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'A new study in Nature Neuroscience by MIT postdoctoral fellow Jason Fischer and his University of California-Berkeley colleague David Whitney suggests that humans are equipped with “serially dependent” visual perception, a process that uses prior stimuli and current information to construct the scene in front of us.
'The researchers tested the idea with experiments that asked subjects to look at flashes of “randomly oriented gratings presented several seconds apart in time” and then report “the perceived orientation of each grating” by marking it on a computer screen. “We found that perceived orientation was strongly and systematically attracted toward orientations seen over the last several seconds,” the scientists write. “This perceptual serial dependence was modulated by attention and was spatially tuned, occurring more strongly for successive stimuli that appeared nearby in space.”
'The researchers term the space in which the phenomenon occurs a “continuity field,” and conducted other experiments to ensure that it wasn’t simply the result of consistency in “motor responses or decision processes.”
'But isn’t spotting subtle change important? Why are our eyes deceiving us with this stale field of croissants?
'Without a visual mechanism to adjust the current scene for recent prior stimuli, daily life would be more akin to a jarring acid trip, according to the authors. “The continuity field smoothes what would otherwise be a jittery perception of object features over time,” David Whitney, senior author and associate professor of psychology at UC Berkeley, told the university’s news center. Accounting for an aggregate of small recent changes in the environment—due to “head and eye movements,” shadows, and lighting—allows us to walk around without feeling like we’ve stepped into a field of melting clocks.'-- Ryan Jacobs, Pacific Standard
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Harry Dodge and Stanya Kahn from'Can't Swallow It, Can't Spit It Out'
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Derek White: Your latest book, Divorcer, is described simply as "a collection of seven harrowing and hyperprecise short stories about ruinous relationships and their aftershocks." Would you care to expand more on this? What I am interested in delving into is the way relationships, failed or not, play out in your work—not just at the story or even character level, but at a more granular sentence level, which is where your stories seem to work their magic.
Gary Lutz: My fiction has always been full of ruptures, fractures, severances. From my first book onward, much of my work has been about collapsing marriages, and every story has had, for me, the feel and form of a fragmentating relationship. But Divorcer is my only book in which every story concerns a partnership gone kaput. Ending every sentence feels like a breakup to me, because the words have become so involved with each other and have tried out so many different positions on each other and have then eventually settled down into something so permanent and independent that I can feel the sentence physically breaking away from me, breaking off from me—dumping me altogether. My reaction is equal parts sadness, grief, and, I guess, a lust for revenge on behalf of the narrator. And it's in this rocky state that I try to get another sentence started, maybe just a "fuck off" lunge of a sentence, which I guess accounts for the lack of pillowy transitions in my fiction. There's no cradling anywhere. I'm often put in mind of that admonition "Get over yourself" as an encouragement to attempt a kind of gymnastic leap over the entire life that the narrator has pathetically piled up for himself in the previous sentence, so that he might land somewhere unexpected, a place where he just might have a chance at establishing a freshly sufficing verbal circumstance—until I, as the writer, get the heave-ho anew. It's always this way with me and my writing. The end of a paragraph is an even more traumatic separation, and the end of a segment is, to me, like the formality of divorce, an irreversible parting of ways.
I make occasional eye contact with sentences in magazines and books and often wonder what on earth the words see in each other, what on earth they’re doing together, because they don’t look as if they’ve found excitement in each other’s company. Shouldn’t writing be far more sexual than sex? Sex is messier and doesn't leave you with anything, unless you come out with a kid, and then the kid will likely as not grow up to be some brute vagrant anthology of your every ugliness—yours and the other party’s. Why is it that kids usually look like sick, sniggery parodies of their parents? Get your caricature done by some tank-topped street-fair charcoalist and be done with it already.
