Designed for music lovers in particular and all lovers in general who don't sacrifice sound for style, BEATRS wil deliver pure feeling in an ultra-lightweight and durable package. She will make your listening experience intimate and personal as close to reality as can be. BEATRS is able to generate the purest emotions. The new BEATRS is lighter, sexier, and more comfortable, with precision sound. BEATRS delivers all the energy and excitement you expect, plus a powerful, reengineered sound poetry. It’s rare to find big poetry in something so small.
Jack Torrance (the character in Kubrick's movie the Shining) was obsessed with a sentence that he thought was unfinished and that he kept retyping on his typewriter. Following his own tragic experience, hundreds and thousands of anonymous authors borrowed this exact sentence and, one day, decided to repeat this sentence, endlessly.
This book, entitled You didn't let me finish my sentence, is about the sentence, or more precisely the reproduction of this sentence over and over again. The peculiarity of this sentence is that it is structurally finite but conceptually infinite and open to all possible variations, styles, media and interpretations.
This book is about the sentence as part of an endless stream in which the exact same words take different forms and shapes prolonging the nightmare born in Jack Torrance's mind. The sentence does not lend itself (or very rarely) to adaptations: no remix, no alterations, no changes in the words themselves. The sentence remains intact and invariably static. Of course the words may resonate differently from one author to the next but, ultimately, what is it that binds them all and mysteriously links them? Maybe there is a spell contained in this "lullaby". Maybe, re-writing the sentence is somehow uncontrolled, an urge which is virally transmitted everytime someone reads this line. The more you read it, the more it possesses you, crawls your mind and spreads around.
So be careful, "all work and no play" can make a dull life into a writing obsession and turn you into an obsessive, compulsive reproducer of this neverending sentence. If you feel your eyes and mind are ready to give it a try, the book which contains the sentence is HERE.
This is the best thing since Google invented auto-complete but an auto-complete which would be driven by a highly deranged algorithm. This new algorithm is powered by Marco Giovenale's integrative inspiration which moves around like a desperate "Super Mario" capturing, here and there, coins and badges (read phrases and images). The items may seem loose or disconnected, as Super Marco is a massively heterogeneous collector. Nevertheless, if you are no plumber yourself and love all sorts of leaks happening, you will surely enjoy taking "laser showers" or peeing into "a flash memorial urinal with led display". Moving through these flashy surroundings, Super Marco does not provide any instructions and does not give a faq. He won't help you in this storyless ride on his bumpy, roller-coaster poetry. "A full bath will empty in 45 minutes" is no problem for Super plumber who deep dives into colourless territories with his "scuba suit" and some "archaic html tags" leading the reader through a sparkling and epileptogenic journey. So be prepared to meet a wild bunch of masked or faceless characters but also giant bunnies, vampires, zombies and robots. At this stage, I will not comment on the neo-chomskyan or post-adornian nature of this book as personnally, I am a great fan of ctulhu pets and bmw gorillas.
Marco Giovenale: A Gunless Tea (Dusie)
What the author is doing in this book is unveiling the big secret of crypticism. What I have mistakenly called a book is a mixture of ready-written materials and found writing. You may argue that those bits are stitched so carefully that even a close reading can hardly tell which is which. Nevermind. This "non-book" is more than disconcerting, clashing unexpected words together, nicely googlinking antagonistic sentences. Marco Giovenale is somehow extracting bizarre bits and pieces from the darkest crypts of a) our minds, b) our lives, c) our nightmares (tick as appropriate) and creating a sort of monster. Marco Giovenale is a kind (of) Prof. Frankenstein, who - as a former bookshop keeper- knows the best places where to dig out the most sombre and awkward pieces of fiction and non-fiction. I suppose this is the answer to a question I did not raise: How can you "bury the dead (if) they'll live again"? . This non-book is unburied, out there walking amongst the living and probably the non-living readers as well, delivering its cryptic and gunless message. A blurred message made of constant adjustment, altering its meaning as the reader progresses through this chaotic and heterogeneous text: a mixture of alien tongues, ape signs, voodoo gestures, telepathic thoughts, historical criticism and other undecipherable stuff... which actually read in a smooth and unchaotic manner only slightly perturbed by an unexpected punctuation. Clearly, the monster may frighten off quite a few readers but those who will approach it may enjoy its discrete humour and its powerful visions.
