Patrick, when you write:
Once established such a list, let's say of people born the
some day of the year , any historian or researcher could
extract from their names, race, nationalities ,work, or any
other data or comparisons of their personal files, or lives,
the conclusions he wants, the results he needs to show ,
from his interpretation to establish his point.
to write his story
I hope you do not think that the above describes the process
by which I initially composed the group of characters for
THE ODDS OF OTTOPIA, because a whole other (inverted) set of
operations is actually at play in my work.
When was Eutropia born? When did Eutropia die?
These are two questions that describe a subliminal motive of
TOOO.
Also, deathdays take precedence over birthdays within TOOO.
[So much for the fragility of life.]
One mystery has already been solved, i.e., when Fausta
committed suicide.
So where exactly in Greece did the spiral columns come from?
Athens? Olympia? Is Leni "Triumph of the Will" Riefenstahl
the one who finds out?
If you do the research, you'll find that over the last five
years I have written a very uncommon history of St. Helena,
and, in so doing, a very uncommon history of early Christian
architecture has also been written.
If you do the research, you'll also find that over the last
six years I have written a very uncommon history of Piranesi
and his Ichnographia Campi Martii, and, in so doing, a
heretofore unknown printing of the Ichnographia has been
discovered.
I am much more interested in uncommon history than in common
history.
History aside, THE ODDS OF OTTOPIA is my exercise in
blurring the virtual and real to somewhat of an extreme.
--
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Once established such a list, let's say of people born the
some day of the year , any historian or researcher could
extract from their names, race, nationalities ,work, or any
other data or comparisons of their personal files, or lives,
the conclusions he wants, the results he needs to show ,
from his interpretation to establish his point.
to write his story
I hope you do not think that the above describes the process
by which I initially composed the group of characters for
THE ODDS OF OTTOPIA, because a whole other (inverted) set of
operations is actually at play in my work.
When was Eutropia born? When did Eutropia die?
These are two questions that describe a subliminal motive of
TOOO.
Also, deathdays take precedence over birthdays within TOOO.
[So much for the fragility of life.]
One mystery has already been solved, i.e., when Fausta
committed suicide.
So where exactly in Greece did the spiral columns come from?
Athens? Olympia? Is Leni "Triumph of the Will" Riefenstahl
the one who finds out?
If you do the research, you'll find that over the last five
years I have written a very uncommon history of St. Helena,
and, in so doing, a very uncommon history of early Christian
architecture has also been written.
If you do the research, you'll also find that over the last
six years I have written a very uncommon history of Piranesi
and his Ichnographia Campi Martii, and, in so doing, a
heretofore unknown printing of the Ichnographia has been
discovered.
I am much more interested in uncommon history than in common
history.
History aside, THE ODDS OF OTTOPIA is my exercise in
blurring the virtual and real to somewhat of an extreme.
--
The Design-L list for art and architecture, since 1992...
To subscribe, send mailto:design-l-subscribe-request@xxxxxxxxxxxxx.
To signoff, send mailto:design-l-unsubscribe-request@xxxxxxxxxxxxx.
Visit archives: http://lists.psu.edu/archives/design-l.html