Chosen by sculptor Agelio Batle for their mystical qualities, the Graphite Objects: Acorn, Spindle Shell & Twisting Leaf are cast graphite objects to be used as actual writing instruments.
In many religions the acorn is a vessel or universal substantial space and mystically is in its highest element. Seeing acorns in dreams is a portent of pleasant things ahead. Such as to pick them from the ground fortells success after weary labors. For a woman to eat them denotes that she will rise from a station of labor to a position of ease and pleasure. To shake them from a tree denotes that you will rapidly attain your wishes. While to see green-growing acorns means your affairs will change for the better. The reverse, of course being that to dream of decayed or blasted acorns have import of disappointments ahead.
Spindle-shaped symbols signify the broad idea of mutual sacrifice and the power of inversion. Spinning is equivalent to bringing forth and fostering life. A spiral is the schematic image of the evolution of the universe. The spirals symbolism and its relationship with water has been found in the most ancient of traditions, and disitnction being made between the creative spiral (rising in a clockwise direction) and the destructive spiral like a whirwind (which twirls round to the left; often attributed to Poseidon).
Interestingly enough, though many use the twisted leaf in design, Gilding was unable to find a symbolism for a twisted leaf. It could be assumed that it serves to symbolize new growth. But more interesting was the pages upon pages of research on genetic anomalies, the twisting leaf referring to either the misshapen state of the genetic strain or of the resulting leaf itself.
Price for the Graphite Objects: $198.
“The local school district is really hurting. We live in one of the lowest paying and poorest counties in the state. Part of the reason for this is that a large portion of the land in the county is owned by the University of Florida and is therefore tax exempt.”
DeeZone makes an astute observation in but one of the facets of Florida’s current education crisis. The import of this observation is Gilding’s own current life changes as she and Mr. Gilding move on to University for the next stage of their life.
Last Fall we had quite a rude awakening when we toured the Fine Arts department of Florida State University. Our programs were picked and being applied for, our living arrangements had been made and contracting arrangements to modify our new home for wheelchair accessibility for Mr. Gilding were in the works. What we found there was a University whose Art department was completely inaccessible to wheelchairs and a program advisor who found it a complete and utter imposition to have us there let alone apply to their program. She was even so brazen as to tell Mr. Gilding that if he couldn’t “do art the traditional way — the way its supposed to be done — then why waste your time and the program’s time.” The feelings of humiliation and degredation were more than words can adequately describe and is still an open wound for us. The advisor didn’t see him, she didn’t see an artist. She saw a wheelchair. She saw 30 years of documented complaints and AHEAD seminars and student disertations against the department for their inaccessibility staring her in the face.
For crissakes, its art — isn’t the whole concept behind art about pushing the fucking boundaries! About working outside of the box!
This past weekend, Gilding & Mr. Gilding spoke with the preliminary advisors of our respective programs of study. Already being an extremely competitive school to get into, Florida’s budget cuts in its current education crisis has caused Universities to become even more elitist than they already were. With this in the rise, many students, including the Gilded Duo, have chosen the path of community college to seek their Associate in Arts degree and transfer into one of these leading Universities — a path with which many Universities put priority in admitting transfer students with an A.A. over Freshman and even Sophomore applicants.
But once again, its seems as though the Arts is stonewalling for the sake of pretenciousness, and the budget cuts affecting Florida’s state funded education systems is further giving them the ability — and the blanket to cover their asses. Where it used to be talent, a slam-dunk portfolio, and the GPA that make-or-break an individual’s chances of getting into the Arts program of the University of their choice — in this case being University of Florida — now its course numbers…hell, its even the access to courses.
See, the purpose of the Community College, in the track of higher education, is that it is an institution with which an individual — upon graduating with their A.A. — has attained an education in all the core required classes necessarry to their major for continuing on at the University level as a junior — or in other words, entering Baccalaureate studies. However, many Universities are requiring as core requisites, courses that aren’t offered at most Community Colleges, not only for attaining an A.A. in their respective field, but just not offering those courses period. Such is the case, as we learned this weekend, with the UF Digital Media and Graphic Design programs.