Bartlebits is about erased sections in books. Most of these are not just corrections but actual deletions, wanted or unwanted. Throughout the various chapters, you will recognise some famous figures or familiar writings. These words, however, have been for some reason taken out and omitted from the original works.
At the end of Bartlebits, sources and links can be found.
Why call this Bartlebits? Maybe because we are dealing here with dead letters. Maybe…
Note that this is a work in progress, in other words a black hole in expansion. Bartlebits is part of our Crashtest series.
As I sit looking out of a window of the building I wish I did not have to write the instruction manual on the uses of a new metal.
Forming Cylinders with Rolls
1. By means of the screws on top of the forming machine, bring both ends of the front rolls
together until the metal sheet will just pass freely between them.
2. Experiment to find the proper height of the rear roll to make a cylinder of the desired diameter.
3. Hold the sheet in a horizontal position with the surface which is to form the outside of the cylinder, against the bottom roll.
4. When using a lock seam, make the cylinder larger than the final diameter and spring the seam together
Riveting sheet-metal joints
1. Holes for rivets having been previously punched by hand or machine, place a rivet thru matched holes in the joint by standing the rivet on its head on a stake and lowering the laps of joint over it
2. Draw the laps together by placing a rivet set over the stem of the rivet and striking the set with a hammer.
3. When a joint requires a number of rivets, place a rivet thru the metal, at both ends but do not clinch it tight, then begin riveting at the middle of the joint and work toward the ends.
4. When the holes for rivets do not exactly match each other in location, use a drift pin to make a hole just large enough for the rivet to pass thru.
5. After rivets have been headed, place the joint over a stake and strike the lapped edges to bring them as close together as possible.
Tinning a Soldering Iron
1. Heat the iron to a bright red.
2. Forge the iron to suit the job by striking with a hammer on an anvil or other heavy metal
3. Heat the iron again to a dark red.
4. Clamp the iron in a vise or hold it against a metal edge and file the surfaces of the point bright and smooth.
5. Heat the iron again until it will melt solder freely.
6. Rub the point of the iron on a lump of sal-ammoniac to clean it, then melt a few drops of solder on the sal-ammoniac and rub the iron over it until it is tinned. Fig. 37.
7. Clean the soldering iron by dipping the point in a solution of sal-ammoniac and water. The solution should be made of one part of sal-ammoniac to forty parts of water. The solution should be kept in a glass or earthenware vessel.
Raising or Bumping Sheet-Metal Forms
1. Carve a shallow circular depression in a wooden or lead block.
2. Hold the sheet in your left hand, place the edge in the depression of the block and bump it with the small end of a raising hammer around the outline of the form to be raised.
3. Continue bumping the metal, gradually turn the sheet after each blow of the hammer and with each revolution work inward toward the center until the right shape is obtained.
4. Hold the raised form over a round-head stake and with a wooden mallet smooth out all dents that were made with the raising hammer.
1. Wired edges for cylindrical sliaped objects should be completed while the metal sheet is flat.
2. Insert the wire in the edge prepared by the turning machine or the bar folder and secure the wire at several points by bending the metal over it with a hammer.
3. Place over the lower roll of the wiring machine a section of the edge in which the metal has been bent around the wire and turn the crank screw on top of the machine to bring down the
4. Set the gage so that the wired edge fits snugly between the gage and the edge of the upper roll, then turn the crank screw back about two turns to slightly raise the upper rolL
5. Turn the handle of the machine to draw the entire edge between the rolls.
Flanging or Stretching Metal for Riveted Connections
1. Mark with a gage the width of the edge to be flanged and rest the edge on a flat stake.
2. With the cross peen of a riveting hammer strike the edge to be flanged.
3. Hold the flange flat on the surface of a stake and smooth it with tlie flat face of a hammer.
4. To stretch a right-angle flange for circular work, hold the flange to be formed to a circle
on the square head stake and strike the outer edge of the flange with the cross peen of a
5. When a joint of pipe is too small to slip over a connecting joint, slip it over a stake and strike the metal with the peen of a hammer.