What keeps happening to me, though, is that in my stumbles through vocabulation (more often, these days, as a listener or an eavesdropper than as a reader), I cross paths with a word, even just some drudge of a noun, and start swooning over it and dancing attendance on the thing, trying to find a way to enter into its life and psyche, until it dawns on me anew that as a human being (and as a human being of the lesser, male variety [and what has my own writing been if not an ongoing demonstration of the misbegottenness of those of us chromosomally disadvantaged with the Y?]), I am no match for this now juicy-seeming pip of language and realize that it would be in the best interest of everything involved if I found some other word to introduce to this word, a word with which it might start a better life, with me entirely out of the picture. So I hand the word off to another, and a sentence gets going.
(much more)
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A couple of weeks ago, I decided to go on a Paris adventure whereby I would ride the metro to a bunch of stops where I had never been before in order to see what was outside and above them. I chose my destinations based on how much I liked the name of the stop itself and whether it was on a metro line that I had rarely if ever used before. When I disembarked at Dupleix on the 6 line and was deciding which of its two exits I was going to use, a boy walked up to me. He asked if I was Dennis Cooper. I said I was. He pulled a notebook out of his handbag, opened it to a blank page, and asked if I would give him my autograph. I did. Then he reached into the same handbag and removed a stack of identical black & white head shots of himself. He peeled off the top one, turned it over, wrote his name (Pierre) on the back, and handed it to me. Then he said, 'Thank you,' and walked away.
Pierre
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'Inspired by Beyoncé’s sensational, visual album which emerged ‘out of nowhere’ in December, we decided we wanted to surprise you too, by secretly creating a Shabby Doll House video edition featuring some of the greatest international artists working & playing on the internet in 2014. We are proud to present seven brand new videos, each focused on the commonplace, contemporary questions of loneliness, distance & longing, which together form this year’s Shabby Doll House Spring Edition.'-- SDH
john mortara 'there are a lot of yous in this poem and one of them is you'
sarah jean alexander & lucy k shaw 'OBLIVIOUS'
Michael Inscoe 'Untitled'
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Hydrofloors is a company focusing primarily on the concept, design and custom manufacture of complex systems for covering and dividing swimming pools. The design and manufacture of our moveable floors, submersible booms and motorised hatches is executed in our own facilities in Belgium. This gives us full flexibility, control and reliability in serving our clients. We are uncompromising in providing products at the cutting edge of technology that are also the highest quality possible and this commitment together with our attention to detail and highly skilled team of employees is well recognised by our clients in the International markets in which we work. We manage each project from conception through to completion working together with the architect, the client and the swimming pool construction company. Hydrofloors is driven to meet the project needs of the individual clients by the application of intense technological expertise and innovation.
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BLACK METAL BOY GOES TO THE GROCERY STORE WITH FRIEND
BLACK METAL BOY'S NEW YEARS EVE
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'The story of Cuba's National Art Schools is at the same time the story of the Cuban revolution, of its saddest failures and its most ebullient hopes. Born and educated in Venice, Roberto Gottardi was working in Caracas when Fidel Castro’s victory march arrived in Havana in January 1959. Like many European leftists, he was enthralled by Cuba’s revolution. In Caracas he had met a Cuban architect named Ricardo Porro, a young radical who had fled Fulgencio Batista’s government. Porro returned to Havana and invited Gottardi and another Italian architect, Vittorio Garatti, to join him. Their talents were sorely needed, as half of the island’s architects had left. A new nation was to be built, and not only that. Cuba intended to construct, in Che Guevara’s words, a ‘new man’.
'In 1961, as legend has it, Fidel Castro and Che Guevara played a round of golf on what had until recently been the manicured greens of the Havana Country Club, a few miles west of the capital. The society they envisioned had no place for country clubs, so the two revolutionaries agreed to build an art school. Culture would be no longer a commodity hoarded by the wealthy but the birthright of the people. It would begin here, where the rich had played, created by the children of the poor. Castro assigned the project to Porro, who brought on Gottardi and Garatti. None of the architects had any experience with such scale, but then, Gottardi pointed out with eyebrows raised, ‘the revolution meant that anything was possible’.