So where does that leave us, or any other student in the same such situation? Well, the UF advisor’s suggestion — pick another University, go there, obtain those classes if they offer it, the credits may or may not be accepted by UF (and in most cases will not be), include those works in your portfolio, and being the elitists that they are, if your portfolio knocks them out of their socks they’ll find some way of accepting you into the program (though probably not into the desired program of study) and let you work your way through each program until you have taken the classes you need to finally be accepted into the program you want. So why can’t they let you transfer in with the classes you have and do the same? Because they don’t.
Yep. That’s it. That’s the answer that you are supposed to accept. To do the latter is no different than what the advisor is proposing in the former — not respectively at least. The loophole that the program is latching onto is the difference of having to take a sophomore level class at the University, which they won’t allow you to do because as a transfer student you are technically a junior, which means you don’t have the required class you need to be accepted into the program and therefore you won’t be which means you can’t take classes at the University because you won’t be accepted into the program. Whereas, if you take the required classes at some other University, even if the credits don’t transfer, the program advisors can see from your transcript that you have taken the class and therefore to some degree have learned those expected core requisites and you can then be admitted into the program (if your portfolio impresses them) and take those same classes that you have already taken at another University again just so you can have to proper course codes necessary to graduating from the School of Fine Arts at the University of Florida.
Sound like a lot of splitting hairs. That’s because it is. It’s nothing more than bureaucratic bullshit. So how does the current Florida education crisis factor into this. Well, budget cuts means that less money is going to the programs within the University, which means the programs are forced to accept even less students than their elitists asshole selves already do. Less money also means that other colleges are not able to create those programs necessary as core requisites. The need for these beginning higher education institutions to seek non-existent to minimal funds to create these additional classes is further put on the backburner as the additional courses often vary from Univeristy to University (one such example is that UF requires two courses for admittance into the Digital Media and Graphic design programs that FSU does not require). The lack of continuity or uniformity between Universities may create diversity — or as they like to say without so many words, puts their quality stamp of approval on its graduates — makes it less of a priority for colleges to create the courses needed if they can’t transfer to all the state’s Universities across the board.
Furthermore, budget cuts have caused the acceptance rate of students into programs to be cut in drastic proportions. Last year, UF was only able to admit 1000 new applicants into its Fine Arts program. With another $1-$2 million dollars being cut from the school’s budget, the University has forced the Fine Arts program to cut is acceptance rate to nearly half of what they accepted last year — that’s only 500 applicant spots available for this Fall.
So what’s the moral of the story here? Florida’s education is a whole vat of suckage at the moment — while the Nation is funding college careers at an all time high even with the current recession, the State of Florida is pulling funds from education every chance it gets. On that note, students, go fuck an alumn and guarentee your spot at the University of your choice. And if that’s not an option, then apply to the University of Central Florida in Orlando. They are a competitive school to get into as well, but current trends have shown that the school is much more open to enrollment than many of the state’s other Universities are currently being.
On a totally hypocritical note, it looks like Gilding herself is in good standing to be accepted into the College of Liberal Arts & Sciences at the University of Florida for her major in English. The English program wasn’t nearly as elitist as the Arts. Go figure.
Beginning quote from Deezone, “Florida Education Crisis”
Gilding is such a sucker for paper and books, no bank card is safe with her when she finds a gorgeous piece of both in one. In all seriousness, Gilding has tons of blank books just waiting to be filled with inspiration, art, and words, and all were bought simply because they were irrisistably beautiful. It takes forever for Gilding to fill up even one, but God forbid she finds another one because she can’t possibly live without it. And if its handmade, unique, filled with decadent paper, and expertly bound in sumptuous leather, Gilding will simply mourn every minute that she is not united with the creation of beauty waiting for that one day when it will be its turn to begin the journey of being filled with Gilding’s purposeful randomness.
And just beckoning to be owned by Gilding is this beefy bound bit of scrumptuous leather and deckled edge paper made by ArtisanGraham.
Made from genuine latigo leather, hand torn and then deckle edged paper bound in a timeless finish of two nickle roller buckles with easy to open/close snaps.
