21:02:22 From M.M.M. to Everyone:
This is where quality is happening
21:02:38 From M.M.M. to Everyone:
Communication of 1.
21:03:14 From M.M.M. to Everyone:
Encouragement of
21:03:40 From M.M.M. to Everyone:
Being on record
21:03:49 From M.M.M. to Everyone:
Identification is the safeguard
21:07:19 From Michael Asbill to Everyone:
Your perception is allowed to be flawed.
21:07:27 From Michael Asbill to Everyone:
Its not about me right now
21:11:44 From M.M.M. to Everyone:
Chewing on my notes
21:14:34 From M.M.M. to Everyone:
Problematic thoughts dude
21:27:37 From Michael Asbill to Everyone:
You don't have to tell me about every one you eat.
21:28:50 From M.M.M. to Everyone:
Group think
21:29:44 From M.M.M. to Everyone:
You are mesmerizing
21:38:41 From Michael Asbill to Everyone:
It is your show
21:57:17 From M.M.M. to Everyone:
leverage
22:16:32 From M.M.M. to Everyone:
Highest amount of control I can exercise in pursuit of what I want

😮

Wow hi, the circus is coming to town. In the form of casinos… let us consider the form.

Question: whose music do you want to make? And whose music do you want to make?

The circus will be equip with a rich history and lore of its own including regular spectacular acts of acrobat, music, community enriched experiences and ephemera, such as buffoonery and general tom foolery.

I want to sing when I want to sing. I want you to sing when you want to sing. The organization of the machine is that what we desire and design. I want to enter this fair and even, my investment is mine. Your investment is yours. I don’t want to own anything that is not mine, nor do I want anything of mine owned. I hope we never forget Yoko. I hope John Waters casts me as the dick in the upcoming Liarmouth film.

Pause for laugh, /if there is no laugh/explain Liarmouth

In conclusion, I would now like to sing for you. This is FREE by Florence and the Machine. If you know it please join. If you are the star, please let me know. I’ll aim to beat you.

I want to do all this and more. With you. Yes you dear listener. Not to dip too far into my heritage but gambling is gripping the nation. I declare that we choose not to be subject to it but creator. I declare that creation be earnest and fair to all involved. I declare the rights of minors be represented fairly in all group action with specific concern to any financial gain by members of a minors party for labor performed by the minor. The fakespamnetwork will not be a haven for abuse, crimes will be witnessed and prosecuted. Such is the nature of any ai, fakespamnetwork is not an anonymous space. You are not alone /a promise/a threat.

I represent the threat, I do not believe myself to be it.

Do you?

…my stamp collection: *strumming starts and photographs of Sunoco gas stations are projected over 3/4 of my body. /scratch?

Sing:

Sometimes I wonder if I should be medicated
If I would feel better just slightly sedated
A feeling comes so fast and I cannot control it
I'm on fire, but I'm trying not to show it
As it picks me up, puts me down
It picks me up, puts me down
Picks me up, puts me down
A hundred times a day
It picks me up, puts me down
It chews me up, spits me out
Picks me up, puts me down
I'm always running from something
I push it back, but it keeps on coming
And being clever never got me very far
Because it's all in my head
And "You're too sensitive", they said
I said, "Okay, but let's discuss this at the hospital"
As it picks me up, puts me down
It picks me up, puts me down
Picks me up, puts me down
A hundred times a day
It picks me up, puts me down
It chews me up, spits me out
Picks me up, puts me down
But I hear the music
I feel the beat
And for a moment
When I'm dancing, I am free

I hear the music
I feel the beat (ahh)
And for a moment
When I'm dancing, I am free, I am free
Ooh, ooh
Is this how it is?
Is this how it's always been?
To exist in the face of suffering and death
And somehow still keep singing
Oh like Christ up on a cross
Who died for us? Who died for what?
Oh, don't you wanna call it off?
But there's nothing else that I know how to do
But to open up my arms and give it all to you
'Cause I hear the music, I feel the beat
And for a moment, when I'm dancing
I am free, I am free
I am free, I am free

Spoken: Ah thank you /all

If you agree to these terms and conditions please leave your names on the cards by the door.