1. Clamp the drill securely in a breast drill or a drilling machine.
2. With a center punch make a distinct mark to indicate the center of the hole.
3. Place the point of the drill in the center punch mark. When practicable have the metal resting on or against a wooden support.
4. Turn the drill to the right and at the same time force it against the metal. Eelieve the pressure on the drill as it breaks thru the metal.
5. When drilling steel apply oil to the point of the drill. Do not use oil when drilling cast iron.
6. To countersink holes after they are drilled use a drill slightly larger than the head of the screw or bolt to be used in the hole.
7. A star drill may be used to drill holes in brick, stone and concrete.
And as a last breeze freshens the top of the weathered old tower, I turn my gaze Back to the instruction manual which has made me dream
Home Olga - SAMUEL BECKETT
J might be made sit up for a jade of hope (and exile, don’t you know)
And Jesus and Jesuits juggernauted in the haemorrhoidal isles
Modo and forma anal maiden, giggling to death in stomacho
E for an erythrite of love and silence and the sweet noo style,
Swoops and loops of love and silence in the eye of the sun and the view of the mew,
Juvante Jah and a Jain or two, and the tip of a friendly yiddophile.
O for an opal of faith and cunning winking adieu, adieu, adieu ;
Yesterday shall be tomorrow, riddle me that my rapparee ;
Che sarà sarà, che fu, there’s more than Homer knows how to spew,
Exempli gratia : ecce himself and the pickthank agnus.
Olga Home - JAMES JOYCE
Sweet noo style
An erythrite of love
Maiden giggling to death
Up for a jade of hope in the
Eye of the sun
Love and silence
Cunning winking adieu, che fu, there’s more than Homer
Knows how to spew
Tip of a friendly yiddophile in
The haemorrhoidal isles
Katz! Katz! burning bright In the forests of the night, What immortal hand or eye Could frame thy fearful symmetry?
In February 2012, Flammarion found that cats looked like mice. One fine morning Flammarion the famous publisher realised that Art Spiegelman's MAUS had been undeniably plagiarised. Same events, same number of pages, same design, same characters except for one little / major detail: all characters in the original book had become cats. The hand that framed this fearful and unbearable symmetry was soon to be discovered: Ilan Manouach comic book author.
Who would seize the fire should perish in fire. And so it was. All of the copies of Katz which had been secretely published by La 5eme couche, a small and independant Belgian press were declared illegal and were doomed to destruction. All copies (approximately 800) and the electronic files had to be suppressed which was diligently done by the Belgian publisher as part of an agreement with Flammarion which holds the rights to Spiegelman's book.
So, it was with a deeply twisted heart that Ilan Manouach and his publisher, Xavier Löwenthal, saw the copies shredded and destroyed leaving just a heap of dead paper that they decided to even further destroy. The furnace was in their brains but when they started to set fire to the paper, the police stopped them and declared it was illegal to burn a fire in an urban space.
So whenever, you take a copy of Maus again and thumb through these volumes, think of the Katz, all the Katz buring bright in the forests of these pages, hiding somewhere behind these gently anthropomorphic animals who are trying to tell one story. Behind Art Spiegelman's story, try and read the other story, the one with just one humanity, one single race in a world which is avoiding differentiation and singularity. No über-katz versus unter-maus. This other version exists somewhere with nobody to see this hidden work. Unless taking of course the original Maus itself and reading behind the lines, looking for the missing images in another dimension.
But still the stars threw some spears and, forgetting their tears, Ilan and Xavier decided to revive the lost book and document some of the memories around it. The Other book was named MetaKatz, a symetrical reference to Spiegelman's MetaMAUS. Similarly, MetaKatz contains a series of articles and a DVD. It is now available from La 5eme Couche.
Katz! Katz! burning bright In the forests of the night, What immortal hand or eye Dare frame thy fearful symmetry?
