accumulations

ADDENDUM black file

preference for this version of "ADDENDUM" in a white on black file with 3-spaces Download addendum_black.doc

pastry both sides

kauri---bark---piece---handsize---rough---bristle---hair---white---gouache---acrylic---green---red---pastry---design---both---sides------side1---
---other---side---
---photo---paintings---dripping---wet---

writing to screen

writing to screen easily obliterated no matter how preservation is attempted framed by Word designed to scroll as long as a Jack Kerouac could want forgets its past desperate seeing same blank forever writing itself onto the same screen place new text each morning until her execution only text worth the read is the latest news at the frontier accumulation narrative lies lies over my sleeve rubbing itself just shorts stories high said that before paranoid withdrawal finis tear away lighthouse wet Virginia creeper wool wet dog nuts dough though never ever parading toy soldier words parodying dying headlines fill pages without fair hearing hours long as a Jack forever writing until at the frontier shorts away though never pages hours localised gossip adds flavour bursts in short climactic stroke writing continues after the end

Oxyrhynchus papyri

Lisa Jarnot’s blog on Wednesday this week http://www.angelfire.com/poetry/lisajarnot/blog/ ran a story that began in The Independent newspaper

http://news.independent.co.uk/world/science_technology/story.jsp?story=630165 concerning the possiblility that a large amount of ancient literature will come to light as a result of a new photographic campaign on the Oxyrhynchus papyri.The key website is http://www.papyrology.ox.ac.uk/ with copious links.

In the explanation of the methodology for photographing the papyri is this comment, that interests me greatly [see my ‘Poussin’s Humour’ blog: http://Tony_Green.typepad.com/pouhu ]: "A picture is worth a thousand words; but that is also to say that every picture tells a particular story. Each image is arguably an interpretation of the original artifact, which contains any number of ‘stories’. These might include:

• ink traces
• fibre structure (often very important in placing fragments)
• surface texture and general condition of papyrus
• aesthetic qualities of papyrus
• structural qualities of papyrus
• the traces of the material’s passage through time:
  • reuse(s): mummy cartonnage, for one
  • patterns of damage (natural history of papyrovore invertebrates?)
  • patterns of accretion (taxonomy of Egyptian dirt?)

The setup(s) we choose are determined by the kind of ‘reading’ of the original we are aiming to produce. In general, academics look at papyri for texts, meaning it’s the ink traces that really count: the colour of the material, for instance, is regarded as less important".

Watch out for the papyrovore invertebrates. You never know when they’ll turn up on CSI

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