PHASEI.ZIP

It’s hard to pin down where this effort started in earnest but it revolves around an overwhelming impression that Artificial Intelligence, as we have come to know and apply it within the world of Art and Media, is not enough. This impression has continued to laminate as I picked up - put down - picked up - put down - picked up (you get it) available research, commentary, and history of what we “artists” in the year 2024 call “artificial intelligence.” In 2014 while in San Francisco, California touring the Bay Area and a potential graduate program, my host for the weekend took me to Crissy Field to take in the view of the infamous Golden Gate Bridge. Upon arriving we are greeted by “eight monumentally scaled” (SFMOMA) steel works by Mark di Suvero surveying nearly fifty years of his creative practice. I bring up this experience 1, because I love Mark di Suvero’s work, and 2, because when I saw If Only’s (@ifonly.ai) 2021 work sharing views similar to the setting of di Suvero from years earlier I was impressed, further to the point, I believed it.

In this series of images, originally posted to Meta’s photo sharing application Instagram, If Only presents what appear to be birds eye views of the Golden Gate Bridge wrapped in a golden, shimmering material. (NBCBAYAREA) The history of land art in general, the work of Christo Vladimirov Javacheff and Jeanne-Claude Denat (cited as inspiration by If Only) wrapping of the Reichstag in Germany, or the Eiffel Tower in France, my personal experience relating to public art administration, and having witnessed the installation of Mark’s monumental works at Crissy Field led me to see these images not only as documentation of a monumental, fantastical, and impactful example of art in public space but also as a feasible one, even if unreasonable by most operating definitions of the word reasonable. If Only.
This artists name perfectly encapsulates the feeling I am left with when I discovered that instead of a massive undertaking of cross-disciplinary, inter-organizational, labor and organization resulting in glimmering gold fabric covering this icon of American industry, these images were generated using the Midjourney, a generative artificial intelligence program developed by San Francisco’s own David Holz and Midjourney, inc.. Midjourney is a text to image generator in which you input a written prompt describing what you would like to see and the software, drawing from a database of images of undisclosed but potentially massive scale, renders and presents illustrations believed to satisfy your prompt. The software makes this determination by associating text given to the program by the user with image tags associated with terms the user inputs that have been applied to images in the database by what can be hyperbolically referred to as an army of underpaid individuals sitting behind computer screens - much like I am now. (ATLASOFAI)

In the case of If Only’s illustation, we could imagine the input text read something like “aerial views of the Golden Gate Bridge draped in a golden fabric similar to the work of Christo Vladimirov Javacheff and Jeanne-Claude Denat.” The output is the images I saw online. Images I believed, for even a brief moment, to be real. Instead of being a spectacle of enormous proportion, with impacts on the local economy and the history of art, infecting our collective internet feeds with not only images of the installation but a deluge of selfies and posed photographs from Chrissy Field. If only, used now as a lament not a name. Upon realizing that, as recently as writing, these images are illustrations of potential, falling into a visual vocabulary occupied by preliminary renderings of artworks and not photographs of an intervention IRL (in real life), I was disappointed. I want to see this with my eyes without the speculative filter of technology. If only. Why not?

When discussing this work and my response to it with a colleague, she mentioned that she had trained their own Midjourney program personalizing the database of images it pulls from to prioritize the images of their work that they had uploaded. The results of their exploration of their (ownership is complicated) new subroutine of Midjourney’s text to image generative program were works that reportedly fit in with the aesthetic and conceptual concerns of his previous practice, infused with ideas and visuals that feel informed and easily translated into material processes and space in one instance and, in the next, immaterial, denying any clear relationship to materiality or process while fitting into the aesthetics of the artist's oeuvre. This raised the following question: If one generates an image in this manner - is that image art? Or must the artist (or a surrogate) then translate it into a physical dimension in order for it to be Art?