Once Chuang Tzu dreamt he was a butterfly but when he woke up he didn't know if he was Chuang Tzu who had dreamt he was a butterfly, or a butterfly dreaming he was Chuang Tzu.
Once Gregor Samsa dreamt he was a bug but when he woke up he didn't know if he was Gregor Samsa who had dreamt he was a bug, or a bug dreaming he was Gregor Samsa.
Once John Merrick dreamt he was an elephant but when he woke up he didn't know if he was John Merrick who had dreamt he was an elephant, or an elephant dreaming he was John Merrick.
Once Alice Liddel dreamt she was a white rabbit but when she woke up she didn't know if she was Alice who had dreamt she was a rabbit, or a rabbit dreaming she was Alice.
Once Edgar Poe dreamt he was a raven but when he woke up he didn't know if he was Edgar Poe who had dreamt he was a raven, or a raven dreaming he was Edgar Poe.
Once Philip K. Dick dreamt he was an electric sheep but when he woke up he didn't know if he was Philip K. Dick who had dreamt he was an electric sheep, or an electric sheep dreaming he was Philip K. Dick.
Once Captain Ahab dreamt he was Moby Dick but when he woke up he didn't know if he was Captain Ahab who had dreamt he was Moby Dick, or Moby Dick dreaming he was Captain Ahab.
Once Lord Greystoke dreamt he was a gorilla but when he woke up he didn't know if he was Lord Greystoke who had dreamt he was a gorilla, or a gorilla dreaming he was Lord Greystoke.
Once William Blake dreamt he was a tyger, tyger burning bright but when he woke up up he didn't know if he was Blake who had dreamt he was a tyger, or a burning tyger dreaming he was William Blake.
Once Bruce Wayne dreamt he was a bat but when he woke up up he didn't know if he was Bruce Wayne who had dreamt he was a bat, or a bat dreaming he was Bruce Wayne.
Once Dino Buzzatti dreamt he was a shark but when he woke up up he didn't know if he was Dino Buzzatti who had dreamt he was a shark, or a shark dreaming he was Dino Buzzatti.
Once Seth Brundle dreamt he was a fly but when he woke up up he didn't know if he was Seth Brundle who had dreamt he was a fly, or a fly dreaming he was Seth Brundle.
Once Vladimir Nabokov dreamt he was a butterfly but when he woke up he didn't know if he was Vladimir Nabokov who had dreamt he was a butterfly, or a butterfly dreaming he was Chuang-Tzu dreaming he was Gregor Samsa dreaming he was a bug dreaming he was John Merrick dreaming he was an elephant dreaming he has Alice Liddel dreaming she was a white rabbit dreaming he was Edgar Poe dreaming he was a raven dreaming he was Philip K. Dick dreaming he was an electric sheep dreaming he was Captain Ahab dreaming he was a whale dreaming he was Lord Greystoke dreaming he was a gorilla dreaming he was William Blake dreaming he was a tyger dreaming he was Bruce Wayne dreaming he was a bat dreaming he was Dino Buzzatti dreaming he was a shark dreaming he Seth Brundle dreaming he was a fly.
"Google Earth Movies project consists in a series of interactive adaptations of emblematic sequences extracted from famous movies, recreated and played in Google Earth.
In this visualization software, which allows exploring the 3D world from many satellite sources - topographical and weather satellites - the original video camera movements are precisely transcribed in the original filming location and with the original soundtrack synchronized. Moreover, the software being interactive, a joystick may be used to manipulate the camera during the reading to observe the whole screen out landscape.
