SlideShare une entreprise Scribd logo
1  sur  23
Télécharger pour lire hors ligne
MTM Newspaper
2 moment to moment
Gwen Allen 04
Susan O’Malley 07, 20
Will Brown 08
Jason Kalogiros 10
Starlee Kine 12, 16
Harrell Fletcher 17, 42
Leslie Shows 18
Dave Muller 19, 32
Jason Jägel 21
Geoff Dyer 30
Jon Rubin 35
Tao Lin 36
Tony Discenza 38
Kota Ezawa 32
Ariana Reines B
Moment to Moment is a collaboration of THE THING
Quarterly and Levi’s Made & Crafted. The project is
based on visual artist Dan Graham’s interventions from
the 1960s, in which he purchased advertising space in
magazines such as Harper’s Bazaar and Arts Magazine
in order to create art pieces. The title comes from
19th century French poet Stéphane Mallarmé, who
envisioned a three-dimensional book entitled Moment
toMoment.AsarthistorianGwenAllenpointsoutinher
essay for our version of Moment to Moment, Mallarmé
saw the book as something that would be performed,
rather than read.
This project consists of commissioned online videos,
text pieces, paintings, animated gifs, photographs, and
essays. Some of these pieces will appear on billboards,
bus shelters and other outdoor advertising spaces
in cities around the world.These public interventions
propose an alternative, more pleasing visual experience
within the urban landscape and prompt viewers to
take time for the good things around them. Some
pieces will be inserted into the paid advertising space
of magazines as stand-alone works of art. These
will be pages from the Moment to Moment project,
extracted and repositioned as pages in other like-
minded publications. The remainder of the project is
featured online at goodthingstaketime.com and in this
free printed newspaper which, like the official website,
documents and shares the entire project.
goodthingstaketime.com
0504 moment to moment
gwen allen
moment to moment
gwen allen
I
n 1966, the American conceptual artist
Dan Graham published a short article,
“The Artist as Bookmaker: The Book
as Object,” in which he described an
imaginarybook,LeLivre.Originallydreamt
up by the 19th century poet Stéphane
Mallarmé,itwasathree-dimensionalbook
with a set of mobile sections contained in
boxes. Instead of being read privately by
individuals, the book would be performed
aloud collectively. Le Livre was never
realizedinMallarmé’slifetime,butGraham,
who was then primarily a poet, publishing
in experimental little magazines such
as Extensions and 0 To 9, came across
Mallarmé’s posthumously published
notes about it in the avant-garde music
journal Die Riehe. As Graham explained:
GwenAllen
EphemeralInterventions:MediaasArtinthe1960sand1970s
Graham was not alone in his fasci-
nation with the possibilities of the book
as a new kind of object and social space
in the 1960s. At a time when Marshall
McLuhan was hailing the end of print,
Roland Barthes was declaring the death
of the author, and the countercultures—
including the civil rights, anti-war, gay
rights, feminist, new communalist,
and environmental movements—were
launching widespread social revolu-
tion, the book was ripe to be reinvented
as realm of radical, utopian promise.
Printed publications were no longer
just places to record and store texts and
images, but spatio-temporal entities
in their own right, with the potential
for actions, events, and relationships.2
The following year, Graham had
the opportunity to put some of these
ideas into practice in an issue of Aspen
magazine, an unbound periodical that
included posters and booklets, Super
8 films, Flexi-disc records, and vari-
ous kinds of artists’ projects contained
in a small, laminated cardboard box.3
Issue 5+6, a special double issue, was
dedicated to Mallarmé. Contained
in a square, white box, it evoked the
proverbial white cube, and func-
tioned as a miniature traveling gallery
space with contributions by artists
and writers including Sol LeWitt,
Marcel Duchamp, John Cage, Robert
Morris, William Burroughs, and Robert
Rauschenberg, among others. However,
rather than cloistering art away from
everyday life, Aspen released it back
into the world, prompting a distinctly
temporal and participatory experience.
For example, Cage contributed “Fon-
tana Mix,” an interactive score, and
Tony Smith created a dollhouse-sized
cardboard sculpture that could be cut
out and pasted together by the reader.
Graham’s own contribution to
Aspen 5+6 was a conceptual do-it-your-
self poem, “Schema,” which consisted
of a generic list of variables—such as
“(number of ) adjectives,” “(type of )
paper stock,” “(name of ) typeface”—
which were to be completed by the
editor or reader. Like Mallarmé’s own
site-specific poem, “Un Coup de Dés
Jamais N’Abolira Le Hasard,” 1897,
Schema relied upon the materiality
of the printed page: each time it was
published, the piece was modified,
registering the graphic design and
typography of the specific publica-
tion in which it appeared—adopting
the stark modern style of sans serif, for
example, or the bureaucratic, old-fash-
ioned look of Courier. To “read” the
poem is to be momentarily distracted
from the meaning of words and instead
become captivated by the shapes of
letters and numbers, and even by the
texture and pliability of the page on
which they are printed. In addition to
foregrounding the materiality of the
page, however, Schema called attention
to its distinct temporality and tran-
sience—the fact that periodicals are
linked to a specific window of time,
after which they are relegated to the
status of back issues. This limited
duration was, according to Graham,
key to Schema’s critical function. As he
explained, “[the work] subverts value.
Beyond its appearance in print or pres-
ent currency, Schema is disposable, with
no dependence on material (commod-
ity), it subverts the gallery (economic
system).”4
Schema was just one of numer-
ous examples in which artists created
works of art expressly for the printed
page. In the late 1960s and early 1970s,
publishing became an important new
medium and distribution form—one
that promised to circumvent tradi-
tional exhibition venues and reach
new audiences. The disposability and
seriality of magazines and newspapers
dovetailed with the aesthetic concerns
of Minimalism and Conceptual art-
ists, who were abandoning canvases
and pedestals in favor of ephemeral,
process-oriented works. Graham went
on to produce several such works,
including his well-known “Homes
For America,” (1966-67), an article he
wrote about suburban tract housing
developments, which in its tone and
terminology uncannily mimicked the
way art critics were discussing Mini-
malist sculpture at the time. Appearing
in the now-defunct periodical Arts Mag-
azine, it masqueraded as an ordinary
article, which was part of its effec-
tiveness since it allowed Graham to
infiltrate the magazine and catch the
reader off guard. Likewise, Mel Boch-
ner and Robert Smithson published
“Domain of the Great Bear,” (1965), a
campy essay about the Hayden Plane-
tarium embedded with found publicity
materials, in an art magazine called
Art Voices.
Artists also published works in
other kinds of publications, including
fashion magazines and underground
newspapers. Graham published his
work Figurative, a reproduced shop-
ping receipt, in the March 1968 issue
of Harper’s Bazaar, where it was seren-
dipitously sandwiched between ads for
Tampax and Warners bras, inflecting
its meaning with a gendered double
entendre. Moreover, artists began to tap
into advertising space itself, in order to
circulate their ideas under the radar of
editorial oversight. For example, Gra-
ham’s project Detumescence, (1966),
based around a clinical description
of the post-coital state of the human
male, took the form of advertisements
placed in Screw, the New York Review of
Sex, and National Tattler. Likewise, the
conceptual artist Joseph Kosuth took
out ads in newspapers and periodicals,
including the New York Times, Artforum,
Dan Graham, Figurative, 1965.
Published in Harper’s Bazaar,
March 1968. Courtesy of the
artist and Marian Goodman Gal-
lery, New York / Paris.
The linear book’s ‘time’ is enclosed,
whereas Mallarmé’s ‘Book’ exists in a
moment-to-moment specificity, its dura-
tion being formally identified with the
constituent group of ‘readers’ whose pres-
ence literally informs it. Unlike the old
book, the reader does not work his way
progressively through in one direction.1
06 07
THIS IS IT
Dan Graham, Schema, 1966. Courtesy
of the artist and Marian Goodman
Gallery, New York / Paris.
Museum News, and the Nation, as part of
his Second Investigation (1968), in which
he published excerpts from Roget’s The-
saurus. And the Brazilian artist Cildo
Miereles used actual Coca-Cola bottles
to circulate subversive anti-imperialist
messages in his Insertions into Ideologi-
cal Circuits, (1970).
Among the most elaborate and sus-
tained uses of advertising space during
this time was Adrian Piper’s Mythic
Being project, for which she placed a
series of seventeen advertisements in
the Village Voice between 1973-1975.5
The ads chronicled a performance in
which she adopted a macho African
American persona and walked around
the streets of New York in order to
explore the stereotypes and subjectivi-
ties of race, gender, and class. However,
Piper’s advertisements, which con-
sisted of photographs of her dressed
in drag, superimposed with thought
bubbles of excerpts from her diary, not
only documented her performance, but
in some sense augmented it by extend-
ing the performance from the public
space of the city into the communica-
tive space of the media, where a much
larger pool of viewers/readers might
have the opportunity to encounter it.
While such practices had a prag-
matic, even entrepreneurial, aspect,
allowing artists to garner publicity,
and reach larger audiences, they also
had an antagonistic dimension. Taking
out paid advertisements was a way for
artists to commandeer media space
and repurpose it for their own inter-
ests, which often involved challenging
the dominant institutional and eco-
nomic conditions of art. Tucked away
among the usual run of articles and
advertisements, these stealthy inter-
ventions by artists were tactical: they
exploited commercial publicity, and
used it against the grain. The irony of
utilizing mainstream advertising space
for anti-establishment ambitions was
not lost on these artists. Indeed, the
ambivalence of these practices and
the contradictions they sustained was
central to their effectiveness as works
of art, and remains one of their most
fascinating qualities.6
Artists’ publication projects from
the 1960s and 1970s anticipate more
recent appropriation and détourne-
ment practices by artists such as Jenny
Holzer, Barbara Kruger, Keith Haring,
Group Material, Gran Fury, Felix Gon-
zalez-Torres, and Alfredo Jaar, to name
but a few. Displayed on billboards, LED
displays, t-shirts, shopping bags, and
posters, these “interventions” are by
turns activist and agitprop-oriented,
or poignant and personal. Certainly,
as communication technologies and
historical conditions have changed, the
meaning of such practices has evolved.
Yet, the past can shed important light
on the possibilities of this work today.
Indeed, as far back as the 19th cen-
tury, Mallarmé himself was presciently
attuned to the then-novel possibilities
of commercial media such as posters
and newspapers, which he called an
“electrifying accomplishment.”7
Com-
paring headlines and advertisements
to poetry and collage, he observed that,
among other things, the oversized,
1.	 Dan Graham, “The Artist as Bookmaker II: The Book as
Object,” Arts Magazine 41, no. 8 (Summer 1967): 23, quoted
in Gwen Allen, Artists’ Magazines: An Alternative Space
for Art (Cambridge and London: MIT Press, 2011), 53.
2.	 For an account of the artistic and political significance of
artists’ publications, see Gwen Allen, Artists’ Magazines:
An Alternative Space for Art. For an excellent account
of the role of publications in the counterculture, see
Geoff Kaplan, Power to the People: The Graphic Design of the
Radical Press and the Rise of the Counter-Culture, 1964-1974
(Chicago: University of Chicago Press, 2013).
3.	 For a more detailed history of Aspen, see my chapter
“The Magazine as a Medium: Aspen, 1965-1971” in Artists’
Magazines: An Alternative Space for Art.
4.	 Dan Graham, “Other Observations,” in Marianne
Brouwer, ed., Dan Graham: Works 1965–2000 (Düssel-
dorf: Richter Verlag, 2001), 97, quoted in Allen, Artists’
Magazines.
5.	 For an excellent account of Adrian Piper’s Mythic Being
series, see Cherise Smith, Enacting Others: Politics of
Identity in Eleanor Antin, Nikki S. Lee, Adrian Piper,
and Anna Deveare Smith (Durham: Duke University
Press, 2011).
6.	 For a discussion of artists’ publication interventions
and advertisements see “Chapter 1: This is Not To Be
Looked At: Artforum in the 1960s and 1970s” in Allen,
Artists’ Magazines.
7.	 Stéphane Mallarmé, quoted in Anna Arnar, The Book as
Instrument: Stéphane Mallarmé, the Artists’ Book, and the
Transformation of Print Culture. (Chicago: University of
Chicago Press, 2011), 50.
8.	 For an excellent account of Mallarmé’s interest in mass
media see Arnar, The Book as Instrument.
9.	 Stéphane Mallarmé, quoted in Arnar, The Book as Instru-
ment, 5; 7.
10.	 Dan Graham, editorial statement for Aspen 8, 1970-71,
quoted in Gwen Allen, Artists’ Magazines, 66.
sectioned format of the newspaper
changed the role of the reader. With
their random juxtapositions of differ-
ent kinds of information, newspapers
encouraged readers to devise alterna-
tive and idiosyncratic ways of filtering
meaning, as they scanned or perused
the page.8 Mallarmé’s Book was in fact
inspired by these new possibilities. He
insisted that books be “restored to the
people” and described that ways in
which Le Livre would empower read-
ers to participate in the meaning of
the text and establish their “right” to
circulate it.9
As Graham recognized, Mallarmé
located the emancipatory potential of
printed matter in its conditions of circu-
lation and distribution, and ultimately,
in the indeterminate possibilities of
its readership. Graham himself con-
ceived of the publication not so much
as an object or final product, but as an
intermediary—a broker between the
reader and the world, connecting the
two, however temporarily. He imag-
ined a publication that might foster
these possibilities, and encouraged art-
ists to collaborate with corporations
to create ads/artworks whose mean-
ing would be “immediate, topical and
more or less short-lived,” and which
would “[point] directly to the out-
side world—to products to be played
(maybe records) and services to be ren-
dered.”10
What began as an experience
on the page would thus necessarily
extend beyond it, activating future
meanings and experiences—moments
that can never be fully predicted, con-
tained, or controlled.
Susan O’Malley
—
moment to moment
gwen allen
moment to moment
susan o’malley
08
ediated Morandi is an ongoing search for
Giorgio Morandi paintings inserted into
film backgrounds. Born in Bologna, Italy, in
1890, Morandi is often considered the great-
est master of Natura Morta (still life) in the
20th century. His distinctly subtle paintings
depict the modest arrangement of bottles,
vases, boxes, and pitchers stripped of all
detail except light and color. As the paint-
er’s popularity grew toward the end of his
career, his work became synonymous with
class, wealth, and refined sensibility.
Federico Fellini paid homage to Morandi by
displaying two paintings in Steiner’s salon in
his 1960 film La Dolce Vita {fig. A}. An avid
Morandi admirer, Fellini stated that he fea-
tured the works as the ultimate symbol of
sophistication. Morandi’s images were also
displayed in Michelangelo Antonioni’s La
Notte (1961) {fig. D}, illustrating Giovanni
Pontano’s financial success as a writer, in
Luca Guadagnino’s Io sono l’amore (I Am
Love) (2009) {fig. B}, and Tommy Wiseau’s
cult smash The Room (2003) {fig. C}. Due
to the beloved nature of Morandi’s work,
it is likely that his paintings—or repro-
ductions of his paintings—exist quietly in
numerous other films.
Mediated Morandi investigates how the con-
text of an artwork evolves through various
levels of mediation at the hands of mul-
tiple authors. Initially, the artist arranged
objects and rendered them on canvas. Over
time, various Morandi “stills” were inserted
into moving image works. And here, on
these pages, they have been removed and
refrozen as elements of a larger intention-
ally arranged still life.
Will Brown
Mediated Morandi
fig. A
fig. B
fig. C
fig. D
moment to moment
will brown
1110 moment to moment
jason kalogiros
moment to moment
jason kalogiros
Jason Kalogiros
—
1312
here’s a game you can play whenever you are
putting off doing something tedious, like washing the
dishes. It’s called “stage business.” The rules of the
game are simple. You are an actor in a dramatic scene
and need to busy yourself with an everyday task. So
while it may look like you are just scrubbing a plate,
really this is happening moments before the event that
advances the rest of the plot forward. This plot is your
life. Maybe the event will be a ringing phone, and you
will reach for a paper towel to dry your hands, but the
tube will be empty because you keep forgetting to buy
more, and so you’ll have to use your pant leg. This will
have the bonus of helping to establish your character.
Or it might be that in a moment you will drop the plate,
