view full text

The figure in the image is actually a Kwakiutl tribesman dressed as a Thunderbird. It’s a detail of a photograph shot by Edward S. Curtis, published in 1914. If you’ve never heard of Curtis he was a portrait photographer, living in Seattle, who decided sometime around 1900 to begin documenting the Native American tribes living in the Pacific Northwest. This project, with eventual interest of Theodore Roosevelt and resultant funding by J.P. Morgan, evolved into a 20 volume ethnographic opus called The North American Indian. The first volume was published in 1907, the last in 1930, at which point Curtis had shot about 45,000 photographs of over 80 separate tribes. Impressive though those numbers are, and expansive though the project was ⊕ Curtis died in 1952, broke, and with his life’s work forgotten.

“They cannot represent themselves, they must be represented.” So said Karl Marx. Were that representation pictorial and cultural rather than political, the sentiment might well be characterized as the driving force behind The North American Indian project. Curtis was a strong adherent to the prevailing sense that the American Indian was a “vanishing race” with no hope of maintaining any identity as Indian, and that it was the duty of the dominant culture to record the existence of the one being absorbed.

It was this conviction that lead him, in the course of his documentations, to go so far as to stage photographs depicting tribal traditions which had gone out of popular practice 50 years prior to his arrival with camera in hand. He paid tribes to undertake ceremonies out of season and reestablish ceremonies no longer practiced. He brought with him props, wigs, shirts, and other accouterments to “reenact” scenes, and was careful to remove “modern” items already adopted by tribes from the frame before shooting. His interest was in the “traditional” Indian, regardless of whether those traditions had already evolved away from the preconceptions of white america.

It’s because of this subjective tampering that Curtis’ photographs, even after their rediscovery and popularization in the 1970’s, remain somewhat controversial. On the one hand there are charges that his photographs, to large degree, simply reenforced the condescending stereotype of the “noble savage.” On the other hand it is unarguable that much of the material in The North American Indian does, in fact, represent unique ethnographic data recorded nowhere else. The prevailing attitude toward the project seems to be that though it is most assuredly “of its time,” harboring all manner of preconception, it is none the less invaluable for what it did manage to record.

In any case as regards Curtis’ life work I think it’s important to mention two things:

1) Even without intervention or the use of props or staging, photographs of this kind, framing a conquered culture through the conqueror’s lens and produced specifically for the conqueror’s consumption, will inherently deal in presuppositions. That seems inescapable. They will reinforce stereotypes to the exact degree to which the viewer, or framer, holds them dear.

2) Regardless of exactly the nature of what his photographs evoke, they are evocative, and very often beautiful, which is possibly the best one can say about a photograph from the artist’s standpoint. Not from a documentarian’s, or an ethnologist’s standpoint certainly, but from an artist’s.

Now to the photographs themselves…

Let me be the first to admit that when you have a collection as large as Curtis’ to draw from, you can gather together a group of pieces that illustrate damn-near any point of view you wish to support. For my part, I don’t want to drive home any particular point about Curtis’ outlook or the experience of the Native American’s he photographed.

I chose 18 images, drawn mainly from his time spent with the Kwakiutl and Navajo tribes, and exclusively of men obscured by ceremonial dress, their humanity left only as a vague outline, because I find them to be, as a group, a particularly potent illustration of the subjectivity inherent to viewing not only photographs of other cultures, images of the “Other,” and images of the unknown, but images of the past in general. These photographs are of men without men’s faces, without eyes to search, without familiar situations to read into, and so you are left to your own perceptual devices.

Quote: “It is a truism that to visitors of a new land – certainly to settlers – the original inhabitants were profoundly Other: The settlers may have had to struggle physically with the indigenous people for possession of the land, and in the process the original inhabitants became that which the settlers defined themselves against. It was virtually inevitable that the representations… would incorporate, reflect, or respond to, perhaps justify, the assumptions of the dominant (whites). ...The representations produced by the project tend to conform, in other words, to the lineaments of “the white man’s Indian.” ...Members of a dominant group, no matter how “intimate” their sense of their involvement with the people concerned, will represent nothing but the assumptions of their own kind.” – From the introduction to Edward S. Curtis and the North American Indian by Mick Gidley.




















