphor also things come together with suspicious ease, perhaps in part because of familiarity with a long history of mythical part human creatures from ancient, classical, and sacred texts ; indeed, even Jesus Christ is a half-human outcome of a human/divine union. Evolutions occur inside metaphor; there is a journey from something to something, and details of the journey are seldom mapped. Mapping of what occurs inside metaphor could be quite revelatory and could lead to other revelatory forms of making, thinking, and/or understanding. To the left, Gort becomes The Stig, and to the right, Sambo becomes Obama in two metaphork evolutions by forkergirl. Much, much (compelling and exciting, among other forms of work) remains to be done.

This is actually a response to David's DJ Shadow post down there but the comment wouldnt allow my video

To contact us Click HERE
I was under the impression that John Oswald's Plexure, released in 1993, was the first entire album to depend solely on other musicians' work. Plexure is about 20 minutes of mixed and mashed snippets of pop songs released between, I think, 1980-1990, or at least somewhere in that span of years. It’s pretty disorienting, but also extremely interesting, if you can stand what essentially sounds like somebody fiddling with a radio tuning knob, constantly cycling through radio stations for 20 minutes.

However, I think Oswald has been quick to distance himself from "sampling" in the traditional sense, like what is done in hip-hop. Oswald labels what he does as Plunderphonics (essay: Plunderphonics or Audio Piracy as a Compositional Prerogative) and seems to draw the distinction between Plunderphonics and sampling in that hip-hop and other sample-heavy genres, e.g. glitch, normally attempt to fit their samples into an existing peice, or a peice which will exist; either way, the sample is merely a layer among layers. To "plunder" is instead to make music exclusively out of samples, to use the sampling machine as a musical instrument in itself. To create plunderphonic music is then to use such an instrument to recreate "noise" (what we hear around us, natural or unnatural) the same way that composers (Oswald dwells on Ives in particular) create melody out of existing tone scales and public domain pieces (since many of those older composers were creating in a copyright-free era).

It seems that Oswald is aligning himself with Futurist composer Luigi Russolo, who created “music” out of assembled devices which would recreate noises such as whistling, thundering, creaking, etc, and John Cage, whose compositions using radios in the 40s and 50s (I think that’s right) preface Oswald’s own radio-derived pieces. Essentially, Oswald provides an avenue out of the copyright dilemma by asserting that A. “plundering” has been a musical tradition stretching from Bach to jazz to contemporary pop music, and B. the sampler is a unique instrument, just as are pianos, trumpets, guitars, capable of producing music that, though it may be derived entirely from other pieces, is wholly unique on its own and is thus a creation equal to any other musical or artistic creation.

I have Plexure if anybody is interested in hearing any of it, but I won’t post anything from it since I don’t want anybody unwillingly bombarded by such abrasive dissonance. I will, however, post a Girl Talk song; Girl Talk is the pseudonym for DJ Gregg Gillis, who is a contemporary mash-up artist. Mash-up, as a genre, I believe probably comes closest genre-wise to reproducing Oswald’s aims in Plunderphonics, except that mash-up, generally speaking, is party music.



The song is track number 10, I think, from Gillis' 3rd album, Night Ripper (Warning: Explicit language). The video was created by Concordia University professor Matthew Soar, for the Open Cinema Source Project.

Part of the fun of mash-up music, and Girl Talk's in particular, is also being to recognize all the samples (there's something like 200 or so,maybe more, samples spread out over 16 songs) which relates to a buzzword thats been circulating recently about the "pleasure of the known," in which culture has become so reflexive and referential that part of the cultural experience, and part of participating in society, is being able to place references (think of such fare as Mystery Science Theater 3000, Family Guy, the Simpsons, not to mention tons of poetry, etc). To be a participant and to derive pleasure from participation seems increasingly tethered to knowing sources, and being appreciate the layering of sources (a source referencing a source refering a source). Of course, this is incredibly off topic and deserves a different post entirely.

As for what David said about subdivision, I like the application to text poetry and I agree that prosody seems to be the replacement for the music that would accompany a video poem (I guess that should be reversed: music is the replacement for prosody). Or even for a video poem without music, video itself has a rhythm to it, as Russian director Andrei Tarkovsky noted in his book Sculpture in Time: "The dominant, all powerful factor of the film image is rhythm, expressing the course of time within the frame....[The expression of time]...is the very foundation of cinema...Rhythm...is not the metrical sequence of peices; what makes it is the time-thrust within the frames. Rhythm...is the main formative element of cinema....Rhythm in cinema is conveyed by the life of the object visibly recorded in the frame." (Sculpting in Time, pgs 113-120).

Anyway, I agree that sampling, or plundering involves the subdividing of ideas in a LFT kind of way; the only quibble I have, David, is your statement that "[DJ Shadow] unit[es] others' fragments". Isnt it the other way around, though? Don't his sources, and the sources for most other musical sampling/plundering begin as united, and then the artist/sampler/Dj/plunderer fragments those compositions? At least, that really only applies to music-- not that a DJ couldnt unite out of fragments, I just dont know of any case where a DJ has done so. I think the point you made is still relevant for poets though, and maybe this is where the alikeness between a DJ and a poet ends: a poet can unite fragments or fragment unities and create poetry out of either. We're lucky to have it both ways.

As for what I was supposed to post, about the supposedly French Oulipian idea about how any word has the potential and the weight of all other words (which I think I now actually picked up from Derrida, not Oulipo) I'll get to that this weekend, since what began as a simple "Hey, here's the link" has turned into something else.