and when you go to pick up the pieces, you’ll notice a
poem that’s been written in the crack between where
the floorboards start and the kitchen counter stops.
You’ll devote the next thirty years to finding out who
put it there, not as a full-time job, but as an unpaid,
casual side project.
if you say you’re going to wake up tomorrow
and renovate your whole apartment or memorize
every South American capital or learn how to play
all of “Stairway to Heaven” even though you’ve never
picked up a guitar and aren’t even positive that that’s
the main instrument being played…it’s not going to
happen. That’s called “setting yourself up for failure.”
Even if you do memorize all those capitals—the most
doable of these tasks—it will only take one instance
of the person you have a crush on smiling at you in a
new way to make those names spill out of your head.
Keep it simple. Here’s one example of how you do it:
instead of tackling every movie made before this year
that you’ve ever intended to see, you decide to finally
watch My Dinner With Andre. When you get to the
scene where Andre talks about designing his own flag,
you think, “Yes! I will design my own flag too.” Then
be sure to stop yourself before you also think, “But
wait, it’s too bad that I don’t live in the ‘70s or ‘40s or
whenever this movie was made. The past, in general,
was so much better. Women wore pants that made
them look like they rode horses. Men wore vests that
made them look like tax attorneys. People even stood
differently, and thus more superiorly, back then.” Put
a halt to all that, don’t even let it get going. It might
help to picture one of those bottles of water that gets
inserted into a standing dispenser with hot and cold
spigots. There’s always a bit of water that pours out in
the moment between turning the bottle upside down
and fitting it into the dispenser. The amount depends
on the strength of the person maneuvering the transi-
tion. Listen, today you are very strong and only a few
drops of water manage to leak out, the water being your
A tip:
A suggestion:
Starlee
—
Kine
self-destructive runaway thoughts in this scenario.
When the movie is over, scrounge up a piece of paper.
Any piece is fine. It doesn’t have to be in a sketchbook.
It doesn’t have to be a sheet from that stationary set
that you never use because you think it’s too nice. If
it’s from your printer tray, that is great. If it’s your
phone bill envelope, even better. Grab a pen and then
draw a rectangle. That is your flag. Your kitchen table
is now officially a nation. Good job! Everything you
add is just sprigs of parsley on an already successfully
accomplished project. You can’t screw it up. If you do
happen to, say, draw a star and then decide you want it
to be a moon and so you cross it out really aggressively,
going over and over the image until you tear the paper
a little...just remember that in some cultures, a flaw
is purposely built into each project so as to prevent a
perfection-off with the gods.
»» She/he’s cuter.
»» I’m cuter but they dress better.
»» I dress better but they have the kind of body
that can more get away with wearing worse
clothes.
»» They have a more interesting job.
»» I have a more interesting job but they make
more money.
»» I make more money but they’re better at only
buying well-crafted items that are both practi-
cal and beautiful.
»» I’ve traveled to more countries but they’ve
gone to ones that are harder to get to with
more challenging language barriers.
»» I was more popular in high school.
»» I was less popular in high school but aged
better.
»» I was less popular in high school and aged
worse and every conviction I ever had about
the world not being fair is right this moment
being demonstrated in front of me.
A selection of thoughts
you probably had while
staring at a stranger sitting
across from you:
moment to moment
starlee kine
moment to moment
starlee kine
14 15
let’s say you need to put in a new light
bulb in your apartment. Don’t worry, this is not
going to be a joke. You drag a ladder out and even
though it’s a very ordinary and not particularly
attractive ladder, its presence makes everything
look so new and different. There’s an immedi-
ate release of tension in your neck and shoulders
that comes with such a tangible example of change.
So you leave the ladder out, right in the middle of
your kitchen, bumping into it a lot at first until
your body starts automatically arcing around it.
On the first day, you throw the tube of toothpaste
you’ve been milking for all it’s worth into the trash.
You write your name in gold ink on the slip under
your buzzer. On the second, you send a cautiously
sentimental note to someone you wronged. On the
third, you get a dog. You switch careers. You are able
to believe what your friends said about your last
break-up not being your fault. Just keep cramming
those changes in until the power wears off. When
you start placing cans of food or stacks of freshly
washed towels on the ladder, using it as a shelving
system, that’s when you fold it back up and hide
it from sight. And then wait for the next opportu-
nity. It could come in any form, like taking off your
sweater and tying it around your waist instead of
tossing it in your bag. Suddenly you are the person
who pulls that look off..
A nudge:
»» I went to a worse school.
»» I went to a better school but they’re more
down to earth.
»» I have a plusher couch that guests like sleep-
ing on but they have a more modern one that
guests take photos of.
»» I have more friends who will listen to my
problems but they have more friends without
kids who will go with them to parties.
»» I call my parents more often but theirs make
them feel less lonely.
»» I’ve broken more hearts.
»» She/his heart’s been broken less.
»» I’ve dated more people but they’ve had more
friendships turn into relationships.
»» I’m so glad I’m not dating her/him.
»» I wish I was dating her/him.
»» My girl/boyfriend is cuter.
»» My girl/boyfriend is funnier.
»» My girl/boyfriend is less funny, more ambi-
tious, about the same amount of cute and has
a lower maintenance family who take it less
personally when space is needed during holi-
day visits.
»» Would they ever date me?
»» Were they watching me fix my sock just then?
»» If their boy/girlfriend were to say to them,
next week, “Think of one person, besides
me, who you would want to be with for-
ever” will it be my face that flits, even for
just a second, through their head?
Poster
Fold-out
Section
—
moment to moment
starlee kine
moment to moment
—
16
»»Thisisthedeskwhereearlymorningproductivity
wasachieved.
»»Thisisthemirrorwherewhenproductivitydroppedoffin
theafternoonIstaredatmyfacewhileassuringmyself
thatnoonelooksgoodinsunglasses.
»»ThisiswhereIflippedthroughafashionmagazineand
sawhoweveryonelooksgoodinsunglasses.
»»ThisiswhereImademyselffeelbetter,judgingyoufor
havingafashionmagazinesubscription.
»»Thisisthecounterwiththesingleservecoffeemachine
whereImostenviedyourlife.
»»Thisisthedark,warmspotintheclosetwhereImost
enviedyourcat’slife.
»»Thisisthebowlthatlookslikeitwasyourgrandmother’s
whereIatecashewsandthenrearrangedtheremaining
cashewsintomakeitlooklikeIhadn’t.
»»ThisiswhereIfeltclosesttoyoubecauseIknewhalfthe
peopleinthephotosonyourfridge.
»»ThisiswhereIwonderedwhyIwasn’tinaphoto
onyourfridge.
»»Thereiswhereyourcatwasindifferenttohowmuch
cableIwaswatching.
»»ThisiswhereIquestionedmytasteinsucculents.
»»ThisisthedresserwhereIcomparedthecuteness
ofyourbabypicturestomine.
»»ThisistheclosetwhereItriedonthreeof
yourdresses.
»»Thisisthepartofthelivingroomwherethelighthit
inawaythatremindedmeofmyfirstapartment.
Suggestionsfornotestoleave
behindintheplacewhereyoujust
house/pet/plantsat:
»»ThisistherugwhichIlaidonwhilelookingupmy
collegeroommate.
»»Thisisthequiltinthetrunkatthefootofyourbedwhere
IwonderedwhetherI’deverbeabletohaveafamilyof
myown,sinceIdidn’thavethekindofchildhoodwhere
handmadequiltsgotpasseddown.
»»ThisiswhereIcaughtthelastfiveminutesofamoviemy
sisterandIusedtowatchwhenwewerekids
andthoughtaboutcallingtotellherImissedherbutthen
anewmoviestarted.
»»ThisiswhereIspokewithaFrenchaccentto
thedeliveryguyafternotspeakingallday.
»»ThisiswhereItracedguessesaboutyourneighbor’s
nameontheshowertiles.
»»ThisiswhereIwastemptedtoreadwhatappeared,judg-
ingbythehand-drawnheartsontheenvelopeandthe
waxseal,tobealoveletteraddressed
toyou,butresisted.
»»Thistheoldfashionedrotarydialphoneonahalltable
whereafightwaspickedwithmyboyfriendabout
whydoesn’thewritemeletterswithsealsandhearts.
»»ThisiswhereIstaredintospaceafterreturningfromthe
coffeeplaceyourecommended,whereIran
intothelastpersonIexpectedtosee:thepersonIalways
wanttoseemost.
moment to moment
starlee kine 29moment to moment
starlee kine
18 moment to moment
leslie shows 27moment to moment
leslie shows
20 moment to moment
susan o’malley 25
MORE BEAUTIFUL
THAN YOU EVER
IMAGINED
moment to moment
susan o’malley
23moment to moment
jason jägel
24 21moment to moment
jason jägel
moment to moment
jason jägel
26 19moment to moment
dave muller
moment to moment
dave muller
Summer Diary: Friday, May 28, 2010, 12:37pm
28 17moment to moment
harrell fletcher
moment to moment
harrell fletcher
3130
I
remember reading, years ago, that there are no
happy periods, only happy moments. So how
long can these moments last? An afternoon?
does an afternoon count as a moment?
GeoffDyer
OntheBeach
OntheBeach
was harder, though, which seemed to
more than compensate for any slight
resistance caused by the water. In the
distance we could see the spot where
the others were, maybe two hundred
yards away. I was waiting for Paul to
make his move. We were still just jog-
ging but we were no longer talking.
The pace increased slightly. A squad-
ron of pelicans glided towards and
over us, tipping their wings. Paul had
still not made his move. He must have
been waiting for me to make my move
just as I was waiting for him to make
his. It was not clear who had the best
sprint or if either of us even had one.
I was fifty-four, would be fifty-five in
a week, but it was like being fifteen,
with an added consciousness of death
and depression, of the ease with which
the body’s numerous muscles can be
pulled, and of how wonderful it is to
feel like you’re fifteen—way better, of
course, than actually being fifteen.
We were about fifty yards from
our friends—I could see them clearly
enough, the world existed in sparkling
clarity—and I figured that I could
sprint from there. We were still just
jogging. The sea was rolling in or roll-
ing out and Paul had still not made his
move. I kicked, leaving him instantly
five or six yards behind. I kept glancing
behind my shoulder and saw that he
wasn’t going to catch me. My legs were
tying up but I crossed the finishing line,
which had once been the starting line,
and was nowhere to be seen because
the tide, evidently, was coming in.
I love winning. I just do. I am one
of those people who loves to win. I
would like to have given interviews
about my victory because it was clear
to me that I had run a great tactical
race. I had kicked at exactly the right
moment and left Paul for dead. I felt
like Mo Farah and I stood bent over
with my hands on my knees, think-
ing about what it must have been like
to have been Mo, when he came into
the finishing straight in London, in
the five and the ten thousand metre
finals, knowing that he’d got it, the
double gold. The pleasure of winning
gold here was slightly diminished by
the suspicion that Paul had just come
along for the ride, for the run, that
despite his assurances he didn’t really
believe we were racing, or, if he did,
had perhaps let me win because he
could tell that I love wining and was
so much older than him. So it wasn’t a
total triumph, but that hadn’t occurred
to me as I’d crossed where the finish-
ing line used to be and raised my arms
in skinny triumph.
	 The wind was still blowing,
the sky was blue, the sun was blaz-
ing and the sea was rolling in. Time
was passing in the timeless oceanic
way. The sea is the perfect backdrop
for happiness—for moments of happi-
ness—because it is always there. You
could have been here ten thousand
years ago and it wouldn’t be changed
at all. The only thing special about this
afternoon is that we were here.
	 While the others were read-
ing I kept thinking about my victory
in the running race. It would have
been even better if we had been run-
ning with our shirts off—I didn’t take
I
’m thinking, naturally, of one
afternoon in particular, an afternoon
a bunch of us spent by the ocean, on
Canaveral Beach. Canaveral is not the
best beach in the world—few beaches
are!—but it’s wild-looking, stretches
for miles, and on the Wednesday after
Memorial Day, was almost entirely
deserted. There were seven of us. A
strong wind was blowing; the sky was
bright blue. It would have been scalding
hot without the wind which stopped
you from noticing that you were being
scalded. The waves were crashing in,
though the tide may have been going
out. We all spread out our towels. Josh
and Anne-Marie ran straight into the
sea. Josh, a former pro-surfer, had
brought a pair of flippers, and every-
one except me had brought a serious
book to read. It’s something that hap-
pens as you get older: the last thing you
want to do on a beach is read a book—
and maybe that doesn’t apply just to
beaches but to other places as well.
After ten minutes of just sitting
there I suggested we have a running
race. There was only one taker; every-
one else was either in the sea or into
their books. So it was just me and Paul,
and it wasn’t exactly a race. I drew a
line in the sand in front of where the
others were sitting reading, stretching
from where they sat to the sea. Paul
and I did some stretches and began
jogging along the water’s edge, like in
Chariots of Fire, but this was Florida
and not England. It was hot, windy, sea-
clear and sky-bright, and the shoreline
was wild and empty. The waves were
crashing in to our left. I kept an eye
out for dead jellyfish, unsure if they
stung after they were dead or even if
they were dead once they were washed
up on the sand. It was hard-going; the
wind was in our faces, blowing north. I
don’t know how far we ran—far enough
so that when we stopped and got our
breath back we couldn’t see the others
with their little encampment of towels.
	 “Make no mistake,” I said, draw-
ing another line in the sand. “We jogged
here as friends but we are racing back.
The winner, obviously, is the first one
to cross the line where we started.”
“So the starting line has become
the finishing line,” said Paul.
“We can jog, we can chat, but ulti-
mately it’s a race. It might seem that
it’s not a race or that it only becomes
a race at a certain moment—”
“But it was actually a race from
the moment we began.”
	 “You got it.”
	 We got into position at the new
starting line and began jogging back the
way we had come. It was much easier
this way, with the wind urging us on
and the sea pounding in to our right.
I only like running on the beach and I
only like running in a race. I love racing.
We jogged along gently but all the time
we were jogging I was also racing, con-
scious that the jog could turn into a
race at any moment, that the jog was
part of the race not a prelude to it. I
began to breathe heavily, not because I
was tired, but to get more oxygen into
my system. Maybe this wasn’t the right
thing to do but it’s what I was doing.
We were side by side. I was slightly
more in the sea than Paul. The sand
mine off because I am too skinny, but
the other guys all had their shirts off,
including Josh, the ex-pro surfer. A few
days earlier we’d all posed for a photo-
graph together. I’d been standing next
to Josh and when I put my arm around
him my long thin arms were barely long
enough to reach around his shoulders.
I sat for a while on my towel, in my
t-shirt. I hadn’t brought a book, but I
had brought a tennis ball so I suggested
that we play catch. I’m like a dog—I love
to run and play catch— but a dog with a
voice, who can suggest races and games
of catch, rather than just sitting around
looking hopeful, waiting for someone
to rattle a leash or hold up a chewed-up
old ball covered in dog saliva.
	 Playing catch with a tennis
ball is one of the world’s most under-
rated sports; it’s way more fun than
Frisbee or any of the other throwing
games people play on a beach. Five of
us played, three men and two women,
close together and far away, always
changing positions, trying to make sure
that someone else had the sun in their
eyes. We caught the ball one-handed
and hot-potatoed it to someone else.
Or three of us bunched together while
the thrower walked back and threw the
ball far and high in the sky so we had
to jostle and jump for it and quite often
the result of all this jostling and jump-
ing was that no one caught the ball
and it came splashing into the sea like
space debris falling out of the earth’s
atmosphere. It was also fun to throw
the ball hard at someone’s face from a
distance that was only borderline safe.
It was just the guys who did this. It’s a
guy thing, flirting with the possibility
of hurting or getting hurt, and we never
threw the ball aggressively at Connie
or Ann-Marie, only at each other.
When another flight of pelicans came
by I threw a ball at them and missed.
I didn’t want to injure a pelican but it
is always a challenge, trying to hit a
moving target. I didn’t even come close
and the pelicans didn’t take evasive
action; they just cruised on down the
beach, indifferent and maybe not even
