Rasula 2015 and Scrapbook: Difference between pages

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Rasula, Jed. ''Destruction was my Beatrice: Dada and the Unmaking of the Twentieth Century.'' New York: Basic Books, 2015.
:"Curiosity is a vice that has been stigmatized in turn by Christianity, by philosophy, and even by a certain conception of science. Curiosity, futility. The word, however, pleases me. To me it suggests something altogether different: it evokes 'concern'; it evokes the care one takes for what exists and could exist; a readiness to find strange and singular what surrounds us; a certain relentlessness to break up our familiarities and to regard otherwise the same things; a fervor to grasp what is happening and what passes; a casualness in regard to the traditional hierarchies of the important and the essential.


:"Tzara’s characterization of Dada as a virgin microbe is apt. Wherever it migrated, however briefly in some cases, it didn’t necessarily need a cabaret, a club, or even a group to take hold; an individual could suffice. Dada took on a peculiar glow, as though it were a radioactive element emitting a hal- lucinatory pulsation. That’s why there’s little sense in making Dada out to be a unified enterprise, with a single collective focus. Its identity multiplied with its occasions and its participants. " (xv)
:"'''I dream of a new age of curiosity.''' We have the technical means for it; the desire is there; the things to be known are infinite; the people who can employ themselves at this task exist. Why do we suffer? From too little: from the channels that are too narrow, skimpy, quasi-monopolistic, insufficient. There is no point in adopting a protectionist attitude, to prevent 'bad' information from invading and suffocating the 'good.' Rather, we must multiply the paths and the possibility of comings and goings." (Michel Foucault, "The Masked Philosopher"; epigraph to [[Daston and Park 1998]]


dada as "agent of destruction, but Dada’s alliance with Con- structivism reflected its newfound role as creative agent." (xvi)


:"Without Dada we would have no mash-ups, no samplings, no photomontages, no happenings—not even Surrealism, or Pop art, or punk . . . Without Dada, modern life as we know it would look very, very different—in fact, barely even modern." (xvii)
:"Men may dream in demonstrations, and cut out an illusory world in the shape of axioms, definitions, and propositions, with a final exclusion of fact signed Q.E.D. No formulas for thinking will save us mortals from mistake in our iimperfect apprehension of the matter to be thought about . . . [and] the unemotional intellect may carry us into a mathematical dreamland where nothing is but what is not." -- George Eliot, Daniel Deronda, quoted in [[McKenzie 2002]]; for use with Logic of Sense project?


== Cabaret Voltaire ==
:"Merz poetry is abstract. In analogy with merz painting it uses as given parts complete sentences from newspapers, billboards, catalogues, conversations, etcetera, with or without changes. (That is ter- rible.) These parts do not have to fit in with the meaning, because there is no more meaning. (That is also terrible.) There are no more elephants either, there are only parts of the poem. (That is terrible.) And you? (De- sign war loans!) Determine for yourselves what is poem, what is frame." -- Kurt Schwitters


Emmy Hennings and Hugo Ball, founded in Zurich, 1916


influence of primitivism -- art, masks, fetishes from Africa and Oceanic tribes
Milton, ''Areopagitica''; books have "a potencie of life" since "they preserve as in a violl the purest efficacie and extraction of that living intellect which bred them ... a good book is the pretious life0blood of a master-spirit, imbalm'd and treasur'd up on purpose to a life beyond life" (qtd on 23 in [[McKenzie 1986]])
* for use with book-flowers project?


Tristan Tzara, youngest of the group -- a teenager


:"Arp performed scenes from Alfred Jarry’s notorious play Ubu Roi, which had scandalized Paris in 1896 with its very first word: merdre (“shit” in English but deliberately mispelled)—an occasion witnessed by Irish poet William Butler Yeats, who wondered, “What more is possible? After us the Savage God.” Jarry is the supreme prankster of literature, and the fact that Arp sampled Ubu Roi at the cabaret offers a clue to the kind of humor that appealed to him. His poems are unfailingly whimsical; Arp drew vocabulary for them from newspapers, eyes closed, finger pointing to a spot on the page. When he sent a longer sequence called The Cloud Pump to the printer, he deliberately wrote it out in small obscure handwriting to prompt typesetter’s errors, errors he faithfully preserved in subsequent printings." (17)
Cicero's librarian-slave Dionysus making off with his books ([[Casson 2001]], 71-2)


flagging energies in the early days revived by discovery/play with "simultaneous poetry"
'''Cassiodorus'''; created model monastery named Vivarium after ponds for raising fish nearby; had library ([[Casson 2001]], 144)


:"For the cabaret’s rendition of simultaneous poetry, Huelsenbeck, Janco, and Tzara went onstage, bowed formally like a yodeling trio, and performed their collaborative composition “The Admiral Looks for a Place to Rent” in German, English, and French simultaneously, with a drum, whistle, and rattle as accompaniment. These were conspicuously the main combatant languages. Tzara provided a conceptual itinerary for the piece in his ex- planatory “Note for the Bourgeois,” citing the visual precedence of Cubist artists Picasso, Braque, Picabia, and Delaunay, as well as the typographic innovations of the poet Mallarmé and the calligrams of Apollinaire." (20-21)


:"Dada meant something different to each of the participants, but for Ball it named this predicament of using culture to escape from culture—a zany bootstrapping operation." (26)
"the London 'polyglotte' of 1657 was announced by a prospectus which boasted of its superiority to all prior editions (in terms which were later echoed by Bishop Sprat in his praise of the Royal Society)." ([[Eisenstein 1983]], 68)


