Thecurrentorder.net Website Review

The Current Order

Archive of Work 2008 — 2018 Life is suffering, as far as I’m concerned.

THE CURRENT ORDER Projects | Info ,content_no_html: {image 5 scale=97} THE CURRENT ORDER Projects | Info ,content_partial_html: THE CURRENT ORDER Projects | Info ,thumb:32551627,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:32551627,project_id:6164983,image_ref:{image 4},name:LOGO.png,hash:a6363d27e737aaa2cf39754451e290b5b8f3194bfcff190c359576f4ecc1be16,width:466,height:466,sort:0,date_added:1547321491},stored:{ratio:100,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:false,sort:24,index:0,set_id:0,page_options:{using_local_css:true,local_css:[local-style=6164983] .container_width { width: 30% /*!variable_defaults*/; } [local-style=6164983] body { background-color: initial /*!variable_defaults*/; } [local-style=6164983] .backdrop { } [local-style=6164983] .page { min-height: auto /*!page_height_default*/; } [local-style=6164983] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=6164983] 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Cargo,thumb:,thumb_meta:null,thumb_is_visible:false,sort:25,index:0,set_id:0,page_options:{using_local_css:true,local_css:[local-style=6164984] .container_width { } [local-style=6164984] body { background-color: initial /*!variable_defaults*/; } [local-style=6164984] .backdrop { } [local-style=6164984] .page { } [local-style=6164984] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=6164984] .content_padding { padding-top: 10rem /*!main_margin*/; padding-bottom: 10rem /*!main_margin*/; padding-left: 10rem /*!main_margin*/; padding-right: 10rem /*!main_margin*/; } [data-predefined-style= rue] [local-style=6164984] bodycopy { } [data-predefined-style= rue] [local-style=6164984] bodycopy a { color: rgba(0, 0, 0, 0.25); border-bottom: 0; } [data-predefined-style= rue] [local-style=6164984] h1 { } [data-predefined-style= rue] [local-style=6164984] h1 a { } [data-predefined-style= rue] [local-style=6164984] h2 { } [data-predefined-style= rue] 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Set,project_url:Home-Set-8,set_id:0,is_homepage:false,pin:false,is_set:true,in_nav:false,stack:true,sort:26,index:2,page_count:0,pin_position:null,thumbnail_options:null,pages:[]},{id:6164841,title:Work,project_url:Work-16,set_id:0,is_homepage:false,pin:false,is_set:true,in_nav:false,stack:false,sort:30,index:3,page_count:0,pin_position:null,thumbnail_options:null,pages:[]},{id:5503777,title:Home Set,project_url:Home-Set-7,set_id:0,is_homepage:false,pin:false,is_set:true,in_nav:false,stack:true,sort:41,index:4,page_count:0,pin_position:null,thumbnail_options:null,pages:[]},{id:5503781,title:Work,project_url:Work-15,set_id:0,is_homepage:false,pin:false,is_set:true,in_nav:false,stack:false,sort:46,index:5,page_count:0,pin_position:null,thumbnail_options:null,pages:[]},{id:2825911,title:Home 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Set,project_url:Home-Set-2,set_id:0,is_homepage:false,pin:false,is_set:true,in_nav:false,stack:true,sort:114,index:14,page_count:0,pin_position:null,thumbnail_options:null,pages:[]},{id:1481483,title:Work,project_url:Work-6,set_id:0,is_homepage:false,pin:false,is_set:true,in_nav:false,stack:false,sort:118,index:15,page_count:0,pin_position:null,thumbnail_options:null,pages:[]},{id:1479939,title:Home Set,project_url:Home-Set-1,set_id:0,is_homepage:false,pin:false,is_set:true,in_nav:false,stack:true,sort:128,index:16,page_count:0,pin_position:null,thumbnail_options:null,pages:[]},{id:1479943,title:Work,project_url:Work-4,set_id:0,is_homepage:false,pin:false,is_set:true,in_nav:false,stack:true,sort:132,index:17,page_count:0,pin_position:null,thumbnail_options:null,pages:[]},{id:1470111,title:Work,project_url:Work-3,set_id:0,is_homepage:false,pin:false,is_set:true,in_nav:true,stack:true,sort:143,index:18,page_count:0,pin_position:null,thumbnail_options:null,pages:[]},{id:1470043,title:Work,project_url:Work-2,set_id:0,is_homepage:false,pin:false,is_set:true,in_nav:false,stack:false,sort:156,index