interested, heading south. We humans
threw the ball back and forth and it was
great even though I was conscious that
in addition to pulling a muscle slightly
in my left calf during my victory in the
running race I was aggravating a long-
standing shoulder injury. Throwing is
terrible for the shoulder. Palestinians
must have constant shoulder and arm
problems from all the stone-throwing
they do. My left arm— my throwing
arm—soon felt like it was several inches
longer than the other one. Then it felt
like it was attached to the shoulder by
only a few sinews. I wouldn’t have been
surprised to see the ball flying off with
my scrawny arm still attached, like a
hammer thrown in the Olympics.
	 I had not taken off my t-shirt but
Connie had taken off hers—a blue Kurt
Cobain t-shirt—so she was wearing just
a bikini, a yellow bikini. It occurred to
me that one of the great things about
beach life is that you get to see women
in bikinis, get to see their limbs, to see
them nearly naked, and you don’t have
to remark on this or avert your eyes but
the deep truth is that those unaverted
eyes are seeing things they don’t get
to see on a city street in winter when
everyone is wearing coats, and these
things your eyes are seeing are the
things nature has spent tens of thou-
sands of years making you want to see,
backdropped against a blue ocean that
has been around for even longer, for
millions of years before we slithered
out of it, with gills for lungs and no
eyes to speak of, when God himself
could never have dreamed that the
bikini would one day become a much-
looked-at fact of modern life.
Connie had long tanned legs
and arms, bony strong shoulders. We
were all playing catch, our attention
was focused entirely on the ball but
this did not mean that I did not have
some surplus attention with which to
observe Connie in her yellow bikini,
catching the ball in hands that were
at the end of long arms which led
smoothly to the rest of her, hanging
on to the ball despite getting thumped
over by a big wave. She brought a
supple intensity and slinky single-
mindedness to throwing and catching
but not so much concentration that
she did not have attention left over
to notice that Josh had these incred-
ible surfer’s shoulders or that I was
still wearing my t-shirt, ostensibly to
keep the sun off my back but also, and
obviously, because I was so skinny.
The t-shirt wasn’t fooling anyone:
in the process of fumbling a catch I
too had been bowled over by a wave
so my soaking-wet shirt hung from
me, stretched darkly by the weight of
seawater like a very short dress. The
tide kept coming in. We were all in
the ocean, up to our calves and knees.
Connie was an excellent catch
and the combination of sea, sun,
limbs, and wet bikini added a cru-
cial element to the happiness of the
moment: desire. Desire for what was
happening in this moment to lead to
other moments and curiosity about
what those moments might be like
and where they might lead.
No one took any photographs
but the happiness of the afternoon
was all contained in a single moment,
in the way that a photograph might
have done if one had been taken. Or
maybe not. It’s difficult to catch the
moment of catching a ball. Without
the surrounding frames, the moments
leading up to and following on from
the catch, it just looks like someone
holding a ball. You can show someone
about to catch or having just caught
the ball, not actually catching it.
The photo removes the element that
makes a difficult catch so exhilarat-
ing: the possibility of the ball being
dropped, of the caught moment spill-
ing unnoticed into another moment,
dissolving into nothing.
The ball is in the blue air. An arm
goes up. The ball smacks into fingers
which curl around it. You hold it
even as a wave crashes in and bowls
you over but you hang on to it and
your arm appears above the wave,
still clutching the ball: a yellow fruit
plucked from the blue sky.
moment to moment
geoff dyer
moment to moment
geoff dyer
3332
Dave Muller
—
moment to moment
dave muller
moment to moment
dave muller
Left: Summer Diary: Friday June 8, 2012 1:36pm
Right: Summer Diary: Friday, July 20, 2012 5:04pm
3534
Left: Accident, Right: Gun
Jon Rubin
moment to moment
dave muller
moment to moment
jon rubin
Summer Diary: Friday, July 20, 2012 5:04pm
3736
something staticky and paranormally ventilated
about the air, which drifted through a half-open window, late one after-
noon, caused a delicately waking Paul, clutching a pillow and drooling a
little, to believe he was a small child in Florida, in a medium-size house,
on or near winter break. He felt dimly excited, anticipating a hyperactive
movement of his body into a standing position, then was mostly uncon-
scious for a vague amount of time until becoming aware of what seemed
to be a baffling non sequitur—and, briefly, in its mysterious approach from
some eerie distance, like someone else’s consciousness—before resolv-
ing plainly as a memory, of having already left Florida, at some point,
to attend New York University. After a deadpan pause, during which the
new information was accepted by default as recent, he casually believed
it was autumn and he was in college, and as he felt that period’s particu-
lar gloominess he sensed a concurrent assembling, at a specific distance
inside himself, of dozens of once-intimate images, people, places, situa-
tions. With a sensation of easily and entirely abandoning a prior context,
of having no memory, he focused, as an intrigued observer, on this assem-
bling and was surprised by an urge, which he immediately knew he hadn’t
felt in months, or maybe years, to physically involve himself—by going
outside and living each day patiently—in the ongoing, concrete occurrence
of what he was passively, slowly remembering. But the emotion dispersed
to a kind of nothingness—and its associated memories, like organs in a life-
less body, became rapidly indiscernible, dissembling by the metaphysical
equivalent, if there was one, of entropy—as he realized, with some confu-
sion and an oddly instinctual reluctance, blinking and discerning his new
room, which after two months could still seem unfamiliar, that he was
somewhere else, as a different person, in a much later year.
He kept his eyes pressurelessly closed and didn’t move, wanting to
return—without yet knowing who or what he was—to sleep, where he
could intensify and prolong and explore what he residually felt and was
uncontrollably forgetting, but was already alert, in concrete reality, to
a degree that his stillness, on his queen-size mattress, felt like a kind of
hiding. He stared at the backs of his eyelids with motionless eyeballs,
slightly feigning not knowing what he was looking at—which also felt like
a kind of hiding—and gradually discerned that he was in Brooklyn, on an
aberrantly colder day in late March, in the two-person apartment, in a
four-story house, where he had moved, a few weeks after returning from
Taiwan, because Kyle and Gabby, to “save their relationship,” had wanted
more space.
It was spring, not winter or autumn, Paul thought with some linger-
ing confusion. He listened to the layered murmur of wind against leaves,
familiarly and gently disorienting as a terrestrial sound track, reminding
people of their own lives, then opened his MacBook—sideways, like a
hardcover book—and looked at the internet, lying on his side, with his
right ear pressed into his pillow, as if, unable to return to sleep, at least in
position to hear what, in his absence, might be happening there.
i n e a r ly Ju n e , a f t e r f o u r m o r e pa rt i e s, t wo at
which he similarly slept on sofas after walking mutely through rooms
without looking at anyone, Paul began attending fewer social gather-
ings and ingesting more drugs, mostly with Daniel and Fran, or only
Daniel, or sometimes alone, which seemed classically “not a good sign,”
he sometimes thought, initially with mild amusement, then as a neutral
observation, finally as a meaningless placeholder. Due to his staggered
benzodiazepine usage and lack of obligations or long-term projects and
that he sometimes ingested Seroquel and slept twelve to sixteen hours
(always waking, it seemed, at night, uncomfortable and disoriented and
unsure what to do, usually returning to sleep) he had gradually become
unaware of day-to-day or week-to-week changes in his life—and, when he
thought of himself in terms of months and years, he still viewed himself
as in an “interim period,” which by definition, he felt, would end when
his book tour began—so he viewed the trend, of fewer people and more
drugs, as he might view a new waiter at Taco Chulo: “there, at some point,”
separate from him, not of his concern, beyond his ability or desire to track
or control.
When he wanted to know what happened two days ago, or five hours
ago, especially chronologically, he would sense an impasse, in the form of
a toll, which hadn’t been there before, payable by an amount of effort (not
unlike that required in problem solving or essay writing) he increasingly felt
unmotivated to exert. There were times when his memory, like an external
hard drive that had been taken from him and hidden inside an unwieldy
series of cardboard boxes, or placed at the end of a long and dark and messy
corridor, required much more effort than he felt motivated to exert simply
to locate, after which, he knew, more effort would be required to gain access.
After two to five hours with no memory, some days, he would begin to view
concrete reality as his memory—a place to explore idly, without concern, but
somewhat pointlessly, aware that his actual existence was elsewhere, that
he was, in a way, hiding here, away from where things actually happened,
then were stored here, in his memory.
Having repeatedly learned from literature, poetry, philosophy, popu-
lar culture, his own experiences, most movies he’d seen, especially ones
he liked, that it was desirable to “live in the present,” “not dwell on the
past,” etc., he mostly viewed these new, mnemonic obstacles as friendly
and, sometimes, momentarily believing in their viability as a form of Zen,
exciting or at least interesting. Whenever he wanted to access his memory
(usually to analyze or calmly replay a troubling or pleasant social interac-
tion) and sensed the impasse, which he almost always did, to some degree,
or that his memory was currently missing, as was increasingly the case, he
would allow himself to stop wanting, with an ease, not unlike dropping a
leaf or stick while outdoors, he hadn’t felt before—and, partly because he’d
quickly forget what he’d wanted, without a sensation of loss or worry, only
an acknowledgment of a different distribution of consciousness than if he’d
assembled and sustained a memory—and passively continue with his ongo-
ing sensory perception of concrete reality.
Spring2009
TaoLin
moment to moment
tao lin
moment to moment
tao lin
39
Anthony Discenza
moment to moment
anthony discenza38 moment to moment
anthony discenza
40 41
Left: Dirty Lens, Right: LightsKota Ezawa
moment to moment
anthony discenza
moment to moment
kota ezawa
4342
Harrell Fletcher
In los angeles in tokyo
moment to moment
harrell fletcher
moment to moment
harrell fletcher
THE THING Quarterly
Editors:
Will Rogan, Jonn Herschend
Moment to Moment Editorial Board:
Derek Fagerstrom, Andrew Leland,
Joe McKay
Managing editor:
Sarah Simon
Graphic Design:
MacFadden & Thorpe
with Taylor Franklin
Copy Editor:
Soumeya Bendimerad,
Magnolia Molcan
Assistant Editors:
Magnolia Molcan, Sarah Frazier
Website
Design: MacFadden & Thorpe
with Taylor Franklin
Production:
Max La-Rivière-Hedrick,
Alexandra Rose Franco
Jonn Herschend
Jonn Herschend is a San Francisco based artist and
filmmaker. He is co-editor and cofounder of THE
THING Quarterly and a recent winner of the San
Francisco Museum of Modern Art’s SECA award.
Will Rogan
Will Rogan lives and works in Albany, CA. He is
co-founder and co-editor of THE THING Quarterly.
Will was the recipient of the SECA award in 2002,
is a Rockefeller Media Arts Fellow, and is repre-
sented by Altman Siegel Gallery in San Francisco,
and Laurel Gitlen Gallery in New York.
Gwen Allen
Gwen Allen is an Associate Professor at San Fran-
cisco State University, where she specializes in
contemporary art, criticism, and visual culture.
She writes for publications including Artforum,
Bookforum, Art Journal, and East of Bourneo. She
is the author of Artists’ Magazines: An Alternative
Space for Art (MIT Press, 2011).
Tao Lin
Tao Lin is the author of seven books of fiction and
poetry. Vintage published his third novel, Taipei,
in June 2013.
Ariana Reines
Ariana Reines is the author of four books of poetry
and an Obie-winning play, and the translator of
three volumes from the French. Previous projects
for clothiers include a series of posters by PARIS,
LA for Yves Saint-Laurent.
Geoff Dyer
Geoff Dyer’s many books include Jeff in Venice,
Death in Varanasi, But Beautiful, The Ongoing
Moment and Yoga for People Who Can’t Be Both-
ered to Do It.
Will Brown
Will Brown is a collaborative project based in a
storefront space in San Francisco’s Mission District.
Our main objective is to manipulate the structures of
exhibition-making as a critical practice. Will Brown
is Lindsey White, Jordan Stein, and David Kasprzak.
Jason Jägel
Emerging from his San Francisco backyard studio
slash record shack, Jason Jägel’s drawings and
paintings have been widely exhibited nationally
and internationally since 1995. His 2008 monograph
is entitled Seventy-Three Funshine.
Kota Ezawa
Kota Ezawa is a San Francisco-based artist who often
reworks images from popular culture, film and art
history, stripping them down to their core elements.
His simplified versions remain easily recognizable and
potent, the result of a process that illuminates the hold
certain images have on their viewers.
Dave Muller
As DJ, curator, and artist, Muller examines with wit
and irony the formation of an individual’s identity
through the amassing of cultural references. He is
known for his wall drawings and large-scale works
on paper that employ iconic structures such as the
topten list to create diagrammatic but uniquely
personal portraits based on the musical passions
of their subjects.
Anothony Discenza
Anthony Discenza is a visual artist based in Oakland.
He primarily spends his time thinking and worrying
about an extensive variety of subjects; occasionally,
this activity results in the production of tangible
objects and situations intended for presentation in
different public and semi-public venues for varying
lengths of time.
Harrell Fletcher
Harrell Fletcher creates participatory art projects
in a variety of contexts with various people—many
of them non-artists. He is an associate professor at
Portland State University in Portland, Oregon where
he directs the Art and Social Practice program that
he founded in 2007.
Susan O’Malley
Susan O’Malley makes art that connects us to each
other. She has given Pep Talks in parking lots, asked
for advice from strangers, and installed inspirational
posters in public—because we are all in this together.
She lives, works, walks, and talks to other people in
Berkeley, California.
Leslie Shows
Leslie Shows’ materially diverse, landscape-based
collage paintings have been exhibited at the 2011
Mercosul Biennial in Brazil, the 2006 California
Biennial, Yerba Buena Center for the Arts, and the
San Francisco Museum of Modern Art. She has been
the recipient of an SFMOMA SECA Award, an Arta-
dia Award, and the Tournesol Award from Headlands
Center for the Arts. Solo exhibitions include the Jack
Hanley Gallery in New York, Haines gallery in San
Francisco, the Bemis Center for Contemporary Art
in Omaha, and, in 2014, the Scottsdale Museum of
Contemporary Art.
Jon Rubin
Jon Rubin’s projects include running a restaurant
that only serves food from countries with which the
United States is in conflict to selling an American
family’s entire life possessions in an exhibition
in China. He has exhibited internationally and
was shortlisted for the International Award for
Participatory Art. More info at: www.jonrubin.net.
Starlee Kine
Starlee Kine is a contributor to the public radio pro-
gram This American Life. She does stories about the
world’s slowest car chase, misunderstood ghosts and
presidential library reenactments. She also wrote a
torch song with the help of Phil Collins and designed
a heartbreak cutting board designed specifically to
cut tear-inducing onions on for The Thing Quarterly.
Jason Kalogiros
Jason Kalogiros (b. 1975, New Brunswick, NJ) lives
and works in San Francisco, CA. Jason received
his MFA from the California College of the Arts in
2008. His work has been included in exhibitions
at Rodeo, Istanbul, Turkey, 1/9 Unosunove, Rome,
Italy, and the Ukrainian Institute of Modern Art,
Chicago, IL among others. Jason is represented by
BOB LINDER, San Francisco, CA.
THE THING Quarterly
is a periodical in the form of an object. It's like a maga-
zine, except that each issue is conceived of by a different
contributor and then published on a useful object.
Thethingquarterly.com
Levi’s Made & Crafted:
140 years ago, Levi Strauss invented a simple blue jean
that would forever change the way America, and the
rest of the world dressed. Levi’s Made & Crafted builds
on this legacy by designing tomorrow’s classics using
today’s best materials and construction techniques.
Levismadeandcrafted.com
Goodthingstaketime.com