== Magic Bishop and Mr. Aspirin ==


Cabaret closed in July 1916; swanky new location in an old guildhouse
:"'''SELL YOUR LANDS, your house, your clothes and your jewelry; burn up your books.''' On the other hand, buy yourselves stout shoes, travel to the mountains, search the valleys, the deserts, the shores of the sea and the deepest depressions of the earth: note with care the distinctions between animals, the differences of plants, the various kinds of minerals, the properties and mode of origin of everything that exists. BE NOT ASHAMED to study diligently the astronomy and terrestrial philosophy of the peasantry. Lastly, PURCHASE COAL, build furnaces, watch and operate with the fire without wearying. In this way and no other, you will arrive at a knowledge of things and their properties." (Peter "Severinus" Soerensson, Idea Medicinae Philosophiae, 1571)


rising importance of dance; influence of Rudolf Laban, who ran a dance school nearby and wanted to liberate dance from subservience to music and drama


opening of Galerie Dada -- replacing boisterous cabaret atmosphere with cultural elitism
Saturday, October 2, 2010; ''Neatness Counts: Essays on the Writer's Desk,'' by Kevin Kopelson.


:"Whereas Tzara had been swept up in the bear-baiting side of Dada, following in the footsteps of the Futurist Marinetti, for Ball those liturgical cadences he’d performed in costume epitomized Dada. He’d gone into the endeavor obsessed with the notion that a reckless or abusive relation to language was responsible for the war, but the revelation of “verses without words,” poems consisting of nothing but sounds, moved him closer to a reverential outlook on Dada." (42)


dada brings Ball back to Christianity; he would turn back to Catholicism in 1920
:"'People are lines,' Deleuze suggests. As lines, people thread together social, political, and cultural elements." ([[Galloway and Thacker 2007]] 35)


:"Ball still harbored dreams from before the war, when he was in Kandin- sky’s circle, and Dada was as close as he’d come to realizing them. This set him apart from the others in his cohort, for whom Dada was beginning to seem like a precious stone in a fairy tale—the key to the kingdom, but what kingdom? Tzara felt there was nothing magical about Dada; it was simply a vocational opportunity, one that he tackled with the diligence of an aspiring law clerk. Ball didn’t have career ambitions like Tzara, but he had many in- terests ranging from politics to mysticism, with Dada tantalizingly dangling midway between the two." (44)


== Fantastic Prayers ==
Dunhuang Library -- collection of 40,000 ancient documents found sealed in a cave; collection split up and sent around the world, now being digitally reconstituted: http://idp.bl.uk/
* including Diamond Sutra, earliest printed "book": http://www.bl.uk/turning-the-pages/?id=1c92bc7e-8acc-49b3-9a27-b5ad8f44230a&type=sd_planar


Huelsenbeck in Berlin -- generating dada interest
Olia Elin, "Still There" -- extended essay on Geocities, its importance and archiving:http://contemporary-home-computing.org/still-there/


* founding of Neue Jugend, with George Grosz, Wieland Herzfield, and John Heartfield
:"With these sound poems we should renounce language, devastated and made impossible by journalism. We should withdraw into the innermost alchemy of the word, and even surrender the word, thus conserving for poetry its most sacred domain. We should refuse to make poems second-hand; we should stop taking over words (not to mention sentences) which we did not invent entirely anew for our own use. We should no longer be content to achieve poetic effects which, in the final analysis, are but echoes of inspiration …" -- Hugo Ball on notes to Gadji Beri Bimba


reading at Neumann gallery announcing appearance of dada in Berlin, followed by formal press release on founding of Club Dada
== Weaving ==


joining of Raoul Hausmann and Hannah Höch, Walter Mehring, Franz Jung
:"By 1801, Joseph-Marie Jacquard had developed punch cards to hold encoded mechanical patterns for use in his looms. The art of weaving, allowed some human flexibility as a handicraft, was translated into the hard, coded grammar of algorithmic execution." ([[Galloway and Thacker 2007]] 112-3)


== Dada Hurts ==
[[Ovid, Metamorphoses]]
* IV.62: daughters of Minyas tell stories while weaving; at the end, their tapestries turn into living vines
* VI.1: Arachne challenges Athena to a weaving match, is turned into a spider
* VI.830: Philomela can't speak because Tereus has cut out her tongue; so she weaves her story and sends the tapestry to her sister Procne


:"What the Berlin Dadaists had in common (most of them being artists, after all) was their disdain for art institutions like the academies, juries, dealers, and complicit art stylists who promoted an elitist mystification of Kunst und Kultur (art and culture). The Berlin Dadaists repudiated the art racket, monopolized by “the professional arrogance of a haughty guild,” ob- served Herzfelde. The kaiser patronized the most conservative art, casting over even French Impressionism an aura of ill repute. The Dadaists regarded such patronage as part of a larger delusion evident in German glorification of the military. Conventional art, from the Dadaist perspective, amounted to “a large-scale swindle” and “a moral safety valve.” “Dada is forever the enemy of that comfortable Sunday Art which is supposed to uplift man by remind- ing him of agreeable moments,” Huelsenbeck wrote, adding “Dada hurts” to drive the point home." (65)
dedicatory preface to Gerard's ''Herball'' (1597): "For if delight may prouoke mens labour, what greater delight is htere than to behold the earth apparelled with plants, as with a robe of imbroidered worke, set with orient pearles, and garnished with great diuersitie of rare and costly iewels?" (see [[Early botany books]])