There are a few paths we can follow this line of questioning down: first, does this technology that we call AI not already have a physical dimension? Is the development of the software, image classification efforts, the training of the program, the training of the subroutine, and the writing of the text prompt enough labor to satisfy our mercurial standard of art? Regardless of technology used, is art born at a conceptual preliminary stage - see discourse surrounding Damien Hurst’s The Physical Impossibility of Death in the Mind of Someone Living - or does an idea become art when it becomes material? How do these works' generative origins influence composition and meaning? Do they serve to make art better? Or does “AI” simply make them easier to create and digest?

VSF TX TO CLOSE APRIL 2025

In an interview with Newton Harrison, conducted by the contemporary fine art gallery Various Small Fires, LLC, Harrison comments on the nature of art being true “prima facie.” Newton Harrison and Helen Mayer Harrison “The Harrisons,” were leading pioneers of the Ecological Art movement. For nearly fifty years, the Harrisons produced work across a vast range of disciplines, working in collaboration with biologists, ecologists, historians, activists, architects, urban planners, and fellow artists to initiate dialogues and create works exploring biodiversity and community development. Newton uses this term “true prima facie” to explain that works of art, even rooted in scientific research, are not held to the same level of scrutiny as works created in another field. In art, the truth is on the surface. This attribute may help explain why conversations about artificial intelligence or AI in the creative field are so prolific. By limiting a conversation about AI tools to what we can observe, AI’s history, its continued use cases, applications, and impact become secondary to the image generated seemingly out of nowhere. The truth pro face is that it works! But what is it? And how does it work?

In their book ‘AI ART: Machine Visions and Warped Dreams’ Joanna Zylinska begins to unpack the what of AI by rooting it in Aristotle's work on formal logic, the syllogism as a form of deductive reasoning. Put simply, a basic code (algorithm) for determining a statement’s truth value. Illustrated: If this statement is true, and this statement is true, then this statement too must be true. Early researchers suggested that when machines were powerful enough they would become capable of applying this form of reasoning as well as human beings. The pursuit of a technology capable of this is what I refer to when I say “AI.” Underneath this AI umbrella term falls technologically diverse paths of research and development funded and pioneered by a nexus of interests and parties included in which are individual visionaries, university research teams, and world governments. AI tools include many different applications including text to image generation (as we have discussed), speech recognition, machine learning, facial recognition, game strategy, and statistical analysis (new science 2017). Not all AI is made the same, and not all AI is made for the same purpose.

The term AI is contextually dependent (atlas p.5). Major benchmarks include the conceptualization of what a machine capable of learning, creating, and applying formal logic has been attributed to both Ada Lovelace in 1842 (lev manovich) and Alan Turning in 1950 (atlas p.5). Another important period for the development of AI came in the mid and late 20th century at institutions like Dartmouth, Stanford, and Princeton. Early products were developed and applied in a variety of industries during that time through to now, the first half of the 21st century.

Similarly AI found its first application in what we now consider to be “fine art” in the mid 20th century with overlapping demonstrations and illustrations of ongoing theoretical/computer science scholarship. AARON is a computer drawing system developed by Harold Cohen at the University of California, later Stanford University’s Artificial Intelligence Lab in the early 1970s. ARRON is a combination of hardware and early machine learning software complete with trained parameters informed by formal rules of painting and drawing. The Whitney Museum of American Art presented AARON in 2024 with research that contradicts my earlier findings on the subject. The Tate Modern also discusses AARON in a blog post about Digital Art saying that it was developed by Cohen in the 1980s. I believe this shift in dates happened because of the way we think about AI. Before adopting the language of AI we looked to the object produced to provide a date, now I find we are much more interested in the process, its development.