Contenu connexe

Tendances

Franz Marc and Modernism: Contextualising Deer in the Woods II Within Twentie...
Franz Marc and Modernism: Contextualising Deer in the Woods II Within Twentie...Franz Marc and Modernism: Contextualising Deer in the Woods II Within Twentie...
Franz Marc and Modernism: Contextualising Deer in the Woods II Within Twentie...Kelly Richman-Abdou
 
SHGC The Womens Art Movement (Realism) Part 3
SHGC The Womens Art Movement (Realism)   Part 3SHGC The Womens Art Movement (Realism)   Part 3
SHGC The Womens Art Movement (Realism) Part 3rachaelwhare
 
ArrowToTheSunFINAL
ArrowToTheSunFINALArrowToTheSunFINAL
ArrowToTheSunFINALK.S. Anthony
 
Modern Art: Dada, De Stijl, Matisse, Picasso
Modern Art: Dada, De Stijl, Matisse, PicassoModern Art: Dada, De Stijl, Matisse, Picasso
Modern Art: Dada, De Stijl, Matisse, Picassodvarat
 
SHGC The Womens Art Movement (Realism) Part 2
SHGC The Womens Art Movement (Realism)   Part 2SHGC The Womens Art Movement (Realism)   Part 2
SHGC The Womens Art Movement (Realism) Part 2rachaelwhare
 
James Joyce, Tristan Tzara, and Poetry in Tom Stoppard's Travesties
James Joyce, Tristan Tzara, and Poetry in Tom Stoppard's TravestiesJames Joyce, Tristan Tzara, and Poetry in Tom Stoppard's Travesties
James Joyce, Tristan Tzara, and Poetry in Tom Stoppard's TravestiesElisa Jo Harkness
 
DID Unit 3 - Notes and Exercise
DID Unit 3 - Notes and Exercise DID Unit 3 - Notes and Exercise
DID Unit 3 - Notes and Exercise MrLawler
 
Smile! A history of emoticons
Smile! A history of emoticonsSmile! A history of emoticons
Smile! A history of emoticonsmilton_sss
 
01 realism gustave courbet
01 realism gustave courbet01 realism gustave courbet
01 realism gustave courbetMelanie Powell
 
A evoluã§ã£o dos quadrinhos 3
A evoluã§ã£o dos quadrinhos 3A evoluã§ã£o dos quadrinhos 3
A evoluã§ã£o dos quadrinhos 3agaoque
 

Tendances (20)

Franz Marc and Modernism: Contextualising Deer in the Woods II Within Twentie...
Franz Marc and Modernism: Contextualising Deer in the Woods II Within Twentie...Franz Marc and Modernism: Contextualising Deer in the Woods II Within Twentie...
Franz Marc and Modernism: Contextualising Deer in the Woods II Within Twentie...
 
Early History of Comics Part 2
Early History of Comics Part 2Early History of Comics Part 2
Early History of Comics Part 2
 
SHGC The Womens Art Movement (Realism) Part 3
SHGC The Womens Art Movement (Realism)   Part 3SHGC The Womens Art Movement (Realism)   Part 3
SHGC The Womens Art Movement (Realism) Part 3
 
Realism daumier and millet
Realism  daumier and milletRealism  daumier and millet
Realism daumier and millet
 
ArrowToTheSunFINAL
ArrowToTheSunFINALArrowToTheSunFINAL
ArrowToTheSunFINAL
 
Modern Art: Dada, De Stijl, Matisse, Picasso
Modern Art: Dada, De Stijl, Matisse, PicassoModern Art: Dada, De Stijl, Matisse, Picasso
Modern Art: Dada, De Stijl, Matisse, Picasso
 
SHGC The Womens Art Movement (Realism) Part 2
SHGC The Womens Art Movement (Realism)   Part 2SHGC The Womens Art Movement (Realism)   Part 2
SHGC The Womens Art Movement (Realism) Part 2
 
Gaga for Dada
Gaga for Dada Gaga for Dada
Gaga for Dada
 
American Literature & Its Art, Final
American Literature & Its Art, FinalAmerican Literature & Its Art, Final
American Literature & Its Art, Final
 
The weeping women
The weeping womenThe weeping women
The weeping women
 
Courbet and realism
Courbet and  realismCourbet and  realism
Courbet and realism
 
COMICS PP
COMICS PPCOMICS PP
COMICS PP
 
UVCSP16Module3.2
UVCSP16Module3.2UVCSP16Module3.2
UVCSP16Module3.2
 
James Joyce, Tristan Tzara, and Poetry in Tom Stoppard's Travesties
James Joyce, Tristan Tzara, and Poetry in Tom Stoppard's TravestiesJames Joyce, Tristan Tzara, and Poetry in Tom Stoppard's Travesties
James Joyce, Tristan Tzara, and Poetry in Tom Stoppard's Travesties
 
DID Unit 3 - Notes and Exercise
DID Unit 3 - Notes and Exercise DID Unit 3 - Notes and Exercise
DID Unit 3 - Notes and Exercise
 
Smile! A history of emoticons
Smile! A history of emoticonsSmile! A history of emoticons
Smile! A history of emoticons
 
01 realism gustave courbet
01 realism gustave courbet01 realism gustave courbet
01 realism gustave courbet
 
America and Its Art
America and Its ArtAmerica and Its Art
America and Its Art
 
A evoluã§ã£o dos quadrinhos 3
A evoluã§ã£o dos quadrinhos 3A evoluã§ã£o dos quadrinhos 3
A evoluã§ã£o dos quadrinhos 3
 
Hopper exhibition
Hopper exhibitionHopper exhibition
Hopper exhibition
 

En vedette

Vice_OT Ads
Vice_OT AdsVice_OT Ads
Vice_OT AdsLevisXX
 
FW13 OT Fit Guide
FW13 OT Fit GuideFW13 OT Fit Guide
FW13 OT Fit GuideLevisXX
 
2013 Mar LVC Japan media coverage
2013 Mar LVC Japan media coverage2013 Mar LVC Japan media coverage
2013 Mar LVC Japan media coverageLevisXX
 
KLVC Plans
KLVC PlansKLVC Plans
KLVC PlansLevisXX
 
Malibu - Feb - 2014
Malibu - Feb - 2014Malibu - Feb - 2014
Malibu - Feb - 2014LevisXX
 
BBBSS14 Branches
BBBSS14 BranchesBBBSS14 Branches
BBBSS14 BranchesLevisXX
 
Malibu - Feb - lvc
Malibu - Feb -  lvcMalibu - Feb -  lvc
Malibu - Feb - lvcLevisXX
 
Bullet Ads
Bullet AdsBullet Ads
Bullet AdsLevisXX
 
Fw13 LVC Product Knowledge Guide
Fw13 LVC Product Knowledge GuideFw13 LVC Product Knowledge Guide
Fw13 LVC Product Knowledge GuideLevisXX
 
FW13 Product Knowledge Guide
FW13 Product Knowledge GuideFW13 Product Knowledge Guide
FW13 Product Knowledge GuideLevisXX
 

En vedette (10)

Vice_OT Ads
Vice_OT AdsVice_OT Ads
Vice_OT Ads
 
FW13 OT Fit Guide
FW13 OT Fit GuideFW13 OT Fit Guide
FW13 OT Fit Guide
 
2013 Mar LVC Japan media coverage
2013 Mar LVC Japan media coverage2013 Mar LVC Japan media coverage
2013 Mar LVC Japan media coverage
 
KLVC Plans
KLVC PlansKLVC Plans
KLVC Plans
 
Malibu - Feb - 2014
Malibu - Feb - 2014Malibu - Feb - 2014
Malibu - Feb - 2014
 
BBBSS14 Branches
BBBSS14 BranchesBBBSS14 Branches
BBBSS14 Branches
 
Malibu - Feb - lvc
Malibu - Feb -  lvcMalibu - Feb -  lvc
Malibu - Feb - lvc
 
Bullet Ads
Bullet AdsBullet Ads
Bullet Ads
 
Fw13 LVC Product Knowledge Guide
Fw13 LVC Product Knowledge GuideFw13 LVC Product Knowledge Guide
Fw13 LVC Product Knowledge Guide
 
FW13 Product Knowledge Guide
FW13 Product Knowledge GuideFW13 Product Knowledge Guide
FW13 Product Knowledge Guide
 

Similaire à MTM Newspaper

A Short History Of Western Comics - Part 6 The Graphic Novel Revolution
A Short History Of Western Comics - Part  6  The Graphic Novel RevolutionA Short History Of Western Comics - Part  6  The Graphic Novel Revolution
A Short History Of Western Comics - Part 6 The Graphic Novel RevolutionStacy Taylor
 
Dadaism- History of Graphic Design
Dadaism- History of Graphic DesignDadaism- History of Graphic Design
Dadaism- History of Graphic DesignReja Zahid
 
History comic presentation
History comic presentationHistory comic presentation
History comic presentationLau Visual Arts
 
Comicfestival Munich Amerika Haus PING! Award Winner.pdf
Comicfestival Munich Amerika Haus PING! Award Winner.pdfComicfestival Munich Amerika Haus PING! Award Winner.pdf
Comicfestival Munich Amerika Haus PING! Award Winner.pdfMiroslawMagola1
 
Research Paper On The Bauhaus Movement
Research Paper On The Bauhaus MovementResearch Paper On The Bauhaus Movement
Research Paper On The Bauhaus MovementKristen Lee
 
american comic books presentation
american comic books presentationamerican comic books presentation
american comic books presentationgogo back
 
Dadaism-Presentation.pptx………………… zzzzzzz
Dadaism-Presentation.pptx………………… zzzzzzzDadaism-Presentation.pptx………………… zzzzzzz
Dadaism-Presentation.pptx………………… zzzzzzzRoshelleSantiago
 
Tales from the Crypt - EC Official Archives
Tales from the Crypt - EC Official ArchivesTales from the Crypt - EC Official Archives
Tales from the Crypt - EC Official ArchivesCrypt Insainment
 
Comics, Fine Art and Museums 2009
Comics, Fine Art and Museums 2009Comics, Fine Art and Museums 2009
Comics, Fine Art and Museums 2009Kim A Munson
 
11821, 1030 AM Straight Photographyhttpscoastdistric
11821, 1030 AM Straight Photographyhttpscoastdistric11821, 1030 AM Straight Photographyhttpscoastdistric
11821, 1030 AM Straight PhotographyhttpscoastdistricSantosConleyha
 
11821, 1030 AM Straight Photographyhttpscoastdistric
11821, 1030 AM Straight Photographyhttpscoastdistric11821, 1030 AM Straight Photographyhttpscoastdistric
11821, 1030 AM Straight PhotographyhttpscoastdistricBenitoSumpter862
 
SHGC History Of Art - Part 3
SHGC History Of Art - Part 3SHGC History Of Art - Part 3
SHGC History Of Art - Part 3rachaelwhare
 
SHGC History of Art - Part 2
SHGC History of Art - Part 2SHGC History of Art - Part 2
SHGC History of Art - Part 2rachaelwhare
 

Similaire à MTM Newspaper (20)

A Short History Of Western Comics - Part 6 The Graphic Novel Revolution
A Short History Of Western Comics - Part  6  The Graphic Novel RevolutionA Short History Of Western Comics - Part  6  The Graphic Novel Revolution
A Short History Of Western Comics - Part 6 The Graphic Novel Revolution
 
Dadaism- History of Graphic Design
Dadaism- History of Graphic DesignDadaism- History of Graphic Design
Dadaism- History of Graphic Design
 
Comic books 2007
Comic books 2007Comic books 2007
Comic books 2007
 
History comic presentation
History comic presentationHistory comic presentation
History comic presentation
 
Comicfestival Munich Amerika Haus PING! Award Winner.pdf
Comicfestival Munich Amerika Haus PING! Award Winner.pdfComicfestival Munich Amerika Haus PING! Award Winner.pdf
Comicfestival Munich Amerika Haus PING! Award Winner.pdf
 
Modernism
ModernismModernism
Modernism
 
Research Paper On The Bauhaus Movement
Research Paper On The Bauhaus MovementResearch Paper On The Bauhaus Movement
Research Paper On The Bauhaus Movement
 
DADAISM.pptx
DADAISM.pptxDADAISM.pptx
DADAISM.pptx
 
american comic books presentation
american comic books presentationamerican comic books presentation
american comic books presentation
 
Cubism & Dadaism
Cubism & DadaismCubism & Dadaism
Cubism & Dadaism
 
Dadaism-Presentation.pptx………………… zzzzzzz
Dadaism-Presentation.pptx………………… zzzzzzzDadaism-Presentation.pptx………………… zzzzzzz
Dadaism-Presentation.pptx………………… zzzzzzz
 