:"A Dadaist was not an artist but a monteur, the German word for “mechanic,” and the Dadaists called the work they produced montage, a cognate term for assembly-line work. Photomontage and collage would have a huge effect on global culture in the years to come and would become ubiquitous from the s to the Internet age. Heartfield and Grosz had started doing cut-and-paste works soon after they met. Höch and Hausmann were also immersed in collage. Baader fol- lowed suit. Erwin Blumenfeld, like others only momentarily affiliated with Dada, also excelled at the new technique before he rose to eminence as a fashion photographer. Much ink has been spilled identifying who originated the technique, but in fact the explosion of print material in the nineteenth century stimulated ordinary people to cut and paste without claiming the results as art. Picasso snipped bits of newspaper and glued them onto his paintings during the heyday of Cubism before the war. But it was in the Berlin Dada circle that photomontage took wing, “an explosion of viewpoints and an intervortex of azimuths” in Hausmann’s heady evocation." (69)
Marvell, "Upon Appleton House"; Isabel Thwaites at Appleton House when it was a nunnery: "Whence in these words one to her weaved, / (As 'twere by chance) thoughts long conceived" (XII/95-6); "'When we have prayed all our beads / Someone the holy legend reads; / While all the rest with needles paint / The face and graces of the saint. / But what the linen can't receive / They in their lives do interweave. / This work the saints best represents; / That serves for altar's ornaments.'" (XVI)


:"While those who attended its soirées might think of Dada as an artistic venture, for most the name circulated in the newspapers as a vaguely revolutionary threat, even a plausible political organization. In any case, programmed Dada evenings were chock-full of unmitigated aggression. Insulting the audience was de rigueur (“you’re not going to hand out real art to those dumbbells, are you?”). The Dadaists were out to pick fights, with bared fists. But they also put on skits" (71)
see [[Rees 2003]] on Cavendish's ''Assaulted and Pursued Chastity'' and the heroine Travellia's relationship to Penelope; "Cavendish identifies and seizes upon an opportunity to execute a literary transition from the occupation of needlework, or the creation of textiles, to the occupation of writing, that is, the creation of a text" (107)
* Linda Woodbridge, "Patchwork: Piecing the Early Modern Mind in England's First Century of Print Culture"
* J. Hillis Miller, ''Ariadne's Thread: Story Lines''
* Cavendish says she writes in her husband's absence in the same way Penelope wove in Ulysses's absence (qtd on pg 108 in [[Rees 2003]])


famous skit of a race between a woman on a typewriter and a woman at a sewing machine
Spenser, amoretti, Sonnet 71


Hausmann: "His forte was sound poetry, which he likely heard about from Huelsenbeck’s account of wordless poems in Zurich. His explo- ration of “optophonetics,” as he called it, persisted beyond Dada. Hausmann had no interest in the singsong sonorities favored by Ball or the faux Afri- canisms of Tzara. He wanted to reach a primal place, where language had yet to evolve and the human animal vocalized without words. He pioneered a method of making sound effects by enunciating each letter, '''vocalizing type samples from a print shop''' or random letters strung together. These resources were the launchpad for producing all manner of sounds from what he called the “chaotic oral cavity.”" (73)
:"Much of the time, which she might readily have applied to the better efforts of her art, she employed in making coarse garments for the poor. It is probable that there was an idea of penance in this mode of occupation, and that she offered up a real sacrifice of enjoyment in devoting so many hours to such rude handiwork. She had in her nature a rich, voluptuous, Oriental characteristic—a taste for the gorgeously beautiful, which, save in the exquisite productions of her needle, found nothing else, in all the possibilities of her life, to exercise itself upon. Women derive a pleasure, incomprehensible to the other sex, from the delicate toil of the needle. To Hester Prynne it might have been a mode of expressing, and therefore soothing, the passion of her life. Like all other joys, she rejected it as sin. This morbid meddling of conscience with an immaterial matter betokened, it is to be feared, no genuine and steadfast penitence, but something doubtful, something that might be deeply wrong beneath." -- Scarlet Letter


First International Dada Fair; turned out to be relatively staid compared to usual dada antics
http://www.computerhistory.org/atchm/indigenous-circuits/
* Höch's "Cut with the Kitchen Knife..": one of the most visible works from the fair


Haussmann, "Mechanical Head: The Spirit of Our Times"
Spitalfields; weaver's windows on Fournier Street


closing of the Fair in August 1921 -- ended dada in Berlin; Haussmann announced a cessation of activities
Joseph Addison on Virgil's Georgics [or Eclogues?]


Huelsenback, compiled "'Dada Almanac'' -- only comprehensive portfolio compiled by a dadaist in the movement's heyday
:"Last spring, the tech entrepreneur David Orban proposed that his fellow Bitcoin evangelists adopt ‘weaving’ rather than ‘mining’ as their metaphor for the work of encoding and recording the public ledger of Bitcoin transactions. ‘Weavers,’ he wrote, ‘take the intertwined threads and through their expert, value-added activity create a strong fabric – which is exactly what the global distributed network of computers creating the Bitcoin Blockchain does!’" -- from "Losing the Thread," by Virginia Postrel: http://aeon.co/magazine/culture/how-textiles-repeatedly-revolutionised-technology/; see https://bitcoinmagazine.com/12311/weaving-better-metaphor-bitcoin-instead-mining/


== Merz ==
== People <--> Trees ==  


Kurt Schwitters -- disliked for association with Herwarth Walden's Sturm gallery, a powerhouse showcase for avant-garde art that the dadaists positioned themselves against
[[Ovid, Metamorphoses]] I.754-762; VII.910ff (ants falling from trees become people falling from trees); VIII.1005f, Baucis and Philemon become trees for their piety; VIII.1069, Erysichthon cuts down the oak, which bleeds; IX.511ff, Dryope turns into a tree for plucking the lotus flower; X.190: Cyparissus becomes the cypress tree; X.580-610: Myrrha becomes a tree which Adonis is born from; XI110: women who kill Orpheus turn to oaks;