DJ Adio at Beachwood Place with Phillip Bimstein's Door music reveal some of the Vibrational Ways of Doors in Augmenting [Limited Forked Theory] Configurable Spaces, including idea spaces, and a fondling of ripples of creation —riding some of those wavy portals

To contact us Click HERE


While at Beachwood Place Mall, looking, as usual, for evidence of interaction (such as shadows and reflections), I came upon DJ Adio in a shop window, positioned where both he and his reflection could be seen on two glass planes on which reflections from passersby also temporarily converged, diverged, then converged again on the second plane. A sampling, if you will, of space, of occupancy; a sharing of moment as he spun red discs of music I could not hear.

The sharing of space as reflections converged seemed to be a visual aspect of what the DJ was mixing; persons he did not know, could not see were becoming part of him, walking through his image, enlarging what his image could contain, just as he was enlarging sonic space and sonic meanings.

DJ Adio was functioning as a door, as a bifurcation point, as an entrance and exit point, an access point —and his gestures seemed to be shuffling what was converging, configuring the sonic and visual geometries of the connections. A fantastic door system that I wanted to highlight and explore further with Philip Bimstein's Door music and added vocal tracks expressing and exploring some gist of my observations that were part of the convergence, part of the collaboration.

DJ Adio Door Ways Ghost Relay: an adventure in vibration studies was a poam outcome of an unplanned investigation of a convergence of DJ, reflection, observation, meaning as transit system, the mixing of elements by a DJ in the configuration of a moment.

In this investigation, the movements and gestures took on more context as ripples of experience, shockwaves fanning out from a central event: the DJ's role as an assembler of realities within realities; DJ Adio was acting as a hub into which realities fed, a hub of convergence where he reassembled what converged and transmitted alternate versions, more of the other possibilities for the information that converged in his hub. DJ Adio as relay station, as transformer.

"You are mathematical. You don't have to do math; you are math." -Thylias Moss

To contact us Click HERE
Here's a little math I can get with:

“A Thaum is the basic unit of magical strength. It has been universally established as the amount of magic needed to create one small white pigeon or three normal-sized billiard balls.” --Terry Pratchett

Also, I may consider a side-gig in thaumaturgy.

Yes. I think I may.

“I believe anything is possible.
Research into quantum physics
proves that a system changes
simply by someone observing it.
Therefore, all you have to do is be
awake and aware of your environment,
and that enables you to
transform everything around you.
It sounds like hocus pocus, but
scientists are coming to realize that
just thinking about something can
make it happen. Turns out maybe
faith can move mountains.”
--Christine Anderson

Daniel's lunch

To contact us Click HERE
Daniel loves to eat lunch at school
So far, mom packed his lunches, he only bought chocolate or strawberry milks sometimes whenever we want it
He finishes his lunch everyday
Day 1 Chocolate chip waffle
Day 2 Buttered Pasta
Day 3 Ham & mayo sandwich
Day 4 Ham & mayo sandwich again (his request)
Day 5 Hamburger bun with....another ham and mayo...haha
Day 6 Jelly sandwich and Cream cheese sandwich

Until day 5 he always ate it up, he is also finished his snack
Looks like he is always hungry
Note: Now he can eat more than Clarissa, who is 4 1/2 years older

Mom is happy that he can eat all of it .
So far he doesnt want to buy lunch at school, he still enjoy homemade lunch. These days he is memorizing his pupil number ( which is also like a pin number for buying lunch)
Maybe next week or week after that he can buy lunch. NOT everyday hopefully. Mom will go bankrupt if he buys everyday :)
(Note: we dont have to order at the beggining of the month, he can just order if he wants)

Poam from DJs

To contact us Click HERE
POAM = Product of Acts of Making

I would argue that the great DJs are poets of a different page. You would probably argue back at me, right? But I learned everything I believe about form and rhythm (and love and joy) from DJs. So I'm a true believer. As an apostle of House, I was excited to find this interview with Marshall Jefferson, the DJ who developed Chicago's House music genre in the 1980s.

In this discussion, with the Guardian's Paul Morley and Orlando of Totally Enormous Extinct Dinosaurs, Jefferson addresses the question of whether the artist who spins in clubs is the oldey timey idea of disc jockey. Musician? Performer? Composer? Artist? The label may not matter to the men and women who are out there innovating. But I think that asking this question opens a window into our perception of the cultural value of artists who create their work outside the academy and without the credentials that come from some kind of accredited institution.

About the interview:

"Marshall Jefferson, who, what with one thing and another, made some records in Chicago in the 80s that, pretty much, helped work out a new form of electronically conceived post-techno anti-disco dance music that ended up being given the name house. He got fed up within a matter of months with the way that electrifying house was being turned into an easily cribbed formula, and helped turn out a zonked, fractured, pretty twisted version of house that got tagged as acid house, which soon flew into cities such as Manchester, where it was accepted and adapted with instant, addicted relish."

Marshall Jefferson, The House Music Anthem


Rachid Baba Ahmed, an Algerian club music innovator, took his art seriously enough to sacrifice himself for its creation. Rachid was killed by religious zealots for making music that they believed was offensive to God (Popular artists allegedly being murdered in Algeria, Sinclair, Abiola. New York Amsterdam News. New York, N.Y.: Oct 26, 1996. Vol. 87, Iss. 43; pg. 5). He was warned. He left Algeria and he kept creating music until he was caught and killed.

Rachid,
thorny beats
draw blood.
Raï, rave and leave.