Anodyne
Friday, January 18, 2013
 
LQ @ Vertical

Mise en Bouche: Lamb Heart Tartare, Razor Clam Congee, Sea Snail Karaage Roll

First Course: Carlsbad Oyster, Smoked Dashi Gelee, American Paddle Fish Roe, Wasabi Darphin

Second Course: Fresh Anchovies, Chorizo Hushpuppies, Roasted Wheat Crumbs, Poached Yolk, Burnt Serrano Ham, Celtuce

Third Course: Chinese Lion Peppers, Duck Leg Confit, Duck Gizzards, Duck Tongues, Duck Hearts, -8, Apricot Seed Dust

Fourth Course: Trotters and Tails Pot Pie, Truffles, Chanterelles, Salsify

FAMOUS CHEESE CART

Dessert: Bay Leaves 'n Cloves Ice Cream, Pears, Roquefort Cheese, Green Lentil Jam
 
Right Here Waiting (via L.)

"'I’ve been getting emails from some guy who says he’s Richard Marx,' I said. 'I think it’s an impostor. The only thing that makes me think it might really be Richard Marx is that it’s from an AOL account.'"
 

Looking south on 165th Street to California 138.
Wednesday, January 16, 2013
 

Cover version - From Wikipedia, the free encyclopedia

"In previous generations, some artists made very successful careers out of presenting revivals or reworkings of once popular tunes, even out of doing contemporary cover versions of current hits. Musicians now play what they call 'cover versions' (e.g. the reworking, updating or interpretation) of songs as a tribute to the original performer or group. Using familiar material (e.g. evergreen hits, standard tunes or classic recordings) is an important method in learning various styles of music. Most albums, or long playing records, up until the mid-1960s usually contained a large number of evergreens or standards to present a fuller range of the artist's abilities and style."
 
"We've also long recognized, as our Founders recognized [sic], that with rights come responsibilities.  Along with our freedom to live our lives as we will comes an obligation to allow others to do the same.  We don’t live in isolation.  We live in a society, a government of, and by, and for the people.  We are responsible for each other.
 
The right to worship freely and safely, that right was denied to Sikhs in Oak Creek, Wisconsin.  The right to assemble peaceably, that right was denied shoppers in Clackamas, Oregon, and moviegoers in Aurora, Colorado.  That most fundamental set of rights to life and liberty and the pursuit of happiness -- fundamental rights that were denied to college students at Virginia Tech, and high school students at Columbine, and elementary school students in Newtown, and kids on street corners in Chicago on too frequent a basis to tolerate, and all the families who’ve never imagined that they’d lose a loved one to a bullet -- those rights are at stake.  We’re responsible."
 

Pablo Picasso, Women of Algiers, 1954
 
Pearblossom Rules

1.  Site

2.  "Joined" physical prints mounted to a surface, not digital collage

3. Big; approx 6' x 10'

4.  Smaller maquette first

5.  Maintenance of each print's physical integrity.  Prints can be overlapped but not cut into.

Someone in the audience offers the unsolicited opinion that this is an odd and unproductive way to spend my time.  To which I can only reply, I wish I had a choice.  In my ideal world I would be making graphic-design "linguistic conceptual art" art a la Lawrence Weiner, Ian Hamilton Finlay, and the early Rodney Graham, but judged my early experiments in that direction failures and stopped.  The current program likely seems inexplicable from the outside, but jibes with my own sensibilities.
Monday, January 14, 2013
 

"Barbara asked us to do an album with her, I called Neil Diamond because I was very nervous with working with her. Neil told me not to worry, she's a true professional and everything would work out just great - go for it. I did - We did but she didn't send me no flowers."
 

Mildly Pathological

"Some works stretched the exhibition’s theme too far. Johnson’s deadpan online database of images pulled from Craigslist, for example, spoke more to the digital image’s role in economic exchanges. Similarly, Christopher Brayshaw’s War Game Tree (2012), a photograph of the same site where Wall took his famous work War Game (2007), was intriguing for the research and the mildly pathological gesture of mimicry underpinning it, but didn’t jive with the show’s magic-lantern flavour. Given that one of the most exciting qualities of this exhibition was its focus on Canadian artists who seemed unconcerned with the hyper-referential ethos of photo-conceptualism, I couldn’t sympathize with the impulse to pull Wall, the arch-grandmaster of that tradition, back into the fold."
Sunday, January 13, 2013
 

YVR from the ISS, @Cmdr_Hadfield behind the lens.  My favorite Twitter stream right now; what would have been science fiction in the 70s, 80s and 90s unfolding in close to real time in the browser window.  Koma Kulshan at lower left, your correspondent somewhere at mid upper right, close (but not close enough!) to those recently snowcapped peaks.

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