Thus, it is a striking cinematographic experience that is given to us: the objectivation operated by Google Earth, presenting ghostly worlds emptied from any characters, allows to be focused on the framing and the editing of these well-known movies haunting our imagination. Putting these narrative sequences back in context establishes a true bridge between these cinematographic, physical and virtual spaces. The spectator is freed from the frame and from the territory; he is given a new space of time, a sort of intimate screen out, interrogating its link to the real and to fiction. " Google Earth Movies
View first scenes from The Shining (Stanley Kubrick, 1980), Once Upon a time in America (Sergio Leone, 1984), Apocalypse Now (Francis Ford Coppola, 1979), Fellini's Roma (Federico Fellini, 1972):
Bettye liked uncreative writing
Cheryle liked dwelling in possibility
Micah liked the dazzling truth but gradually
Rona liked when floods have slit the brain
Deidre liked the blab of the pave and the barbaric yawp
Darcel liked the boney nose in the tactless asses
Nanie liked dancing naked, born to be lonely
Jasmine liked shopping for images, dreaming of enumerations
Michelle liked condensing
Brianna liked holding her hand herself
Tiffany liked eating Lorine's peaches and William's plums
Amanda liked being abandonned in a story made of grease
Ashley liked petals in the crisp sand, not in the metro
Chelsea liked petals in the crowd, not in the sand
Jennifer liked the new Japanese napkin, while talking
Rebecca liked lines of broken glass
Samya liked the geometry of roses penetrating metal
Perla liked question marks in the sky and on the shore
Kenzie liked the fountain descending a staircase
Rowan liked the sudden wound in the spreading difference
Nia liked when narratives had an ending, and a beginning, and a middle somewhere
Harper liked repeating repeating
Hadley liked Watteau, Fragonnard and Picasso now
Tatum liked filling the hiatus
Paola liked how to make a dadaist article
Blaine liked cutting off legs to make crabs fit in a sonnet
Kadin liked Famously Unbound Crinckled Knees
Blithe liked the rising noise of abortion
Brice liked fighting back in the open grave
Lane liked good neighbors behind good walls
Mason liked cutting off legs to make toads fit in a poem
Cary liked question marks in Sylvia's drowning face
Nevada liked the nude descending a fountain, one-woman waterfall
Cecil liked recreating the syntax of poor human prose
Orion liked the infantile pileup of scatological buildup
Cullen liked the babble flow in singsong pathetic mule
Dallas liked the dead body descending a staircase, wordless
Perry liked Verlaine, Genet and the first Friday after Bastille day
Dane liked breaking legs and chopping down a fairer House than Prose
Reagan liked dreaming of instruction manuals
Delaney liked Pierre Reverdy
Reed liked flamenco, castanets and idiotic numbers
Donovan liked being there, surrounded by noises filled with with silence
Zane liked hunting for the whale, Every Day
Danika liked the story of a boy who was brought up by body snatchers
Catina liked when the audience doesn't identify as readers
Lila liked the restless language of footprints in the sand
Raya liked the irrational residue
Bell liked the restless track of dissolving days like this
Dulce liked the unladylike hesitation of fractured communication
Zahara liked a day of rest, of description and relating words to places
Brooklynn liked a truck writing through a factory
Diamond liked medium, action, chance, live, octave, words...determined by chance
Lizbeth liked more text-selection: slighter intention
Avery liked the assumptions on the ground, the evidence in the air
Angel liked writing minimally: one sentence per line per day
Kira liked the restless shadow of the most obscure things ever said
Zoey liked Verne, Péret, Genet, Perec and the free speech behind deleted text
Beatrice liked the wood, the road, the journey, the dark and a middle somewhere
Iris liked hurting lips: and just this, for all
Georgia liked any formula and harakiri
Serena liked what poppies yield, grated and fragrant
Emily liked sexy pumps
[Image sources. top: spam / bottom: A. Filreis during ModPo course (automated subtitles)]
5.6 Les limites de mon langage signifient les limites de mon propre monde:
5.6.1 les lim de mon lan signent les lim de mon pro-mon,
5.6.2 les mites de mon gage ignifient les mites de mon pre-onde
5.6.3 les imites de mon lang fient les imites de mon propre mode
