irkutsk

zoomorph

**I am ridiculous.

But, whether he had not noticed the trick, or did not dare to attempt it, the "new fellow," was still holding his cap on his knees even after prayers were over. It was one of those head-gears of composite order, in which we can find traces of the bearskin, shako, billycock hat, sealskin cap, and cotton night-cap; one of those poor things, in fine, whose dumb ugliness has depths of expression, like an imbecile's face. Oval, stiffened with whalebone, it began with three round knobs; then came in succession lozenges of velvet and rabbit-skin separated by a red band; after that a sort of bag that ended in a cardboard polygon covered with complicated braiding, from which hung, at the end of a long thin cord, small twisted gold threads in the manner of a tassel. The cap was new; its peak shone.

http://www.gutenberg.org/files/2413/2413-h/2413-h.htm

corporation of the dying

red cabbage soup
carbonic acid bath
marzipan
ochre-yellow Italian scarf
whipped cream
meringue
coffee
a fur outfit with variegated pearls
felt footwear
program for a materialist encyclopedia



tungus

Pierce Penniless's Supplication to the Devil

thomas nashe /// wyndham lewis /// marshall mcluhan //  trivium font

" The discovery of the alphabet will create forgetfulness in the learners' souls, because they will not use their memories; they will trust to the external written characters and not remember of themselves...You give your disciples not truth but only the semblance of truth; they will be heroes of many things, and will have learned nothing; they will appear to be omniscient and will generally know nothing." - Socrates

i-borg / e-borg/ we-borg ...explaining pictures...

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'wie man dem toten Hasen die Bilder erklärt’

http://www.youtube.com/watch?v=P4ZkR1X6s7E

Meyer, Ursula. “How to Explain Pictures to a Dead Hare,” Art News, January, 1970. Based on conversations with Joseph Beuys:

In How to Explain Pictures to a Dead Hare, Beuys covered his head with honey and gold-leaf, transforming himself into a sculpture. He cradled the dead hare in his arms and took it “to the pictures and I explained to him everything that was to be seen. I let him touch the pictures with his paws and meanwhile talked to him about them… I explained them to him because I do not really like explaining them to people. Of course there is a shadow of truth in this. A hare comprehends more than many human beings with their stubborn rationalism… I told him that he needed only to scan the picture to understand what is really important about it. The hare probably knows better than man that directions are important. You know the hare can turn on a dime. And actually nothing else is involved.”

At the beginning of the performance Beuys locked the gallery doors from the inside, leaving the gallery-goers outside. They could observe the scene within only through the windows. With his head entirely coated in honey and gold leaf, he began to explain pictures to a dead hare. Whispering to the dead animal on his arm in an apparent dialog, he processed through the exhibit from artwork to artwork. Occasionally he would stop and return to the center of the gallery, where he stepped over a dead fir tree that lay on the floor.^[2] After three hours the public was let into the room. Beuys sat upon a stool in the entrance area with the hare on his arm and his back to the onlookers.

“For me the Hare is a symbol of incarnation, which the hare really enacts- something a human can only do in imagination. It burrows, building itself a home in the earth. Thus it incarnates itself in the earth: that alone is important. So it seems to me. Honey on my head of course has to do with thought. While humans do not have the ability to produce honey, they do have the ability to think, to produce ideas. Therefore the stale and morbid nature of thought is once again made living. Honey is an undoubtedly living substance- human thoughts can also become alive. On the other hand intellectualizing can be deadly to thought: one can talk one's mind to death in politics or in academia.”

vair

fur-vair- verre- glass
misrecognition of words leads to transposition of materials

sumptuary laws

Sumptuary laws (from Latin sumptuariae leges) are laws that attempt to regulate habits of consumption. Black's Law Dictionary defines them as "Laws made for the purpose of restraining luxury or extravagance, particularly against inordinate expenditures in the matter of apparel, food, furniture, etc
In England, which in this respect was typical of Europe, from the reign of Edward III in the Middle Ages until well into the 17th century,^[2] sumptuary laws dictated what color and type of clothing, furs, fabrics, and trims were allowed to persons of various ranks or incomes. In the case of clothing this was intended, amongst other reasons, to reduce spending on foreign textiles and to ensure that people did not dress "above their station".
Sumptuary laws have also been used to control populations by prohibiting the wearing of native dress and hairstyles, along with the proscription of other cultural customs. Sir John Perrot, Lord Deputy of Ireland under Elizabeth I, banned the wearing of traditional woollen mantles, "open smocks" with "great sleeves", and native headdresses, requiring the people to dress in "civil garments" in the English style.