'The schools would be located on five campuses, and Gottardi would design the School of Dramatic Arts. Aside from a few basic directives, the architects were given complete creative licence. ‘The euphoria of that time’, he told me, ‘is difficult to describe’. The project was not merely inspired by revolutionary ideals – it embodied them. The buildings themselves were extraordinary, departing equally from the chilly Modernism that had dominated the architecture of the time and from the colonial Neo-Classicism that had preceded it. Porro designed the School of Modern Dance as an explosive complex of interconnected, fragmentary vaults. His School of Plastic Arts turned to Cuba’s African roots – a surreally erotic sub-Saharan village recast in brick among the palms. The cupolas of Garatti’s School of Ballet curved through a ravine and his School of Music wound like a lizard’s tail tracing the banks of the river that limned the old club.
'Gottardi’s School of Drama, a complex of airy classrooms surrounding a central amphitheatre, strived to recreate the intimacy and spontaneity of urban space. Brick-walled corridors curved like alleys in a North African medina. Sight lines were intentionally obscured, ‘so that you wouldn’t know what’s coming’, Gottardi said. ‘Like life.’ On 26 July 1965, though they were far from complete, the National Art Schools were officially declared open. But their inauguration was also a death sentence; construction would never resume.
'A lot had changed in four years. "Architecture must add a poetic dimension to everyday life", no longer fitted the prevailing ideology. Castro began to lean towards a Soviet model. The art schools’ ecstatic organicism suddenly reeked of heresy. Their design, possessed as it was by revolution, was accused of being ‘insufficiently revolutionary’. In the end only Porro’s buildings were substantially completed; Garatti’s music school was not even half done. Although most of the classrooms were finished, the theatre at the centre of Gottardi’s drama school would never be built. Its winding corridors converged on empty space. The metaphors are impossible to resist: as the years passed, Castro’s revolution grew more stultified, and the art schools languished. Roots and vines ate at the mortar and cracked the terracotta tiles. Looters took what they could. The revolution’s bright dream was pilfered and abandoned.' -- Ben Ehrenreich, Frieze
ruins
reconstruction
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'The National Building Museum is America’s leading cultural institution devoted to the history and impact of the built environment. They do this by telling the stories of architecture, engineering, and design. The Museum occupies a building with a soaring Great Hall, colossal 75-foot-tall Corinthian columns, and a 1,200-foot terra cotta frieze. NBM has announced that BIG has designed a 61×61 foot maze to be housed in the building’s grand atrium from July 4th to September 1st of this year. According to the NBM’s website, the labyrinth’s Baltic birch plywood walls, which stand 18 feet high at the maze’s periphery, descend as you make your way towards the center. The concept is simple: as you travel deeper into a maze, your path typically becomes more convoluted. What if we invert this scenario and create a maze that brings clarity and visual understanding upon reaching the heart of the labyrinth?'-- collaged
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Vomir live at Optimus Prime II, Tilburg, Holland
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'A French artist is living inside a bear carcass for two weeks, as part of an art performance piece that he started on Tuesday. Abraham Poincheval is performing his Dans La Peau de l'Ours (Inside the Skin of the Bear) at the Musée de la Chasse et de la Nature (Hunting and Wildlife Museum) in Paris. During the performance piece, which he first exhibited at CAIRN Centre for Contemporary Art in Digne last year, Poincheval will not leave the sterilised carcass for a fortnight - forcing him to eat, sleep, and relieve himself while being filmed by two cameras. He won’t emerge from the creature until 13 April.'-- The Independent
Live feed
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'Alt Lit Gossip gathered some of the best alt lit stories from the past year or so and threw them into one convenient PDF. You might recognize a few names like Frank Hinton or Richard Chiem–both have books out very soon. Ben Brooks and Sam Pink and Megan Boyle are alt lit mainstays. You probably won’t recognize someone like LK Shaw or Justin Carter or Spencer Madsen–they only have a few indie e-chaps to their names, but all signs point up. It’s not experimental, it’s not odd, it’s just … original. Check out the full site here and download the pdf.'-- Vol. 1 Brookyn
I’d be a Barbie Without Him
by Frank Hinton
6
We were in the playroom. I had Legos and Barbies everywhere. Ryan and I started to wrestle. He pinned me to the ground and I felt something hard in his pants.