Tales from the Crypt - EC Official Archives
Tales from the Crypt - EC Official ArchivesTales from the Crypt - EC Official Archives
Tales from the Crypt - EC Official Archives
 
DADAISM
DADAISMDADAISM
DADAISM
 
Underground Comix
Underground ComixUnderground Comix
Underground Comix
 
Comics, Fine Art and Museums 2009
Comics, Fine Art and Museums 2009Comics, Fine Art and Museums 2009
Comics, Fine Art and Museums 2009
 
11821, 1030 AM Straight Photographyhttpscoastdistric
11821, 1030 AM Straight Photographyhttpscoastdistric11821, 1030 AM Straight Photographyhttpscoastdistric
11821, 1030 AM Straight Photographyhttpscoastdistric
 
11821, 1030 AM Straight Photographyhttpscoastdistric
11821, 1030 AM Straight Photographyhttpscoastdistric11821, 1030 AM Straight Photographyhttpscoastdistric
11821, 1030 AM Straight Photographyhttpscoastdistric
 
SHGC History Of Art - Part 3
SHGC History Of Art - Part 3SHGC History Of Art - Part 3
SHGC History Of Art - Part 3
 
SHGC History of Art - Part 2
SHGC History of Art - Part 2SHGC History of Art - Part 2
SHGC History of Art - Part 2
 
Henry james
Henry jamesHenry james
Henry james
 

Plus de LevisXX

Meatpacking january
Meatpacking januaryMeatpacking january
Meatpacking januaryLevisXX
 
Ss14 lmc digital_3.14.14
Ss14 lmc digital_3.14.14Ss14 lmc digital_3.14.14
Ss14 lmc digital_3.14.14LevisXX
 
LVC SS14 lb_lr
LVC SS14 lb_lrLVC SS14 lb_lr
LVC SS14 lb_lrLevisXX
 
The Detroit Sound Book
The Detroit Sound BookThe Detroit Sound Book
The Detroit Sound BookLevisXX
 
LMC SS14 lb_lr
LMC SS14 lb_lrLMC SS14 lb_lr
LMC SS14 lb_lrLevisXX
 
LMC SS14 fit_guide_med
LMC SS14 fit_guide_medLMC SS14 fit_guide_med
LMC SS14 fit_guide_medLevisXX
 
Orange Tab PIYP Recap
Orange Tab PIYP RecapOrange Tab PIYP Recap
Orange Tab PIYP RecapLevisXX
 
Meatpacking july
Meatpacking julyMeatpacking july
Meatpacking julyLevisXX
 
Newbury july '13
Newbury july '13Newbury july '13
Newbury july '13LevisXX
 
S3 2013 lmc_rig_wis_lowres
S3 2013 lmc_rig_wis_lowresS3 2013 lmc_rig_wis_lowres
S3 2013 lmc_rig_wis_lowresLevisXX
 
LMC FW13 Regent Street install
LMC FW13 Regent Street installLMC FW13 Regent Street install
LMC FW13 Regent Street installLevisXX
 
Lmc france 0513
Lmc france 0513Lmc france 0513
Lmc france 0513LevisXX
 
Bbb ss14 recap
Bbb ss14 recapBbb ss14 recap
Bbb ss14 recapLevisXX
 
BBBSS14 Hour
BBBSS14 HourBBBSS14 Hour
BBBSS14 HourLevisXX
 
BBBSS14 Countries
BBBSS14 CountriesBBBSS14 Countries
BBBSS14 CountriesLevisXX
 
BBBSS14 contacts
BBBSS14 contactsBBBSS14 contacts
BBBSS14 contactsLevisXX
 
Fw13 pk lmc_lr
Fw13 pk lmc_lrFw13 pk lmc_lr
Fw13 pk lmc_lrLevisXX
 
FW13 LMC Fit Guide
FW13 LMC Fit GuideFW13 LMC Fit Guide
FW13 LMC Fit GuideLevisXX
 
FW13 LMC Look Book
FW13 LMC Look BookFW13 LMC Look Book
FW13 LMC Look BookLevisXX
 
FW13 LVC FIT GUIDE
FW13 LVC FIT GUIDEFW13 LVC FIT GUIDE
FW13 LVC FIT GUIDELevisXX
 

Plus de LevisXX (20)

Meatpacking january
Meatpacking januaryMeatpacking january
Meatpacking january
 
Ss14 lmc digital_3.14.14
Ss14 lmc digital_3.14.14Ss14 lmc digital_3.14.14
Ss14 lmc digital_3.14.14
 
LVC SS14 lb_lr
LVC SS14 lb_lrLVC SS14 lb_lr
LVC SS14 lb_lr
 
The Detroit Sound Book
The Detroit Sound BookThe Detroit Sound Book
The Detroit Sound Book
 
LMC SS14 lb_lr
LMC SS14 lb_lrLMC SS14 lb_lr
LMC SS14 lb_lr
 
LMC SS14 fit_guide_med
LMC SS14 fit_guide_medLMC SS14 fit_guide_med
LMC SS14 fit_guide_med
 
Orange Tab PIYP Recap
Orange Tab PIYP RecapOrange Tab PIYP Recap
Orange Tab PIYP Recap
 
Meatpacking july
Meatpacking julyMeatpacking july
Meatpacking july
 
Newbury july '13
Newbury july '13Newbury july '13
Newbury july '13
 
S3 2013 lmc_rig_wis_lowres
S3 2013 lmc_rig_wis_lowresS3 2013 lmc_rig_wis_lowres
S3 2013 lmc_rig_wis_lowres
 
LMC FW13 Regent Street install
LMC FW13 Regent Street installLMC FW13 Regent Street install
LMC FW13 Regent Street install
 
Lmc france 0513
Lmc france 0513Lmc france 0513
Lmc france 0513
 
Bbb ss14 recap
Bbb ss14 recapBbb ss14 recap
Bbb ss14 recap
 
BBBSS14 Hour
BBBSS14 HourBBBSS14 Hour
BBBSS14 Hour
 
BBBSS14 Countries
BBBSS14 CountriesBBBSS14 Countries
BBBSS14 Countries
 
BBBSS14 contacts
BBBSS14 contactsBBBSS14 contacts
BBBSS14 contacts
 
Fw13 pk lmc_lr
Fw13 pk lmc_lrFw13 pk lmc_lr
Fw13 pk lmc_lr
 
FW13 LMC Fit Guide
FW13 LMC Fit GuideFW13 LMC Fit Guide
FW13 LMC Fit Guide
 
FW13 LMC Look Book
FW13 LMC Look BookFW13 LMC Look Book
FW13 LMC Look Book
 
FW13 LVC FIT GUIDE
FW13 LVC FIT GUIDEFW13 LVC FIT GUIDE
FW13 LVC FIT GUIDE
 

Dernier

Philosophy of Education and Educational Philosophy
Philosophy of Education  and Educational PhilosophyPhilosophy of Education  and Educational Philosophy
Philosophy of Education and Educational PhilosophyShuvankar Madhu
 
How to Add a New Field in Existing Kanban View in Odoo 17
How to Add a New Field in Existing Kanban View in Odoo 17How to Add a New Field in Existing Kanban View in Odoo 17
How to Add a New Field in Existing Kanban View in Odoo 17Celine George
 
Benefits & Challenges of Inclusive Education
Benefits & Challenges of Inclusive EducationBenefits & Challenges of Inclusive Education
Benefits & Challenges of Inclusive EducationMJDuyan
 
PISA-VET launch_El Iza Mohamedou_19 March 2024.pptx
PISA-VET launch_El Iza Mohamedou_19 March 2024.pptxPISA-VET launch_El Iza Mohamedou_19 March 2024.pptx
PISA-VET launch_El Iza Mohamedou_19 March 2024.pptxEduSkills OECD
 
P4C x ELT = P4ELT: Its Theoretical Background (Kanazawa, 2024 March).pdf
P4C x ELT = P4ELT: Its Theoretical Background (Kanazawa, 2024 March).pdfP4C x ELT = P4ELT: Its Theoretical Background (Kanazawa, 2024 March).pdf
P4C x ELT = P4ELT: Its Theoretical Background (Kanazawa, 2024 March).pdfYu Kanazawa / Osaka University
 
Diploma in Nursing Admission Test Question Solution 2023.pdf
Diploma in Nursing Admission Test Question Solution 2023.pdfDiploma in Nursing Admission Test Question Solution 2023.pdf
Diploma in Nursing Admission Test Question Solution 2023.pdfMohonDas
 
General views of Histopathology and step
General views of Histopathology and stepGeneral views of Histopathology and step
General views of Histopathology and stepobaje godwin sunday
 
CapTechU Doctoral Presentation -March 2024 slides.pptx
CapTechU Doctoral Presentation -March 2024 slides.pptxCapTechU Doctoral Presentation -March 2024 slides.pptx
CapTechU Doctoral Presentation -March 2024 slides.pptxCapitolTechU
 
Presentation on the Basics of Writing. Writing a Paragraph
Presentation on the Basics of Writing. Writing a ParagraphPresentation on the Basics of Writing. Writing a Paragraph
Presentation on the Basics of Writing. Writing a ParagraphNetziValdelomar1
 
Ultra structure and life cycle of Plasmodium.pptx
Ultra structure and life cycle of Plasmodium.pptxUltra structure and life cycle of Plasmodium.pptx
Ultra structure and life cycle of Plasmodium.pptxDr. Asif Anas
 
Drug Information Services- DIC and Sources.
Drug Information Services- DIC and Sources.Drug Information Services- DIC and Sources.
Drug Information Services- DIC and Sources.raviapr7
 
How to Manage Cross-Selling in Odoo 17 Sales
How to Manage Cross-Selling in Odoo 17 SalesHow to Manage Cross-Selling in Odoo 17 Sales
How to Manage Cross-Selling in Odoo 17 SalesCeline George
 
How to Add a many2many Relational Field in Odoo 17
How to Add a many2many Relational Field in Odoo 17How to Add a many2many Relational Field in Odoo 17
How to Add a many2many Relational Field in Odoo 17Celine George
 
UKCGE Parental Leave Discussion March 2024
UKCGE Parental Leave Discussion March 2024UKCGE Parental Leave Discussion March 2024
UKCGE Parental Leave Discussion March 2024UKCGE
 
5 charts on South Africa as a source country for international student recrui...
5 charts on South Africa as a source country for international student recrui...5 charts on South Africa as a source country for international student recrui...
5 charts on South Africa as a source country for international student recrui...CaraSkikne1
 
How to Make a Field read-only in Odoo 17
How to Make a Field read-only in Odoo 17How to Make a Field read-only in Odoo 17
How to Make a Field read-only in Odoo 17Celine George
 
What is the Future of QuickBooks DeskTop?
What is the Future of QuickBooks DeskTop?What is the Future of QuickBooks DeskTop?
What is the Future of QuickBooks DeskTop?TechSoup
 
The Stolen Bacillus by Herbert George Wells
The Stolen Bacillus by Herbert George WellsThe Stolen Bacillus by Herbert George Wells
The Stolen Bacillus by Herbert George WellsEugene Lysak
 
How to Solve Singleton Error in the Odoo 17
How to Solve Singleton Error in the  Odoo 17How to Solve Singleton Error in the  Odoo 17
How to Solve Singleton Error in the Odoo 17Celine George
 

Dernier (20)

Philosophy of Education and Educational Philosophy
Philosophy of Education  and Educational PhilosophyPhilosophy of Education  and Educational Philosophy
Philosophy of Education and Educational Philosophy
 
How to Add a New Field in Existing Kanban View in Odoo 17
How to Add a New Field in Existing Kanban View in Odoo 17How to Add a New Field in Existing Kanban View in Odoo 17
How to Add a New Field in Existing Kanban View in Odoo 17
 
Benefits & Challenges of Inclusive Education
Benefits & Challenges of Inclusive EducationBenefits & Challenges of Inclusive Education
Benefits & Challenges of Inclusive Education
 
PISA-VET launch_El Iza Mohamedou_19 March 2024.pptx
PISA-VET launch_El Iza Mohamedou_19 March 2024.pptxPISA-VET launch_El Iza Mohamedou_19 March 2024.pptx
PISA-VET launch_El Iza Mohamedou_19 March 2024.pptx
 
Prelims of Kant get Marx 2.0: a general politics quiz
Prelims of Kant get Marx 2.0: a general politics quizPrelims of Kant get Marx 2.0: a general politics quiz
Prelims of Kant get Marx 2.0: a general politics quiz
 
P4C x ELT = P4ELT: Its Theoretical Background (Kanazawa, 2024 March).pdf
P4C x ELT = P4ELT: Its Theoretical Background (Kanazawa, 2024 March).pdfP4C x ELT = P4ELT: Its Theoretical Background (Kanazawa, 2024 March).pdf
P4C x ELT = P4ELT: Its Theoretical Background (Kanazawa, 2024 March).pdf
 
Diploma in Nursing Admission Test Question Solution 2023.pdf
Diploma in Nursing Admission Test Question Solution 2023.pdfDiploma in Nursing Admission Test Question Solution 2023.pdf
Diploma in Nursing Admission Test Question Solution 2023.pdf
 
General views of Histopathology and step
General views of Histopathology and stepGeneral views of Histopathology and step
General views of Histopathology and step
 
CapTechU Doctoral Presentation -March 2024 slides.pptx
CapTechU Doctoral Presentation -March 2024 slides.pptxCapTechU Doctoral Presentation -March 2024 slides.pptx
CapTechU Doctoral Presentation -March 2024 slides.pptx
 
Presentation on the Basics of Writing. Writing a Paragraph
Presentation on the Basics of Writing. Writing a ParagraphPresentation on the Basics of Writing. Writing a Paragraph
Presentation on the Basics of Writing. Writing a Paragraph
 
Ultra structure and life cycle of Plasmodium.pptx
Ultra structure and life cycle of Plasmodium.pptxUltra structure and life cycle of Plasmodium.pptx
Ultra structure and life cycle of Plasmodium.pptx
 
Drug Information Services- DIC and Sources.
Drug Information Services- DIC and Sources.Drug Information Services- DIC and Sources.
Drug Information Services- DIC and Sources.
 
How to Manage Cross-Selling in Odoo 17 Sales
How to Manage Cross-Selling in Odoo 17 SalesHow to Manage Cross-Selling in Odoo 17 Sales
How to Manage Cross-Selling in Odoo 17 Sales
 
How to Add a many2many Relational Field in Odoo 17
How to Add a many2many Relational Field in Odoo 17How to Add a many2many Relational Field in Odoo 17
How to Add a many2many Relational Field in Odoo 17
 
UKCGE Parental Leave Discussion March 2024
UKCGE Parental Leave Discussion March 2024UKCGE Parental Leave Discussion March 2024
UKCGE Parental Leave Discussion March 2024
 
5 charts on South Africa as a source country for international student recrui...
5 charts on South Africa as a source country for international student recrui...5 charts on South Africa as a source country for international student recrui...
5 charts on South Africa as a source country for international student recrui...
 
How to Make a Field read-only in Odoo 17
How to Make a Field read-only in Odoo 17How to Make a Field read-only in Odoo 17
How to Make a Field read-only in Odoo 17
 
What is the Future of QuickBooks DeskTop?
What is the Future of QuickBooks DeskTop?What is the Future of QuickBooks DeskTop?
What is the Future of QuickBooks DeskTop?
 