:"In the July  issue of Der Sturm (with one of his “abstractions” on the cover), Schwitters introduced Merz painting. He began by assuring read- ers that this new moniker, Merz, was a kind of abstract art, though anyone who followed his work in the Sturm Gallery would’ve noticed a huge differ- ence between his abstract oil paintings and the multimedia breakthrough of Merz. “Essentially,” he went on, “the word Merz denotes the combination of all conceivable materials for artistic purposes, and technically the principle of equal evaluation of the individual materials.”" (92)
Dante, suicides come to 8th circle of hell as a tree


Hausmann and Schwitters' show, "Anti-Dada-Merz"; reciting An Anna Blume, Hausmann's sound poems
[[Virgil, Aeneid]], III.30; plant bleeds and groans when pulled from the earth


== Spark Plugs ==
== History ==
 
:"History -- the way it is presented -- is a fraud, because it diminishes the act of our own touching of the past." from Fielding Dawson's ''The Black Mountain Book'', "Notes from Olson's Class," pg. 98
 
:"FOR him I sing, / I raise the present on the past, / (As some perennial tree out of its roots, the present on the past,) / With time and space I him dilate and fuse the immortal laws, / To make himself by them the law unto himself." -- Walt Whitman, "For Him I Sing"
 
:"When we think of the world's future, we always mean the destination it will reach if it keeps going in the direction we can see it going in now; it does not occur to us that its path is not a straight line but a curve, constantly changing direction." (Wittgenstein, Culture and Value, 3e)
 
:"The past cannot exist 'in' time, because time cannot be any sort of frame within which anything can exist. By western definitions, time is something other than space, and yet it is incessantly portrayed as something spatial: as a line, a frame, a background, a landscape, and as having orientation. In common usage, the past is behind us and the future is ahead. We speak of the distant past and the gulf of time that separates us from the ancients. These spatial metaphors for time are ubiquitous because they are grounded metaphors, arising from the spatial experience of time. In nature, time—by itself—has  no  being  whatsoever.  It  is  a  mere  measurement  of  spatial motion. But human, or lived time is another matter. Experiential, memorial time is very real because it takes place. The past cannot exist in time: only in space. Histories representing the past represent the places (topoi) of human action. History is not an account of ‘change over time,’ as the cliche´ goes, but  rather,  change  through  space.  Knowledge  of  the  past,  therefore,  is literally  cartographic:  a  mapping  of  the  places  of  history  indexed  to  the coordinates of spacetime." (David Ethington, "Placing the Past: ‘Groundwork’ for a Spatial Theory of History", 465-6)
 
:"What we call history is the history of the word. In the beginning of that history was the word." (Burroughs, Ticket That Exploded, 50)
 
:"Suicide or abstention, why would you choose to do nothing?---This is your only time on earth, and because of an event I'll explain, there's no such thing as a Present, no---a present doesn't exist . . . For lack of the Crowd's declaring itself, for lack of --- everything. Uninformed is he who would proclaim himself his own contemporary, deserting or usurping with equal imprudence, when the past seems to cease and the future to stall, in view of masking the gap. Outside of those All-Paris occasions whose job is to propagate faith in the quotidian nothingness, and inexpert if the plague measures its period to a fragment, important or not, of a century." (Mallarme, Divigations, About the Book, "Restricted Action" 218)
 
:"History may try to break its ties to memory; it may make the schemas of memory more elaborate, superpose and shift coordinates, emphasize connections, or deepen breaks. The dividing line, however, is not there. The dividing line passes not between history and memory but between punctual 'history-memory' systems and diagonal or multilinear assemblages, which are in no way eternal: they have to do with becoming; they are a bit of becoming in the pure state; they are transhistorical." ([[Deleuze and Guattari 1998]] 296)
 
:"Everything is what we are, and everything will be, for those who come after us in the diversity of time, what we will have intensely imagined -- what we, that is, by embodying our imagination, will have actually been. The grand, tarnished panorama of History amounts, as I see it, to a flowe of interpretations, a confused consensus of unreliable witness accounts. The novelist is all of us, and we narrate whenever we see, because seeing is complex like everything." (Pessoa, ''The Book of Disquiet'', 27 [page 30])
 
:"Memory and history, far from being synnymous, appear now to be in fundamental opposition. Memory is life, borne by living societies founded in its name. It remains in permanent evolution, opent o the dialectic of remembering and forgetting, unconscious of its successive deformations, vulnerable to manipulation and to appropriation, susceptible to being long dormant and periodically revived. History, on the other hand, is the reconstruction, always problematic and incomplete, of what is no longer. Memory is a perpetually actual phenomenon, a bond tying us to the eternal present; history is a representation of the past." -- Pierre Nora, "Between Memory and History" (Intro to ''Les lieux de memoire''), http://www.history.ucsb.edu/faculty/marcuse/classes/201/articles/89NoraLieuxIntroRepresentations.pdf
 
:"Urizen saw & envied & his imagination was filled / Repining he contemplated the past in his bright sphere / Terrified with his heart & spirit at the visions of futurity / That his dread fancy formd before him in the unformd void" -- William Blake, Four Zoas, Night 2
 
Chronotope: "A term taken over by Mikhail Bakhtin from 1920s science to describe the manner in which literature represents time and space. In different kinds of writing there are differing chronotopes, by which changing historical conceptions of time and space are realised." -- http://www.litencyc.com/php/stopics.php?UID=187&rec=true
 
== Movable Books ==
 
Movable Book Society http://movablebooksociety.org
* Recent pop-up books exhibits, and for sale: http://www.movablebooksociety.org/popupbooks/main.html
* MBS links page: http://www.movablebooksociety.org/resources.html
 
histories of pop-up and movable books
* http://www.broward.org/library/bienes/lii13903.htm
* http://www.library.unt.edu/rarebooks/exhibits/popup2/introduction.htm
 
"Movable Books: An Illustrated History" http://www.movablebooksociety.org/indextohaining.pdf
 
