Wolfgang Tillmans is worried about the impending vote for the UK to remain in the EU. So he and his studio assistants created a set of posters to encourage people to stay in, and especially to vote, and to register to vote. UK voting registration must be completed by June 7.
After they were released yesterday, I tried to find a printer in the US who could easily handle an A1 (33×24 in, roughly) size. So far, nothing. I need to print them out before the vote, though; if it goes awry, I don’t think I’ll have the heart to make a memorial set.
I also tried to find anyplace that can confirm that Wolfgang’s parents are Polish and Spanish. He grew up in Germany, and I always understood he was German-in-London.
There are a couple of atmospheric landscapes, and some of the posters are now-classic Tillmans abstraction, but most of them are straight-up text, a new direction for Tillmans’ practice. Text are images, though, so it’s really not that far afield. The most intriguing poster for me is #24. It’s completely blank.
It’s probably the one that most closely mirrors my feelings about the EU’s right-wing turn lately; I just haven’t known what to say. And it boggles my mind that the Britain and Europe of my generation are creating such an existential crisis for themselves.
Read Wolfgang Tillmans’ letter and download and circulate the posters [tillmans.co.uk]
UPDATE: So I emailed Wolfgang’s studio to find out the story behind the blank poster, and the next day they replaced the pdf file. The new poster bundle includes two new posters, and the monochrome is gone. So now we know. And that original 4.21 pdf is vintage/collectible.
To circumvent the tax on paper designed to drive revolutionary activists like himself out of the British print media, Henry Berthold published his calls for reform and worker solidarity on cotton. Berthold’s Political Handkerchief was itself a political statement, apart from its content. It seems to have run for around ten issues beginning in September 1831.
I guess if there were a modern equivalent, it would be short stories on Chipotle bags. Or T-shirts, probably.
Anyway, there’s a bit about the Political Handkerchief from 2013 on a Princeton blog.
Notabilia | Berthold’s Political Handkerchief • 1831 [blogs.princeton.edu via @john_overholt]
Previously, related, and the reason I am posting this, because of trends: Queen Victoria Silk Newspaper
Ringo Starr and Barbara Bach are decluttering and downsizing, from Monaco/Surrey/Snowmass/Beverly Hills to LA and a London apartment. Nearly 1400 lots of furniture, art, clothing, memorabilia, and borderline boot sale junk will be auctioned this week in LA. Here are some of the things:
First up, Lot 79, Originally John Lennon and Yoko Ono’s Refectory Table [est. $5-7,000, sold for $19,200]
“‘This refectory table was left at Tittenhurst by John and Yoko when I took over the house. Enjoy!’ – Ringo.” That would be in 1971. Tittenhurst Park was outside London. Starr sold it to the Emir of Abu Dhabi in 1988, but took the table with him. Hey, here it is in the living room of Rydinghurst, Starr & Bach’s Jacobean estate in Surrey, which they put up for sale last year. Look at how they lay down a Google-like blur on the artwork in estate agent photos.
And speaking of tables, what is up with that coffee table? It’s big and moon-shaped and filled with gazing balls. Or giant Christmas ornaments? I cannot tell, and the designer Ringo Starr doesn’t weigh in this time.
Lot 351, Moon Coffee Table Designed by Ringo Starr [est. $1,000-2,000 sold for just $1,920]
And speaking of gazing balls, holy smokes. Lot 608, Two Monumental Gazing Spheres [est. $3,000-5,000] They’re from Rydinghurst, and each one is 36 inches across. Let’s see Jeff Koons try to handle those. [WHAT, sold for just $1,920? Why didn’t you ever get back to me with the condition report??]
And finally, speaking of satelloon-looking things, Lot 411, Galaxy Theme Platform Bed [est. $800-1,200] “‘When we bought the house in 1992 in LA, we had this bed made so we could sleep under the stars and moons, and surrounded by the stars and moons.’ – Ringo.” Will the presumably LA-based Master Of The Ringo Starr’s Bed Starscape with the initials SWG please come forward and take a bow? [Yes, well, sleeping in Ringo and Barbara’s bed? Priceless, but apparently they’ll take $875.]
Lot 1005, **RINGO STARR’S UK 1st MONO PRESSING WHITE ALBUM NO.0000001 [est. $40-60,000]
Oh wait, no, one more: It turns out Ringo got the first numbered copy of the White Album, and he put it in a vault. Now it is selling for at least $55,000. What a world. #monochrome [WHAT A WORLD INDEED: $790,000.]