The Stolen Bacillus by Herbert George Wells
The Stolen Bacillus by Herbert George WellsThe Stolen Bacillus by Herbert George Wells
The Stolen Bacillus by Herbert George Wells
 
How to Solve Singleton Error in the Odoo 17
How to Solve Singleton Error in the  Odoo 17How to Solve Singleton Error in the  Odoo 17
How to Solve Singleton Error in the Odoo 17
 

MTM Newspaper

  • 2. 2 moment to moment Gwen Allen 04 Susan O’Malley 07, 20 Will Brown 08 Jason Kalogiros 10 Starlee Kine 12, 16 Harrell Fletcher 17, 42 Leslie Shows 18 Dave Muller 19, 32 Jason Jägel 21 Geoff Dyer 30 Jon Rubin 35 Tao Lin 36 Tony Discenza 38 Kota Ezawa 32 Ariana Reines B Moment to Moment is a collaboration of THE THING Quarterly and Levi’s Made & Crafted. The project is based on visual artist Dan Graham’s interventions from the 1960s, in which he purchased advertising space in magazines such as Harper’s Bazaar and Arts Magazine in order to create art pieces. The title comes from 19th century French poet Stéphane Mallarmé, who envisioned a three-dimensional book entitled Moment toMoment.AsarthistorianGwenAllenpointsoutinher essay for our version of Moment to Moment, Mallarmé saw the book as something that would be performed, rather than read. This project consists of commissioned online videos, text pieces, paintings, animated gifs, photographs, and essays. Some of these pieces will appear on billboards, bus shelters and other outdoor advertising spaces in cities around the world.These public interventions propose an alternative, more pleasing visual experience within the urban landscape and prompt viewers to take time for the good things around them. Some pieces will be inserted into the paid advertising space of magazines as stand-alone works of art. These will be pages from the Moment to Moment project, extracted and repositioned as pages in other like- minded publications. The remainder of the project is featured online at goodthingstaketime.com and in this free printed newspaper which, like the official website, documents and shares the entire project. goodthingstaketime.com
  • 3. 0504 moment to moment gwen allen moment to moment gwen allen I n 1966, the American conceptual artist Dan Graham published a short article, “The Artist as Bookmaker: The Book as Object,” in which he described an imaginarybook,LeLivre.Originallydreamt up by the 19th century poet Stéphane Mallarmé,itwasathree-dimensionalbook with a set of mobile sections contained in boxes. Instead of being read privately by individuals, the book would be performed aloud collectively. Le Livre was never realizedinMallarmé’slifetime,butGraham, who was then primarily a poet, publishing in experimental little magazines such as Extensions and 0 To 9, came across Mallarmé’s posthumously published notes about it in the avant-garde music journal Die Riehe. As Graham explained: GwenAllen EphemeralInterventions:MediaasArtinthe1960sand1970s Graham was not alone in his fasci- nation with the possibilities of the book as a new kind of object and social space in the 1960s. At a time when Marshall McLuhan was hailing the end of print, Roland Barthes was declaring the death of the author, and the countercultures— including the civil rights, anti-war, gay rights, feminist, new communalist, and environmental movements—were launching widespread social revolu- tion, the book was ripe to be reinvented as realm of radical, utopian promise. Printed publications were no longer just places to record and store texts and images, but spatio-temporal entities in their own right, with the potential for actions, events, and relationships.2 The following year, Graham had the opportunity to put some of these ideas into practice in an issue of Aspen magazine, an unbound periodical that included posters and booklets, Super 8 films, Flexi-disc records, and vari- ous kinds of artists’ projects contained in a small, laminated cardboard box.3 Issue 5+6, a special double issue, was dedicated to Mallarmé. Contained in a square, white box, it evoked the proverbial white cube, and func- tioned as a miniature traveling gallery space with contributions by artists and writers including Sol LeWitt, Marcel Duchamp, John Cage, Robert Morris, William Burroughs, and Robert Rauschenberg, among others. However, rather than cloistering art away from everyday life, Aspen released it back into the world, prompting a distinctly temporal and participatory experience. For example, Cage contributed “Fon- tana Mix,” an interactive score, and Tony Smith created a dollhouse-sized cardboard sculpture that could be cut out and pasted together by the reader. Graham’s own contribution to Aspen 5+6 was a conceptual do-it-your- self poem, “Schema,” which consisted of a generic list of variables—such as “(number of ) adjectives,” “(type of ) paper stock,” “(name of ) typeface”— which were to be completed by the editor or reader. Like Mallarmé’s own site-specific poem, “Un Coup de Dés Jamais N’Abolira Le Hasard,” 1897, Schema relied upon the materiality of the printed page: each time it was published, the piece was modified, registering the graphic design and typography of the specific publica- tion in which it appeared—adopting the stark modern style of sans serif, for example, or the bureaucratic, old-fash- ioned look of Courier. To “read” the poem is to be momentarily distracted from the meaning of words and instead become captivated by the shapes of letters and numbers, and even by the texture and pliability of the page on which they are printed. In addition to foregrounding the materiality of the page, however, Schema called attention to its distinct temporality and tran- sience—the fact that periodicals are linked to a specific window of time, after which they are relegated to the status of back issues. This limited duration was, according to Graham, key to Schema’s critical function. As he explained, “[the work] subverts value. Beyond its appearance in print or pres- ent currency, Schema is disposable, with no dependence on material (commod- ity), it subverts the gallery (economic system).”4 Schema was just one of numer- ous examples in which artists created works of art expressly for the printed page. In the late 1960s and early 1970s, publishing became an important new medium and distribution form—one that promised to circumvent tradi- tional exhibition venues and reach new audiences. The disposability and seriality of magazines and newspapers dovetailed with the aesthetic concerns of Minimalism and Conceptual art- ists, who were abandoning canvases and pedestals in favor of ephemeral, process-oriented works. Graham went on to produce several such works, including his well-known “Homes For America,” (1966-67), an article he wrote about suburban tract housing developments, which in its tone and terminology uncannily mimicked the way art critics were discussing Mini- malist sculpture at the time. Appearing in the now-defunct periodical Arts Mag- azine, it masqueraded as an ordinary article, which was part of its effec- tiveness since it allowed Graham to infiltrate the magazine and catch the reader off guard. Likewise, Mel Boch- ner and Robert Smithson published “Domain of the Great Bear,” (1965), a campy essay about the Hayden Plane- tarium embedded with found publicity materials, in an art magazine called Art Voices. Artists also published works in other kinds of publications, including fashion magazines and underground newspapers. Graham published his work Figurative, a reproduced shop- ping receipt, in the March 1968 issue of Harper’s Bazaar, where it was seren- dipitously sandwiched between ads for Tampax and Warners bras, inflecting its meaning with a gendered double entendre. Moreover, artists began to tap into advertising space itself, in order to circulate their ideas under the radar of editorial oversight. For example, Gra- ham’s project Detumescence, (1966), based around a clinical description of the post-coital state of the human male, took the form of advertisements placed in Screw, the New York Review of Sex, and National Tattler. Likewise, the conceptual artist Joseph Kosuth took out ads in newspapers and periodicals, including the New York Times, Artforum, Dan Graham, Figurative, 1965. Published in Harper’s Bazaar, March 1968. Courtesy of the artist and Marian Goodman Gal- lery, New York / Paris. The linear book’s ‘time’ is enclosed, whereas Mallarmé’s ‘Book’ exists in a moment-to-moment specificity, its dura- tion being formally identified with the constituent group of ‘readers’ whose pres- ence literally informs it. Unlike the old book, the reader does not work his way progressively through in one direction.1
  • 4. 06 07 THIS IS IT Dan Graham, Schema, 1966. Courtesy of the artist and Marian Goodman Gallery, New York / Paris. Museum News, and the Nation, as part of his Second Investigation (1968), in which he published excerpts from Roget’s The- saurus. And the Brazilian artist Cildo Miereles used actual Coca-Cola bottles to circulate subversive anti-imperialist messages in his Insertions into Ideologi- cal Circuits, (1970). Among the most elaborate and sus- tained uses of advertising space during this time was Adrian Piper’s Mythic Being project, for which she placed a series of seventeen advertisements in the Village Voice between 1973-1975.5 The ads chronicled a performance in which she adopted a macho African American persona and walked around the streets of New York in order to explore the stereotypes and subjectivi- ties of race, gender, and class. However, Piper’s advertisements, which con- sisted of photographs of her dressed in drag, superimposed with thought bubbles of excerpts from her diary, not only documented her performance, but in some sense augmented it by extend- ing the performance from the public space of the city into the communica- tive space of the media, where a much larger pool of viewers/readers might have the opportunity to encounter it. While such practices had a prag- matic, even entrepreneurial, aspect, allowing artists to garner publicity, and reach larger audiences, they also had an antagonistic dimension. Taking out paid advertisements was a way for artists to commandeer media space and repurpose it for their own inter- ests, which often involved challenging the dominant institutional and eco- nomic conditions of art. Tucked away among the usual run of articles and advertisements, these stealthy inter- ventions by artists were tactical: they exploited commercial publicity, and used it against the grain. The irony of utilizing mainstream advertising space for anti-establishment ambitions was not lost on these artists. Indeed, the ambivalence of these practices and the contradictions they sustained was central to their effectiveness as works of art, and remains one of their most fascinating qualities.6 Artists’ publication projects from the 1960s and 1970s anticipate more recent appropriation and détourne- ment practices by artists such as Jenny Holzer, Barbara Kruger, Keith Haring, Group Material, Gran Fury, Felix Gon- zalez-Torres, and Alfredo Jaar, to name but a few. Displayed on billboards, LED displays, t-shirts, shopping bags, and posters, these “interventions” are by turns activist and agitprop-oriented, or poignant and personal. Certainly, as communication technologies and historical conditions have changed, the meaning of such practices has evolved. Yet, the past can shed important light on the possibilities of this work today. Indeed, as far back as the 19th cen- tury, Mallarmé himself was presciently attuned to the then-novel possibilities of commercial media such as posters and newspapers, which he called an “electrifying accomplishment.”7 Com- paring headlines and advertisements to poetry and collage, he observed that, among other things, the oversized, 1. Dan Graham, “The Artist as Bookmaker II: The Book as Object,” Arts Magazine 41, no. 8 (Summer 1967): 23, quoted in Gwen Allen, Artists’ Magazines: An Alternative Space for Art (Cambridge and London: MIT Press, 2011), 53. 2. For an account of the artistic and political significance of artists’ publications, see Gwen Allen, Artists’ Magazines: An Alternative Space for Art. For an excellent account of the role of publications in the counterculture, see Geoff Kaplan, Power to the People: The Graphic Design of the Radical Press and the Rise of the Counter-Culture, 1964-1974 (Chicago: University of Chicago Press, 2013). 3. For a more detailed history of Aspen, see my chapter “The Magazine as a Medium: Aspen, 1965-1971” in Artists’ Magazines: An Alternative Space for Art. 4. Dan Graham, “Other Observations,” in Marianne Brouwer, ed., Dan Graham: Works 1965–2000 (Düssel- dorf: Richter Verlag, 2001), 97, quoted in Allen, Artists’ Magazines. 5. For an excellent account of Adrian Piper’s Mythic Being series, see Cherise Smith, Enacting Others: Politics of Identity in Eleanor Antin, Nikki S. Lee, Adrian Piper, and Anna Deveare Smith (Durham: Duke University Press, 2011). 6. For a discussion of artists’ publication interventions and advertisements see “Chapter 1: This is Not To Be Looked At: Artforum in the 1960s and 1970s” in Allen, Artists’ Magazines. 7. Stéphane Mallarmé, quoted in Anna Arnar, The Book as Instrument: Stéphane Mallarmé, the Artists’ Book, and the Transformation of Print Culture. (Chicago: University of Chicago Press, 2011), 50. 8. For an excellent account of Mallarmé’s interest in mass media see Arnar, The Book as Instrument. 9. Stéphane Mallarmé, quoted in Arnar, The Book as Instru- ment, 5; 7. 10. Dan Graham, editorial statement for Aspen 8, 1970-71, quoted in Gwen Allen, Artists’ Magazines, 66. sectioned format of the newspaper changed the role of the reader. With their random juxtapositions of differ- ent kinds of information, newspapers encouraged readers to devise alterna- tive and idiosyncratic ways of filtering meaning, as they scanned or perused the page.8 Mallarmé’s Book was in fact inspired by these new possibilities. He insisted that books be “restored to the people” and described that ways in which Le Livre would empower read- ers to participate in the meaning of the text and establish their “right” to circulate it.9 As Graham recognized, Mallarmé located the emancipatory potential of printed matter in its conditions of circu- lation and distribution, and ultimately, in the indeterminate possibilities of its readership. Graham himself con- ceived of the publication not so much as an object or final product, but as an intermediary—a broker between the reader and the world, connecting the two, however temporarily. He imag- ined a publication that might foster these possibilities, and encouraged art- ists to collaborate with corporations to create ads/artworks whose mean- ing would be “immediate, topical and more or less short-lived,” and which would “[point] directly to the out- side world—to products to be played (maybe records) and services to be ren- dered.”10 What began as an experience on the page would thus necessarily extend beyond it, activating future meanings and experiences—moments that can never be fully predicted, con- tained, or controlled. Susan O’Malley — moment to moment gwen allen moment to moment susan o’malley
  • 5. 08 ediated Morandi is an ongoing search for Giorgio Morandi paintings inserted into film backgrounds. Born in Bologna, Italy, in 1890, Morandi is often considered the great- est master of Natura Morta (still life) in the 20th century. His distinctly subtle paintings depict the modest arrangement of bottles, vases, boxes, and pitchers stripped of all detail except light and color. As the paint- er’s popularity grew toward the end of his career, his work became synonymous with class, wealth, and refined sensibility. Federico Fellini paid homage to Morandi by displaying two paintings in Steiner’s salon in his 1960 film La Dolce Vita {fig. A}. An avid Morandi admirer, Fellini stated that he fea- tured the works as the ultimate symbol of sophistication. Morandi’s images were also displayed in Michelangelo Antonioni’s La Notte (1961) {fig. D}, illustrating Giovanni Pontano’s financial success as a writer, in Luca Guadagnino’s Io sono l’amore (I Am Love) (2009) {fig. B}, and Tommy Wiseau’s cult smash The Room (2003) {fig. C}. Due to the beloved nature of Morandi’s work, it is likely that his paintings—or repro- ductions of his paintings—exist quietly in numerous other films. Mediated Morandi investigates how the con- text of an artwork evolves through various levels of mediation at the hands of mul- tiple authors. Initially, the artist arranged objects and rendered them on canvas. Over time, various Morandi “stills” were inserted into moving image works. And here, on these pages, they have been removed and refrozen as elements of a larger intention- ally arranged still life. Will Brown Mediated Morandi fig. A fig. B fig. C fig. D moment to moment will brown
  • 6. 1110 moment to moment jason kalogiros moment to moment jason kalogiros Jason Kalogiros —