Simultaneously - if not prior to AARON - and expanding our definition of art beyond the visual realm, I would like to discuss Fluxus and its use of computers. Specifically, their use of early computing technology to create algorithmically generated poetry - and later, visual art. Alison Knowles’ House of Dust,1967 is a computerized poem and subsequent built structures based on the randomly and automatically generated poems. House of Dust is constructed by adding a series of variables to the phrase “a house of”. The first variable would complete the phrase with a material (ei. A house of Dust), followed by completely random lines with preprogrammed options, randomly selected by the Fortran device and the work’s algorithmic program. The lines that followed “a house of” [1. material] were: 2. A site or context, 3. A light source, and 4. A kind of inhabitant. The results of this program were then printed continuously on a dot matrix printer. House of Dust is a poem, an algorithm, and eventually visual art. It is also the first application of what we would now call AI in the world of art.

PIONEER TOWER ICONIC PUBLIC ART PROJECT
Will Rogers Memorial Center’s Pioneer Tower was recommended as one of four locations in Fort Worth for “destination quality, iconic public artworks from nationally and internationally-recognized artists” in the Fort Worth Public Art Master Plan Update, adopted by City Council in 2017.

By early 2018, the City of Fort Worth’s plans to rehabilitate the Pioneer Tower, built in 1936 and listed on the National Register of History Places, were underway. This project offered an excellent opportunity to begin work on the City’s first iconic public art project. In April 2018, the Fort Worth Art Commission’s recommended approach to for the project was presented to City Council, namely, projection mapping video artworks formatted to fit the unique architecture of Pioneer Tower by utilizing a 3D scan of the structure.

In June 2018, the City contracted with local artists and co-founders of Dallas Aurora (www.dallasaurora.com), Joshua King (JTK Studios LLC) and Shane Pennington (SP Studio LLC) as planning consultants based on their decade-long experience presenting visionary artists’ work to the North Texas community at the AURORA Biennial. For the Pioneer Tower Iconic Public Art Project, King and Pennington worked with the City of Fort Worth’s architectural consultant to specify art infrastructure, including electric and data connections on all four sides of the tower to support powerful video projection equipment. In addition, they produced a 3D scan of the tower that the commissioned artists would use to format their projection mapping video artworks.

In November 2018, Council Member Dennis Shingleton appointed the Pioneer Tower Project Core Team composed of Cultural District and community stakeholders to provide input throughout the course of the project. In April 2019, King and Pennington guided their appointed Curatorial Committee through a process that led to the selection of New York-based new media curator DooEun Choi.


Pioneer Tower as a 4-sided “canvas” for projection mapping videos

On September 25, 2019, DooEun Choi participated in the Public Art in Fort Worth panel discussion, sponsored by KERA Art&Seek and moderated by Jerome Weeks at the Kimbell Art Museum where she discussed her approach to the Pioneer Tower project. On the following day, she presented a selection of internationally renowned new media artists to the Pioneer Tower Project Core Team for consideration. They recommended that both Quayola (Quayola.com) and Refik Anadol (RefikAnadol.com) be invited to prepare proposals for the project. The Fort Worth Art Commission concurred with their recommendation on October 7, 2019.

In January 2020, Ms. Choi arranged for she and artists Refik Anadol and Quayola to meet in Fort Worth to visit Pioneer Tower, visit various museums and other sites around Fort Worth, meet with potential institutional partners, and attend opening night of the Fort Worth Rodeo in the new Dickies Arena.

On May 11, 2020, both artists presented their exciting proposals to the Fort Worth Art Commission. On June 23, 2020, City Council acted on the Art Commission’s recommendations by authorizing Artwork Commission Agreements with Quayola Ltd and Refik Anadol Studio, LLC, for Pioneer Tower. The artists immediately began gathering large data sets from images and locations in Fort Worth to to developing their artworks by using cutting-edge technology to interpret Fort Worth’s natural beauty, rich diversity, and storied history.


Digital renderings courtesy of commissioned artists, provided by Refik Anadol Studio, LLC

Curator DooEun Choi has been assisting with aspects of the artists’ productions and has coordinated their technological requirements with planning consultants Joshua King and Shane Pennington. A projection test was conducted on May 18-19, 2021 in preparation for the premiere of Pioneer Tower Dreams by Refik Anadol and Texas Surveys by Quayola on August 20-21, 2021 at Will Rogers Memorial Center the Fort Worth’s Cultural District.