Quote: “If the modes of seeing in different communities are at least in some respect irreconcilable because they reflect incommensurable presuppositions about the human situation, how can such communities understand one another? Or are cultures windowless monads– communally solipsistic entities in which only those who share the same conventions can make sense of one another, with everything outside the cultures walls either ignored or relegated to the status of error? Can one culture use its own terms to say something about another culture without engaging in a hostile act of appropriation or simply reflecting itself and not encountering the otherness of the Other? –From Chapter 2 of Play and the Politics of Reading: The Social Uses of the Modernist Form by Paul B. Armstrong.

























Quote: “When the last Red Men shall have perished, and the memory of my tribe shall have become a myth among the white man, these shores will swarm with the invisible dead of my tribe, and when your children’s children think themselves alone in the field, the store, the shop, or in the silence of the pathless woods, they will not be alone.” -Attributed to Cheif Seath in an address surrendering the Puget Sound region to Governor Isaac Stevens in 1854, but which is almost certainly a fanciful recreation set down by some unknown author many years later. Coincidentally, it was Seath’s daughter, Princess Angeline, who was Curtis’ first Native American subject. 




















Personally I find this group of photos, in the almost total disembodiment of their actual subjects, really compelling. Their historical accuracy makes no difference. I can’t help but imbue them with a host of disparate, sometimes totally contrary emotions. My mind draws all kinds of corollaries and branches out into all kinds of narratives. Most likely you, yourself, draw a whole other set of conclusions…

Anyhow, though Curtis didn’t live to see it, his work is now widely written about and very well represented on the internet. Curtis’ story is a fairly interesting one, the debate over and reactions to his work even more so, and there is a whole lot of it to be seen out there if your so inclined-

Nortwestern University Collection
Library of Congress Collection
Old-picture.com collection
First People
Project Gutenberg
Edward S. Curtis in Context
Selling the North American Indian
Flurry & Company Ltd.
Video excerpts from Coming To Light
PBS American Masters
Prayer to the Great Mystery
The Imperfect Eye of Edward Curtis.
Etc, Etc, Etc.

Hope you enjoyed.

hide full text

view full text

Minds the world over, when compelled to conjure a Scotsman without the benefit of personal experience, likely create a burly, bearded fellow, with scotch on his breath, rectum pressured by haggis gas, bagpipes at the ready, his wind-tightened balls just out of sight behind a kilt which is itself woven in his ancient clan’s proud, traditional tartan…

Our minds are complete ignoramuses, obviously, but we who navigate them over the shoals of stereotype can’t bear all the blame. This image, or some slight variation of it, forms in our feeble minds for a good reason: because it sells, and has for a long time, and is consequently perpetuated. Oh yes, as any representative of the Scottish tourism board will tell you under condition of strict anonymity– “it’s all aboot the Sterling Laddie!!” If you could get a Hollywood exec to stop sniffing coke through his rolled-up Braveheart residual-check for a second he’d likely tell you the same.

This oversimplification of Scottish culture down into a few Highland-specific customs is such a widespread phenomenon that there is actually a term for it– Tartanry.

The fact is that the “small kilt” is not ancient at all. As for the “clan tartans” they bare, ⊕ overwhelmingly these are not of ancient origin either. The whole kilt/tartan business, in the cohesive, romanticized form it’s celebrated today, is less than 300 years old, and is so willfully mixed-up it’s hard in many cases to separate the facts from the folklore and finance.

The kilt ⊕ itself began brushing kneecaps en masse sometime in the mid 1700’s. A possibly apocryphal story has long credited its invention to, of all people, an Englishman by the name of Thomas Rawlinson. ⊕ True or not the fact seems to be that there is no record of the “small kilt” prior to the 1690’s.

What the Highlanders actually wore was the Breacan or “big wrap,” or “belted plaid,” which had emerged in the late sixteenth century as the first identifiably “Scottish” form of dress. Plaid, or “plaide” is actually Gaelic for “blanket” ⊕ and that’s what the belted plaid basically was.

Quote: “The kilt was a traveling tent… The garment itself was a length of woolen cloth, two yards by six yards… At night the clansman wrapped himself in it and slept. In the morning he laid a belt on the ground and then carefully pleated the great lump of stuff on top of the belt. And then he lay down on top of the lot, brought the ends of the belt up, and buckled it round his waist. He was now enclosed in a tube of cloth, reaching from his knees to right over his head.” –Clifford Hanley.

That the kilt has come to symbolize all of Scotland can, ironically, in large part be attributed to three kings George.

