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I.C. Notebooks 1
""I.C. Notebooks; National brand, black 4"" binder""
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I.C Notebooks; National brand black 4" binder: (Don't tell yourself it's the end of art, and then have it not be.) Triangular loaf of bread A form of porridge Unidentified ( a liquid containing some sort of fatty substance) A cooked fish Pigeon stew A cooked quail (cleaned and dressed with head tucked under one wing) Two cooked kidneys Ribs and legs of beef Identity uncertain, but containing ribs of beef Stewed fruit probably figs Fresh nabk berries (rather like cherries in appearance) Small circular cakes Three small jars containing some form of cheese Grape wine Fall, 1970 An Egyptian Funerary Repast. Recreation of the replica objects. Diagram as theater. Found narrative - the archaeological report of the burial of an elderly woman with a serious jaw deformity who was meant to enjoy a speciality prepared meal in the afterlife. Create what Wallace Stevens called "the final poem": "The final poem will be the poem of fact in the language of fact. But it will be the poem of fact not realized before. " The audience enters through a false portal marked 3466 into a darkened room with a cement floor; the perimeter of a tomb, the passageway, the magazine, the annex, the main hall, the burial put, as well as an enlarged diagram of the woman's upper and lower jaws are drawn on the floor with chalk. The audience moves through the diagram and is seated in the jaw marked "Upper" corresponding to the teeth still intact on the left side. The reader takes her place in the center of the jaw and begins; I transfer the repast from the main hall to the jaw marked "lower" placing the plates, unfired stoneware replicas of the repast, one at a time on the left side of the jaw. The piece ends when the reading is complete . After the audience is seated, the floor of the tomb is ignored. After the performance, all floor designations are ignored. The mouth as the origin of the story (the oral tradition) here encounters the first and most basic way of receiving sustenance from the outside world. And in this case, also the last, as the end of life stretches into afterlife, and finally metaphor. "Time makes monuments out of events" Michael Benedikt -1-
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I.C Notebooks; National brand black 4" binder: (Don't tell yourself it's the end of art, and then have it not be.) Triangular loaf of bread A form of porridge Unidentified ( a liquid containing some sort of fatty substance) A cooked fish Pigeon stew A cooked quail (cleaned and dressed with head tucked under one wing) Two cooked kidneys Ribs and legs of beef Identity uncertain, but containing ribs of beef Stewed fruit probably figs Fresh nabk berries (rather like cherries in appearance) Small circular cakes Three small jars containing some form of cheese Grape wine Fall, 1970 An Egyptian Funerary Repast. Recreation of the replica objects. Diagram as theater. Found narrative - the archaeological report of the burial of an elderly woman with a serious jaw deformity who was meant to enjoy a speciality prepared meal in the afterlife. Create what Wallace Stevens called "the final poem": "The final poem will be the poem of fact in the language of fact. But it will be the poem of fact not realized before. " The audience enters through a false portal marked 3466 into a darkened room with a cement floor; the perimeter of a tomb, the passageway, the magazine, the annex, the main hall, the burial put, as well as an enlarged diagram of the woman's upper and lower jaws are drawn on the floor with chalk. The audience moves through the diagram and is seated in the jaw marked "Upper" corresponding to the teeth still intact on the left side. The reader takes her place in the center of the jaw and begins; I transfer the repast from the main hall to the jaw marked "lower" placing the plates, unfired stoneware replicas of the repast, one at a time on the left side of the jaw. The piece ends when the reading is complete . After the audience is seated, the floor of the tomb is ignored. After the performance, all floor designations are ignored. The mouth as the origin of the story (the oral tradition) here encounters the first and most basic way of receiving sustenance from the outside world. And in this case, also the last, as the end of life stretches into afterlife, and finally metaphor. "Time makes monuments out of events" Michael Benedikt -1-
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