  • 7. 1312 here’s a game you can play whenever you are putting off doing something tedious, like washing the dishes. It’s called “stage business.” The rules of the game are simple. You are an actor in a dramatic scene and need to busy yourself with an everyday task. So while it may look like you are just scrubbing a plate, really this is happening moments before the event that advances the rest of the plot forward. This plot is your life. Maybe the event will be a ringing phone, and you will reach for a paper towel to dry your hands, but the tube will be empty because you keep forgetting to buy more, and so you’ll have to use your pant leg. This will have the bonus of helping to establish your character. Or it might be that in a moment you will drop the plate, and when you go to pick up the pieces, you’ll notice a poem that’s been written in the crack between where the floorboards start and the kitchen counter stops. You’ll devote the next thirty years to finding out who put it there, not as a full-time job, but as an unpaid, casual side project. if you say you’re going to wake up tomorrow and renovate your whole apartment or memorize every South American capital or learn how to play all of “Stairway to Heaven” even though you’ve never picked up a guitar and aren’t even positive that that’s the main instrument being played…it’s not going to happen. That’s called “setting yourself up for failure.” Even if you do memorize all those capitals—the most doable of these tasks—it will only take one instance of the person you have a crush on smiling at you in a new way to make those names spill out of your head. Keep it simple. Here’s one example of how you do it: instead of tackling every movie made before this year that you’ve ever intended to see, you decide to finally watch My Dinner With Andre. When you get to the scene where Andre talks about designing his own flag, you think, “Yes! I will design my own flag too.” Then be sure to stop yourself before you also think, “But wait, it’s too bad that I don’t live in the ‘70s or ‘40s or whenever this movie was made. The past, in general, was so much better. Women wore pants that made them look like they rode horses. Men wore vests that made them look like tax attorneys. People even stood differently, and thus more superiorly, back then.” Put a halt to all that, don’t even let it get going. It might help to picture one of those bottles of water that gets inserted into a standing dispenser with hot and cold spigots. There’s always a bit of water that pours out in the moment between turning the bottle upside down and fitting it into the dispenser. The amount depends on the strength of the person maneuvering the transi- tion. Listen, today you are very strong and only a few drops of water manage to leak out, the water being your A tip: A suggestion: Starlee — Kine self-destructive runaway thoughts in this scenario. When the movie is over, scrounge up a piece of paper. Any piece is fine. It doesn’t have to be in a sketchbook. It doesn’t have to be a sheet from that stationary set that you never use because you think it’s too nice. If it’s from your printer tray, that is great. If it’s your phone bill envelope, even better. Grab a pen and then draw a rectangle. That is your flag. Your kitchen table is now officially a nation. Good job! Everything you add is just sprigs of parsley on an already successfully accomplished project. You can’t screw it up. If you do happen to, say, draw a star and then decide you want it to be a moon and so you cross it out really aggressively, going over and over the image until you tear the paper a little...just remember that in some cultures, a flaw is purposely built into each project so as to prevent a perfection-off with the gods. »» She/he’s cuter. »» I’m cuter but they dress better. »» I dress better but they have the kind of body that can more get away with wearing worse clothes. »» They have a more interesting job. »» I have a more interesting job but they make more money. »» I make more money but they’re better at only buying well-crafted items that are both practi- cal and beautiful. »» I’ve traveled to more countries but they’ve gone to ones that are harder to get to with more challenging language barriers. »» I was more popular in high school. »» I was less popular in high school but aged better. »» I was less popular in high school and aged worse and every conviction I ever had about the world not being fair is right this moment being demonstrated in front of me. A selection of thoughts you probably had while staring at a stranger sitting across from you: moment to moment starlee kine moment to moment starlee kine
  • 8. 14 15 let’s say you need to put in a new light bulb in your apartment. Don’t worry, this is not going to be a joke. You drag a ladder out and even though it’s a very ordinary and not particularly attractive ladder, its presence makes everything look so new and different. There’s an immedi- ate release of tension in your neck and shoulders that comes with such a tangible example of change. So you leave the ladder out, right in the middle of your kitchen, bumping into it a lot at first until your body starts automatically arcing around it. On the first day, you throw the tube of toothpaste you’ve been milking for all it’s worth into the trash. You write your name in gold ink on the slip under your buzzer. On the second, you send a cautiously sentimental note to someone you wronged. On the third, you get a dog. You switch careers. You are able to believe what your friends said about your last break-up not being your fault. Just keep cramming those changes in until the power wears off. When you start placing cans of food or stacks of freshly washed towels on the ladder, using it as a shelving system, that’s when you fold it back up and hide it from sight. And then wait for the next opportu- nity. It could come in any form, like taking off your sweater and tying it around your waist instead of tossing it in your bag. Suddenly you are the person who pulls that look off.. A nudge: »» I went to a worse school. »» I went to a better school but they’re more down to earth. »» I have a plusher couch that guests like sleep- ing on but they have a more modern one that guests take photos of. »» I have more friends who will listen to my problems but they have more friends without kids who will go with them to parties. »» I call my parents more often but theirs make them feel less lonely. »» I’ve broken more hearts. »» She/his heart’s been broken less. »» I’ve dated more people but they’ve had more friendships turn into relationships. »» I’m so glad I’m not dating her/him. »» I wish I was dating her/him. »» My girl/boyfriend is cuter. »» My girl/boyfriend is funnier. »» My girl/boyfriend is less funny, more ambi- tious, about the same amount of cute and has a lower maintenance family who take it less personally when space is needed during holi- day visits. »» Would they ever date me? »» Were they watching me fix my sock just then? »» If their boy/girlfriend were to say to them, next week, “Think of one person, besides me, who you would want to be with for- ever” will it be my face that flits, even for just a second, through their head? Poster Fold-out Section — moment to moment starlee kine moment to moment —
  • 9. 16 »»Thisisthedeskwhereearlymorningproductivity wasachieved. »»Thisisthemirrorwherewhenproductivitydroppedoffin theafternoonIstaredatmyfacewhileassuringmyself thatnoonelooksgoodinsunglasses. »»ThisiswhereIflippedthroughafashionmagazineand sawhoweveryonelooksgoodinsunglasses. »»ThisiswhereImademyselffeelbetter,judgingyoufor havingafashionmagazinesubscription. »»Thisisthecounterwiththesingleservecoffeemachine whereImostenviedyourlife. »»Thisisthedark,warmspotintheclosetwhereImost enviedyourcat’slife. »»Thisisthebowlthatlookslikeitwasyourgrandmother’s whereIatecashewsandthenrearrangedtheremaining cashewsintomakeitlooklikeIhadn’t. »»ThisiswhereIfeltclosesttoyoubecauseIknewhalfthe peopleinthephotosonyourfridge. »»ThisiswhereIwonderedwhyIwasn’tinaphoto onyourfridge. »»Thereiswhereyourcatwasindifferenttohowmuch cableIwaswatching. »»ThisiswhereIquestionedmytasteinsucculents. »»ThisisthedresserwhereIcomparedthecuteness ofyourbabypicturestomine. »»ThisistheclosetwhereItriedonthreeof yourdresses. »»Thisisthepartofthelivingroomwherethelighthit inawaythatremindedmeofmyfirstapartment. Suggestionsfornotestoleave behindintheplacewhereyoujust house/pet/plantsat: »»ThisistherugwhichIlaidonwhilelookingupmy collegeroommate. »»Thisisthequiltinthetrunkatthefootofyourbedwhere IwonderedwhetherI’deverbeabletohaveafamilyof myown,sinceIdidn’thavethekindofchildhoodwhere handmadequiltsgotpasseddown. »»ThisiswhereIcaughtthelastfiveminutesofamoviemy sisterandIusedtowatchwhenwewerekids andthoughtaboutcallingtotellherImissedherbutthen anewmoviestarted. »»ThisiswhereIspokewithaFrenchaccentto thedeliveryguyafternotspeakingallday. »»ThisiswhereItracedguessesaboutyourneighbor’s nameontheshowertiles. »»ThisiswhereIwastemptedtoreadwhatappeared,judg- ingbythehand-drawnheartsontheenvelopeandthe waxseal,tobealoveletteraddressed toyou,butresisted. »»Thistheoldfashionedrotarydialphoneonahalltable whereafightwaspickedwithmyboyfriendabout whydoesn’thewritemeletterswithsealsandhearts. »»ThisiswhereIstaredintospaceafterreturningfromthe coffeeplaceyourecommended,whereIran intothelastpersonIexpectedtosee:thepersonIalways wanttoseemost. moment to moment starlee kine 29moment to moment starlee kine
  • 10. 18 moment to moment leslie shows 27moment to moment leslie shows
  • 11. 20 moment to moment susan o’malley 25 MORE BEAUTIFUL THAN YOU EVER IMAGINED moment to moment susan o’malley
  • 13. 24 21moment to moment jason jägel moment to moment jason jägel
  • 14. 26 19moment to moment dave muller moment to moment dave muller Summer Diary: Friday, May 28, 2010, 12:37pm
  • 15. 28 17moment to moment harrell fletcher moment to moment harrell fletcher
  • 16. 3130 I remember reading, years ago, that there are no happy periods, only happy moments. So how long can these moments last? An afternoon? does an afternoon count as a moment? GeoffDyer OntheBeach OntheBeach was harder, though, which seemed to more than compensate for any slight resistance caused by the water. In the distance we could see the spot where the others were, maybe two hundred yards away. I was waiting for Paul to make his move. We were still just jog- ging but we were no longer talking. The pace increased slightly. A squad- ron of pelicans glided towards and over us, tipping their wings. Paul had still not made his move. He must have been waiting for me to make my move just as I was waiting for him to make his. It was not clear who had the best sprint or if either of us even had one. I was fifty-four, would be fifty-five in a week, but it was like being fifteen, with an added consciousness of death and depression, of the ease with which the body’s numerous muscles can be pulled, and of how wonderful it is to feel like you’re fifteen—way better, of course, than actually being fifteen. We were about fifty yards from our friends—I could see them clearly enough, the world existed in sparkling clarity—and I figured that I could sprint from there. We were still just jogging. The sea was rolling in or roll- ing out and Paul had still not made his move. I kicked, leaving him instantly five or six yards behind. I kept glancing behind my shoulder and saw that he wasn’t going to catch me. My legs were tying up but I crossed the finishing line, which had once been the starting line, and was nowhere to be seen because the tide, evidently, was coming in. I love winning. I just do. I am one of those people who loves to win. I would like to have given interviews about my victory because it was clear to me that I had run a great tactical race. I had kicked at exactly the right moment and left Paul for dead. I felt like Mo Farah and I stood bent over with my hands on my knees, think- ing about what it must have been like to have been Mo, when he came into the finishing straight in London, in the five and the ten thousand metre finals, knowing that he’d got it, the double gold. The pleasure of winning gold here was slightly diminished by the suspicion that Paul had just come along for the ride, for the run, that despite his assurances he didn’t really believe we were racing, or, if he did, had perhaps let me win because he could tell that I love wining and was so much older than him. So it wasn’t a total triumph, but that hadn’t occurred to me as I’d crossed where the finish- ing line used to be and raised my arms in skinny triumph. The wind was still blowing, the sky was blue, the sun was blaz- ing and the sea was rolling in. Time was passing in the timeless oceanic way. The sea is the perfect backdrop for happiness—for moments of happi- ness—because it is always there. You could have been here ten thousand years ago and it wouldn’t be changed at all. The only thing special about this afternoon is that we were here. While the others were read- ing I kept thinking about my victory in the running race. It would have been even better if we had been run- ning with our shirts off—I didn’t take I ’m thinking, naturally, of one afternoon in particular, an afternoon a bunch of us spent by the ocean, on Canaveral Beach. Canaveral is not the best beach in the world—few beaches are!—but it’s wild-looking, stretches for miles, and on the Wednesday after Memorial Day, was almost entirely deserted. There were seven of us. A strong wind was blowing; the sky was bright blue. It would have been scalding hot without the wind which stopped you from noticing that you were being scalded. The waves were crashing in, though the tide may have been going out. We all spread out our towels. Josh and Anne-Marie ran straight into the sea. Josh, a former pro-surfer, had brought a pair of flippers, and every- one except me had brought a serious book to read. It’s something that hap- pens as you get older: the last thing you want to do on a beach is read a book— and maybe that doesn’t apply just to beaches but to other places as well. After ten minutes of just sitting there I suggested we have a running race. There was only one taker; every- one else was either in the sea or into their books. So it was just me and Paul, and it wasn’t exactly a race. I drew a line in the sand in front of where the others were sitting reading, stretching from where they sat to the sea. Paul and I did some stretches and began jogging along the water’s edge, like in Chariots of Fire, but this was Florida and not England. It was hot, windy, sea- clear and sky-bright, and the shoreline was wild and empty. The waves were crashing in to our left. I kept an eye out for dead jellyfish, unsure if they stung after they were dead or even if they were dead once they were washed up on the sand. It was hard-going; the wind was in our faces, blowing north. I don’t know how far we ran—far enough so that when we stopped and got our breath back we couldn’t see the others with their little encampment of towels. “Make no mistake,” I said, draw- ing another line in the sand. “We jogged here as friends but we are racing back. The winner, obviously, is the first one to cross the line where we started.” “So the starting line has become the finishing line,” said Paul. “We can jog, we can chat, but ulti- mately it’s a race. It might seem that it’s not a race or that it only becomes a race at a certain moment—” “But it was actually a race from the moment we began.” “You got it.” We got into position at the new starting line and began jogging back the way we had come. It was much easier this way, with the wind urging us on and the sea pounding in to our right. I only like running on the beach and I only like running in a race. I love racing. We jogged along gently but all the time we were jogging I was also racing, con- scious that the jog could turn into a race at any moment, that the jog was part of the race not a prelude to it. I began to breathe heavily, not because I was tired, but to get more oxygen into my system. Maybe this wasn’t the right thing to do but it’s what I was doing. We were side by side. I was slightly more in the sea than Paul. The sand mine off because I am too skinny, but the other guys all had their shirts off, including Josh, the ex-pro surfer. A few days earlier we’d all posed for a photo- graph together. I’d been standing next to Josh and when I put my arm around him my long thin arms were barely long enough to reach around his shoulders. I sat for a while on my towel, in my t-shirt. I hadn’t brought a book, but I had brought a tennis ball so I suggested that we play catch. I’m like a dog—I love to run and play catch— but a dog with a voice, who can suggest races and games of catch, rather than just sitting around looking hopeful, waiting for someone to rattle a leash or hold up a chewed-up old ball covered in dog saliva. Playing catch with a tennis ball is one of the world’s most under- rated sports; it’s way more fun than Frisbee or any of the other throwing games people play on a beach. Five of us played, three men and two women, close together and far away, always changing positions, trying to make sure that someone else had the sun in their eyes. We caught the ball one-handed and hot-potatoed it to someone else. Or three of us bunched together while the thrower walked back and threw the ball far and high in the sky so we had to jostle and jump for it and quite often the result of all this jostling and jump- ing was that no one caught the ball and it came splashing into the sea like space debris falling out of the earth’s atmosphere. It was also fun to throw the ball hard at someone’s face from a distance that was only borderline safe. It was just the guys who did this. It’s a guy thing, flirting with the possibility of hurting or getting hurt, and we never threw the ball aggressively at Connie or Ann-Marie, only at each other. When another flight of pelicans came by I threw a ball at them and missed. I didn’t want to injure a pelican but it is always a challenge, trying to hit a moving target. I didn’t even come close and the pelicans