Property from the Collection of Ringo Starr & Barbara Bach, 12/03/2015 [julienslive via jjdaddy-o]
I have not touched on my Hamilton amazement here yet. I figured I’d save it for the review, which would follow soon after getting tickets. [insert gif of endless horizon retreating from me.]
But I have to write about one place in the score that tears me up, when Chris Jackson sings George Washington’s final address over Lin-Manuel Miranda’s Hamilton, who reads it aloud:
…Like the scripture says:
“Everyone shall sit under their own vine and fig tree
And no one shall make them afraid.”
They’ll be safe in the nation we’ve made
I want to sit under my own vine and fig tree
A moment alone in the shade
At home in this nation we’ve made
One last time
I anticipate with pleasing expectation
that retreat in which I promise myself
to realize the sweet enjoyment of partaking,
in the midst of my fellow-citizens,
the benign influence of good laws
Under a free government,
the ever-favorite object of my heart,
and the happy reward, as I trust,
Of our mutual cares, labors, and dangers.
Emphasis added for the lines that just do me in every time, even as I type about them now, as I think about the millions of people who don’t feel safe in this nation we’ve made, or who find suffering, injustice, or even death, under the far-from-benign influence of our laws and government.
image: from the final page of the final manuscript of George Washington’s Farewell Address, via gwpapers.virginia.edu
This was literally the kicker of Washington’s parting address, his wrap-up, his mic drop. And to look around at this mess we’ve made, the Founding Fathers’d be like smdh.
One Last Time, from Hamilton [youtube, lyrics via genius]
Buy Hamilton (Original Broadway Cast Recording)(Explicit)(2CD or MP3) [amazon]
[note: fwiw, when I bought the album, I ended up swapping out the explicit tracks with the broadcast-safe versions I ripped from NPR. You know, for kids.]
The first successful photographic image of the sun’s corona was taken 164 years ago today. A daguerrotypist named J. Berkowski was brought to the Royal Observatory in Königsberg, Germany (now Kaliningrad, Russia) by the director, Augustus Busch, to record a solar eclipse on 28 July 1851. According to this 2005 paper in Acta Historica Astronomiae, Berkowski soon made some daguerrotype reproductions. Busch commissioned Robert Trossin of the Royal Academy of Painting to make a steel engraving of the daguerrotype. In 1891, CFW Peters had Berkowski’s original daguerrotype photographed for publication. It has since been lost.
Four of Berkowski’s copies were known, including one in the Jena Friedrich Schiller University in Jena, Germany [above]. The order of copying events in the Jena description does not quite line up with the 2005 paper, even though the author, Dr. Reinhard Schielecke, is the same.
The moon in the 2nd-generation daguerrotype is tiny: 8.7mm across. The original was under 8mm. The Jena print is thus only around 5x6cm, as wide as the screen on an iPhone 4s, but shorter. It was recently conserved, and the Google translation makes me wonder if images of the daguerrotype have been Photoshopped a bit.
I don’t expect to beat diehard collectors of Prussian daguerrotypes to the rediscovery of another of Berkowski’s prints. It would probably be easier to start from scratch and make a new daguerrotype of a solar eclipse somewhere.
ABSTRACT: “On the Berkowski daguerreotype (Königsberg, 1851 July 28): the first correctly-exposed photograph of the solar corona” [adsabs.harvard.edu via @coryspowell]
Daguerreotypie der Sonnenfinsternis vom 28. Juli 1851 [museum-digital.de]
Konservierung der Berkowski-Daguerreotypie abgeschlossen [daguerrotype-gallery.de]
Based on this photo at the opening of the world’s largest family detention center in Dilley, Texas last January, I’d say San Antonio Express News photographer Bob Owen is very familiar with Dorothea Lange’s photos from the Japanese American detention camp at Manzanar, CA. It’s almost like the only thing that’s changed in this country since WWII is now the government outsources its illegal, immoral detention of non-white children to a giant, for-profit prison company.
And what do kids do in Dilley, besides get dangerously incorrect vaccinations and medical treatment?:
While children wait for their mothers to talk to lawyers and legal aids, they are usually watching kids’ movies dubbed in Spanish, namely Rio or Frozen. The children of Dilley, like children everywhere, have taken to singing Frozen’s iconic song “Let It Go.”
The Spanish-language refrain to the song “Libre soy! Libre soy!” translates to “I am free! I am free!” It’s an irony that makes the adults of Dilley uneasy. Mehta recalls one mother responding to her singing child under her breath: “Pero no lo somos” (But we aren’t).