“What is that?”
“My thing.”
I saw it then, like a little thumb beneath his jogging pants. Without asking he pulled it
out and I looked at it and realized I’d just lost something but I couldn’t think of what. I was amazed.
12
Frank and I were playing Chrono Trigger on SNES. He said he had figured out how to time- attack it and beat the game in under 16:00’’. I was impressed, I think. I had just learned the controls of Chrono Trigger.
Frank killed the last boss in 15:00’’ and we watched the ending and we watched as credits rolled. All kinds of Japanese names slid up the screen in 16 bit font. Frank tilted to me and turned his head and tried to kiss me. I saw his face coming and thought for a moment that it would be fine to kiss him and then in another, more powerful moment, I saw him as a repulsive, oily skinned creature that was beyond untouchable. I recoiled. Frank dropped the controller and smiled some crooked thing and crawled onto me as I pulled away.
"This is probably a bad idea.”
Frank's breath smelled like vanilla frozen yogurt which was kind of all right. He came in again and this time I closed my eyes and risked being eaten by a monster. His lips clamped onto my bottom lip and I stiffened. Then his tongue came forth and wet my bottom lip. I relaxed at the warmth and when the lip part of me relaxed the mouth part of me relaxed and then my entire face relaxed. I opened my mouth for his tongue and brought it in to perform a kind of Sea World whale-act. Frank slid his body up and fully onto mine. I didn't hear the wooden floor creaking and I didn't hear the Chrono Trigger ending music. Everything worked.
27
I cut you a paper flower out of a large piece of red paper. I made my cuts in a long, single spiral and rolled the spiral up until it formed the shape of a rose and I taped it and affixed the spiral rose to a sliver of green paper and I gave you all of that. You smiled at me when you took the paper and you didn’t react the way I wanted you to react. I wanted you to think about it real hard. I wanted you to see the process I put into the rose, not the result. You thought it was a shoddy, childish craft. I found it in your sock door, to the left, with the loosies.
9
We all had pet rocks at our school. We didn’t have marbles or Pogs we just had pet rocks. Every girl would pick which boy she wanted to have a pet rock with. All of the pretty little cunts politiced their way into a pet rock family with the most desirable boys. I was stuck with Glenn. Glenn was popular and funny but he had the kind of overbite that makes one resemble a horse. Our pet rock was named Metroid. It was green. We pretended to be good parents but Glenn and I fought constantly. He wanted to hold hands and I couldn’t do it. One weekend when it was my turn to take Metroid home I dropped the little green rock in the river on the way to piano practice. I hated that rock more than Glenn.
24
I was drunk and the guy shaped me on the bed. I felt like a puzzle being taken apart. He asked me to suck on his tongue instead of kiss. He asked me to lock my joints. I’m like furniture, I thought. It wasn’t so bad. The way he broke me wasn’t so bad.
18
I was promised a dream. Frank told me we would lie under soft silk quilts and undulate in a mixed glow of lantern and moonlight. It was supposed to be warm and safe and slow. Instead I got the sound of rain on a tin roof falling like stones above me. There was no pace to him. Frank entered full of fear and I felt a ripping and the room got so cold I shivered the entire time. I was so happy for it to be over. I was happy to be left. We were in a shitty south shore cottage. Everything smelled of sea.
17
I went to the river and pulled out Metroid. Some specs of green remained. His little sad eyes had been weathered away. I got stoned and took the rock to Glenn’s house and he answered the door and I laughed when I saw him but Glenn didn’t laugh.
“Who are you?”
I told him I had the wrong house and I put Metroid back in the water.
7
I saw my friends parents fucking. I knew I was going to be alright.