King George II imposed the Act of Proscription on the Scots in 1746. Among its many provisions, created to try and assimilate the “rebellious” Highlanders, was the Dress Act which made the wearing of tartan or kilts illegal. The logic was that by criminalizing the cultural signifiers of the clan system they could eventually break down the system itself.

Quote: “The Highlanders had been wearing their outlandish tartan suits, and since the Highlanders were weird beasts anyway, in the eyes of authority, the tartan was taken to be a very big juju. heap strong totem, like Sioux war bonnets. The government realized it could shear the Scotsman of his courage by abolishing the stuff altogether. Later that year a law was passed forbidding the wearing of multicolored cloths in the Highlands. Penalty for the first offense was six months in jail; for a second offense, seven years’ transportation to the Colonies. A few rash Highlanders were actually nabbed for this fiendish crime.” –Clifford Hanley.

The Act was repealed in 1782 by King George III and soon ⊕ Highland dress became all the rage as fashion among all classes of Scottish society, the vast majority of whom had never worn a kilt or tartan in their lives, and in fact, as Lord Macaulay put it in the 1850’s, was previously “considered by nine Scotchmen out of ten as the dress of a theif.”

Quote: “...the kilt had fallen out of use as an item of ordinary dress, allowing for the romantic rehabilitation of Highland dress… No longer the threat from the north, the image of the Highlands could represent this wilderness within the bustling economy of the “new” Britain. Rather than dangerous, barelegged barbarians, the Highlanders became admirable, a kilted version of the “noble savage.”

This romantic fascination reached its peak in 1822 when another George, King George IV, staged a lavish visit to Edinburgh wearing the full Highland regalia.

Quote: “This publicity stunt promoted the kilt as fashionable wear among the Scottish nobility and, in so doing, helped establish the kilt as the national dress of Scotland. However, the king’s clothes, like those worn by Scottish noblemen, were far removed from those worn by the Highlanders of the previous century. Given the fact that they were largely designed for the levée, assembly, and ballroom, the emphasis was on the dramatic and spectacular… ‘Highland dress’ turned into ‘tartan costume.’"-Andrew Bolton, From The Kilt, a Metropolitan Museum of Art thematic essay.

Which brings us to the “clan tartan” itself. This is where outside historical forces and the natural flow of fashion give way to straight-up sham and flim-flam, of which the Scots are, themselves, complicit.

Contrary to popular belief, and to clarify the “lies by omission” offered by hundreds of websites offering family patterns to genealogically obsessed consumers, specific tartans almost never trace their roots in a straight line back to antiquity, nor in a curvy, jagged, or meandering line for that matter.

Quote: “...the Highlanders wore any tartan that came up their backs. They had never heard of the idea of an official clan design, and if they had, they would have dodged it because in those days advertising your name could easily get you a dirk between the ribs.” –Clifford Hanley.

Or as C.C.P. Lawson put it in his History of the Uniforms of the British Army “Remembering the continuous clan feuds and the consequent state of more or less perpetual hostilities, a recognizable clan plaid would have been a positive danger to the wearer outside his own territory.”

The truth is that the fashion craze for all things Highlander that began with the repeal of the Dress Act directly leads into the Clan Tartan craze of modern times. The growing excitement paired with a consuming desire by Scots, both of highland and indeed lowland and border dwelling descent, to claim some ancient clannish birth-rank of their very own, rendered reality and actual tradition of negligible importance.

Around this time two clever con-men saw which way the wind was blowing ⊕ and got to work cashing in.

These con-men were the Brothers Allen, better known today under the aliases John Sobieski Stewart and Charles Edward Stuart. Where they spent their early years before arriving in Edinburgh and what they did prior to this episode is unknown, as is much about them. 

Quote: “All that we can say of them is that they were both talented artists in many fields. They wrote romantic poems… they were learned, though evidently self-taught, in many languages; they were skillful draughtsmen, wood-carvers, furniture makers. They had persuasive manners and great social charm, which enabled them to move at ease in the best society. ⊕ Whatever they did, they did thoroughly and with flair.” — From The Invention of Tradition, by Eric J. Hobsbawm.

All you need know about the brothers in context of Clan Tartans is that in 1829 they revealed to a patron that they had in their possession a Latin manuscript dating back to at least 1571, of noble provenance, titled Vestiarum Scoticum or The Garde-robe of Scotland. This manuscript “just happened” to directly feed into the Highlander craze while simultaneously validating the tartan’s ancient origins.