Livres Animes http://www.livresanimes.com/
 
Pop Goes the Page: Movable and Mechanical Books from the Brenda Forman Collection http://www2.lib.virginia.edu/exhibits/popup/
 
see [[Harkness 2007]] (esp. chapter 3) on Elizabethan mathematical instruments
 
a few images of volvelles from the Grolier club exhibit (and Helfand's book): http://www.robertsabuda.com/everythingpopup/nycvolvelle.asp
 
== to write about ==
 
casket mentioned on [[Swain 1990]], 10
 
trade between cloth and paper; letters sewn, sealed with silk floss; paper embroidered, used to stiffen needlework like gloves in Cat. 34, [[Morrall and Watt 2008]]
 
see [[Foot 1998]] 55, Elkanah Settle
 
Leonhard Thurnheisser, collaborative printshops as natural history museums
 
on men writing funeral sermons for godly women; search Rainbowe
 
disruptive animals, bugs in the system; Grace Hopper, squirrels (http://www.nytimes.com/2013/09/01/opinion/sunday/squirrel-power.html?pagewanted=all&_r=2&), jellyfish (http://www.nytimes.com/2013/10/02/world/europe/jellyfish-invasion-paralyzes-swedish-reactor.html), Ellen Ullman's "The Bug"; Jussi Parikka, Insect Media
* http://www.theatlantic.com/technology/archive/2013/12/ants-act-as-both-a-fluid-and-a-solid/282554/
* http://www.nytimes.com/2013/12/08/magazine/crazy-ants.html
 
== to learn ==
 
http://railsgirls.com/materials
 
== EEBO oddities ==
 
''Note: If you aren't affiliated with Duke University, you need to remove ".proxy.lib.duke.edu" from the URLs below for the following links to work.''
 
manuscript wastepaper used
* http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:image:16663
* http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:image:24806 (with marginal music notes?)
* http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:image:24814:2
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drawings, notes
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distortions
* http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:image:8839:35
 
eating away the page
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* http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:image:767:89
 
test pages, messages
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* http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:image:210721:33
* http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:image:12885
* http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:image:173954:2
* http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:image:184257:283
* http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:image:175141:47
 
unknown weirdness
* http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:image:209657:2
* http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:image:183708:131
* http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:image:178251:22
 
book still in sheets?
* http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:image:184059:12
 
marbled endpapers
* http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:image:180758
* http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:image:172587:115
* http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:image:173519
 
thumb of scanner visible: http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:image:2968:7
 
book finished as a manuscript: http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:image:210418:21
 
binding: http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:image:210127:3
 
* http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:image:200608
 
Dan Powell, "EEBO and the Infinite Weirdness": http://djp2025.com/dispatches-from-capitol-hill-2-or-eebo-and-the-infinite-weirdness/
 
== Shakespeare & Book History ==
 
Erne, Shakespeare and the Book Trade
 
Erne and Kidnie, Textual Performances
 
A Concise Companion to Shakespeare and the Text
 
Murphy, Shakespeare in Print
 
Massai, Shakespeare and the Rise of the Editor
 
== Early Modern Pattern Poems ==
 
http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:citation:99851145
 
http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:citation:14514035
 
http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:citation:24419006
 
http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:citation:12492180
 
http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:citation:39950793
 
http://www.dankoster.com/visualpoetry/III/intro.htm
 
== Trade with Turkey ==
 
The Turkish Embassy Letters, By Lady Mary Wortley Montagu
 
== Scissors ==
 
Claes Oldenburg, "Scissors as Monument"
 
:"When Louis F. Anderson took over the editorship of the Houma Ceres in 1856, he admitted that he was “not…very distinguished as a ‘knight of the gray goose quill,'” but assured his new readers that “our pen will not lead us into difficulty” because “our ‘principal assistant,’ the scissors, will be called into frequent requisition—believing as we do, that a good selection is always preferable to a bad editorial” (June 28, 1856)." AND "Antebellum editors frequently touted careful selection over original composition through both serious and satirical commentary on their medium. Cheeky complaints about stolen scissors appear in many newspapers. In “A Scissorless Editor,” the theft of an editor’s scissors is lamented as “a sad dilemma,” because “[a]n editor unscissored is something like a dragoon unhorsed,” while a squib in the Edgefield Advertiser ran in full: “The Cornered Editor.—’Oh Jerusalem! here’s a nice fix! An original article to write, and somebody’s stolen the scissors!'” (February 19, 1852)." -- Ryan Cordell, "Reprinting, Circulation, and the Network Author in Antebellum Newspapers" - http://ryancordell.org/research/reprinting-circulation-and-the-network-author-in-antebellum-newspapers/
 
== Circles ==
 
Ralph Waldo Emerson, "Circles" -- http://www.emersoncentral.com/circles.htm
 
The Dictascrivener, 1898 -- http://tsutpen.blogspot.de/2013/01/modernist-ungapotch-3.html
 
kinetoscope
 
Duchamp, "roto reliefs"
 
== Dada primary text sources ==
 
[precursor: 1912: Kandinsky, Klänge]
 