:19,page_count:0,pin_position:null,thumbnail_options:null,pages:[]}]}[{id:1470111,site_id:89744,project_url:Work-3,direct_link:https://thecurrentorder.net/Work-3,type:set,title:Work,title_no_html:Work,tags:,display:true,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:false,is_set:true,stack:true,excerpt:,content:,content_no_html:,content_partial_html:,thumb:,thumb_meta:null,thumb_is_visible:false,sort:143,index:18,set_id:0,page_options:{},set_open:false,images:[],backdrop:null},{id:1470112,site_id:89744,project_url:Reading-a-Wave,direct_link:https://thecurrentorder.net/Reading-a-Wave,type:page,title:Reading a Wave,title_no_html:Reading a Wave,tags:Photography, Bodybuilding, 2017,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:READING A WAVE He sees a wave rise in the distance, grow, approach, change form and color, fold over itself, break, vanish, and flow again. Isolating one...,content:READING AWAVE He sees a wave rise in the distance, grow, approach, change form and color, fold over itself, break, vanish, and flow again. Isolating one wave is not easy, separating it from the wave immediately following, which seems to push it and at times overtakes it and sweeps it away; and it is no easier to separate that one wave from the preceding wave, which seems to drag it toward the shore, unless it turns against the following wave, as if to arrest it. April 2017 Text:  Mr. Palomar; Italo Calvino Image: Karl Blossfeldt; Urformen der Kunst Then, if you consider the breadth of the wave, parallel to the shore, it is hard to decide where the advancing front extends regularly and where it is separated and segmented into independent waves, distinguished by their speed, shape, force, direction. In other words, you cannot observe a wave without bearing in mind the complex features that concur in shaping it and the other, equally complex ones that the wave itself originates. April 2017 These aspects vary constantly, so each wave is different from another wave, even if not immediately adjacent or successive; in other words, there are some forms and sequences that are repeated, though irregularly distributed in space and time. Since what Mr. Palomar means to do at this moment is simply see a wave u2014 that is, to perceive all its simultaneous components without overlooking any of them u2014 his gaze will dwell on the movement of the wave that strikes the shore until it can record aspects not previously perceived; as soon as he notices that the images are being repeated, he will know he has seen everything he wanted to see and he will be able to stop. ,content_no_html:READING AWAVE He sees a wave rise in the distance, grow, approach, change form and color, fold over itself, break, vanish, and flow again. Isolating one wave is not easy, separating it from the wave immediately following, which seems to push it and at times overtakes it and sweeps it away; and it is no easier to separate that one wave from the preceding wave, which seems to drag it toward the shore, unless it turns against the following wave, as if to arrest it. April 2017 {image 1} Text:  Mr. Palomar; Italo Calvino Image: Karl Blossfeldt; Urformen der Kunst {image 3} Then, if you consider the breadth of the wave, parallel to the shore, it is hard to decide where the advancing front extends regularly and where it is separated and segmented into independent waves, distinguished by their speed, shape, force, direction. In other words, you cannot observe a wave without bearing in mind the complex features that concur in shaping it and the other, equally complex ones that the wave itself originates. April 2017 These aspects vary constantly, so each wave is different from another wave, even if not immediately adjacent or successive; in other words, there are some forms and sequences that are repeated, though irregularly distributed in space and time. Since what Mr. Palomar means to do at this moment is simply see a wave u2014 that is, to perceive all its simultaneous components without overlooking any of them u2014 his gaze will