This first-of-its-kind event will celebrate Fort Worth’s collective memories and natural beauty in a big way through the marriage of art and cutting-edge technology by two of the most prominent new media artists in the world today.
– Martha Peters, Director of Public Art, Arts Council of Fort Worth



Water has a memory / Remembering
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NEW STORIES: NEW FUTURES
The Arts Council of Fort Worth and AURORA partnered to present New Stories: New Futures in conjunction with Fort Worth Public Art’s major installation on Pioneer Tower, curated by DooEun Choi, featuring international artists Refik Anadol and Quayola. Dr. Lauren Cross, curator of the exhibition at the base of Pioneer Tower, selected an impressive roster of ten North Texas artists working with a wide range of new media approaches for their art installations that were debuted to the public on August 20, 2021.

The Arts Council, in partnership with AURORA, is excited to welcome the entire community to the Cultural District to experience the Pioneer Tower premier alongside works of talented and diverse local and regional artists. – Karen Wiley, President & CEO, Arts Council of Fort Worth
This exhibition curated by Dr. Lauren Cross is a uniquely Fort Worth art exhibition featuring the historical and modern perspectives, stories, and memories from the region. Each of the artists’ pieces highlights unfamiliar and distinct narratives around the collective experiences of North Texans that are in dialogue with the video installation on Pioneer Tower by Refik Anadol and Quayola, which explore memories of Fort Worth and the region’s natural beauty.

MY GREAT GRANDFATHER (SEE YT VIDEO) FLEW OVER 150 bombardment missions DURING WW2... WOULD HE HAVE CALLED IT GENOCIDE?

What if... art was for everybody?
“Hello, thank you for taking the time to speak with me. I am writing a play and would like to begin the
workshopping phase. I have a few people on board and am looking for a rehearsal space. I would eventually
I love to perform. Ideally, we would coordinate ticketed performances with you, once we’ve cleaned up the show.
Do you have space available?”
“Yes, of course! We would love to make this happen. Our rental rates are...”
If you have ever had the motivation to perform or exhibit work at a non-profit, tax-payer funded arts venue, you
have likely had a similar exchange. From the moment you walk in the door of many arts nonprofits in North
Texas, you are met with messages of inclusion and access. Art is for everybody. If you are satisfied by looking
then mission accomplished. However, as a creative person, somebody who wishes to perform, hang their
paintings on the wall, or even labor to support your local creative community, you may be met with these
common phrases: donate, rent, submission fee, and even sometimes outright, pay to play. I’m not trashing a
venue’s general need to make money. I’m not questioning that non-profit organizations, to an extent, need to
be profit-motivated. I am asking, what does it mean to make contributing to the arts accessible to everybody?
Not only everybody with cash. More specifically, how can we as the community that funds these organizations
through donation and taxation build frameworks to invest in creative producers?
So often it feels that the arts and media economy views artists and creatives as the end consumers. In the
case of for-profit entities - sell your paint. Tax-funded non-profit organizations similarly monetize space, time,
and resources, in the same manner while standing under the mission of expanding the arts in our communities.
This calls into question their commitment to their mission; a mission that often rhymes with: art is for
everybody.
Whose art is for everybody? Often the answer is, imported, made a spectacle of cultural excellence, and
ultimately not reflective of the larger community that it is placed in but rather the taste of the financial powers
that be. This presents a minority view of culture, at best.
One of my favorite examples of this is AT&T Stadium in Arlington, Texas. This facility is owned by the City of
Arlington after the City, Jerry Jones (owner of the Dallas Cowboys), et al., successfully secured tax payer
support through a public election process, similar to many public/private initiatives. Despite City ownership, this
space is inaccessible to the public of Arlington. It does, notably, have an art collection featuring some of the
greatest examples of contemporary plastic art - including a large-scale Anish Kapoor, significant even
considering its subpar fabrication. I bring this up because when discussing this collection with an arts journalist
who interviewed Gene Jones about this collection he shared that it was important to the Jones family to
provide access to arts to communities who may not otherwise have access to a collection of this significance.
This evokes feelings of charity I have heard resonate through the halls of similar institutions in the area. Charity
that is subverted by an entry fee of $35.00.
$35.00 also happens to be the seemingly universally agreed upon price of admission for an artist to be
considered for exhibition at most organizations that claim to foster the arts closer to home. $35.00 for what?