Do you know the chorus of “Let it Go” in Spanish? I did not, but it is one helluva song for kids to be singing in a corporate prison in 2015:
Libre soy, libre soy
No puedo ocultarlo más
Libre soy, libre soy
Libertad sin vuelta atrás
Y firme así me quedo aquí
Libre soy, libre soy
El frío es parte también de mí
I am free, I am free
I can’t hide it anymore
I am free, I am free
Freedom without turning back
And I’m staying here, firm like this
I am free, I am free
The cold is also a part of me
‘Drink more water’: Horror stories from the medical ward of a Texas immigration detention center [fusion.net]
which is basically a re-reporting of this: Immigrant families in detention: A look inside one holding center [latimes]
Ansel Adams, Born Free And Equal, 1944 [loc.gov]
Related: Translating “Frozen” into Arabic [newyorker]
“Let it Go” in 25 languages [youtube]
I basically never do this, but now I had to.
I dreamt it was a new Cady Noland piece. It involved a boat ride and possibly a flume or course of some kind. There was some line of people trying to figure out how to get into these pedalboats with six seats, seatbacks cut and folded into place, like kirigami, from a single sheet.
Someone who knew the deal motioned to me to come over onto a two-person kayak/kneeboard which was easier to maneuver because you paddled. she looked like a younger Mary Boone, though it was definitely not her, in a straight sleeveless dress and flats she didn’t want to get wet, so I went to get a couple more towels. She already had one under her knees and folded up onto her lap.
The towels were yellow and black Versace Home, but not so gigantic. I walked back up from the shore to where the towel attendants were, wondering if they’d even have more towels [because Versace], and they had stacks and stacks of them, it was an insane volume of towels.
A blackboard sign was perched on top of the leftmost towel tower, too creatively handwritten like a coffeeshop greeting:
BE DIVAS AND RIP OFF OUR TOWELS AND WE WILL COME AT YOU FOR $500 EACH
Maybe it was the vivid memory of this sign that prompted me to write this down.
I got a couple more towels and took them back down to the beach/shore, and not-Mary was already gone. The befuddled line of people trying to get on the pedalboats was not making much progress.
The setting was very clear, light, sand-colored shore, and darkened water and sky, but it didn’t feel like night. I tried to recall a painting that might correspond to the setting, and the closest I can get right now is Whistler’s Nocturne in Black and Gold: The Falling Rocket from the Detroit Institute of Art [above]. Maybe the title somehow informed the towels, is that how it works? I don’t know. I might need to feed this into Google DeepDreams when I get home.
It shouldn’t need to be pointed out, but I will anyway, that Ms. Noland was not involved in the conceiving of this piece and did not approve it.
What’s that? #20 – Soyuz TMA-5 Flown Flag? Oh nothing, just a flag, like you’d see anywhere.
Next month RR Auction is selling a Confederate Flag that flew on the International Space Station. It is signed by Salizhan Sharipov, the Russian cosmonaut who brought at least five of the flags to the ISS in 2004-5, and by NASA’s own Leroy Chiao, who was the commander of the pair’s 6-month expedition.
The flags caused an uproar when they first started appearing on the flown souvenir market in 2006, and both Chiao and Sharipov acted like they had no idea how those flags might’ve–Confederate flags, you say? Well how’d that–who coulda–
Which seems like total crisis PR-driven bullshit, and a lot of needless racist hassle for a couple hundred bucks. But anyway, here one of the apparent five flown is.
#20 – Soyuz TMA-5 Flown Flag, est. $200, sold for $437.33 [rrauction]
How Did A Confederate Flag Get Aboard the International Space Station? [spaceref]
image: via usnews
I may have tweeted smack about it when I thought it was just old newspapers and coins, but that’s only because initial headlines of Samuel Adams’ and Paul Revere’s time capsule in the cornerstone of the Massachusetts State House criminally underplayed the presence of this amazing, engraved silver plaque.
THIS is EXACTLY the kind of thing people should put in time capsules: slightly-precious-but-not-too items handmade to commemorate the occasion. These artifacts capture the moment, but more importantly, they retain an historical significance, and who knows, in time they may accrue an aesthetic aura as well.
image via reuters
The Boston time capsule plaque also benefits from the connection to the still-relevant Revere brand; whether he actually made it or not, it feels plausible, authentic. There is also the handmade aspect: I have an engraved ring, and a stationery die, but a whole engraved plaque? That’s something.