didn’t take evasive action; they just cruised on down the beach, indifferent and maybe not even interested, heading south. We humans threw the ball back and forth and it was great even though I was conscious that in addition to pulling a muscle slightly in my left calf during my victory in the running race I was aggravating a long- standing shoulder injury. Throwing is terrible for the shoulder. Palestinians must have constant shoulder and arm problems from all the stone-throwing they do. My left arm— my throwing arm—soon felt like it was several inches longer than the other one. Then it felt like it was attached to the shoulder by only a few sinews. I wouldn’t have been surprised to see the ball flying off with my scrawny arm still attached, like a hammer thrown in the Olympics. I had not taken off my t-shirt but Connie had taken off hers—a blue Kurt Cobain t-shirt—so she was wearing just a bikini, a yellow bikini. It occurred to me that one of the great things about beach life is that you get to see women in bikinis, get to see their limbs, to see them nearly naked, and you don’t have to remark on this or avert your eyes but the deep truth is that those unaverted eyes are seeing things they don’t get to see on a city street in winter when everyone is wearing coats, and these things your eyes are seeing are the things nature has spent tens of thou- sands of years making you want to see, backdropped against a blue ocean that has been around for even longer, for millions of years before we slithered out of it, with gills for lungs and no eyes to speak of, when God himself could never have dreamed that the bikini would one day become a much- looked-at fact of modern life. Connie had long tanned legs and arms, bony strong shoulders. We were all playing catch, our attention was focused entirely on the ball but this did not mean that I did not have some surplus attention with which to observe Connie in her yellow bikini, catching the ball in hands that were at the end of long arms which led smoothly to the rest of her, hanging on to the ball despite getting thumped over by a big wave. She brought a supple intensity and slinky single- mindedness to throwing and catching but not so much concentration that she did not have attention left over to notice that Josh had these incred- ible surfer’s shoulders or that I was still wearing my t-shirt, ostensibly to keep the sun off my back but also, and obviously, because I was so skinny. The t-shirt wasn’t fooling anyone: in the process of fumbling a catch I too had been bowled over by a wave so my soaking-wet shirt hung from me, stretched darkly by the weight of seawater like a very short dress. The tide kept coming in. We were all in the ocean, up to our calves and knees. Connie was an excellent catch and the combination of sea, sun, limbs, and wet bikini added a cru- cial element to the happiness of the moment: desire. Desire for what was happening in this moment to lead to other moments and curiosity about what those moments might be like and where they might lead. No one took any photographs but the happiness of the afternoon was all contained in a single moment, in the way that a photograph might have done if one had been taken. Or maybe not. It’s difficult to catch the moment of catching a ball. Without the surrounding frames, the moments leading up to and following on from the catch, it just looks like someone holding a ball. You can show someone about to catch or having just caught the ball, not actually catching it. The photo removes the element that makes a difficult catch so exhilarat- ing: the possibility of the ball being dropped, of the caught moment spill- ing unnoticed into another moment, dissolving into nothing. The ball is in the blue air. An arm goes up. The ball smacks into fingers which curl around it. You hold it even as a wave crashes in and bowls you over but you hang on to it and your arm appears above the wave, still clutching the ball: a yellow fruit plucked from the blue sky. moment to moment geoff dyer moment to moment geoff dyer
  • 17. 3332 Dave Muller — moment to moment dave muller moment to moment dave muller Left: Summer Diary: Friday June 8, 2012 1:36pm Right: Summer Diary: Friday, July 20, 2012 5:04pm
  • 18. 3534 Left: Accident, Right: Gun Jon Rubin moment to moment dave muller moment to moment jon rubin Summer Diary: Friday, July 20, 2012 5:04pm
  • 19. 3736 something staticky and paranormally ventilated about the air, which drifted through a half-open window, late one after- noon, caused a delicately waking Paul, clutching a pillow and drooling a little, to believe he was a small child in Florida, in a medium-size house, on or near winter break. He felt dimly excited, anticipating a hyperactive movement of his body into a standing position, then was mostly uncon- scious for a vague amount of time until becoming aware of what seemed to be a baffling non sequitur—and, briefly, in its mysterious approach from some eerie distance, like someone else’s consciousness—before resolv- ing plainly as a memory, of having already left Florida, at some point, to attend New York University. After a deadpan pause, during which the new information was accepted by default as recent, he casually believed it was autumn and he was in college, and as he felt that period’s particu- lar gloominess he sensed a concurrent assembling, at a specific distance inside himself, of dozens of once-intimate images, people, places, situa- tions. With a sensation of easily and entirely abandoning a prior context, of having no memory, he focused, as an intrigued observer, on this assem- bling and was surprised by an urge, which he immediately knew he hadn’t felt in months, or maybe years, to physically involve himself—by going outside and living each day patiently—in the ongoing, concrete occurrence of what he was passively, slowly remembering. But the emotion dispersed to a kind of nothingness—and its associated memories, like organs in a life- less body, became rapidly indiscernible, dissembling by the metaphysical equivalent, if there was one, of entropy—as he realized, with some confu- sion and an oddly instinctual reluctance, blinking and discerning his new room, which after two months could still seem unfamiliar, that he was somewhere else, as a different person, in a much later year. He kept his eyes pressurelessly closed and didn’t move, wanting to return—without yet knowing who or what he was—to sleep, where he could intensify and prolong and explore what he residually felt and was uncontrollably forgetting, but was already alert, in concrete reality, to a degree that his stillness, on his queen-size mattress, felt like a kind of hiding. He stared at the backs of his eyelids with motionless eyeballs, slightly feigning not knowing what he was looking at—which also felt like a kind of hiding—and gradually discerned that he was in Brooklyn, on an aberrantly colder day in late March, in the two-person apartment, in a four-story house, where he had moved, a few weeks after returning from Taiwan, because Kyle and Gabby, to “save their relationship,” had wanted more space. It was spring, not winter or autumn, Paul thought with some linger- ing confusion. He listened to the layered murmur of wind against leaves, familiarly and gently disorienting as a terrestrial sound track, reminding people of their own lives, then opened his MacBook—sideways, like a hardcover book—and looked at the internet, lying on his side, with his right ear pressed into his pillow, as if, unable to return to sleep, at least in position to hear what, in his absence, might be happening there. i n e a r ly Ju n e , a f t e r f o u r m o r e pa rt i e s, t wo at which he similarly slept on sofas after walking mutely through rooms without looking at anyone, Paul began attending fewer social gather- ings and ingesting more drugs, mostly with Daniel and Fran, or only Daniel, or sometimes alone, which seemed classically “not a good sign,” he sometimes thought, initially with mild amusement, then as a neutral observation, finally as a meaningless placeholder. Due to his staggered benzodiazepine usage and lack of obligations or long-term projects and that he sometimes ingested Seroquel and slept twelve to sixteen hours (always waking, it seemed, at night, uncomfortable and disoriented and unsure what to do, usually returning to sleep) he had gradually become unaware of day-to-day or week-to-week changes in his life—and, when he thought of himself in terms of months and years, he still viewed himself as in an “interim period,” which by definition, he felt, would end when his book tour began—so he viewed the trend, of fewer people and more drugs, as he might view a new waiter at Taco Chulo: “there, at some point,” separate from him, not of his concern, beyond his ability or desire to track or control. When he wanted to know what happened two days ago, or five hours ago, especially chronologically, he would sense an impasse, in the form of a toll, which hadn’t been there before, payable by an amount of effort (not unlike that required in problem solving or essay writing) he increasingly felt unmotivated to exert. There were times when his memory, like an external hard drive that had been taken from him and hidden inside an unwieldy series of cardboard boxes, or placed at the end of a long and dark and messy corridor, required much more effort than he felt motivated to exert simply to locate, after which, he knew, more effort would be required to gain access. After two to five hours with no memory, some days, he would begin to view concrete reality as his memory—a place to explore idly, without concern, but somewhat pointlessly, aware that his actual existence was elsewhere, that he was, in a way, hiding here, away from where things actually happened, then were stored here, in his memory. Having repeatedly learned from literature, poetry, philosophy, popu- lar culture, his own experiences, most movies he’d seen, especially ones he liked, that it was desirable to “live in the present,” “not dwell on the past,” etc., he mostly viewed these new, mnemonic obstacles as friendly and, sometimes, momentarily believing in their viability as a form of Zen, exciting or at least interesting. Whenever he wanted to access his memory (usually to analyze or calmly replay a troubling or pleasant social interac- tion) and sensed the impasse, which he almost always did, to some degree, or that his memory was currently missing, as was increasingly the case, he would allow himself to stop wanting, with an ease, not unlike dropping a leaf or stick while outdoors, he hadn’t felt before—and, partly because he’d quickly forget what he’d wanted, without a sensation of loss or worry, only an acknowledgment of a different distribution of consciousness than if he’d assembled and sustained a memory—and passively continue with his ongo- ing sensory perception of concrete reality. Spring2009 TaoLin moment to moment tao lin moment to moment tao lin
  • 20. 39 Anthony Discenza moment to moment anthony discenza38 moment to moment anthony discenza
  • 21. 40 41 Left: Dirty Lens, Right: LightsKota Ezawa moment to moment anthony discenza moment to moment kota ezawa
  • 22. 4342 Harrell Fletcher In los angeles in tokyo moment to moment harrell fletcher moment to moment harrell fletcher
  • 23. THE THING Quarterly Editors: Will Rogan, Jonn Herschend Moment to Moment Editorial Board: Derek Fagerstrom, Andrew Leland, Joe McKay Managing editor: Sarah Simon Graphic Design: MacFadden & Thorpe with Taylor Franklin Copy Editor: Soumeya Bendimerad, Magnolia Molcan Assistant Editors: Magnolia Molcan, Sarah Frazier Website Design: MacFadden & Thorpe with Taylor Franklin Production: Max La-Rivière-Hedrick, Alexandra Rose Franco Jonn Herschend Jonn Herschend is a San Francisco based artist and filmmaker. He is co-editor and cofounder of THE THING Quarterly and a recent winner of the San Francisco Museum of Modern Art’s SECA award. Will Rogan Will Rogan lives and works in Albany, CA. He is co-founder and co-editor of THE THING Quarterly. Will was the recipient of the SECA award in 2002, is a Rockefeller Media Arts Fellow, and is repre- sented by Altman Siegel Gallery in San Francisco, and Laurel Gitlen Gallery in New York. Gwen Allen Gwen Allen is an Associate Professor at San Fran- cisco State University, where she specializes in contemporary art, criticism, and visual culture. She writes for publications including Artforum, Bookforum, Art Journal, and East of Bourneo. She is the author of Artists’ Magazines: An Alternative Space for Art (MIT Press, 2011). Tao Lin Tao Lin is the author of seven books of fiction and poetry. Vintage published his third novel, Taipei, in June 2013. Ariana Reines Ariana Reines is the author of four books of poetry and an Obie-winning play, and the translator of three volumes from the French. Previous projects for clothiers include a series of posters by PARIS, LA for Yves Saint-Laurent. Geoff Dyer Geoff Dyer’s many books include Jeff in Venice, Death in Varanasi, But Beautiful, The Ongoing Moment and Yoga for People Who Can’t Be Both- ered to Do It. Will Brown Will Brown is a collaborative project based in a storefront space in San Francisco’s Mission District. Our main objective is to manipulate the structures of exhibition-making as a critical practice. Will Brown is Lindsey White, Jordan Stein, and David Kasprzak. Jason Jägel Emerging from his San Francisco backyard studio slash record shack, Jason Jägel’s drawings and paintings have been widely exhibited nationally and internationally since 1995. His 2008 monograph is entitled Seventy-Three Funshine. Kota Ezawa Kota Ezawa is a San Francisco-based artist who often reworks images from popular culture, film and art history, stripping them down to their core elements. His simplified versions remain easily recognizable and potent, the result of a process that illuminates the hold certain images have on their viewers. Dave Muller As DJ, curator, and artist, Muller examines with wit and irony the formation of an individual’s identity through the amassing of cultural references. He is known for his wall drawings and large-scale works on paper that employ iconic structures such as the topten list to create diagrammatic but uniquely personal portraits based on the musical passions of their subjects. Anothony Discenza Anthony Discenza is a visual artist based in Oakland. He primarily spends his time thinking and worrying about an extensive variety of subjects; occasionally, this activity results in the production of tangible objects and situations intended for presentation in different public and semi-public venues for varying lengths of time. Harrell Fletcher Harrell Fletcher creates participatory art projects in a variety of contexts with various people—many of them non-artists. He is an associate professor at Portland State University in Portland, Oregon where he directs the Art and Social Practice program that he founded in 2007. Susan O’Malley Susan O’Malley makes art that connects us to each other. She has given Pep Talks in parking lots, asked for advice from strangers, and installed inspirational posters in public—because we are all in this together. She lives, works, walks, and talks to other people in Berkeley, California. Leslie Shows Leslie Shows’ materially diverse, landscape-based collage paintings have been exhibited at the 2011 Mercosul Biennial in Brazil, the 2006 California Biennial, Yerba Buena Center for the Arts, and the San Francisco Museum of Modern Art. She has been the recipient of an SFMOMA SECA Award, an Arta- dia Award, and the Tournesol Award from Headlands Center for the Arts. Solo exhibitions include the Jack Hanley Gallery in New York, Haines gallery in San Francisco, the Bemis Center for Contemporary Art in Omaha, and, in 2014, the Scottsdale Museum of Contemporary Art. Jon Rubin Jon Rubin’s projects include running a restaurant that only serves food from countries with which the United States is in conflict to selling an American family’s entire life possessions in an exhibition in China. He has exhibited internationally and was shortlisted for the International Award for Participatory Art. More info at: www.jonrubin.net. Starlee Kine Starlee Kine is a contributor to the public radio pro- gram This American Life. She does stories about the world’s slowest car chase, misunderstood ghosts and presidential library reenactments. She also wrote a torch song with the help of Phil Collins and designed a heartbreak cutting board designed specifically to cut tear-inducing onions on for The Thing Quarterly. Jason Kalogiros Jason Kalogiros (b. 1975, New Brunswick, NJ) lives and works in San Francisco, CA. Jason received his MFA from the California College of the Arts in 2008. His work has been included in exhibitions at Rodeo, Istanbul, Turkey, 1/9 Unosunove, Rome, Italy, and the Ukrainian Institute of Modern Art, Chicago, IL among others. Jason is represented by BOB LINDER, San Francisco, CA. THE THING Quarterly is a periodical in the form of an object. It's like a maga- zine, except that each issue is conceived of by a different contributor and then published on a useful object. Thethingquarterly.com Levi’s Made & Crafted: 140 years ago, Levi Strauss invented a simple blue jean that would forever change the way America, and the rest of the world dressed. Levi’s Made & Crafted builds on this legacy by designing tomorrow’s classics using today’s best materials and construction techniques. Levismadeandcrafted.com Goodthingstaketime.com