white-eyed girlboy

white-eyed
grief play

griefer


governance

boo hoo

elbow

1. Take the guide's arm and hold it gently but firmly just above the elbow, with the same grasp you would use to hold a glass of water (thumb on the outside of the guide's arm, and fingers on the other side, nearer the guide's body). This grip will allow you to receive the greatest amount of feedback from the guide's movements.
2. The grip should be firm enough so that you don't lose contact with the guide, but not so firm that the guide is uncomfortable.
3. If you use a cane, take the guide's arm with your free hand.
4. Tell the guide if his or her pace is too fast for you. It's important that you walk at a pace that is comfortable for both of you. 

公益財団法人 日本民芸館

Pompéi à Paris en photosculptures en 1874, 35 Boulevard des Capucines

Pompéi à Paris en photosculptures en 1874

 

La Semaine des familles écrit le 1er août 1874²⁹ :

On lit en ce moment, sur le boulevard des Capucines, une grande affiche portant ces mots : Pompéi à Paris. Voilà un programme séduisant : entrez dans la Salle des Conférence (dite Salle des Capucines) et vous pourrez constater que ce programme n'est pas menteur.

C'est bien Pompéi que vous aurez sons les yeux, — Pompéi reproduit par un procédé inusité jusqu'à ce jour. Il ne s'agit plus de la photographie, mais bien de la photosculpture appliquée à la reproduction des monuments.

Vous savez que la photosculpture est un art qui permet d'obtenir en relief l'effigie des objets avec une exactitude rigoureuse et mathématique. A l'aide de ce procédé, on a reproduit tous les principaux monuments de Pompéi : chacun des modèles ainsi exécuté a environ cinquante centimètres en hauteur et en largeur : il est en mastic.

Ce relief est colorié de façon à imiter complètement les tons de la nature vraie : on le pose devant une toile peinte qui, par une illusion d'optique, semble se confondre avec lui. Relief et toile sont placés derrière une énorme lentille grossissante.

Quand on regarde à travers cette lentille, le plan en relief prend des proportions énormes : ce n'est plus un modèle bon à mettre sur la table d'un architecte, c'est la nature elle-même dans toute sa réalité, dans ses proportions vraies. Ni le panorama, ni le diorama, ni le stéréoscope, n'atteignent à de pareils effets : on sent que l'air circule à travers les colonnes, qu'on pourrait gravir ces degrés, passer sous ces voûtes.

Je suis resté une grande heure à errer de la Maison du poète tragique au Temple d'Isis et du Grand Cirque à la Rue d'Herculanum... J'étais à quatre cents lieues de Paris, et à vingt siècles en arrière.

Quand, enfin, je suis ressorti sur le boulevard des Capucines, c'est pour le coup que je me suis cru le jouet d'une illusion : il m'a fallu un effort pour me rappeler que j'étais bien un Parisien de l'an 1874, et pour ne pas me trouver un peu plus dépaysé devant le perron de Tortoni que je ne l'étais tout à l'heure devant le Panthéon de la ville antique.

"Nydia, the Blind Flower Girl of Pompeii" was the most popular American sculpture of the nineteenth century. According to Rogers, it was replicated 167 times in two sizes. The subject was drawn from "The Last Days of Pompeii" (1834), a widely read novel by Lord Edward Bulwer-Lytton, which ends with the eruption of Mount Vesuvius in a.d. 79. 

bindings

edge of upper mustang

we had a fabulous feast at Sarlat

After all, there's the political context in France, and there are also personal relations, very complicated stories. The most complicated story arose when [the Situationists] came to my place in the Pyrenees. And we took a wonderful trip: we left Paris in a car and stopped at the Lascaux caves, which were closed not long after that. We were very taken up with the problem of the Lascaux caves. They are buried very deep, with even a well that was inaccessible -- and all this was filled with paintings. How were these paintings made, who were they made for, since they weren't painted in order to see seen? The idea was that painting started as a critique. All the more so in that all the churches in the region have crypts. We stopped at Saint-Savin, where there are frescoes on the church's vaulted dome and a crypt full of paintings, a crypt whose depths are difficult to reach because it is so dark. What are paintings that were not destined to be seen? And how were they made? So, we made our way south; we had a fabulous feast at Sarlat, and I could hardly drive -- I was the one driving. I got a ticket; we were almost arrested because I crossed a village going 120 kilometers per hour. They stayed several days at my place, and, working together, we wrote a programmatic text. At the end of the week they spent at Navarrenx, they kept the text. I said to them, "You type it" (it was handwritten), and afterward they accused me of plagiarism. In reality, it was complete bad faith. The text that was used in writing the book about the [Paris] Commune was a joint text, by them and by me, and only one small part of the Commune book was taken from the joint text.

http://www.notbored.org/lefebvre-interview.html

Henri Lefebvre on the Situationist International

Interview conducted and translated 1983 by Kristin Ross

Printed in October 79, Winter 1997

comparative size of the moon

A school project to measure the size of the moon… What equipment will be necessary? …I have brought my blind dog in order to illustrate how I will explain graphically to the children the impossibility of measuring without the right tools. A fine scientific principle.

Candas Jane Dorsey / Machine Sex and Other Stories/ The Women's Press / 1988

blind windows

laws against images / post no bills

These images of a day or an hour, bleached by the elements, charcoaled by urchins, scorched by the sun - although others are sometimes collected even before they have dried - symbolize to a higher degree even than the newspapers the sudden, shock-filled, multiform life that carries us away.

Maurice Talmeyr, La Cite du sang Paris 1901 p269

In the early days of the poster there was as yet no law to regulate the posting of bills or to provide protection for posters and indeed from posters: so one could wake up some morning to find one's window placarded.

Benjamin Arcades [B2,1]

observations, weather changes or other events of daily importance

A penitent wearing the sanbenito. from A Life of John Hawkins
SCHLEGEL, Hermann (1804-84). from Traité de Fauconnerie

tele/path/ological syn/aesthete