[It’s not the intern who wrote this USNews piece’s fault for describing every item in the time capsule in terms of its market value, and the impact a Revere attribution & provenance might have on it. Every report has that. It’s just another sign of who we’ve become as a culture. Like Antique Roadshow.]
A more interesting cultural change is the invisibility/illegibility of whatever the plaque actually says, and what it might mean. The Masonic context goes unremarked or glossed over in the mainstream coverage of the plaque. He that still hath ears, two hundred years on, let him hear, I guess.
Invisibility was one of the qualities of engraved text that appealed to Walter De Maria early in his career; he made a series of polished steel or aluminum works with engravings on them: Garbo Column (1968) had a list of the reclusive actress’s 27 films; Melville (1968, above, which I have swooned over before) features the opening of the author’s first hit novel, The Confidence Man.
The Barnett Newman-scale monochrome painting De Maria asked Michael Heizer to make for him for Dwan Gallery’s 1968 Earthworks show has its title engraved on a polished steel plaque in the center: The Color Men Choose When They Attack the Earth. Can you read it in this picture?
Walter De Maria, Silver Portrait of Dorian Gray, 1965, at the Prada Fndn’s exhibit in Venice in 2011, image: @fabyab
De Maria created at least one work in silver. It was for his patron at the time, Robert Scull, who fronted the dough for the fabrication of a series of polished metal sculptures. Silver Portrait of Dorian Gray (1965) is just that: a mirrored silver plaque behind a velvet curtain that darkens and oxidizes over time. The artist’s instructions on the back offer the owner the chance to wipe away the stains of aging, though: “When the owner judges that enough time has passed, this plaque may be removed to free and clean the silver plate.” The promise of immortality, the opposite of a time capsule, at least for the mirror. Your call, Miuccia!
UPDATE A brief dive into the history of time capsules tells us we need to pay more attention to the Masons, and to the Egyptians. The birth of the modern/20th century time capsule is linked to the discoveries of relic-filled Egyptian tombs and pyramids. And in a list of the International Time Capsule Society’s 1991 list of the Top Ten Most Wanted Time Capsules is this:
5. George Washington’s Cornerstone
Today’s custom of burying time capsules is in part an outgrowth of Masonic cornerstone-laying ceremonies. Through the centuries, Masons have officiated at rituals which often include placing memorabilia inside building cornerstones for later recovery.In 1793, George Washington, a Mason, performed the Masonic ritual upon the laying of the original cornerstone of the U.S. Capitol. Over the years, the Capitol has undergone extensive expansion, remodeling and reconstruction, but the original George Washington cornerstone has never been found. It is unknown whether there is anything inside of it.
Here is a Mason’s explanation of the cornerstone laying ceremony, one of the only public Masonic rituals. [“When the brethren are sharply dressed, and well-rehearsed, it’s an awesome thing to behold.” mhmm.] And Wikipedia’s article on cornerstones has a brief account of a 19th century cornerstone laying ceremony in Cork, which involved “a trowel specially made for the occasion by John Hawkesworth, a silversmith and a jeweller.” So maybe these engraved plaques are also a thing?
Coins, Newspapers Found in Time Capsule Buried by Paul Revere [usnews]
Previously, very much related: While We’re On The Subject Of Polished Metal Objects: Walter De Maria
Last summer I wrote about discovering Artisoo, a company selling oil paintings of thousands of artists’ images on Amazon. “Chinese Paint Mill has appropriated Google Images and put it up for sale on Amazon,” I wrote.
Which reminded me of LifeSphere, the Spamerican Apparel botcompany Babak Radboy wrote about that systematically turns every public domain image into every possible Zazzle product.
We have all set our sights way too low.
image via @tomasvh
This week Dutch National Geographic photographer Tomas van Houtryve began posting pictures of iPhone cases featuring a photo of his, which had recently been selected as a Time Magazine photo of the year.
screenshot from pbs.org
PBS reported that NYT photographer Tyler Hicks found iPhone cases for sale featuring several of his images, including dire pics of Ebola patients and Palestinian children being shot by snipers in Gaza:
“Who wants to buy a picture with a dead child on it,” said Tomas van Houtryve…”If any human being in the process had seen that, I don’t see how it could possibly get through”.
Which is exactly the wrong question and the right answer for this situation. They and the outrage associated with them only exist once they’ve been searched for, and the product will only exist after it’s been ordered. Because these images, like tens, hundreds of thousands more, have been scraped from the web and turned into products by bots.
