Notes, Quotes, Provocations and Other Fair Use    ill. I55ue. Ill. i11. 1ll. I11. iLL.
character caricature building fig.’n’ ill.’n’ img. by Jouke KLEEREBEZEM
Conversational Drift, Informatic License, Exquisite Enclaves th15 155UE 92 last of 2004 . . .

issue 91    portal    history    issue 93                                            the Irremediable Graphathon

figure this: Eyes closed, drawing from Memory

new desk and couch

new desk and couch

img. 6: new desk and couch, ginger pots, floral patterns
Enter work and rest beyond CCW turns. Recently upholstered by G. the méridienne which back still has to be added is temporarily covered by one of the Bangalore Best Buys (Jayshri Poddar for Atmosphere) and set aside a new 95×200cm. desk from Simone’s. The desk contains two times three drawers. I can walk around it. It is like a cooking island! To lay myself on that couch and look up the book shelves with funky tunes streaming down from overhead is my desire for 2005. This be the studio setting for due inevitabilities.


De gevoelstemperatuur steeg vorige week woensdag snel toen Claudia en ik met Kees Brandenburg en Arie Altena aan de JvE samenspanden in v.h. de theory room om nog eens naar wikiformaten en andere meervoudig-auteurschap en inhouds-organisatie software te kijken. Omdat Arie in de trein alt, en ik rustig thuis Kees’ hulp kan aanstippen, volgen hier een paar verbindingen. Arie nam mee of bracht, ik citeer:

Instiki -- een erg aantrekkelijk systeempje dat 'zomaar' op je eigen computer werkt, je hebt in 2 minuten een volledig werkende wiki die er ook nog goed uitziet --, vervolgens tinderbox, MySQL, Cocoa MySQL, Macjournal, en nog zo het een en ander. Anymeta passeert de revue, Textpattern, S5, Smallwiki, Moveable Type, Pivot, RSS en Atom, we hebben het over xhtml, over DevonThink, over culturen van softwaregebruik en over manieren van publiceren en mensen tot publiceren bewegen, over Apache, php, css.

En ik zag voor het eerst NetNewsWire...

woordkraam (nu we het er toch over hebben)

draagvlak, teringlijder, tafelrede, volksopstand, draagvleugel, onderbroek, monocultuur, geweldspiraal, onderschatting, overschatting, lidmaatschap, integratie, verdomhoekje, tafelrede, tafelrede, traptrede, tremens, technologiefonds.


L’espace du dedans.

Frottages Henri Michaux.
Henri Michaux at Little Blue Light.
Société des lecteurs d’Henri Michaux, Mouvements de Plume


Max Ernst catalogue cover detail

fig. 4: back cover detail, with Mer et Soleil
oil paint and collage on linen, around 1931
The importance of going back to Ernst. At De Slegte (nice lil' bckgr there) this time I purchase the Max Ernst book. I held it in my hands before, hesitating to spend the €22,50. Sometimes you do hesitate to spend a certain amount on a certain good, like if you cannot imagine it to bring the exact satisfaction at the exact right price. Even when you recognize the value-for-money is there, something doesn’t feel right. But at a second visit... of course, this is about Mr. Ernst's books and graphic works and some paintings in the Sammlung Würth. At another Internet outlet, later, looking for links searching with the ‘Würth’ term, I find the tome at €14,80 %-|

endless credits

geese float in circles

img. 4: morning view from the upstairs kitchen.
geese float in circles; Iwi and Wiwi whirl
Returning from another too long visit to NL I find three large pines down. The moulin is set in a different space and light. A couple of days later Thiery and Stephane return to saw another four or five. Trees age, or get in each other’s way. The space around the place is amazing. Weather conditions from the dullest grey and rainy to the crisp sunny freezing contribute to the feeling of a new house altogether. Like this morning, it must be December 20, loud ducks circle the high waters. So do our geese. I have no idea why they are so loud but they do have a good time. Once more I realize what a stunning site this can be and how grateful I am to be here.