Greenwich, 15 June 1574, 16 Elizabeth I
None shall wear in his apparel:
Any silk of the color of purple, cloth of gold tissued, nor fur of sables, but only the King, Queen, King's mother, children, brethren, and sisters, uncles and aunts; and except dukes, marquises, and earls, who may wear the same in doublets, jerkins, linings of cloaks, gowns, and hose; and those of the Garter, purple in mantles only.
Cloth of gold, silver, tinseled satin, silk, or cloth mixed or embroidered with any gold or silver: except all degrees above viscounts, and viscounts, barons, and other persons of like degree, in doublets, jerkins, linings of cloaks, gowns, and hose.
Woolen cloth made out of the realm, but in caps only; velvet, crimson, or scarlet; furs, black genets, lucernes; embroidery or tailor's work having gold or silver or pearl therein: except dukes, marquises, earls, and their children, viscounts, barons, and knights being companions of the Garter, or any person being of the Privy Council.
Velvet in gowns, coats, or other uttermost garments; fur of leopards; embroidery with any silk: except men of the degrees above mentioned, barons' sons, knights and gentlemen in ordinary office attendant upon her majesty's person, and such as have been employed in embassages to foreign princes.
Caps, hats, hatbands, capbands, garters, or boothose trimmed with gold or silver or pearl; silk netherstocks; enameled chains, buttons, aglets: except men of the degrees above mentioned, the gentlemen attending upon the Queen's person in her highness's Privy chamber or in the office of cupbearer, carver, sewer [server], esquire for the body, gentlemen ushers, or esquires of the stable.
Satin, damask, silk, camlet, or taffeta in gown, coat, hose, or uppermost garments; fur whereof the kind groweth not in the Queen's dominions, except foins, grey genets, and budge: except the degrees and persons above mentioned, and men that may dispend £100 by the year, and so valued in the subsidy book.
Hat, bonnet, girdle, scabbards of swords, daggers, etc.; shoes and pantofles of velvet: except the degrees and persons above names and the son and heir apparent of a knight.
Silk other than satin, damask, taffeta, camlet, in doublets; and sarcanet, camlet, or taffeta in facing of gowns and cloaks, and in coats, jackets, jerkins, coifs, purses being not of the color scarlet, crimson, or blue; fur of foins, grey genets, or other as the like groweth not in the Queen's dominions: except men of the degrees and persons above mentioned, son of a knight, or son and heir apparent of a man of 300 marks land by the year, so valued in the subsidy books, and men that may dispend £40 by the year, so valued ut supra.
None shall wear spurs, swords, rapiers, daggers, skeans, woodknives, or hangers, buckles or girdles, gilt, silvered or damasked: except knights and barons' sons, and others of higher degree or place, and gentlemen in ordinary office attendant upon the Queen's majesty's person; which gentlemen so attendant may wear all the premises saving gilt, silvered, or damasked spurs.
None shall wear in their trappings or harness of their horse any studs, buckles, or other garniture gilt, silvered, or damasked; nor stirrups gilt, silvered, or damasked; nor any velvet in saddles or horse trappers: except the persons next before mentioned and others of higher degree, and gentlemen in ordinary, ut supra.
Note that the Lord Chancellor, Treasurer, President of the council, Privy Seal, may wear any velvet, satin, or other silks except purple, and furs black except black genets.
These may wear as they have heretofore used, viz. any of the King's council, justices of either bench, Barons of the Exchequer, Master of the Rolls, sergeants at law, Masters of the Chancery, of the Queen's council, apprentices of law, physicians of the King, queen, and Prince, mayors and other head officers of any towns corporate, Barons of the Five Ports, except velvet, damask, [or] satin of the color crimson, violet, purple, blue.
Note that her majesty's meaning is not, by this order, to forbid in any person the wearing of silk buttons, the facing of coats, cloaks, hats and caps, for comeliness only, with taffeta, velvet, or other silk, as is commonly used.
Note also that the meaning of this order is not to prohibit a servant from wearing any cognizance of his master, or henchmen, heralds, pursuivants at arms; runners at jousts, tourneys, or such martial feats, and such as wear apparel given them by the Queen, and such as shall have license from the Queen for the same.