1916: Richard Huelsenbeck, Fantastic Prayers
 
1919: Kurt Schwitters, An Anna Blume
 
1921: Compiled by Huelsenbeck, Dada Almanac
 
Hugo Ball, Flight Out of Time: A Dada Diary

Revision as of 22:50, 25 June 2015

"Curiosity is a vice that has been stigmatized in turn by Christianity, by philosophy, and even by a certain conception of science. Curiosity, futility. The word, however, pleases me. To me it suggests something altogether different: it evokes 'concern'; it evokes the care one takes for what exists and could exist; a readiness to find strange and singular what surrounds us; a certain relentlessness to break up our familiarities and to regard otherwise the same things; a fervor to grasp what is happening and what passes; a casualness in regard to the traditional hierarchies of the important and the essential.
"I dream of a new age of curiosity. We have the technical means for it; the desire is there; the things to be known are infinite; the people who can employ themselves at this task exist. Why do we suffer? From too little: from the channels that are too narrow, skimpy, quasi-monopolistic, insufficient. There is no point in adopting a protectionist attitude, to prevent 'bad' information from invading and suffocating the 'good.' Rather, we must multiply the paths and the possibility of comings and goings." (Michel Foucault, "The Masked Philosopher"; epigraph to Daston and Park 1998


"Men may dream in demonstrations, and cut out an illusory world in the shape of axioms, definitions, and propositions, with a final exclusion of fact signed Q.E.D. No formulas for thinking will save us mortals from mistake in our iimperfect apprehension of the matter to be thought about . . . [and] the unemotional intellect may carry us into a mathematical dreamland where nothing is but what is not." -- George Eliot, Daniel Deronda, quoted in McKenzie 2002; for use with Logic of Sense project?
"Merz poetry is abstract. In analogy with merz painting it uses as given parts complete sentences from newspapers, billboards, catalogues, conversations, etcetera, with or without changes. (That is ter- rible.) These parts do not have to fit in with the meaning, because there is no more meaning. (That is also terrible.) There are no more elephants either, there are only parts of the poem. (That is terrible.) And you? (De- sign war loans!) Determine for yourselves what is poem, what is frame." -- Kurt Schwitters


Milton, Areopagitica; books have "a potencie of life" since "they preserve as in a violl the purest efficacie and extraction of that living intellect which bred them ... a good book is the pretious life0blood of a master-spirit, imbalm'd and treasur'd up on purpose to a life beyond life" (qtd on 23 in McKenzie 1986)

  • for use with book-flowers project?


Cicero's librarian-slave Dionysus making off with his books (Casson 2001, 71-2)

Cassiodorus; created model monastery named Vivarium after ponds for raising fish nearby; had library (Casson 2001, 144)


"the London 'polyglotte' of 1657 was announced by a prospectus which boasted of its superiority to all prior editions (in terms which were later echoed by Bishop Sprat in his praise of the Royal Society)." (Eisenstein 1983, 68)


"SELL YOUR LANDS, your house, your clothes and your jewelry; burn up your books. On the other hand, buy yourselves stout shoes, travel to the mountains, search the valleys, the deserts, the shores of the sea and the deepest depressions of the earth: note with care the distinctions between animals, the differences of plants, the various kinds of minerals, the properties and mode of origin of everything that exists. BE NOT ASHAMED to study diligently the astronomy and terrestrial philosophy of the peasantry. Lastly, PURCHASE COAL, build furnaces, watch and operate with the fire without wearying. In this way and no other, you will arrive at a knowledge of things and their properties." (Peter "Severinus" Soerensson, Idea Medicinae Philosophiae, 1571)


Saturday, October 2, 2010; Neatness Counts: Essays on the Writer's Desk, by Kevin Kopelson.


"'People are lines,' Deleuze suggests. As lines, people thread together social, political, and cultural elements." (Galloway and Thacker 2007 35)


Dunhuang Library -- collection of 40,000 ancient documents found sealed in a cave; collection split up and sent around the world, now being digitally reconstituted: http://idp.bl.uk/

Olia Elin, "Still There" -- extended essay on Geocities, its importance and archiving:http://contemporary-home-computing.org/still-there/

"With these sound poems we should renounce language, devastated and made impossible by journalism. We should withdraw into the innermost alchemy of the word, and even surrender the word, thus conserving for poetry its most sacred domain. We should refuse to make poems second-hand; we should stop taking over words (not to mention sentences) which we did not invent entirely anew for our own use. We should no longer be content to achieve poetic effects which, in the final analysis, are but echoes of inspiration …" -- Hugo Ball on notes to Gadji Beri Bimba

Weaving

"By 1801, Joseph-Marie Jacquard had developed punch cards to hold encoded mechanical patterns for use in his looms. The art of weaving, allowed some human flexibility as a handicraft, was translated into the hard, coded grammar of algorithmic execution." (Galloway and Thacker 2007 112-3)

Ovid, Metamorphoses

  • IV.62: daughters of Minyas tell stories while weaving; at the end, their tapestries turn into living vines
  • VI.1: Arachne challenges Athena to a weaving match, is turned into a spider
  • VI.830: Philomela can't speak because Tereus has cut out her tongue; so she weaves her story and sends the tapestry to her sister Procne

dedicatory preface to Gerard's Herball (1597): "For if delight may prouoke mens labour, what greater delight is htere than to behold the earth apparelled with plants, as with a robe of imbroidered worke, set with orient pearles, and garnished with great diuersitie of rare and costly iewels?" (see Early botany books)

Marvell, "Upon Appleton House"; Isabel Thwaites at Appleton House when it was a nunnery: "Whence in these words one to her weaved, / (As 'twere by chance) thoughts long conceived" (XII/95-6); "'When we have prayed all our beads / Someone the holy legend reads; / While all the rest with needles paint / The face and graces of the saint. / But what the linen can't receive / They in their lives do interweave. / This work the saints best represents; / That serves for altar's ornaments.'" (XVI)

see Rees 2003 on Cavendish's Assaulted and Pursued Chastity and the heroine Travellia's relationship to Penelope; "Cavendish identifies and seizes upon an opportunity to execute a literary transition from the occupation of needlework, or the creation of textiles, to the occupation of writing, that is, the creation of a text" (107)