5.6.4. les-imi lan gni les mies dem pre de
5.6.5 limits = demon >>>> [gage] >>>> limits = demon
5.6.6 mit ang’’’’ mit mon’’’ = mond
5.6.7 lesli meet demo (n)lang ages
5.6.8 les milites de mon lent-gage ignifugent les milites de mon prénom
5.6.9 les limes de mon langage saignent les mythes de mon propre monde
5.6.10 les limitations de mon langage signent les imitations de mon vrai nom
5.6.11 less imitation, more language, less imitation, more premonition
5.6.12 les initiés des mots lents gagnent les limites des noms propres
5.6.13 list my testimony, ignify the militians
5.6.14 le slime taste of my langue sniffs le slime taste of my rope
5.6.15 les limites imitent
5.6.16 les lits miteux des monstres langagiers : mon monde
5.6.17 less meat tease mol engage > let’s limit prosperity
5.6.18 les milices de mon langage mystifient mon propre monde
5.6.19 tassili de mon ange, fientes de mon copro-monde
5.6.20 let’s meet demon language
5.6.21 let’s meet demolished
5.6.22 mon langaragiste s’initie aux limites
5.6.24 los limites [de mi propio mundo]
5.6.25 lez limites tissent le langage, en gage de limite
5.6.26 mon langage se fie aux limites impropres
5.6.27 langage ment
5.6.28 les lies demon gage si le mie de mon r’’’’ onde
5.6.29 les mies demo gage les lits demo propre on
5.6.30 l’élite mime mon signifiant
5.6.31 les limes à langues signent des noms propres
5.6.32 easily meet demons
5.6.33 les lits mités de mon langage
5.6.34 my luggage
5.6.35 let’s mix
5.6.36 imite des mots l’engage si, imite des mots pro-mundi
5.6.37 mi mo signifie mo mo
5.6.38 lis des mots, lis des mots
5.6.39 tais des mots, tais des mots
5.6.40 en gage : signifier les limites
5.6.41 les limons de langue, les limons de mort
5.6.42 langage signi-fiente
5.6.43 lime -------------------------------------monde
5.6.44 l’immolé des limites, au propre
5.6.45 des mots lents cachent des mots propres
5.6.46 des mots lient, des mots mondes
5.6.47 les limites de mo[___________________________]
5.6.48 l’élision démo s’y fie l’immondice
5.6.49 langage des limites défie les limites
5.6.50 Les limites de mon langage signifient les limites de mon propre monde
First published in the magazine: Université Chilienne 2, 2010
October 30th, 2012
4 people taken to hospital after multiple car crash shuts down Ballard Bridge. Three people in the Prius were treated at the scene and taken to the hospital. One of the passengers suffered several fractures and was in stable condition when she was transported to Medical Center. Another passenger in the Prius was also taken to Medical Center. The taxi cab driver complained of neck injuries. Police is currently investigating the cause of the crash.
July 23, 2012
County Sheriff said Deputy, who suffered injuries as a result of an on-duty auto accident July 23 at the intersection of Ballard Avenue and Marvyn Parkway will likely have to undergo additional surgeries. “It turns out that the injuries sustained to his right eye were more severe than originally thought”. Deputy, a 12-year veteran with the County Sheriff’s Office patrol division, was injured when he swerved to avoid a deer. His K-9 partner, Mike, a Belgian Malinois, was also in his patrol car at the time of the accident.
May 24th, 2012
At approximately 9:48 p.m. on May 23, deputies responded to the report of a single vehicle crash. Mark Ballard, 52, suffered severe injuries after being ejected from his 1993 Dodge Dakota pickup truck. Ballard's vehicle apparently drifted off the road and then flipped after an over correction. The vehicle then rolled several times. Police determined that Ballard was under the influence of alcohol and prescription medication at the time of the accident. Ballard was cited to court for Operating a Motor Vehicle Under the Influence of Drugs/Alcohol 2nd Offense. Ballard has a prior conviction for DUI.
May 18, 2012
The truck rolled off the highway in a section of the road without a guardrail. Authorities said the vehicle rolled through a field and took out a fence. It landed in the yard of a home on Ballard Road. Investigators are not sure how many times the truck rolled. The driver was ejected, and he landed in some nearby bushes. The medical examiner says he died of internal injuries.
18 Apr 2012
The incident happened a little before seven on Tuesday night. Police say the girl was on her bike when she tried to cross Northland Avenue at Ballard Road. The girl was hit by a car, and then an SUV. She suffered serious injuries. Police are investigating.