dwell on the movement of the wave that strikes the shore until it can record aspects not previously perceived; as soon as he notices that the images are being repeated, he will know he has seen everything he wanted to see and he will be able to stop. {image 4} ,content_partial_html:READING AWAVE He sees a wave rise in the distance, grow, approach, change form and color, fold over itself, break, vanish, and flow again. Isolating one wave is not easy, separating it from the wave immediately following, which seems to push it and at times overtakes it and sweeps it away; and it is no easier to separate that one wave from the preceding wave, which seems to drag it toward the shore, unless it turns against the following wave, as if to arrest it. April 2017 Text:  Mr. Palomar; Italo Calvino Image: Karl Blossfeldt; Urformen der Kunst Then, if you consider the breadth of the wave, parallel to the shore, it is hard to decide where the advancing front extends regularly and where it is separated and segmented into independent waves, distinguished by their speed, shape, force, direction. In other words, you cannot observe a wave without bearing in mind the complex features that concur in shaping it and the other, equally complex ones that the wave itself originates. April 2017 These aspects vary constantly, so each wave is different from another wave, even if not immediately adjacent or successive; in other words, there are some forms and sequences that are repeated, though irregularly distributed in space and time. Since what Mr. Palomar means to do at this moment is simply see a wave u2014 that is, to perceive all its simultaneous components without overlooking any of them u2014 his gaze will dwell on the movement of the wave that strikes the shore until it can record aspects not previously perceived; as soon as he notices that the images are being repeated, he will know he has seen everything he wanted to see and he will be able to stop. ,thumb:7215981,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:7215981,project_id:1470112,image_ref:{image 1},name:44c7db941b416c5eb3fbeb58d7af6401.jpg,hash:f09585a4bb27cbe4d0599ef16c25f1f91305aba5379cc1a74ff2a5c63c9369e6,width:1273,height:1600,sort:0,date_added:1491507664},stored:{ratio:125.68735271013,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:true,sort:144,index:0,set_id:1470111,page_options:{using_local_css:false,local_css:[local-style=1470112] .container_width { } [local-style=1470112] body { background-color: initial /*!variable_defaults*/; } [local-style=1470112] .backdrop { } [local-style=1470112] .page { } [local-style=1470112] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=1470112] .content_padding { } [data-predefined-style= rue] [local-style=1470112] bodycopy { } [data-predefined-style= rue] [local-style=1470112] bodycopy a { } [data-predefined-style= rue] [local-style=1470112] h1 { } [data-predefined-style= rue] [local-style=1470112] h1 a { } [data-predefined-style= rue] [local-style=1470112] h2 { } [data-predefined-style= rue] [local-style=1470112] h2 a { } [data-predefined-style= rue] [local-style=1470112] small { } [data-predefined-style= rue] [local-style=1470112] small a { },local_layout_options:{split_layout:false,split_responsive:false,full_height:false,advanced_padding_enabled:false,page_container_bgcolor:,show_local_thumbs:false,filter_type:all,filter_tags:,random_limit:999,filter_set:Select set,page_bgcolor:}},set_open:false,images:[{id:7215981,project_id:1470112,image_ref:{image 1},name:44c7db941b416c5eb3fbeb58d7af6401.jpg,hash:f09585a4bb27cbe4d0599ef16c25f1f91305aba5379cc1a74ff2a5c63c9369e6,width:1273,height:1600,sort:0,date_added:1511696246},{id:7215983,project_id:1470112,image_ref:{image 3},name:c2.jpg,hash:e227024a1cbc96e4362df323c6f893cf72f0dca4fe00412db80cc14a3439fe20,width:3000,height:3787,sort:0,date_added:1511696246},{id:7215984,project_id:1470112,image_ref:{image 