By focusing on the laughably limiting category of public domain images, Spamerican Apparel was too timid and deserves to fail. For these Amazon iPhone case sellers copyright’s no object, and Google Images is just the start. Cropping is strictly default settings, actual image be damned. Among the 6,324 phone cases offered for sale by Lynn A Carter are hundreds printed with the center of PR photos of various cars. They have descriptions like, “Daly R Martinez NVDWiaj2848OHOgq Case Cover Iphone 5c Protective Case Alfa Romeo Giulietta 36.” Daly R Martinez is another Amazon seller. The string is a product ID, different from Amazon’s ASIN. Then there is product + the data that was scraped with the image. SEO enough for Amazon.
They really do just grab any damn image at all. Like this, LvukQDp7415hnQVt Snap On Case Cover Skin For Iphone 6 Plus(kerry Washington). It’s a red carpet photo from October 2013. There are nearly 300 other Kerry Washington phone covers like this.
L to R: “Corner Blocked Kitchen With Stainless Countertops Sleek White Cabinets”; “Kitchen Peninsula With Quartz Countertop In Kitchen”; “Eclectic Kitchen With Artistic Pendant Lights” iphone cases
My favorites so far have to be the kitchens. The scrapers have found Pinterest, and have turned it into iPhone covers. Here’s the one on the right, on a Pinterest board called “Junk Ideas.” Scrapers are turning the great image vortex of our digital ocean into an actual island of plastic garbage on demand. Who are these people?
I will wager they are not the people listed on Amazon, but more digital simulacra. Searching for the sellers turns up a Chinese-language website run on a free .tk domain which is used to manage case returns for various Amazon IDs. Poking around the domain also turns up a quick&dirty Amazon upload management dashboard. It looks to me like a Chinese case manufacturer is flooding Amazon with hundreds or thousands of bogus sellers, each with thousands of scraped data-derived products. That award-winning photographers’ images and names got scraped as well should come as no surprise.
What Amazon will do about this vast, digital garbage dump of a retail offering is not clear. Maybe this is just the way it’s going to be from now on, every image always available on every product. Maybe we will adapt to Scraper Capitalism by becoming Sifters, consumers attuned to the surreal moments, the horrific, the sublime, the sea glass and driftwood of the web. We’ll develop tools for surfacing them, and critical faculties for appreciating them. If we do, Amazon will have them, just 1-Click away.
Installation view: Protestors’ Folding Item (LRAD 500X/500X-RE), ink on Cordura, nylon webbing, LRAD, 2014, Collection: NYPD Order Control Unit
— Michael Tracey (@mtracey) December 2, 2014
Installation view: Protestors’ Folding Item (LRAD 500X/500X-RE), 2014, Collection: NYPD Order Control Unit
This is related to this: Traveler’s Folding Item or, in French, Pliant de Voyage, an Underwood typewriter cover as Readymade by Marcel Duchamp.
Traveler’s Folding Item/Pliant de Voyage, 1964 Schwartz replica of the lost 1916 original
From Tout Fait,
On the most basic level, Traveler’s Folding Item stands as a typical Readymade. It demonstrates the clear displacement of an everyday object from its original context and function. A cover with no typewriter for it to protect is utterly useless. It tempts the viewer to look underneath its skirt, and suddenly it takes on some very sexual meanings. Museums often strategically display the typewriter cover in a manner so as to tempt the viewer in this manner as if it were a woman’s skirt. Joselit explains, “This item, which Duchamp identifies with a feminine skirt, should be exhibited on a stand high enough to induce the onlooker to bend and see what is hidden by the cover” (90). In this way, this Readymade acts as an invitation to voyeurism.
You know what else is utterly useless and tempting? An LRAD with a cover on it. Which is why I am stoked to announce my latest work, Protestors’ Folding Item, a series of LRAD covers, installed on LRADs.
What does it mean to declare LRAD covers a Readymade? Such a designation definitely does not hinge on my making them, or my cashing the checks for their sale. Sorry, flippers, they’re only available to institutions. [Carlyle & Co. folks and the Zabludowiczes, call me, we can probably work something out.] If anything, it’s a relief not having to worry about fabrication or sales. I can really just focus on the work. True, it takes some effort to gather documentation on venues and edition size, but it’s not something a diligent registrar can’t handle.
Given the interest my institutional collectors have in control, it also might be difficult to arrange loans to show them in galleries or museums. Which doesn’t mean they won’t be seen publicly. In fact, at the apparently increasing rate LRADs are being deployed, I’d say my CV is about to explode.