Sometimes, it pools into an account that furnishes prizes for selected applicants. This is a strategy that is very
popular because it offsets the cost of the exhibition effort onto the artists. Nonprofits operating budgets remain
untouched - and everybody feels good - right? Sometimes, it goes to pay the jurors - a worthy cause - again
not touching the operating budget of the organization itself. Meanwhile, other art processes of jury and
consideration for opportunities more traceably funded by taxpayers are free and represent more potential
return for the artist applying. In some cases, these organizations even pay artists and creatives to interview
and apply for such opportunities.
Why not you?
That’s an easy question to answer: it’s because they don’t have to.
I’d like us to begin thinking of organizations that receive funding from taxpayers - us - as responsible for
representing us. The idea that the money I pay into the public good is being used to facilitate and preserve the
interests of billionaires leaves me consistently uneasy. How can these organizations instead redirect their
resources (time, money, space, etc.) to focus on serving the tax base from which they benefit? How can they
make the pathways to support them - beyond money - clear and accessible? For everybody.

NOTES ON RANDOM INTERNATIONAL

Amsterdam's NXT MUSEUM open 2020, exploring impact of emergent technology on art/expression.

'Life in a Different Resolution' curated by Bogomir Doringer
book w/ additional editorial work by Mariana Berezovska and George H. King

Exhibition emphasizes co-creation (mostly through interaction with motion sensors) and the power of the collective. Our part in these works represents a high level of control on the programmers part. Yet our interaction with dynamic sculptural objects that we have perhaps been trained to think of as static seduces us into play and what the editor calls collaboration. In reality our interaction is evidence of surveillance technology set up to reward predicted behavior with novel - to me - visual stimuli.

Am a co-creator in the context of surveillance or subject?

Connecting the dots: humanitarian crises and technological evolution. Fear vs. Reality. Curator: "In the face of shared threats, might we have more in common than we think?"

Dear Future Selves: In the arms of the machine how has humanity grown? Do you wish to continue? How are you? War as an outdated practice, war as the mechanical and economic girder in the life of our city, our country, out world. Have we lost the plot? Have we lost the battle for the future? We'd love to know. PS. How's my tie? Crooked? I know.