28
You have hurt me more than anything. I will take you back no matter what. You could hit me in the face and I would take it. You could sleep with my best friend and I would forget it. You can’t break me. You can have me over and over until forever.
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Marc Vallée Anti-Skateboarding Devices
24 pages, A5, printed and stapled
Published by Marc Vallée
Second Edition 2014
Edition of 50
Numbered and signed by Marc Vallée
Printed on FSC certified paper stock which is chlorine free
Buy online fromBig Cartel
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15 profile photos of escorts whose profile texts were too uninteresting to allow them to be included in the monthly escort posts.
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'Noise may not be to everyone’s taste (in fact by definition noise is classed as “unwanted” sounds) but to the hardcore few it’s a way of life. People Who Do Noise follows some of those artists and shows them performing live, often on homemade or radically modified kit, and talking about the philosophy and influences behind their work.
'The film takes a very personal approach, capturing the musicians working alone with no interference from a live audience. What often took place in crowded basements or dark smoky venues was stripped bare for the cameras, providing an unprecedented glimpse of the many different instruments and methods used.
'Covering a wide range of artists and styles, the film features everything from the absurdist free-improvisations of genre-pioneers Smegma, to the harsh-noise assaults of Oscillating Innards and everything in between. Many of the artists in the film, such as Yellow Swans and Daniel Menche, have performed and sold records all over the world. In spite of such successes, noise music remains one of the least understood and most inaccessible of genres.'-- Dangerous Minds
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'New Jersey’s Action Park boasted perhaps the worst reputation of any amusement park in history. The place was a perfect storm of unsafe rides, drunken patrons, and disinterested teenage employees. Countless injuries were suffered on the park’s water slides. At least six people were killed during the park’s history, including three drownings, an electrocution, and a heart attack allegedly caused by the shock of frigid water beneath a rope swing. One man died when the car he was riding on leapt off the Alpine Slide, causing him to smash his head on a rock. By 1998, the crushing weight of lawsuits forced the owners to close down Action Park.'-- listverse
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'Turn your loudest, most urgent frustrations into mere whispers with the Shouting Vase. The plastic jug is designed to fit over the contours of your mouth and absorb your screams and shouts, “storing” them in the vase and emitting a softer version of your angry cries through the tiny hole at the base. The shouting vase was first featured on NHK’s Good Morning Japan and has since appeared on several other television shows, making this terracotta pottery-inspired item a hit product. Ideal for when you feel like shouting, but know that speaking softly is more likely to do the trick. Or the perfect gift for the loud one in your life.'-- Japan Trend Shop
*
p.s. Hey. ** Thursday ** les mots dans le nom, Hi. I like Sollers's early writings too. I guess I especially like his very early novels, especially 'Event'. Ah, 'Camera Lucida', nice. Thanks about the German theater piece. Fingers crossed, but all signs are positive so far. Yeah, Zac's and my film is not a porn film. It'll have explicit sex in it, but, so far at least, it's not going to be shot like porn, i.e. with the standard close-ups and lengthy concentration on the actual sex acts and that sort of thing. ** Torn porter, Hey! Oh, no, no problem at all. It's fine. If I seemed irked or something, it was just an unintended tone arising due to rushing or half-concentrating on what I was writing. Yeah, maybe we can meet up later today or this evening sometime? Or tomorrow? That should work for me. I guess instant message me or call when you see this and feel like it, and we'll sort it out. ** Bill, I know, time's disorienting and sometimes beastly pace, so weird. I have this feeling that 'Ludwig's' length and pace with be a toughy for you, but what do I know really? Nada. ** Rewritedept, Hi. Before I forget yet again, your lovely guest-post will appear here next Wednesday. Thank you so much! Oh, yeah, I