In 1842 the Vestiarum Scoticum was published in limited edition, and billed as a reproduction, with color illustrations ⊕, of the original Latin manuscript setting forth, unequivicably, the ancient origins of 75 tartans and their clan associations.

Though it didn’t take long for the experts of the time to dismiss the Vestiarum Scoticum as a hoax, and its creators as charlatans, the book was a huge success anyway. In that it offered validation to not only Highlanders but Scots from the lowlands and border-clans as well, people seemed willing to overlook the little matter of it being total bullshit. So long as no one spoke up, it simultaneously offered them a solution to their desire and salve for their conscience.

As Clifford Hanley puts it, “Everybody, of course, wanted to be in on the act. Families who hadn’t even had a pair of knees now discovered they had a tartan, all to themselves.”

Two years later the brothers published an even more lavish book titled The Costume of the Clans which expanded their portfolio of fictional tartans and traced their origins back even further. Not long afterward their claims of royal blood caught up with them and forced them to leave Scotland, but this little nudge from two dubious brothers, in the form of two books, was essentially all that it took to kick-start an extremely lucrative industry; one that just happens to depend on the indefinite extension and continual elaboration of a con. ⊕








What interests me here is not that an industry would prop-up a line of bullshit to make cash, obviously, ⊕ but that an entire population would so willingly abandon reality and not only adopt the bullshit in its stead but perpetuate it for generations… well, it leaves you kind of speechless.

It makes modern complaints of “tartantry” seem altogether more amusing. More than that knowing the truth transforms the burly, bagpiping, kilted figure that your mind conjures at the mention of “Scottish” into an entirely more complex figure. Where as initially you might have felt vaguely embarrassed or guilty at your mind’s involuntary employment of such stereotypical imagery, now you almost have to laugh.

I mean, think about it… who the hell is that guy anyway? An “ignorant oversimplification” of a fictional romantic character amalgamated from various traditions and conceits who himself is masquerading as an historical figure? A caricature of a false historical ideal who none the less reflects, on some level, the actual modern figures who have adopted the fiction as a fact and by their action made him real? How do you even begin to approach a creature like this emotionally or philosophically?

Truth is I haven’t the faintest idea. I just think the whole thing fascinating. But then I am a Morrison lad after all, and whatever else he is, that burly, farting, bagpiping, kilted figure with his balls exposed to the Scottish wind is quite possibly me coosin!

Anyhow, crazily longwinded though this post was ⊕, I hope at least a few among you soldiered through and enjoyed.

hide full text

view full text

A tsuba is the small metal guard at the end of a sword’s grip, which sits between the hand and the blade itself… and that’s it. A humble object basically. Shaped by 14 centuries of Japanese sword culture and metalworking, however, you’d never know it.

Quote: “The tsuba served as the most important functional fitting and, due to its size and location, also had the greatest symbolic importance. It protected the hand, helped to balance the sword, and was the most visible decorative object when the sword was worn. Inasmuch as the samurai usually wore two swords at all times, and would not be seen without them, the kinds of tsuba worn often depended upon the day’s activity. One might, for example, prefer an iron guard for battle and a highly decorated soft metal guard for court use. although these distinctions were not invariable. The samurai usually owned several tsuba and matching fittings for each blade, and changed them to suit mood or occasion. -From the Introduction of the exhibition catalogue, Tsuba, put out in 1980 by The Cooper-Hewitt Museum.











The tsuba evolved with advances in technology and to accommodate the needs of changing forms of warfare. The earliest examples were disks made of bronze or copper. In the 12th century plain iron disks, patinated to a “pleasing black color,” or allowed to rust slightly prior to stabilization to achieve a redish tint, were the norm. Inlayed, gold leafed, chiseled, complexly perforated, carved soft metal, and other decorative forms evolved later.











The perforations, punched or forged, visible in many tsuba began as a purely functional consideration. Iron tsuba could be made lighter with a few well placed perforations. Over time these perforations became more and more decorative in nature, to the point that functionality actually suffered. Some of the most ornate and complex examples were almost certainly used for formal or ceremonial occasions only.