A FEW CITATIONS

Atlas of AI: Power, Politics, and the Planetary Costs of Artificial Intelligence by Kate Crawford
AI Art: Machine Visions and Warped Dreams by Joanna Zylinska
The Art NewsPaper - On Process: Refik Anadol by Louis Jebb
Richard D. Precht: Artifical Intelligence and the Meaning of Life - Book summary and personal interpretation from German into English by Fabio Monnerjan. “Künstliche Intelligenz und der Sinn des Lebens” publ. 2020
Pioneer Tower Website - FWPUBLICART.ORG
https://www.keranews.org/science-technology/2022-08-09/new-texas-partnership-aims-to-define-ethics-in-artificial-intelligence
https://hai.stanford.edu/news/will-generative-ai-make-you-more-productive-work-yes-only-if-youre-not-already-great-your-job
https://youtu.be/-sB12gk9ESA?si=NU5eaIi50YVXDawv
https://www.nytimes.com/2024/03/29/opinion/ai-internet-x-youtube.html
https://www.wsj.com/tech/ai/jobs-chatgpt-artificial-intelligence-openai-cea961d5?mod=djem10point
Wired.com | A New Trick Uses AI to Jailbreak AI Models—Including GPT-4
AI Aesthetics | Lev Manovich
Domenico_Quaranta_Beyond_New_Media_Art.pdf
Donna Haraway_A Cyborg Manifesto.pdf
GLITCH_ART_IS_DEAD_exhibition_catalogue.pdf
Kanouse_sarah_criticaldaytrips.pdf
Levmanovichparadoxesofdigitalphotography.pdf
Libraryofcongress_AIreport_08302023.pdf
Nagel_Bat.pdf
The Whitney Museum of American Art (AARON)
Richard Prince (book at home from carpetas collection)
Weight of the cloud tianna birrell
The Gleaners and I
Crypto netflix documentary quote “how many crypto company’s rebranded to AI?”
Jane Jacobs building a city book (and documentary)
Reichstag
https://www.nbcbayarea.com/news/local/san-francisco/golden-gate-bridge-artificial-intelligence/3326667/#:~:text=%E2%80%9CIf%20Only.%E2%80%9D-,The%20Golden%20Gate%20Bridge%20is%20getting%20a%20makeover%2C%20at%20least,the%20San%20Francisco%2Dbased%20A.I.
https://www.sfmoma.org/exhibition/mark-di-suvero-at-crissy-field/
https://en.wikipedia.org/wiki/Midjourney#:~:text=Midjourney%2C%20Inc.%20was%20founded%20in,beta%20on%20July%2012%2C%202022.
https://web.archive.org/web/20221117045219/https://www.economist.com/interactive/briefing/2022/06/11/huge-foundation-models-are-turbo-charging-ai-progress
In platos cave - susan sontag
Institute of Design. The Institute of Design, Chicago. Chicago, IL. Institute of Design, 1948. Page 6
https://docs.google.com/document/d/1nE2odQAsQpctpb1shgZ9mYo0J_84yFr_2YCrsONL_RA/edit
https://docs.google.com/document/d/1ZDd7wrgtmlVGARpohI1_rdl_tL-xbiCgT73Wp1YwUoA/edit
https://www.vsf.la/artists/39-the-estate-of-the-harrisons/overview/
Vimeo Newton Harrsion
https://refikanadol.com/information/ (04/13/2024)

GRIPPY SOCK ERA BUT IT IS A PHD PROGRAM

E.V.IWYWP.zip.containstwoitems

MCA.CACHE.33

GOLDEN ASS
I have missed you.

I have wished we could return to pink skies and twin mattresses but those prayers have fallen upon ears of the richest marble.

The distance I feel sits with me heavily.

For forsaking her name Venus has seen fit to strike me down.

Her embrocation, transformative by nature, has made of me - an ass; an ass who would sooner be again marred than to sprout wings once possessed.

Forsaken, I have not the choice but to walk this pace which brings me great distress over the possibility of finding you or of being found.

From this position, I now see the burns on my skin with sentimentality.

My reaction was untenable. I ran for fear of my life and in doing so found only captivity and ire.

Pan guide me through this engagement.

I hid my face too long.

Of Phobos, I am made but it is with Eros that I walk unencumbered by the weight of weapons once wielded, now lying just outside of my grasp.

My heart, once a sensible organ, now lying in magnificent ruin.

I have been allowed to see a radiance, undefinable from my current position.

Its warmth has returned marrow to my bones and made alive again the flesh upon which Rome once stood.

Will I ever know how hot your fire burns?

Will I walk away with all of my faculties? Or am I to lose limbs in pursuit of your company?

What can I possibly know by the simple fact of your nearness?

I cannot know.



I have known many worlds.

I have cherished many celestials.

I have before seen empires crumble before me.

For Psyche I ask, am I too unknowable?

Or is it a consequence of our current positions providing us only an image, a silhouette of individuals attempting to hold themselves, the sun, tenderly?

May I hold you?

May I know your face?

Will Venus again dance atop the mountains we have worked so tirelessly to move?

I wish not to make insignificant your efforts, but fortify them.

I am caught again in this quagmire. Finding myself somewhere between an epic comedy and a divine tragedy.

Can you see my face?

Am I to never again be in the company of the sun?

Grounded my roots emerge.

From those roots flows the world.

To those roots, flows the world.

My throat inflamed:

I am ignorant.

I am enchanted.