Mirror writing is an unusual script, in which the writing runs in the opposite direction to normal, with individual letters reversed, so that it is most easily read using a mirror. This writing is seen in healthy individuals; it is also associated with various focal lesions that most commonly involve the left hemisphere, as well as with certain diffuse cerebral disorders. Mirror writing is nearly always undertaken with the left hand, and left-handers, and those whose languages are written leftwards, have an unusual facility for this writing.
Research suggests that
the ability to do mirror
writing is probably inherited and caused by atypical language organization in the brain. Half of the children of people with the ability inherit it, and as there are more left-handed mirror writers than right-handed ones, it is probable that it is because left-handed people tend to have atypical language centers in their brain. Research has also shown that 15% of left-handed people have the language centers in both halves of their brain. The cerebral cortex (thin layer of dense brain cells covering the whole brain) and motor homunculus (relates to voluntary movement) are affected by this causing them to be able to read and write backwards quite naturally.
Young children, when first learning to write, are encouraged to start writing at the top left hand corner of a page. If, left to their own devices, they begin at the bottom right hand corner, they write in Mirror writing. A child who produces Mirror writing by starting to write at the bottom left hand edge of a page will immediately change to ‘normal’ writing when directed to start again from the top left hand corner of the page.
Leonardo da Vinci is famous for having written most of his personal notes in mirror, only using standard writing if he intended his texts to be read by others. Conspiracy theorists claim Da Vinci’s purpose for this was to protect his ideas from theft, and furthermore, to hide them from Roman Catholic Church (with whom his scientific findings often collided). The likelyhood of this is imporobable and made more for good storytelling than truth as Da Vinci’s texts in question are plainly readable even to a child in their backwards state. The more likely reason for Da Vinci’s backwards text is due to the propensity for the ink to smudge easily if he wrote in standard writing, as Da Vinci was left-handed. Though the true purpose for this practice is unknown, a third theory proposes that Da Vinci had taught himself to write; given the propensity of children to start writing from the bottom right hand corner of a page, this would have lead him to produce mirror writing.
“The first time I see “Thèrése Révant,” I am walking through the Met. I see Therese reclining, her reverie and her red shoes like Dorothy’s.
Therese is Dorothy reimagined by Humbert Humbert.
I wonder what Therese dreams of, what Therese’s dreamlife is like. In the picture, she seems to be daydreaming, not really dreaming. She is not sleeping, though her eyes are closed, though her head is thrown back, though she seems unaware of the room around her. Still, her posture suggests that she is not fully relaxed, has not fully abandoned herself, has not given herself up fully. And somewhere, off to the side, is the invisible presence of Balthus watching her: her brown bob, her upturned nose, her red skirt hiked up to reveal white panties. It is an undeniably sexual image. Balthus’s preoccupation with young, nubile, sexualized girls is well-known and well-documented. We imagine we know the dreams Balthus dreams of Therese.
But what of Therese? What of Therese’s fantasies and obsessions and shameful desires? What does she dream of? What are the nature and the content, the shape and the substance of her reveries? Caught halfway between innocence and perversity, arrested at the nexus of rest and stimulation, Therese remains an unknown, an unknowable.”
Though this excerpt focuses on that of nymphet pictured in Balthus’ painting, Thèrése Révant, the entirety of the post is written by Yevgeniya Traps, a Professor of English at Hunter College, New York, and speaks of a childhood love, Taras, as she remembers him at the age of seven. Though she herself has grown into womanhood, she likens herself as a young girl in the image of Theresa, and the boy she remembers to the point of fantasizing remains the age at which she last saw him.
The imagery in this piece is fascinating–guiltily so. Traps’ reverie of this boy-child is beautiful, like the memory of first love, and at the same time painted crimson with the sensuality that womanhood bears. And yet, we are to learn that it is not Taras that she truly dreams of any longer with this longing sensuality, but is, in fact, her home of Kiev.
The prose reads like a train of cohesive and at the same time random thought; a liquid swim in the viscous haze of dream and reality and reality within dream that bears the resemblance of reality. It is a beautiful read.
