LIFE AS MYTH

Index

Chapter One

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JOURNAL

Index

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LIFEWORKS

About

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ARCHIVES

Index

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COMING AUTUMN 2015
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DEUS EX MACHINA

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Screen shot of my iPad version of Malcolm Gladwell's David and Goliath: Underdogs, Misfits and the Art of Battling (2014). During the fall of 2013, while studying at Columbia University, I noticed that sections of my digital textbooks had alterations that I didn't make. The most radical examples are in this e-book by Malcolm Gladwell (2014). I haven't read past the opening section but the book is now heavily highlighted and bookmarked. There are nine highlighted screens and two bookmarked ones. The highlighted screens focus on how battles against "Goliaths" are won by smaller opponents. The bookmarked pages are the narratives of students who are adversely impacted by their Ivy League educations.

 

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COMING AUTUMN 2015
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THE GODS FROM THE MACHINE

 

(above) Dublin, Ireland near the River Liffey. Spring 2012. (left) Picture Two: Noticing the footprints. Ten Oxherding Pictures. Attributed to Shubun (n.d.) Japan, Muromachi period. Handscroll, ink and light colors on paper.

As journalist Glenn Greenwald wrote in his book No Place To Hide, Snowden claims he could have left no trace on the NSA’s network due to its lack of audit controls. But he said he instead left behind some “footprints” to show NSA investigators that he had acted alone and to prevent suspicion of his coworkers.
“Snowden: I Left the NSA Clues, But They Couldn’t Find Them,” Andy Greenberg, Wired Magazine (August 13, 2014)

I remember when it happened.  I was in Dublin, standing at an intersection near Temple Bar.  My hands were deep in my coat pockets; my body taut and clenched against the damp air.  The wind was coming off the Liffey and cut through my sweaters and hat and trench coat. This was not unseasonably cold, a local told me.  Dublin is like this all summer long.  Then I remembered how the Irish battled famine and damp to carve out a life on this stone in the Irish Sea and I watched the red faces of Irish workers in black coats and jeans trudge into the Liffey wind and I saw my own face there, with cheeks all flushed and soft and freckled.

That trip to Ireland began on a Friday in May 2012 when I purchased a deep-discount travel package to Dublin. I knew it was the right choice but I didn’t know why.  Two days into my trip I was walking along the freezing hem of the Liffey near the place where Westmoreland and D’Olier Streets merge at the O’Connell Bridge.  I had already been to Trinity College to view the Book of Kells and I had walked to 15 Usher’s Island to pay my respects to the site of Joyce’s “The Dead”.  I had eaten steak and Guinness pie for lunch and now I was waiting on the median at the foot of the bridge for the light to change, standing where some Irish artist embedded brass footprints in the concrete.  That’s where it happened.  That's the place where the door opened and light flooded in and I knew: 
    
This is the story of e. 
    
The crosswalk light changed to green and I walked on to the bridge over the Liffey . . .

 

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COMING AUTUMN 2015
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THE FOOTPRINTS

Post-Script. Riddlespeak series, working drawing. 2012. Visual sources: The Tower or The House of God. Tarot de Marseille, the deck of Jean Dodal. 1701-15. Designs for 20th century US postal graphics. Designs for 20th century Australian postmarks, stamps, and/or postal graphics. 20th Century photograph (detail) of Grand Jury panel.

With a single poetic detail, the imagination confronts us with a new world.
Gaston Bachelard, The poetics of space. 1994.

This cryptogram, Post-Script (2012), is part of a multi-media art series called Riddlespeak. The Riddlespeak Project fuses technological data with other communication forms -- stamps, photographs, postal graphics, fine arts -- to create narrative art.

The Riddlespeak Project gives form to the perils and possibilities found within the Internet's global community. Is the intelligence of the Internet much more than the sum of its machines? What is this new alternate reality, this cyber world that now interfaces with our terrestial one? Riddlespeak explores this brave new world through questions and riddles, through technology and imagination, through the story of one woman and her relationship with a machine.

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