was on a plane. Word of advice to you and everyone: Don't fly the super-budget Darwin Airlines if you ever have that option and have any choice in the matter. Weirder than early GbV? ** Steevee, Hi. Kiddiepunk saw and loved the new Errol Morris, but I don't think it has opened here. I think he saw it online somewhere. Maybe iTunes? ** Slatted light, Yay! You're back! Hi, D! Would be extremely awesome if you hung around, that's for incredibly sure. Well, as per the movie Zac and I are making: I don't know if you'll remember, but I used to express interest here in making a porn film, and someone who was a d.l. at the that time worked in the porn industry and thought he could get something like that produced and financed. So I wrote a script, but it turned out to be too outrageous and controversial and blah blah to get any support within the porn industry. So, it got shelved. Then, maybe 6 months ago Zac expressed interest in collaborating on it with me, so we went back and revised the script together. It's mostly the same, but we cut one scene and added a new one, and, luckily, people were interested in making it, so it's green-lit with producers (Jurgen Bruning, who produced Bruce la Bruce's films, along others, and Christophe Honore) and the financing pretty much in place. It involves explicit sex in most of the scenes, and we're hoping to have the sex be real, at least in some cases, but it's not going to be shot like porn, and it remains to be seen how real the sex will be because we're casting people who aren't porn stars or actors, and some of them are okay in theory with doing the sex for real, and some aren't. So, it's going to be an experimental film about sex, and showing sex unreservedly, but we're not thinking of it as a porn film. A film very influenced by porn would be more accurate, I guess. Shyly hopeful sounds really good. I'll take that! 'The Rememberer': that's beautiful, D. I can't say too much about Zac because he's a very private person who wants as little online presence as possible. He's an extraordinary visual artist working mostly in video, photography, and event-based work. We met about a year and half ago. We just felt this kind of almost paranormal connection immediately, and we've had this kind of transformative effect on each others' lives. We're working on lots of projects together, and we've been traveling all over the world together, and etc. I guess it's like a separated a birth, soulmate kind of thing. Hard to describe. He's the most important person to me whom I've ever known. It's huge, but it's very hard to characterize. The meetings went really well, thanks. We're pretty much set to start shooting the film in May unless something unexpected happens. It's so great to get to interact with you again! It really, really is. ** Aaron Mirkin, Hi, Aaron. Understood about wrestling. I was totally obsessed with it for a while years ago. Kevin Sheen, I don't know him. I'll google him today. Of course I really hope you get to make that film about him. It sounds exciting, and, wow, 'Hamlet' set in the wrestling world, whoa. That's so great! One of the things that most interested me about wrestling, and still does, is the way it uses narrative in and around the actual wrestling bouts. It's really kind of innovative, I think. I used to study the way the WWE did that, trying to get stuff I could use in my novels. You sound really good, man. That's so good to hear. ** Sypha, Hi, James. Well, I don't know, there seemed to be a fair amount of negative in your mini-review of 'ASN', so semi-thumbs down was just my guess. I stand corrected. Oh, you know, I like linear narrative and cohesive characters, sometimes a lot, especially when they're coming from a writer for whom that approach isn't natural and/or heavily taught. I mean, that's the way I enter hose tthings when I use them. So, who knows, but I doubt that, if R-G is going that way, it'll be a problem for me. ** Kier, Hi, Kier! Kevin rules! That's weird: Gisele and I were just talking about 'Les chansons d'amour' three days ago, and we were both saying, 'Jeez, I really need to watch that again'. Are you able to make much art these days what with your farm duties? ** David Ehrenstein, Ha ha, yes, Nayland used to be a skinny rail of a guy. It's funny. I think he was always only smooth from the jawline up though. ** Friday ** Marc Vallée, Hi, Marc! Wow, that's wild: you're up there in the post this weekend. What were the odds? I so wish I could get over there for the launch of the Dom zine, but, barring