The Pythons decided on a joke where the characters would pretend to ride horses while their porters banged coconut shells together, an in-joke as to how BBC radio shows had produced the sound effect of horses since the 1930s (a gag seen previously in the sole surviving episode of the 1956 program A Show Called Fred, and also used on The Goon Show in the form of “here comes a man riding on coconut shells”) with the added benefit of being much cheaper than hiring horses and learning to ride them. The use of coconuts leads to an extended discussion on how coconuts could have found their way to the British Isles. The possibility of swallows carrying them, absurd as it seems, reappears in a key moment late in the film and helps Arthur advance his quest.
1st soldier with a keen interest in birds: Who goes there?
King Arthur: It is I, Arthur, son of Uther Pendragon, from the castle of Camelot. King of the Britons, defeater of the Saxons, Sovereign of all England!
1st soldier with a keen interest in birds: Pull the other one!
King Arthur: I am, and this is my trusty servant Patsy. We have ridden the length and breadth of the land in search of knights who will join me in my court at Camelot. I must speak with your lord and master.
1st soldier with a keen interest in birds: What? Ridden on a horse?
King Arthur: Yes!
1st soldier with a keen interest in birds: You’re using coconuts!
King Arthur: What?
1st soldier with a keen interest in birds: You’ve got two empty halves of coconut and you’re bangin’ ‘em together.
King Arthur: So? We have ridden since the snows of winter covered this land, through the kingdom of Mercia, through…
1st soldier with a keen interest in birds: Where’d you get the coconuts?
King Arthur: We found them.
1st soldier with a keen interest in birds: Found them? In Mercia? The coconut’s tropical!
King Arthur: What do you mean?
1st soldier with a keen interest in birds: Well, this is a temperate zone
King Arthur: The swallow may fly south with the sun or the house martin or the plover may seek warmer climes in winter, yet these are not strangers to our land?
1st soldier with a keen interest in birds: Are you suggesting coconuts migrate?
King Arthur: Not at all. They could be carried.
1st soldier with a keen interest in birds: What? A swallow carrying a coconut?
King Arthur: It could grip it by the husk!
1st soldier with a keen interest in birds: It’s not a question of where he grips it! It’s a simple question of weight ratios! A five ounce bird could not carry a one pound coconut.
King Arthur: Well, it doesn’t matter. Will you go and tell your master that Arthur from the Court of Camelot is here?
1st soldier with a keen interest in birds: Listen. In order to maintain air-speed velocity, a swallow needs to beat its wings forty-three times every second, right?
King Arthur: Please!
1st soldier with a keen interest in birds: Am I right?
Ahhh, such masters of brilliant randomness.
Gilding has begun to prepare her proposal for her Fantasy Storybook Photographic Interpretation (so now dubbed FanPhIn because that is, quite frankly, a shitload to type each and every time).
Just a short recap on what FanPhIn actually is. It is a photographic interpretation of a chosen Fairy Tale. It doesn’t necessarily have to be a literal translation of the Fairy Tale, although it can be if so desired. The photographs can be accompanied by the text of the Fairy Tale or they may stand alone, but in either case the photographs must be able to translate to its audience the “tale” that it is depicting in whatever interpretation the artist has chosen to tell. Furthermore, the artist has liberties to interpret the Fairy Tale in whatever manner they choose, but remember, the viewing audience has to be able to preceive that the series is an interpretation of a Fairy Tale, so some truth must remain to the original Fairy Tale itself. For example, if the story Cinderella were to be chosen, the artist may interpret not the verbage of the Fairy Tale as is published, but perhaps what happens to Cinderella after the honeymoon is over–like perhaps Prince Charming is actually Prince Plays-a-lot-with-people’s-pussy, to quote Naughty by Nature. Gilding chose a bit of play on words and chose to interpret literally a “fairy tale”–as in a tale about fairies. HeeHee, get it. Yeah, yeah…it was funny, damnit. Laugh! So, Lady Cottington’s Pressed Fairies Book it is.
And so, now begins the process of preparing a proposal to accompany this assignment. This is but the beginning of the proposal, not yet the meat and potatoes of the execution of this undertaking, but Gilding is first and foremost a writer and so what kind of writer would she be if this literary coloring were not to seep into the pores of all of her artistic endeavors. Besides, meat and potatoes is so less interesting to devour when not peppered by seasonings.