Quote: “The use of alloys such as shakudo, shibuichi, as well as copper, brass, bronze, gold and silver together allowed color and contrast to become an overiding factor in decorative techniques toward the end of the fifteenth century.” —knives.com











Quote: “When peace came, however, tsuba making was carried out by rapidly proliferating schools of technically expert artisans whose production was seldom intended for use in warfare. The decorative styles of eighteenth-century tsuba matched their peaceful use; ornamentation of the tsuba became an end in itself and the art deteriorated. Although a few individuals and schools maintained the high standards of previous eras and produced magnificent works even in the twentieth century, a general conversion of art to artisanship continued until the wearing of swords was banned by Imperial decree in 1871, and the blades and fittings largely passed into the province of the scholar and collector.” -From the Introduction of the exhibition catalogue, Tsuba.

The images in the post (which were adapted and placed in my own desired groupings) were taken from the following sources-
Japanese-tsuba.com
George’s Tsuba Pictures
Ricecracker.com
Choshuya.co.jp
Aoi-art.com
Nihonto.com
Nihonto Kanji Pages
Japanese-swords.com
Shibuiswords.com
Tsuba.jyuluck-do.com

All of those sites feature a wealth of tsuba for your viewing, and in most cases, purchasing pleasure, and these are only the tiniest sampling of what’s available out there. Beautiful stuff.

Hope you enjoyed.

hide full text

view full text

The reigning young-bloods of the world love to needle the hippies. This, I surmise, is because the hippies are now their parents, grandparents, weird uncles, and, worst of all, their dick-head corporate bosses. The words Haight-Ashbury are as likely to induce a lemon-faced cringe as be met with a blank stare I would guess.

Not that most of us have been allowed to forget it for a single instant, but I’ll gently remind you anyway that there was a time when hippies were the avante-garde. A time when there were few personages thought more “happening” on planet Earth.

In any case I have no interest in discussing the hippies’ utopian experiments or their eventual backslide into the big black boots of the establishment… no, as is the norm in these parts, I simply want to share some pretty pictures with you, and as it happens, The Diggers quest for a “free city” did yield quite a bit of quality printed matter.

Quote: “The commune’s founder brought his printing presses to San Francisco in the summer of 1968, inspired by two fellow Diggers who suggested a free publishing venture. Over the next several years, the Free Print Shop published a variety of materials including flyers for other communal groups, for free services, ecology groups, free arts groups, and the occasional political protest. In the spring of 1969 the Sutter Street Commune began publishing an intercommunal newspaper, Kaliflower, named for Kaliyuga, the Hindu name for the last and most violent age of humankind and the Hindu goddess Kali. Each Kaliflower was printed and bound by hand. The binding used the Japanese method of yarn overstitched on either the top or side. Every issue was a different color, and offset printing was the method by which the issues were printed. Kaliflower became an important mode of communication among the communes.” –Patricia L. Keats.

Below you will find 20 examples of printed Digger ephemera, mostly culled from Kaliflower, but also including content from Free City News and a few leaflets and posters. Have a look.

(I love that last one so much.)

Digger output in the form of Kaliflower and related items from the Free Print Shop were only produced for a few years it seems. Before long the mock-funeral for the “Death of the Hippies” was staged, the communes began disappearing, and well… we know how the rest turned out.

For a ton of information and many many more examples of The Diggers’ work look no further than The Digger Archive which is packed with avant-of-yore goodness.

Meanwhile, if you’re in the mood for some related reading you might try Manhood in the Age of Aquarius By Tim Hodgedon, which goes into considerable depth.

Note that the image which began this post is not by Diggers, but of them, I adapted it from a photo of the famous free food giveaways.

Hope you enjoyed.

hide full text

view full text

Around 1919, after having studied philosophy at the University of Bonn and serving in the German army on both the Western and Eastern fronts, Ernst began experimenting with collage. He explains the impetus as follows:

“One day (in 1919), whereas I looked at an illustrated book of objects (umbrellas, watches, tools, clothing, etc) I was surprised to see such different things tight beside the others, things which one does not see together usually, my eyes saw other objects, I wanted to add with the pencil some lines and hatchings between the various objects so that it gives the same images that I see in my dreams.” –Max Ernst.

“It was enough at that time to embellish these catalogue pages, in painting or drawing, and thereby in gently reproducing only that which saw itself in me, a colour, a pencil mark, a landscape foreign to the represented objects, the desert, a tempest, a geological cross-section, a floor, a single straight line signifying the horizon ... thus I obtained a faithful fixed image of my hallucination and transformed into revealing dramas my most secret desires--from what had been before only some banal pages of advertising.” —Max Ernst: Beyond Painting 1948. 