December 27, 2011
The wreck happened at the intersection of Highway 29 and Ballard Road. Deputy Coroner says 17-year-old girl died in the crash, when she was ejected from the vehicle. She was not wearing her seatbelt. According to County Fire Chief, a tanker truck carrying 8,800 gallons of gas struck a car at the intersection. The cab of the truck then separated from the tanker and ended up in a wooded area. The tanker flipped upside down, and caused a small gas leak. Haz Mat crew spent several hours cleaning up the scene.
November 12, 2011
A rollover vehicle accident happened at about 1:20 p.m. at West Cross Avenue and Ballard Street, according to police dispatch. Information on the vehicles or condition of the drivers is currently unavailable.
August 21, 2011
A car crash has killed two people and left two others critically injured. The crash occurred just east of the Gordonton and Ballard Road’s intersection. Two vehicles were involved in the crash. The Serious Crash Unit, fire, police and ambulances are on the scene. Police believe one of the cars drifted across the centre line into the path of oncoming traffic. Road closures are in place at Ballard and Whitikahu Roads.
November 5, 2011
Witnesses to the wreck said the Honda sedan was traveling east on Ballard Road, had stopped at a stop sign, and then pulled out in front of the tanker, which was traveling north on U.S. 29. Witnesses said the car spun several times after being hit by the tanker and then went down an embankment.
December 22, 2010
The driver of a vehicle that ran off Ballard Road Wednesday, just past the intersection with Dimmick Road, was transported by helicopter to Medical Center for possible head injuries, according to Police on the scene.
July 16, 2010
The Highway Patrol is investigating, but no details were available Friday night. Lying upside down in the kudzu vines and with its passenger side driven in to a concave shape, the KIA was dwarfed by the Hummer that sat like a disabled tank nearby, its front end crushed, its dashboard displaced and its windshield shattered. Jackie and Tom Royal saw the helicopters hovering from their Ballard Road home and walked over to the crash site. They watched from a safe distance. Jackie Ballard shook her head. She’s seen too many serious accidents along U.S. 29, she said, in the 28 years she’s lived on Ballard Road with her husband. “This is a dangerous intersection,” she said. “There are too many cars, too much traffic and they drive too fast.”
April 4, 2010
Sunday morning, three young men were killed and one woman was critically injured when a speeding vehicle crashed into a steel pole in a Ballard parking lot. The accident occurred at about 4:40 a.m.
April 11, 2009
Police received a call at approximately 12:44 p.m. Saturday, April 11. They responded to the report of a major accident at N. Ballard Ave. and E. Oak St. where a man, driving a 2007 Ford F-150, was headed southbound on Ballard and struck two parked vehicles on the west side of Ballard. He then rear-ended a vehicle that was stopped for pedestrians. The F-150 pushed the vehicle into another vehicle on the east side of Ballard and struck another parked car on the west side of the street. The parked car was pushed through the glass windows and brick storefront of Wylie Sports and Apparel.
Motor vehicle accident reports on Ballard Street/Road/Avenue/Bridge etc
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Take a poem that resembles you.
Next carefully cut out each of the words that make up this poem and put them all in a bag.
Next take out each cutting one after the other.
Copy conscientiously in the order in which they left the bag.
Take a newspaper.
Choose from this paper the place where you want to insert the article.
Paste the article inside the newspaper.
Then take some scissors.
Stab yourself to death.
And there you are –an infinitely unoriginal author of charming non-sensibility, and perfectly appreciated by the vulgar herd as you finally hit the headlines.
What thoughts I have of you tonight, Walt Disney, for I walked down the sidestreets of Disneyland under the trees with a headache self-conscious looking at the full moon.
In my hungry fantasia, and shopping for images, I went into the neon DisneyStore, dreaming of your enumerations!
What giant peaches and what penumbras! Whole Robinson families shopping at night! Aisles full of Beauties! Beasts in the avocados, Mary Poppins in the tomatoes!--and you, Cinderella, what were you doing down by the pumpkins?
I saw you, Walt Disney, childless, lonely old grubber, poking among the meats in the cryogenic containers and eyeing the NeverLand boys.