  • Linda Woodbridge, "Patchwork: Piecing the Early Modern Mind in England's First Century of Print Culture"
  • J. Hillis Miller, Ariadne's Thread: Story Lines
  • Cavendish says she writes in her husband's absence in the same way Penelope wove in Ulysses's absence (qtd on pg 108 in Rees 2003)

Spenser, amoretti, Sonnet 71

"Much of the time, which she might readily have applied to the better efforts of her art, she employed in making coarse garments for the poor. It is probable that there was an idea of penance in this mode of occupation, and that she offered up a real sacrifice of enjoyment in devoting so many hours to such rude handiwork. She had in her nature a rich, voluptuous, Oriental characteristic—a taste for the gorgeously beautiful, which, save in the exquisite productions of her needle, found nothing else, in all the possibilities of her life, to exercise itself upon. Women derive a pleasure, incomprehensible to the other sex, from the delicate toil of the needle. To Hester Prynne it might have been a mode of expressing, and therefore soothing, the passion of her life. Like all other joys, she rejected it as sin. This morbid meddling of conscience with an immaterial matter betokened, it is to be feared, no genuine and steadfast penitence, but something doubtful, something that might be deeply wrong beneath." -- Scarlet Letter

http://www.computerhistory.org/atchm/indigenous-circuits/

Spitalfields; weaver's windows on Fournier Street

Joseph Addison on Virgil's Georgics [or Eclogues?]

"Last spring, the tech entrepreneur David Orban proposed that his fellow Bitcoin evangelists adopt ‘weaving’ rather than ‘mining’ as their metaphor for the work of encoding and recording the public ledger of Bitcoin transactions. ‘Weavers,’ he wrote, ‘take the intertwined threads and through their expert, value-added activity create a strong fabric – which is exactly what the global distributed network of computers creating the Bitcoin Blockchain does!’" -- from "Losing the Thread," by Virginia Postrel: http://aeon.co/magazine/culture/how-textiles-repeatedly-revolutionised-technology/; see https://bitcoinmagazine.com/12311/weaving-better-metaphor-bitcoin-instead-mining/

People <--> Trees

Ovid, Metamorphoses I.754-762; VII.910ff (ants falling from trees become people falling from trees); VIII.1005f, Baucis and Philemon become trees for their piety; VIII.1069, Erysichthon cuts down the oak, which bleeds; IX.511ff, Dryope turns into a tree for plucking the lotus flower; X.190: Cyparissus becomes the cypress tree; X.580-610: Myrrha becomes a tree which Adonis is born from; XI110: women who kill Orpheus turn to oaks;

Dante, suicides come to 8th circle of hell as a tree

Virgil, Aeneid, III.30; plant bleeds and groans when pulled from the earth

History

"History -- the way it is presented -- is a fraud, because it diminishes the act of our own touching of the past." from Fielding Dawson's The Black Mountain Book, "Notes from Olson's Class," pg. 98
"FOR him I sing, / I raise the present on the past, / (As some perennial tree out of its roots, the present on the past,) / With time and space I him dilate and fuse the immortal laws, / To make himself by them the law unto himself." -- Walt Whitman, "For Him I Sing"
"When we think of the world's future, we always mean the destination it will reach if it keeps going in the direction we can see it going in now; it does not occur to us that its path is not a straight line but a curve, constantly changing direction." (Wittgenstein, Culture and Value, 3e)
"The past cannot exist 'in' time, because time cannot be any sort of frame within which anything can exist. By western definitions, time is something other than space, and yet it is incessantly portrayed as something spatial: as a line, a frame, a background, a landscape, and as having orientation. In common usage, the past is behind us and the future is ahead. We speak of the distant past and the gulf of time that separates us from the ancients. These spatial metaphors for time are ubiquitous because they are grounded metaphors, arising from the spatial experience of time. In nature, time—by itself—has no being whatsoever. It is a mere measurement of spatial motion. But human, or lived time is another matter. Experiential, memorial time is very real because it takes place. The past cannot exist in time: only in space. Histories representing the past represent the places (topoi) of human action. History is not an account of ‘change over time,’ as the cliche´ goes, but rather, change through space. Knowledge of the past, therefore, is literally cartographic: a mapping of the places of history indexed to the coordinates of spacetime." (David Ethington, "Placing the Past: ‘Groundwork’ for a Spatial Theory of History", 465-6)
"What we call history is the history of the word. In the beginning of that history was the word." (Burroughs, Ticket That Exploded, 50)
"Suicide or abstention, why would you choose to do nothing?---This is your only time on earth, and because of an event I'll explain, there's no such thing as a Present, no---a present doesn't exist . . . For lack of the Crowd's declaring itself, for lack of --- everything. Uninformed is he who would proclaim himself his own contemporary, deserting or usurping with equal imprudence, when the past seems to cease and the future to stall, in view of masking the gap. Outside of those All-Paris occasions whose job is to propagate faith in the quotidian nothingness, and inexpert if the plague measures its period to a fragment, important or not, of a century." (Mallarme, Divigations, About the Book, "Restricted Action" 218)
"History may try to break its ties to memory; it may make the schemas of memory more elaborate, superpose and shift coordinates, emphasize connections, or deepen breaks. The dividing line, however, is not there. The dividing line passes not between history and memory but between punctual 'history-memory' systems and diagonal or multilinear assemblages, which are in no way eternal: they have to do with becoming; they are a bit of becoming in the pure state; they are transhistorical." (Deleuze and Guattari 1998 296)
"Everything is what we are, and everything will be, for those who come after us in the diversity of time, what we will have intensely imagined -- what we, that is, by embodying our imagination, will have actually been. The grand, tarnished panorama of History amounts, as I see it, to a flowe of interpretations, a confused consensus of unreliable witness accounts. The novelist is all of us, and we narrate whenever we see, because seeing is complex like everything." (Pessoa, The Book of Disquiet, 27 [page 30])
"Memory and history, far from being synnymous, appear now to be in fundamental opposition. Memory is life, borne by living societies founded in its name. It remains in permanent evolution, opent o the dialectic of remembering and forgetting, unconscious of its successive deformations, vulnerable to manipulation and to appropriation, susceptible to being long dormant and periodically revived. History, on the other hand, is the reconstruction, always problematic and incomplete, of what is no longer. Memory is a perpetually actual phenomenon, a bond tying us to the eternal present; history is a representation of the past." -- Pierre Nora, "Between Memory and History" (Intro to Les lieux de memoire), http://www.history.ucsb.edu/faculty/marcuse/classes/201/articles/89NoraLieuxIntroRepresentations.pdf
"Urizen saw & envied & his imagination was filled / Repining he contemplated the past in his bright sphere / Terrified with his heart & spirit at the visions of futurity / That his dread fancy formd before him in the unformd void" -- William Blake, Four Zoas, Night 2