a miracle, I'm crazed busy stuck here for a while making 4 projects at once. Let me alert everyone else. Everyone, especially everyone in and around London: the great photographer and other things and d.l. Marc Vallée, whose work is represented up there in the post, is about to publish new zine, this one focused on the wonderful writer and d.l. Dom Lyne, and there's a launch party/event for it in London happening soon that I highly recommend you attend if you can. Here's Marc: 'I’ve been working on a new zine with Dom Lyne. It’s called Queer and we have a launch party on the 29th here in London - if you can make it over that would be great. (That invitation is extended to all the London folks who hang around here.) [Here] are some notes on the new zine.' Thanks again, Marc. I would really love to have a copy, of course. Take care! ** MyNeighbourJohnTurtorro, Aw, thanks, man. Really glad you dug the gig. I like SFA a lot too. Especially everything up through 'Rings Around the World'. I think they're often overlooked and underrated. You have a fine day, or, rather another one, or, rather, two of them, considering it's the weekend! ** Steevee, Thanks, pal. Glad you liked it. Cool re: the Fandor review and the interview. Everyone, mighty film writer brainiac with fingers attached Steevee aka Steve Erickson has a couple of new things up for you to read, which you should! First, here he is on the Film Society of Lincoln Center’s "Art of the Real" Festival, running from now until the 26th, and here's his interview with actor/producer Waleed Zuaiter. If I was ever going to listen to Oasis consensually, it would be in the context of 'Setting Sun', yeah, I agree. ** Mikel Motorcycle, Hi, man. I would say that the best rock show I ever saw was probably The Flaming Lips circa 'The Soft Bulletin'. Oh, thanks for the video link to that show you saw. I'll watch it pronto. Wow, you saw that Spiritualized show too. I saw the original, or, rather, the related show when the album first came out, which was phenomenal. I think my favorite gig by them was a tiny show at the Whisky-a-Go-Go circa 'Pure Phase'. It was super druggy. I've never seen Primal Scream live, and I definitely have the feeling that it's probably too late to even try now, I don't know. Thanks a lot, Mikel, that was great! ** Kier, Oh, shit, that's so sad about the lambs. God, that must be so, I don't know, such a deep thing to have to go through. Hugs, my dear friend. My day was definitely better than yours, I'm guessing. Uh, big, long meeting with the film producers and then working more on the film with Zac, and then eating and chilling. Have the best weekend possible, K! ** les mots dans le nom, Hi. Thanks! Yeah, that Boredoms track is crazy good. They're amazing, still, to this very day. Busy weekend ahead? Me too. How was it? Oh, and that floater is so charismatic and beautiful! I'm very happy to have it in image form, yes. Very happy! Thank you so very much! ** Zach, Hi, Z. Cool, hope the gig did its gig-like duties for your ears and affected brain and bodily functions. Only 100 pages left! I can't remember what happens at the end. Did it hold up? ** _Black_Acrylic, Howdy, Ben. 'Definite Motion' is a nice title. I'll go check out the pix. Thanks a lot, pal. Good weekend in the offing? ** Grant maierhofer, Hi, Grant! Nice to see you, man! No go re: Entropy and HTMLG, huh? There's a time and a place in one's head for those kinds of ventures, for sure. Your alternate plan sounds really good to me. You gutted your mss.? I mean, as rough as 'gutted' sounds, that kind of heavy pass can be miraculous. I'll go check in on The Body this weekend, cool. Thanks! I'm really excited for Blake's novel, obviously, yeah, wow. Jarret Kobek is very interesting. I recommend reading him. Maybe 'Atta' first? I'm really good, just, like, so busy. I sort of can't believe that I'm balancing out all the stuff I'm doing, but, so far, I seem to be. Life's good here, yeah, definitely. Thanks again, pal. Take good care, and I hope to get to see you again soon. ** Misanthrope, Sad, yeah, weird and sad. Ugh. New story! Very, very cool! Do share if it pans out to your satisfaction, yes. My novel goes very well, I think, I hope. Really different for me, but very 'me' too, albeit with a lot of challenging, uncharted turf to work with. Yeah, I feel excited and hopeful about it. ** Right. I haven't done a Varioso post in a while, and, well, now I have again, duh. I hope you find stuff of interest in there. Have lovely weekends. See you on Monday.