Pressed is a photographic portrayal of the life, mischief, wonder, and torment of Lady Angelica Cottington and her tormentors-slash-smooshed captives–fairies. From the first ever published replications of Lady Angelica’s journal, the photographs of this series will show all the true tiny details left out of Angelica’s entries–for one is hardly ever consciously aware of their inner and all too guilty delight at being devious. But the body never lies.
Have no doubt that Angelica is indeed the Victim here. Well, at least when one is given to comparison of the tormenting mischief havocked by these trixieing little fairies. For to read Angelica’s account, we learn how the fairies entered her life; how they led her on a merry dance; and how the fairies prevented her from every marrying. Feel sorry for these emphatic and ethereal creatures smooshed between the pages of her book? I should hardly think, not! But to look in upon Angelica and these creatures of magic and sometimes mayhem, perhaps we shall see that Angelica and the fairies are, in fact, more kindred than originally perceived.
Details on the technical schematics of this photographic undertaking to come…
These remind Gilding of those grade school notes silly young girls pass to their girlfriends, delicately folded in some new twist and fold shape learned from one girl to the next.
Johnson Banks Post Office specially produced these airmail letters, a special twist on self-sealing aerogramme letters apparently popularly sent by children in Australia.
Johnson Banks designed eight in total which fold down from die-cut shapes into square letters.
“Until recently, cellphone novels — composed on phone keypads by young women wielding dexterous thumbs and read by fans on their tiny screens — had been dismissed in Japan as a subgenre unworthy of the country that gave the world its first novel, “The Tale of Genji,” a millennium ago. Then last month, the year-end best-seller tally showed that cellphone novels, republished in book form, have not only infiltrated the mainstream but have come to dominate it.
Of last year’s 10 best-selling novels, five were originally cellphone novels, mostly love stories written in the short sentences characteristic of text messaging but containing little of the plotting or character development found in traditional novels. What is more, the top three spots were occupied by first-time cellphone novelists, touching off debates in the news media and blogosphere.
Will cellphone novels kill ‘the author’?”
First Cell Phone Novel
Compagni di Viaggio
By Robert Bernocco
An Italian IT professional who used his spare time during
his morning commutes to work to write an entire book
on his mobile using the T9 function. Bernocco opted for
normal Italian rather than text-message shorthand, however, this is
the exception in what is becoming a growing trend of
the text-message rule in the budding genre of cell
Thumbs Race as Japan’s Best Sellers Go Cellular, By NORIMITSU ONISHI
Lolicon is a slang portmanteau of the phrase “Lolita complex”. In Japan, the term is used to describe an attraction to girls below the age of consent, or an individual attracted to such a person. Outside Japan, the term most often refers to a genre of manga and anime where childlike female characters are depicted in a sexualized manner or engaged in sexually explicit acts. The equivalent term for the sexualization of or attraction to young boys is shotacon.
As the genre created by and for men evolved, according to Kinsella, it moved from these cute, tough heroines towards depictions of girls as sexual victims: naked, helpless, fearful, sometimes bound or chained and was expanded into computer games and animated videos.
Japanese animator Hayao Miyazaki stated in an interview with Animage in 1988 that while he prefers to make his protagonists girls, “It’s difficult. They immediately become the subjects of rorikon gokko (play toy for Lolita Complex guys). In a sense, if we want to depict someone who is affirmative to us, we have no choice but to make them as lovely as possible. But now, there are too many people who shamelessly depict (such heroines) as if they just want (such girls) as pets, and things are escalating more and more.”
Though popularised by Vladimir Nabokov in the novel Lolita, the term nymphet is actually much older in French, and is notably used by French poet Pierre de Ronsard.
Nabokov did more for pedophilia than the simple coinage of the term nymphet as a whimsical blame for those tender girls of 9 to 14 whom tortured Humbert Humbert so. He coined a whole bevy of terms.
The term faunlet is used to describe the young male counterpart of a nymphet.