End-of-year activities have mixed in with work. I go over a deadline for the Open text which is going well but needs more time to get better. Mediatization/informationalization in contemporary cultural production being its underlying theme, it looks at how today the ‘monumental’ has lost its meaning. I have to get these things clear for once. Other business made JvE hectic as usual, with some good screenings — ‘Endless Credits’ actually being the title to indeed a long scroll of MetaHaven inspirations and events — as well as an interesting dinner party which I wake up from after three hours of sleep with blisters on my toes from all the wee hour shaking and breaking. I pack the car and leave for home. At half past three I pick up R. from school. I drive like clock work. Christmas holidays begin. At home I find r.’s school results. He too is first in his class with a 16,98/20 average (arithmetic 17,50/20, French 17,19/20). Bring in the patisseries!

Cinema St. Germain des Bois

img. 5: the way we screen for Noël 2004
Sunday the community gathers for a Christmas celebration. I hook up my iBook to another member of the Comité des Fêtes data projector and Franck’s stereo. For a first time we turn the Salle des Fêtes into a genuine Cinema St. Germain des Bois. Kids and their parents see Les Deux Frères, which brings back memories of playing with little Lithuanian Simba, in the CACV garden. After the screening people can group around smaller tables. It allows for more intimacy at and more traffic around the tables, in this very small house. I will reintroduce my ideas to change its plan, into a 90° CCW viewing direction, allowing wider screening, introducing a bar to replace the ridiculously small kitchen and bringing in smaller tables to set up anything from a wine/dine cinema, to other club events.

150+ words go off screen
(while the world’s libraries come on?)

62 wrds.:

Any text over 150 words one should read from paper. Is my educated guess. I took the test. We should actually urge our readers to print anything above 150 words. Maybe several 150wrds max paragraphs, like two or three which loosely fit together, would be doable. Now fr how to write to fit, in actually 150wrdsmax? Can skip wrds fr mnng. Hm.

84 wrds.:

Then, at the very moment of pondering the printed page, this comes in. Wish I’d known last week: Google Print. Every page in every book in the world its unique URL? Doable. I need some time to think this through but the concept opens immense vistas for publishing. And the ‘state of the print’: which content to be transferred to what kind of paper or other sheet using what kind of contrasting material? — usually some kind of ink, toner, paint? This is fascinating news.

anima in habitus

In the early morning my clothes on the floor in the Moulin bathroom are perfectly ignorant of the fact that this evening they will be put to rest on a suitcase in Maastricht. I can hardly believe it myself. But they genuinely have not a clue. Like before any displacement when you imagine, even try to visualize all the turns which you will have to take in order to arrive at your destination.

Everything has to follow in that direction. Your gear, the car, the weather, fellow road users, even your garb. And all the separate pieces will have to assemble again after their displacement, in a meaningful manner, as to be sure to have you arrive in one piece.


media migration scheme

fig 3: the chain of media migration
“The tragic beauty of [Victor Hugo’s Waterloo] is that the readers feel that things happen independently of their wishes.”
— Umberto Eco, Vegetal and mineral memory: The future of books, lecture on 1 November 2003, at the occasion of the re-opening of the Bibliotheca Alexandrina

In the Charles Nypels Lecture series on the ‘tomorrow book’ at the Jan van Eyck Academie this Friday I present a short rant entitled UbiBook, not about what is the book, but where it is.

Ubi Lector Ibi Liber. On book and reader mobility. Their interaction in a chain of media events which encompasses learning. Where is the book in new contexts of knowledge acquisition? Which knowledge does the medium transport and evoke best? How and when to link it to other information media?

check quick and dirty notes

[when can knowledge be acquired: at any difference in knowing between two parties, which meets with a desire of the ‘deprived’ party to learn: only when one party recognizes manifest knowledge with another party, knowledge is ac-knowledged. teach me a song!]