4},name:tumblr_natho6NLfy1sdlu0ro1_r1_1280.jpg,hash:fbbfe135c3410f276a184ee73e10a4e0c92ccbb9d69abfb4ea7ea87b12934209,width:1000,height:1000,sort:0,date_added:1511696246}],backdrop:null},{id:1470114,site_id:89744,project_url:Marble-and-Blood,direct_link:https://thecurrentorder.net/Marble-and-Blood,type:page,title:Marble and Blood,title_no_html:Marble and Blood,tags:Medical, Photography, 2035,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:MARBLE AND BLOOD Horace Kallen Suppose you take the world as it comes. Suppose you take the world at its face value. Then...,content: MARBLE AND BLOOD Horace Kallen Suppose you take the world as it comes. Suppose you take the world at its face value. Then reality is what you know it as. You find the substantive parts of it connected by relations as truly present and as existent as the parts themselves. You find transition and change, continuity and discontinuity, routine and surprise, multiple unities of manifold kinds, realities of various stuffs and powers u2014 all connected with one another by transitions from next to next, each standing away, alone, unmitigated, unincludable, now from some things, now from others. You find movement. You find beginnings, you find endings, you find continuity and you find transformation. In a word, the world of the daily life which we touch and see and hear and smell and taste, which we struggle against and work together with, need be none other than we experience it to be. Karl Blossfeldt u2014 Urformen Der Kunst,content_no_html: MARBLE AND BLOOD {image 5 scale=60} {image 6 scale=60} {image 1} Horace Kallen Suppose you take the world as it comes. Suppose you take the world at its face value. Then reality is what you know it as. You find the substantive parts of it connected by relations as truly present and as existent as the parts themselves. You find transition and change, continuity and discontinuity, routine and surprise, multiple unities of manifold kinds, realities of various stuffs and powers u2014 all connected with one another by transitions from next to next, each standing away, alone, unmitigated, unincludable, now from some things, now from others. You find movement. You find beginnings, you find endings, you find continuity and you find transformation. In a word, the world of the daily life which we touch and see and hear and smell and taste, which we struggle against and work together with, need be none other than we experience it to be. {image 14} {image 26} {image 25} {image 23} {image 21} {image 20} {image 19} {image 18} {image 12} {image 11} {image 9} Karl Blossfeldt u2014 Urformen Der Kunst,content_partial_html: MARBLE AND BLOOD Horace Kallen Suppose you take the world as it comes. Suppose you take the world at its face value. Then reality is what you know it as. You find the substantive parts of it connected by relations as truly present and as existent as the parts themselves. You find transition and change, continuity and discontinuity, routine and surprise, multiple unities of manifold kinds, realities of various stuffs and powers u2014 all connected with one another by transitions from next to next, each standing away, alone, unmitigated, unincludable, now from some things, now from others. You find movement. You find beginnings, you find endings, you find continuity and you find transformation. In a word, the world of the daily life which we touch and see and hear and smell and taste, which we struggle against and work together with, need be none other than we experience it to be. Karl Blossfeldt u2014 Urformen Der Kunst,thumb:7215985,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:7215985,project_id:1470114,image_ref:{image 1},name:c2.jpg,hash:e227024a1cbc96e4362df323c6f893cf72f0dca4fe00412db80cc14a3439fe20,width:3000,height:3787,sort:0,date_added:1491510182},stored:{ratio:126.23333333333,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:true,sort:145,index:0,set_id:1470111,page_options:{using_local_css:true,local_css:[local-style=1470114] .container_width { } [local-style=1470114] body { background-color: initial /*!variable_defaults*/; } [local-style=1470114] .backdrop { } [local-style=1470114] .page { } [local-style=1470114] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=1470114] .content_padding { } [data-predefined-style= rue] [local-style=1470114] bodycopy { } [data-predefined-style= rue] [local-style=1470114] bodycopy a { } [data-predefined-style= rue] [local-style=1470114] h1 { color: rgba(0, 0, 0, 0.85); 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We have no right ... to believe that the objects of so-called external perception really exist as they appear to us. Indeed, they demonstrably do not exist outside of us. In contrast to that which really and truly exists, they are mere phenomena. William Carlos Williams This is the trap u2014 either what we seek is within the bounds of the understanding or beyond it. If outside it does not exist for us, much less for our imagination; if inside it is bounded by that and must be so deufb01ned before it can be conceived u2014 this precedes all further progress. The Embodiment of Knowledge Laconic, 1987 Sail/Waves 1 u2014 postcard design Let Perish the Money Tyrants 1982 Peace to the Cottages u2014 War to the Arts Council 1982 ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,content_no_html:Ian Hamilton Finlay SERPENTS AND SKULLS {image 1} Zephyr INS 61975u20136 {image 2} Shepherd Lad KY 2161975u20136 Franz Brentano The objects of sensory experience are deceptive ... We have no right ... to believe that the objects of so-called external perception really exist as they appear to us. Indeed, they demonstrably do not exist outside of us. In contrast to that which really and truly exists, they are mere phenomena. William Carlos Williams This is the trap u2014 either what we seek is within the bounds of the understanding or beyond it. If outside it does not exist for us, much less for our imagination; if inside it is bounded by that and must be so deufb01ned before it can be conceived u2014 this precedes all further progress. The Embodiment of Knowledge {image 3} Laconic, 1987 {image 4} Sail/Waves 1 u2014 postcard design {image 5} Let Perish the Money Tyrants 1982 {image 6} Peace to the Cottages u2014 War to the Arts Council 1982 ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,content_partial_html:Ian Hamilton Finlay SERPENTS AND SKULLS Zephyr INS 61975u20136 Shepherd Lad KY 2161975u20136 Franz Brentano The objects of sensory experience are deceptive ... We have no right ... to believe that the objects of so-called external perception really exist as they appear to us. Indeed, they demonstrably do not exist outside of us. In contrast to that which really and truly exists, they are mere phenomena. William Carlos Williams This is the trap u2014 either what we seek is within the bounds of the understanding or beyond it. If outside it does not exist for us, much less for our imagination; if inside it is bounded by that and must be so deufb01ned before it can be conceived u2014 this precedes all further progress. The Embodiment of Knowledge Laconic, 1987 Sail/Waves 1 u2014 postcard design Let Perish the Money Tyrants 1982 Peace to the Cottages u2014 War to the Arts Council 1982 ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,thumb:7216007,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:7216007,project_id:1470116,image_ref:{image 1},name:OBS-Art-Graphic-GGXG123213.jpg,hash:812bd4410de2a9d44f33b5cc7f6ba2a93969ef915acde94875291067d46ba034,width:1228,height:1115,sort:0,date_added:1491847045},stored:{ratio:90.798045602606,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:true,sort:146,index:0,set_id:1470111,page_options:{using_local_css:false,local_css:[local-style=1470116] .container_width { } [local-style=1470116] body { background-color: initial /*!variable_defaults*/; } [local-style=1470116] .backdrop { } [local-style=1470116] .page { } [local-style=1470116] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=1470116] .content_padding { } [data-predefined-style= rue] [local-style=1470116] bodycopy { } [data-predefined-style= rue] [local-style=1470116] bodycopy a { } [data-predefined-style= rue] [local-style=1470116] h1 { } [data-predefined-style= rue] [local-style=1470116] h1 a { } [data-predefined-style= rue] [local-style=1470116] h2 { } [data-predefined-style= rue] [local-style=1470116] h2 a { } [data-predefined-style= rue] [local-style=1470116] small { } [data-predefined-style= rue] [local-style=1470116] small a { },local_layout_options:{split_layout:false,split_responsive:false,full_height:false,advanced_padding_enabled:false,page_container_bgcolor:,show_local_thumbs:false,filter_type:all,filter_tags:,random_limit:999,filter_set:Select set,page_bgcolor:}},set_open:false,images:[{id:7216007,project_id:1470116,image_ref:{image 1},name:OBS-Art-Graphic-GGXG123213.jpg,hash:812bd4410de2a9d44f33b5cc7f6ba2a93969ef915acde94875291067d46ba034,width:1228,height:1115,sort:0,date_added:1511696249},{id:7216009,project_id:1470116,image_ref:{image 2},name:c.jpg,hash:104920e732507b46e2849143273154336b6bb36f8d1e70e189823026c1210794,width:1228,height:1115,sort:0,date_added:1511696249},{id:7216010,project_id:1470116,image_ref:{image 3},name:P77477_10.jpg,hash:17029b49433a74689e694af3b7f0544cc9738d702668764339957a0741d0278b,width:1179,height:1536,sort:0,date_added:1511696249},{id:7216011,project_id:1470116,image_ref:{image 4},name:TGA-20012-45-1_10.jpg,hash:e967802649c2330d5cd8a7c3c6c35ac393508d03c8505ca1e78c95acd3e80de0,width:1474,height:1042,sort:0,date_added:1511696249},{id:7216013,project_id:1470116,image_ref:{image 5},name:c3.jpg,hash:424ede73299639de9fa5f81d13c3204a65edcb37359cac71d40f1634f9573436,width:1418,height:993,sort:0,date_added:1511696249},{id:7216014,project_id:1470116,image_ref:{image 6},name:c2.jpg,hash:c7753a8d4f28ac0cf8e7162ceaf94e751d68435b6acaec882c62a1536e06ecee,width:1418,height:996,sort:0,date_added:1511696249}],backdrop:null},{id:1470118,site_id:89744,project_url:In-the-Labyrinth,direct_link:https://thecurrentorder.net/In-the-Labyrinth,type:page,title:In the Labyrinth,title_no_html:In the Labyrinth,tags:,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:IN THE LABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two...,content: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. Wherever she is, she keeps quite comfortable.  Bernd and Hilla Becher Karl Blossfeldt  ,content_no_html: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. {image 2} {image 12} {image 3} Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. Wherever she is, she keeps quite comfortable.  {image 1} Bernd and Hilla Becher {image 21} Karl Blossfeldt  ,content_partial_html: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. Wherever she is, she keeps quite comfortable.  Bernd and Hilla Becher Karl Blossfeldt  ,thumb:7216015,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:7216015,project_id:1470118,image_ref:{image 1},name:1.jpg,hash:3ddb14931a69ac5dc7fbce2523f83dc2f1003ac6e526efb6188f231fec303a84,width:1407,height:1927,sort:0,date_added:1492193068},stored:{ratio:136.95806680881,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:true,sort:147,index:0,set_id:1470111,page_options:{using_local_css:false,local_css:[local-style=1470118] .container_width { } [local-style=1470118] body { background-color: initial /*!variable_defaults*/; } [local-style=1470118] .backdrop { } [local-style=1470118] .page { } [local-style=1470118] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=1470118] .content_padding { } [data-predefined-style= rue] [local-style=1470118] bodycopy { } [data-predefined-style= rue] [local-style=1470118] bodycopy a { } [data-predefined-style= rue] [local-style=1470118] h1 { } [data-predefined-style= rue] [local-style=1470118] h1 a { } [data-predefined-style= rue] [local-style=1470118] h2 { } [data-predefined-style= rue] [local-style=1470118] h2 a { } [data-predefined-style= rue] [local-style=1470118] small { } [data-predefined-style= rue] [local-style=1470118] small a { },local_layout_options:{split_layout:false,split_responsive:false,full_height:false,advanced_padding_enabled:false,page_container_bgcolor:,show_local_thumbs:false,filter_type:all,filter_tags:,random_limit:999,filter_set:Select