The collage-novels which Ernst began creating in 1929, including La Femme 100 têtes (The Hundred Headless Women) and Une Semaine de bonté (A Week of Kindness), undoubtedly represent a pinnacle of the form.

I’d like to share with you some examples from a third collage novel by Ernst, published in 1930, titled, Rêve d’une petite fille qui voulut entrer au Carmel or, A Little Girl Dreams of Taking the Veil, which I am lucky enough to own a copy of. It is the story of a girl who loses her viginity on the day of her first communion and so commits herself to “taking the veil.” The collages, each accompanied by a few short lines, are visualizations of the impious, schizophrenic, and mostly nightmarish dreams she has that night.

The book begins with a 5 page surrealistic sketch by way of introduction. Here is an excerpt:

Academy of Science.

The night will come when the Academy of Science itself will not disdain to cast its gaze on the sewers of the world. The night will come when, covered with all their jewels, the secondary skeletons that one calls scientists will ask themselves this question:

What do little girls dream of who want to take the veil?

On that night a violent storm will break against the doors of the academy of science and the water will roar in the pipes.

The water will remember the shameful year 1930, the year it would have liked to see all the cathedrals of the universe parade in far-too-short dresses. It will remember above all a certain night because…

On Good Friday night of the shameful year 1930 a child hardly sixteen years old dipperd her two hands in the sewer, pricked her skin and with her blood traced these lines”

To love the holy father and to dip one’s hands in a sewer, such is happiness for us, children of Mary.

77 collages follow, separated into four sections. Below I’ve reproduced 15 of them complete with accompanying text. Have a look.

The book’s translator’s note has this to say on the collages themselves:

“Each one of these collages uses cuttings often from the most banal of pre-photography illustrated penny novels, and from popular tomes about nature, science, and exoticism. The result may seem to embody our most frequent tragedies, our wriest enslavements, our most terrible solutions. Specificity dissolves in the timeless and the general.” —Dorothea Tanning.

The introduction to Max Ernst: A Retrospective adds the following:

“Max Ernst’s collages, for all their strangeness, strive for overall coherence and technical plausibility. This ‘plausible’ imagery, unlike the papiers colles of Picasso and Georges Braque, depends on an expurgation of the visible difference between artist’s hand and non-artistic quotation. The joins and overlappings had to be concealed from the viewer. This is why Ernst frequently published his composite imagery only in printed form, in photographic reproduction or in versions later touched up with watercolour. Thanks to these tactics of concealment he succeeded in presenting collage as that which he thought it should be: a completely developed and autonomous system in which the origin of the separate elements is submerged in the final, total image. He was out to produce irritating imagery in which, as in the perfect crime, every clue to its identity had been erased.” — Werner Spies.

To me there is a gravitas to etchings and wood engravings, a sort of official-ness, which is unshakeable. Perhaps it is simply the obvious effort involved in their creation or their historic connection with inherently valuable printed matter (be it newspaper or book) which lends the form these overtones. In any case, I think it is exactly this implied gravitas playing against Ernst’s strange, poetic, feverish, and funny subject matter, which creates the oddly arresting magnetism they still manage to exert almost 80 years later. I can only wonder at the effect they had on viewers in the 30’s… Some mixture of giggle and shiver I would imagine.

Anyhow, hope you enjoyed these.

For more on Ernst’s collage-novels see:
Une Semaine de Bonté: A Surrealistic Novel in Collage on google books.
Une Semaine de Bonté at La Boîte A Images.
A Week of Kindness at Giornale Nuovo.
La femme 100 têtes at Koninklijke Bibliotheek.
Werner Spies’ piece at Artchive.com.
The enduring significance of the work of Max Ernst By Stuart Nolan.
Max Ernst’s Adventures in Collage from The New York Times.
Kindness Week a film by Ernst based on his collage.
Ernst related videos at Tiosam.com

-

Note: This post is in a series of reworkings of old posts which date from before the redesign of The Nonist. The text has been reworked and added to considerably, the amount of images has been doubled, and the links are all new. I will be periodically adding these reworkings into the flow of new content in an effort to eventually remove all the old pages from circulation.

hide full text