- where is the (this or that, whatever) knowledge? (is it to be ‘read’ or ‘browsed’, according to Eco’s categories)
- where does it (have to) go?
- how long does it have to be preserved?
(for the sake of this list, disregard: cultural limitations and relevance? And e.g. do we want this knowledge to be translated to other cultural platforms?)

- in which linguistic code/format is it? (text, language; image, language; sound, language...)
- in which data/format is it encrypted, and/or compressed? (programming, language... analogue/digital: what is the key? data protocols, standards?)
- does it ‘port’ to another medium, and if so how is it translated and at what cost? (economy and integrity of data)
- how sustainable is its current medium? (how much longer can it repeat its knowledge presentation, without loss of information)
- how sustainable is the medium it could be ported to?
- in other words: when is the knowledge's expiration date (media time bomb)

- who currently owns/supports this knowledge?
- whose responsibility/desire is to preserve it?
- if we are looking at two different parties: will the owner and the preservation party talk to each other (IP, economic value)
- who will port it to another medium, or copy it in the same for another extension of its life
- do different kinds of knowledge combine?
- do their media combine?
- how do we bring their media together?

- does preservation bring loss of information?
- does preservation bring loss of 'penetration'?
- does preservation bring loss of accessibility?
- if any of these losses occur, when and where will they occur and how important is that?

= research agenda book and other media for knowledge preservation, transaction, distribution and presentation.

Welcome at Docteur Boom’s

Aretha Franklin album cover

img. 3: AF on love
The Holy Nicholas drops a bag in front of the dining room fireplace between 5 and 10 am. this morning. 12 numbered presents are welcomed, or rather 11. Nr. 9 is missing but no one notices. It is the Characters at War poster which has arrived in good order from Berlin the day before yesterday. Sinterklaas could not find it this morning at 5 am. before she got to bed. At 1:30 we had returned home from dinner with Franck and Corinne at Vero and Claude Piso’s. While G. has the energy to finish things, I go straight to bed.

After gift giving brunch I spend several hours in the kitchen, Aretha Franklin's I Never Loved A Man The Way I Love You, if that's the title, in repeat mode, cooking a concentrated beef broth and potato/leek/meat/cheese wintry oven dish. I saw firewood to take to the dining room. Then I make pizza. Is this Sunday slow and quiet. Ho and De step by in the afternoon. We discuss the New Year party. R+r play their new games.

Let’s plan to produce a 2004-05 New Year’s eve CD... another dissidentsong, like over 2001-2003? A.F.’s can be its opening song, with a stretched intro... tac, tshic tshic tshic... tac, tshic tshic tshic... So Derk and Honorine prepare this party at their place in Monceaux. They build a dance floor, a DJ stand and they download tunes. DJ dj is Derk-Jan aka. Dédé by the French, I can perform as Docteur Boom. Chants Dissidents du Docteur Boom. Introducing dagodoffal Ses Boom-Boumettes. At midnight we will light some KAF kick ass fireworks, which is no tradition in France, and was for that reason much appreciated at past reveillons.

On a different boum note Rolf finishes his first semester at the collège first in his class with a whopping 17,25/20 average score over 15 subjects. More importantly he likes to go to school better than last year. He was ready for the social change. And yes indeed, you notice the French count their school results into the hundreds of points. Roemer can’t wait to get his list.

Then Paul’s back with Alamut, after a long hiatus...

anima in studio

img. 1: Paul Klee studio, ‘after his death’,
according to the img. source
To conceive and construct worlds, from the fundamental appreciation that everything is alive, with anima, means to build relations between the living. Every world is an infinite set of relations which support its condition. The more open relations are, the bigger and more complex their world becomes. Over time it develops histories and a history of histories of histories. It grows fat with relational data: narrative. Outside anecdote — Gr. anekdotos: that which has not been given out of hands, which has not been released — all is publishing, articulation, story telling. World construction.