Chronotope: "A term taken over by Mikhail Bakhtin from 1920s science to describe the manner in which literature represents time and space. In different kinds of writing there are differing chronotopes, by which changing historical conceptions of time and space are realised." -- http://www.litencyc.com/php/stopics.php?UID=187&rec=true

Movable Books

Movable Book Society http://movablebooksociety.org

histories of pop-up and movable books

"Movable Books: An Illustrated History" http://www.movablebooksociety.org/indextohaining.pdf

Livres Animes http://www.livresanimes.com/

Pop Goes the Page: Movable and Mechanical Books from the Brenda Forman Collection http://www2.lib.virginia.edu/exhibits/popup/

see Harkness 2007 (esp. chapter 3) on Elizabethan mathematical instruments

a few images of volvelles from the Grolier club exhibit (and Helfand's book): http://www.robertsabuda.com/everythingpopup/nycvolvelle.asp

to write about

casket mentioned on Swain 1990, 10

trade between cloth and paper; letters sewn, sealed with silk floss; paper embroidered, used to stiffen needlework like gloves in Cat. 34, Morrall and Watt 2008

see Foot 1998 55, Elkanah Settle

Leonhard Thurnheisser, collaborative printshops as natural history museums

on men writing funeral sermons for godly women; search Rainbowe

disruptive animals, bugs in the system; Grace Hopper, squirrels (http://www.nytimes.com/2013/09/01/opinion/sunday/squirrel-power.html?pagewanted=all&_r=2&), jellyfish (http://www.nytimes.com/2013/10/02/world/europe/jellyfish-invasion-paralyzes-swedish-reactor.html), Ellen Ullman's "The Bug"; Jussi Parikka, Insect Media

to learn

http://railsgirls.com/materials

EEBO oddities

Note: If you aren't affiliated with Duke University, you need to remove ".proxy.lib.duke.edu" from the URLs below for the following links to work.

manuscript wastepaper used

drawings, notes

distortions

eating away the page

test pages, messages

unknown weirdness

book still in sheets?

marbled endpapers

thumb of scanner visible: http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:image:2968:7

book finished as a manuscript: http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:image:210418:21

binding: http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:image:210127:3

Dan Powell, "EEBO and the Infinite Weirdness": http://djp2025.com/dispatches-from-capitol-hill-2-or-eebo-and-the-infinite-weirdness/

Shakespeare & Book History

Erne, Shakespeare and the Book Trade

Erne and Kidnie, Textual Performances

A Concise Companion to Shakespeare and the Text

Murphy, Shakespeare in Print

Massai, Shakespeare and the Rise of the Editor

Early Modern Pattern Poems

http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:citation:99851145

http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:citation:14514035

http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:citation:24419006

http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:citation:12492180

http://gateway.proquest.com.proxy.lib.duke.edu/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:citation:39950793

http://www.dankoster.com/visualpoetry/III/intro.htm

Trade with Turkey

The Turkish Embassy Letters, By Lady Mary Wortley Montagu

Scissors

Claes Oldenburg, "Scissors as Monument"

"When Louis F. Anderson took over the editorship of the Houma Ceres in 1856, he admitted that he was “not…very distinguished as a ‘knight of the gray goose quill,'” but assured his new readers that “our pen will not lead us into difficulty” because “our ‘principal assistant,’ the scissors, will be called into frequent requisition—believing as we do, that a good selection is always preferable to a bad editorial” (June 28, 1856)." AND "Antebellum editors frequently touted careful selection over original composition through both serious and satirical commentary on their medium. Cheeky complaints about stolen scissors appear in many newspapers. In “A Scissorless Editor,” the theft of an editor’s scissors is lamented as “a sad dilemma,” because “[a]n editor unscissored is something like a dragoon unhorsed,” while a squib in the Edgefield Advertiser ran in full: “The Cornered Editor.—’Oh Jerusalem! here’s a nice fix! An original article to write, and somebody’s stolen the scissors!'” (February 19, 1852)." -- Ryan Cordell, "Reprinting, Circulation, and the Network Author in Antebellum Newspapers" - http://ryancordell.org/research/reprinting-circulation-and-the-network-author-in-antebellum-newspapers/

Circles

Ralph Waldo Emerson, "Circles" -- http://www.emersoncentral.com/circles.htm

The Dictascrivener, 1898 -- http://tsutpen.blogspot.de/2013/01/modernist-ungapotch-3.html

kinetoscope

Duchamp, "roto reliefs"

Dada primary text sources

[precursor: 1912: Kandinsky, Klänge]

1916: Richard Huelsenbeck, Fantastic Prayers

1919: Kurt Schwitters, An Anna Blume

1921: Compiled by Huelsenbeck, Dada Almanac

Hugo Ball, Flight Out of Time: A Dada Diary

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