Category Archives: Words
Submission No. 40
The banality of “Don’t Be Evil,” by Julian Assange New York Times, June 1, 2013 *** ASSANGE WRITES THE FOLLOWING COLUMN IN THE NYT: “THE New Digital Age” is a startlingly clear and provocative blueprint for technocratic imperialism, from two
Submission No. 40
The banality of “Don’t Be Evil,” by Julian Assange New York Times, June 1, 2013 *** ASSANGE WRITES THE FOLLOWING COLUMN IN THE NYT: “THE New Digital Age” is a startlingly clear and provocative blueprint for technocratic imperialism, from two
Submission No. 36
Trude Guermonprez 1910-76 I was at the Oakland Museum of California and I saw this little textile-painting, says Miriam. You could go see it yourself, if you like, which will help you see it without my reflection in the way. (I
Submission No. 36
Trude Guermonprez 1910-76 I was at the Oakland Museum of California and I saw this little textile-painting, says Miriam. You could go see it yourself, if you like, which will help you see it without my reflection in the way. (I
Submission No. 32
“I saw the peculiar way America creeps up on you if you don’t have anything,” he told me. “It’s never rude. It’s just, Yes, you do have to work 14 hours. And yes, you do have to ride the bus
Submission No. 32
“I saw the peculiar way America creeps up on you if you don’t have anything,” he told me. “It’s never rude. It’s just, Yes, you do have to work 14 hours. And yes, you do have to ride the bus
Submission No. 31
This piece — a rowboat in a gallery, with the inscription “Center for Experimental Contemplatives” written in cursive on its stern — is a piece of whimsy. We know the metaphors being evoked: afloat on an open sea, castaway, solitary,
Submission No. 31
This piece — a rowboat in a gallery, with the inscription “Center for Experimental Contemplatives” written in cursive on its stern — is a piece of whimsy. We know the metaphors being evoked: afloat on an open sea, castaway, solitary,
Submission No. 29
http://blog.sfmoma.org/2012/12/herschend-on-guston/ From Miriam: The artist Jonn Herschend makes a commentary, in the form of a “powerpoint presentation”, on a painting by Philip Guston. This painting can be seen in its material reality if you care to visit SFMOMA. In case
Submission No. 29
http://blog.sfmoma.org/2012/12/herschend-on-guston/ From Miriam: The artist Jonn Herschend makes a commentary, in the form of a “powerpoint presentation”, on a painting by Philip Guston. This painting can be seen in its material reality if you care to visit SFMOMA. In case
Submission No. 27
Tom, this show by Charles Linder is open until the 29th. The pictures from the gallery’s website which I’ve included here allow us to see something, alas without the whole reveal. My experience of the show is that it’s a
Submission No. 27
Tom, this show by Charles Linder is open until the 29th. The pictures from the gallery’s website which I’ve included here allow us to see something, alas without the whole reveal. My experience of the show is that it’s a
Submission No. 26
Click here to see more views of Tremante’s Captivity Narrative. This submission appears to consist of four paintings and a text. The text is suggestive, describing as it does a woman lost in the wilderness at night, the wilderness and
Submission No. 26
Click here to see more views of Tremante’s Captivity Narrative. This submission appears to consist of four paintings and a text. The text is suggestive, describing as it does a woman lost in the wilderness at night, the wilderness and
Submission No. 15
WE WONDERED AT UNFAMILIAR SENSATIONS AND REALIZED WITH JOY THAT THEY WERE DOUBTS So let’s imagine the sequence of events, shall we? First, unfamiliar sensations. Huh? We wonder at them. Then we have the (sudden? gradual?) realization that these unfamiliar
Submission No. 15
WE WONDERED AT UNFAMILIAR SENSATIONS AND REALIZED WITH JOY THAT THEY WERE DOUBTS So let’s imagine the sequence of events, shall we? First, unfamiliar sensations. Huh? We wonder at them. Then we have the (sudden? gradual?) realization that these unfamiliar