“…I met the unblinking dark eyes of two strange and beautiful children, faunlet and nymphet, whom their identical flat dark hair and bloodless cheeks proclaimed siblings if not twins.“
Nabokov also borrowed the term nympholept, a rare, archaic term meaning a person seized by emotional frenzy, as if enchanted by nymphs. The word is found with this meaning in the poetry of Lord Byron:
“The nympholepsy of some fond despair.“
Nabokov used the word to describe one who could “discern” nymphets from other girls. In Humbert’s own words:
“A normal man given a group photograph of school girls or Girl Scouts and asked to point out the comeliest one will not necessarily choose the nymphet among them. You have to be an artist and a madman, a creature of infinite melancholy, with a bubble of hot poison in your loins and a super-voluptuous flame permanently aglow in your subtle spine (oh, how you have to cringe and hide!), in order to discern at once, by ineffable signs – the slightly feline outline of a cheekbone, the slenderness of a downy limb, and other indices which despair and shame and tears of tenderness forbid me to tabulate – the deadly little demon among the wholesome children.“
How did God know.
The Pioneer Valley of western Massachusetts is arguably the most author-saturated, book-cherishing, literature-celebrating place in the nation. Odyssey Bookshop in South Hadley, Mass., began author readings 20 years ago.
Link: A Bookstore Tour in Massachusetts | Escapes–NYTimes.com
Related Article: In the Valley of the Literate
Bougainvillea is the beloved nickname Gilding gave to one of her nieces. A longtime admirer of this hardy plant so eager to grow for anyone, including brown thumbs like Gilding herself, the nickname fit for this darling neice like bracts to the petals for numerous symbolic reasons. Now it appears the name fits even more closely to the child than even Gilding herself knew as it seems the two share common personalities.
Bougainvillea is native to South America from Brazil west to Peru and south to southern Argentina. The name comes from Louis Antoine de Bougainville, an admiral in the French Navy who discovered the plant in Brazil in 1768.
They are thorny, woody, vines scrambling over other plants with their hooked thorns. They are evergreen where rainfall occurs all year, or deciduous if there is a dry season. The leaves are alternate, simple ovate-acuminate. The actual flower of the plant is small and generally white, but each cluster of three flowers is surrounded by three or six bracts with the bright colors associated with the plant, including pink, magenta, purple, red, orange, white, or yellow. Bougainvillea is sometimes referred to as “paper flower” because the bracts are thin and papery.
So this is a bit older, but for some reason this year it keeps moseying in and out of Gilding’s conversations, so there must be some syncronicity between Gilding and the perpetual mentioner’s creator, William J. Rapaport, though what it is she could not tell you. However, Gilding can tell you that her plaguing of Mr. Rapaport’s grammatically correct sentence, “Buffalo buffalo Buffalo buffalo buffalo buffalo Buffalo buffalo”, began with her best friend, Atomic Terrier. It’s all that bastards fault.
So in the spirit of torturing others since she has thus been tortured herself, Gilding will share the breakdown on how “Buffalo buffalo Buffalo buffalo buffalo buffalo Buffalo buffalo” is a grammatically correct sentence.
The sentence is unpunctuated and uses three different readings of the word “buffalo”. In order of their first use, these are:
- c. The city of Buffalo, New York (or any other place named “Buffalo”), which is used as an adjective in the sentence and is followed by the animal;
- a. The animal buffalo, in the plural (equivalent to “buffaloes”), in order to avoid articles and is used as a noun;
- v. The verb “buffalo” meaning to bully, confuse, deceive, or intimidate.
Marking each “buffalo” with its use as shown above gives:
Buffaloc buffaloa Buffaloc buffaloa buffalov buffalov Buffaloc buffaloa
Thus, the sentence when parsed reads as a description of the pecking order in the social hierarchy of buffaloes living in Buffalo:
Bison from Buffalo, New York who are intimidated by other bison in their community also happen to intimidate other bison in their community.
Sentences of this type, although not in such a refined form, have been known for a long time. A classic example is the proverb “Don’t trouble trouble until trouble troubles you”.
“How, as a poet, do you describe something as recalcitrantly material as an orange? When you “express” it juice shoots out and stains your hand: language leaves a residue – and good writing has to deal with that sticky remainder, that stain, and come to terms with the fact that it can never fully deal with it.”
Via: Wit of the Staircase