What would the legal implications be for my declaration of these Readymades? Could copyright or VARA or droit moral be used to assert control over the public display of these, my works?
In Alberta, Canada, an artist has fended off gas drilling and pipelines on his farm for eight years by copyrighting his land as an artwork [and by charging oil & gas companies $500/hr to discuss it]. Yves Klein once signed the sky.
According to my fabricator’s website, “The LRAD 500X / 500X-RE systems [underneath Protestors’ Folding Item] produces a sound pattern that provides clear communication over long distances. The deterrent tone can reach a maximum of 149 dB (at one meter) to influence behavior or determine intent.” My work, too, is designed to provide clear communication, influence behavior, and determine intent. That’s why they go so well together, like a glove on a hand. Really, they’re inseparable. You can’t have one without the other.
L: You Hear Me, 2007, R: Eye See You, 2006
“The art world underestimates its own relevance when it insists on always staying inside the art world. Maybe one can take some of the tools, methodologies, and see if one can apply them to something outside the art world,” said Olafur Eliasson. In T Magazine. “If we don’t believe that creativity as a language can be as powerful as the language of the politicians, we would be very sad — and I would have failed. I am convinced that creativity is a fierce weapon.”
I hope LRAD cover readymades, are too, and that collectors of my work will preserve its integrity by exhibiting it only as originally intended, with the covers on the LRADs.
17 U.S. Code § 106A – Rights of certain authors to attribution and integrity [law.cornell.edu]
Police in Hong Kong have deployed a new mobile pepper spray platform against protestors near Mong Kok.
I start with this image via @krislc, Kris Cheng, because it gives nice context, also the guy is watermarking it with his face? I’m filing that trick away for future use.
At first it looked like it’s made out of PVC pipe, but it’s surely painted steel. Actually, it looks like a smaller variation of the stairs in Home Depot.
Most of the info comes from @galileo44, Galileo Cheng. Like this picture of the police conferring on Portland St. With their pepper spray cannons on their backs. Unless those are #umbrellas.
Here is krislcc’s Vine of the new platforms in use on her. Galileo calls them castles. They’re hand pumped. Like Super Soakers or something. Incredible.
Here’s another. What is most striking to me about this one is how the two police officers move together: one with the pepper spray, the other with a video camera. Kris Cheng says the the pepper spray isn’t that strong; the effects didn’t last more than 45 minutes. But the police will play a long game with those images.
Speaking of long game, holy smokes. I thought I’d scout out the Mong Kok streetscape on Google Maps, and this is what came up:
It was startling to be met by an unblurred face. And the vantage point was so high. But turn around. This is a pano. Or a “Photo Sphere.” From September, of the intersection blocked by a sit-in. It’s credited to nJohn.
There are more recent Photo Spheres, too. Including November, by Kau Lam. The protestor-decorated police barricades are stitched together pano-style. Google Maps as a reporting platform. When will it go live? Will Google get castles of its own, or will cameras on long sticks suffice?
Except for every Grumman LLV I pass, I’ve never wanted to turn a mail truck into a slicked out room-on-wheels as much as I want this 1965 Kaiser Jeep FJ-6A Fleetvan.
And since the USPS is not letting the Grummans loose in the wild yet, this Jeep may be my best chance. I mean, check out that glass, it may even be better. I could totally park that as an office somewhere. Or a roving gallery. Or a podcast studio. Or an Enzo Mari mobile bookstore. This is Cabin Porn™ I can get behind.
Hm, actually, after reading through all the projects, rat rods, parts salvages and failed snowcone stand dreams in the FJ boards at ewillys.com, I may pass.
Hard to find 65 FJ-6A Fleetvan – $3500 (Grapeview) [seattle.craigslist.org via bringatrailer.com]
Which, given the ad histories here, seems a little high [ewillys.com]
Previously, most definitely related: Bombiani Librimobile, 1955, by Enzo Mari
I’m not BFF’s with Siri, but sometimes I do like to have things read to me by my computer. So when I finished reading Michael Sacasas’ post about psycho dad videos and performative parenting, I wanted to read the rest of W.H. Auden’s “The Shield of Achilles”. And then I wanted to hear it, so I had the text-to-voice synth Alex read the poem, too.
And for no particular reason, I’ve put it online.
The Shield of Achilles, by W.H. Auden, read by a computer [mp3, 4.7mb dropbox, greg.org]