I heard you asking questions of each: Who killed the lions, the elephants and the deers? What price going bananas? Are you my Angel, Jiminy?
I wandered in and out of the brilliant stacks of Nemo-cans following you, and followed in my imagination by Mister Incredible.
We strode down the open corridors together in our solitary fancy tasting "Eat-me" cakes, possessing every poisoned apple, and never passing the cashier.
Where are we going, Walt Disney? The doors at Monsters Inc. close in an hour. Which way does your hunchback point tonight?
(I touch your Jungle Book and dream of our adventures in Wonderland and feel absurd.) Will we walk all night through a solitary Main Street? The trees add shade to shade, lights out in the dwarves' houses, we'll both be lonely.
Will we stroll dreaming of the lost America of love past anthropomorphic beetles in driveways, home to our silent cottage? Ah, dear father, graybeard, lonely old puppet-master, what America did you have when Aladdin quit flying his carpet and you got out on a smoking bank and stood watching the 3D dream disappear on the black waters of Wall-E?
[A Ready-Scream is an ordinary scene in which an anonymous subject, usually with an agonising expression, is desperately attempting to elevate himself to the dignity of an expresionist work of art. Like most other Ready-Screams and their derivatives, these actions emerge from meaningless situations, they often remain undisguisised, unreaveled or unseen and often rely on the spectator's input to make sense. It will derive its identity and status from the designation placed on it by the observer who, in appreciation and recognition, will attribute a specific title to the emerging artwork.]
New collaborative work between Sylvain Essayan Paris (aka Koloro Koro) and myself in which the traditional structures are broken: strips dissolve, colours melt, words fight to play their role within image. Overall we are taking the art of comics through the limits.
" Volcano versicolore " est un livre de bande dessinée pictural où le personnage innuit siniswichi traverse les univers visuels de KOLORO KORO, graphiques en début d'ouvrage avec des phylactères respectivement en couleurs unies sans texte : gris, bleu, jaune, rose, vert, rouge ou à pois; le texte écrit avec Javier Kronauer d'essence poétique étant " hors bulles ". Il arrive que des phylactères blancs cachent en partie le texte peint sur fond noir, ailleurs, le texte devient la matière de l'image en surimpression d'une structure de cases et de bulles. Nous découvrons aussi l'éditeur Xavier Löwenthal peindre sur le corps de son auteur. Ce livre est une traversée graphique et picturale dans l'univers de la performance, du body-painting et de l'art contemporain. Pierre Sterckx écrit dans la postface : " la pulsion qui domine est franchement schizoïde, dans la mesure où l'entrelacs couvre la surface simultaneïsant toutes les figures et chaque intensité. Cela donne une espèce de réel plus dense que la réalité."
"A road is a road is a road is a road is a road is a road is a road is a road is a road is a road is a road is a road is a road is a road is a road is a road is a road is a road is a road is a road is a road is a road"
"Dose is a dose is a dose is a dose is a dose is a dose is a dose is a dose is a dose is a dose is a dose is a dose is a dose is a dose is a dose is a dose is a dose is a dose"
(William S. Burroughs)
"Name of the Rose is a rose is a rose is a rose is a rose is a rose is a rose is a rose is a rose is a rose is a rose is a rose is a rose is a rose is a rose is a rose is a rose is a rose is a rose is a rose is a rose"
"Arrose et arrose et arrose et arrose et arrose et arrose et arrose et arrose et arrose et arrose et arrose et arrose et arrose et arrose et arrose et arrose et arrose et arrose et arrose et arrose et arrose et arrose"
(Louis & Auguste Lumière)
"Rrose is a rrose is a rrose is a rrose is a rrose is a rrose is a rrose is a rrose is a rrose is a rrose is a rrose is a rrose is a rrose is a rrose is a rrose is a rrose, Sélavy"
"This is not a pipe: a hose is a hose is a hose is a hose is a hose is a hose is a hose is a hose is a hose is a hose is a hose is a hose is a hose is a hose is a hose is a hose is a hose is a hose is a hose is a hose"
"Erasure is erasure is"
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