I am forever yours in at least this way.

On page 4 of 'In Plato’s Cave' Susan Sontag states that “photographs, which package the world, seem to invite packaging.” Photographs are never really seen without some kind of material context, they are either framed, matted, placed in albums or scrapbooks, published in photography books or textbooks. They are in newspapers or museums often but rarely, never, is a photograph just a photograph without any of this external context. What does a photograph look like without these external elements influencing it? How do these contexts influence composition and meaning? Do they serve to make the photographs better, or just to make them easier for public audience to digest?
When I first started seeing and taking images in pursuit of 'the beautiful', I was young and entranced by every picture of a flower or light fixture that I photographed and my photography idols were getting published on Jones Soda wrappers and Xanga photo blogs. I opened my eyes to a constant flow of imagery that does not notice me & that I never noticed. One of my idols, an accountant that takes pictures of his boring dinners on instagram. As we see more and more images we get stuck in a place of bigger or better, we need images that compel and challenge us in the way the original images did but can no longer due. Sontag related this to pornography, the first time we see it the naked people are so exotic, the genitailia so taboo. As we get older and we become desensitized to the representation of genitals and just like the flower or lamp that once entranced us, a penis becomes a penis, a vagina a vagina.

“AUTHORIZING THE CITY OF ARLINGTON TO PROVIDE FOR THE PLANNING, ACQUISITION, AND FINANCING OF THE RANGERS COMPLEX DEVELOPMENT PROJECT AND RELATED INFRASTRUCTURE, WITHIN THE CITY OF THE TYPE DESCRIBED AND DEFINED IN SECTION 334.001(4)(A) OF THE LOCAL GOVERNMENT CODE AS AMENDED (THE ”ACT”) AND (I) TO IMPOSE A PARKING TAX, AT A RATE NOT TO EXCEED THREE DOLLARS ($3.00) ON EACH PARKED MOTOR VEHICLE PARKING IN A PARKING FACILITY OF THE TEXAS RANGERS COMPLEX DEVELOPMENT PROJECT, AS AND TO THE EXTENT AUTHORIZED BY SUBCHAPTER G OF THE ACT, (II) TO IMPOSE AN ADMISSIONS TAX ON EACH TICKET SOLD AS ADMISSION TO AN EVENT HELD AT THE TEXAS RANGERS COMPLEX DEVELOPMENT PROJECT, AT A RATE NOT TO EXCEED TEN PERCENT (10%) OF THE PRICE OF THE TICKET SOLD AS ADMISSION, AS AND TO THE EXTENT AUTHORIZED BY SUBCHAPTER F OF THE ACT; (III) TO AUTHORIZE THE USE OF THE EXISTING HOTEL OCCUPANCY TAX ON THE OCCUPANCY OF A ROOM IN A HOTEL LOCATED WITHIN THE CITY, AT A RATE NOT TO EXCEED TWO PERCENT (2%) OF THE PRICE PAID FOR SUCH ROOM AS AND TO THE EXTENT AUTHORIZED BY SUBCHAPTER H OF THE ACT AND IF APPROVED THE MAXIMUM HOTEL OCCUPANCY TAX RATE IMPOSED FROM ALL SOURCES IN THE CITY WOULD BE 15%; (IV) TO AUTHORIZE THE USE OF EXISTING SALES AND USE TAX WITHIN THE CITY AT A RATE OF ONE-HALF OF THE PERCENT (0.5%) AS AND TO THE EXTENT AUTHORIZED BY SUBCHAPTER D OF THE ACT; AND (V) TO AUTHORIZE THE USE OF EXISTING MOTOR VEHICLE SHORT-TERM RENTAL TAX AT A MAXIMUM RATE OF FIVE PERCENT (5%) ON THE GROSS RENTAL IN THE RECEIPTS FROM THE SHORT-TERM RENTAL IN THE CITY OF A MOTOR VEHICLE, AS AND TO THE EXTENT AUTHORIZED BY SUBCHAPTER E OF THE ACT.”

YES

YES

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