To work in a studio means to work in isolation, to construct worlds in an an-ecdotal manner. To work out of a studio means to work for publication of such worlds. The studio threshold is hard to cross in either direction. Whether on the way out: call it ship, send or FTP, or on the way in: call it bring, take or download — artists cross that threshold all the time, mindful of the passage and its transactions. At times they rather stay in, at times it is better to stay out.

The animated worlds’ ecologies are alive. No environment is more sustainable, more supportive of keeping its processes alive but contained, than the studio. The occasional cloud of dust is sacred. To return to the studio is a return to the prime conditions that support and feed you, from which you will support and feed other worlds, inside as well as outside that... portal. Center at the edge. Room with secret thresholds.

Grotesque: Pictures wherein (as pleases the Painter) all kinds of odde things are represented without any peculiar sense, or meaning, but only to feed the eye.
— R. Cotgrave, A Dictionairie of the French and English Tongues, 1611, as quoted in Geoffrey Galt Harpham, On the Grotesque, 1982, Princeton Universtiy Press.

img. 2: a Klee painting downloaded
from a Japanese homepage
As pleases the Painter:

All kinds of odde things. Clouds, trees, waters, stones, hills, flowers, skies, fish all feed the eye the oddest... feed it configurations, blotting, light reflections, all kinds of traces, patterns, Monstra all of them — escape routes, initiations, passages in and out.

Who Is Looking The Other Way

balancing act fig2

Fig. 2

characters at war poster by pictoplasma
Ill. 1: characters at war, exhibition and poster
Today’s title snap accompanied a Tadpole a Tap a Dancing, in MAD #124 January 1969, Page 27. By Don Martin. Courtesy his Dictionary. See link below.

Returning from war (‘100+ violated copyrights and the very best in contemporary character design and art’) and having ordered their poster to give as a present to R+r for Xmas, I realize once again a fascination with the grotesque, surreal, ridicule, hybrid — and its graphic articulation, high contrast: in illustration, comic, cartoon, anomalie, doodle drollery, caricature, character, mascot, personage blotted incarnation.

In the next life I'd hope to be an illustration artist.

Drawing From Memory in no particular order

William Heath Robinson, Garth Williams (Meneer de Hond), Ron Cobb, Robert Crumb, Heinz Edelmann, Jean-Michel Folon, Roland Topor, Winsor McCay, More McCay, Maurice Sendak, Edward Gorey, George Herriman, Jean de Brunhoff, Saul Steinberg, Tomi Ungerer, Tadanori Yokoo, Johnny Hart (Early B.C.), Lucebert, Marten Toonder, Dan O’Neill, Willem, Peter Vos, Pim van Boxsel, Jean-Jacques Sempé, MAD’s Antonio ‘Spy Vs Spy’ Prohias and Don Martin (for his poetic license, see the Don Martin Dictionary!), André Franquin, Jan Lenica, Jacques ‘Shadok’ Rouxel, Gahan Wilson, (...)

The Visual Telling of Stories (illustration art database, by Chris Mullen, in the process of being rebuilt from the current state; courtesy wood s lot)

Coconino World (‘un monde d’images au beau milieu du web’)

Lambik Comiclopedia (‘an illustrated compendium of over 6,000 international comic artists with biographies and artwork examples’)

Ubu’s Almanac (Alfred Jarry and the Graphic Arts, exhibition site of the Spencer Museum of Art)

Cadavre Exquis
Écriture Automatique

Hieronymus Bosch
M.C. Escher
Paul Klee Zentrum
An Approach to the Conservation Treatment of Paul Klee Drawings
Max Ernst

Ambrosius Paré, DISCOURS D'AMBROISE PARÉ, CONSEILLER, ET PREMIER CHIRURGIEN du Roy (“Ainsi voit on comme chacune nation pense avoir la Licorne, luy donnant plusieurs vertus, & proprietez rares & excellentes: mais ie croy qu’il y a plus de mensonge que de verité.”)

Hide And Seek Autumn Display

pantalune spine

Fig. 1

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