set,page_bgcolor:}},set_open:false,images:[{id:7216015,project_id:1470118,image_ref:{image 1},name:1.jpg,hash:3ddb14931a69ac5dc7fbce2523f83dc2f1003ac6e526efb6188f231fec303a84,width:1407,height:1927,sort:0,date_added:1511696250},{id:7216016,project_id:1470118,image_ref:{image 2},name:4.jpg,hash:08a6a8461ee234c62e54c73ff96982d8f4a29ce8d35fe106950870834f27e711,width:2292,height:3000,sort:0,date_added:1511696250},{id:7216018,project_id:1470118,image_ref:{image 3},name:5.jpg,hash:bdf9f255b1611a4e981c947eb7ee114ce8fc81177d2b4b673a462285ebeeae0f,width:2290,height:3000,sort:0,date_added:1511696250},{id:7216019,project_id:1470118,image_ref:{image 4},name:2.jpg,hash:73c1823ffecf6fedcfa2a4cab51bb1672ca011dfb1893230a8bc5b4f39e3ba79,width:2275,height:3000,sort:0,date_added:1511696250},{id:7216021,project_id:1470118,image_ref:{image 5},name:3.jpg,hash:df570b6bed5ee31c7d7e09fbbc42cf045a45d1bde16548e08c159365cc5b0dc9,width:2267,height:3000,sort:0,date_added:1511696250},{id:7216022,project_id:1470118,image_ref:{image 12},name:bl5.jpg,hash:b0039c07c2d54e1060e444bd9aa9e76cdbf9abe268ee98b2bdc338c638379ce8,width:790,height:1000,sort:0,date_added:1511696250},{id:7216023,project_id:1470118,image_ref:{image 21},name:c.jpg,hash:a7e05c1870e780d32c7a5e2aa046ee992a327333b4d0ce99ee98dd6447b05652,width:736,height:1008,sort:0,date_added:1511696250}],backdrop:null},{id:1470121,site_id:89744,project_url:Info,direct_link:https://thecurrentorder.net/Info,type:page,title:Info,title_no_html:Info,tags:,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:true,is_set:false,stack:false,excerpt:ue126ufe0eufe0eufe0eu00a0LAX ue126ufe0eufe0eufe0e AMSu00a0 ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd...,content: ue126ufe0eufe0eufe0e LAX ue126ufe0eufe0eufe0e AMS  ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd Beekstraat 202 1118 CP Schiphol, Netherlands J.F. Kennedy Airport u2014 International Queens, NY 11430 ,content_no_html: ue126ufe0eufe0eufe0e LAX ue126ufe0eufe0eufe0e AMS  ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd Beekstraat 202 1118 CP Schiphol, Netherlands J.F. Kennedy Airport u2014 International Queens, NY 11430 ,content_partial_html: ue126ufe0eufe0eufe0e LAX ue126ufe0eufe0eufe0e AMS  ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd Beekstraat 202 1118 CP Schiphol, Netherlands J.F. Kennedy Airport u2014 International Queens, NY 11430 ,thumb:,thumb_meta:null,thumb_is_visible:true,sort:149,index:0,set_id:0,page_options:{using_local_css:true,local_css:[local-style=1470121] .container_width { width: 100% /*!variable_defaults*/; } [local-style=1470121] body { } [local-style=1470121] .backdrop { } [local-style=1470121] .page { min-height: 100vh /*!page_height_100vh*/; } [local-style=1470121] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=1470121] .content_padding { padding-top: 3rem /*!main_margin*/; padding-bottom: 3rem /*!main_margin*/; padding-left: 3rem /*!main_margin*/; padding-right: 3rem /*!main_margin*/; } [data-predefined-style= rue] [local-style=1470121] bodycopy { } [data-predefined-style= rue] [local-style=1470121] bodycopy a { } [data-predefined-style= rue] [local-style=1470121] h1 { } [data-predefined-style= rue] [local-style=1470121] h1 a { } [data-predefined-style= rue] [local-style=1470121] h2 { } [data-predefined-style= rue] [local-style=1470121] h2 a { } [data-predefined-style= rue] [local-style=1470121] small { } [data-predefined-style= rue] [local-style=1470121] small a { } [local-style=1470121] .container { align-items: flex-start /*!vertical_top*/; -webkit-align-items: flex-start /*!vertical_top*/; text-align: center /*!text_center*/; },local_layout_options:{split_layout:false,split_responsive:false,full_height:true,advanced_padding_enabled:false,page_container_bgcolor:,show_local_thumbs:false,filter_type:all,filter_tags:,random_limit:999,page_bgcolor:,filter_set:Select set,content_width:100,main_margin:3,main_margin_top:3,main_margin_right:3,main_margin_bottom:3,main_margin_left:3,text_alignment:text_center}},set_open:false,images:[],backdrop:{id:205246,site_id:89744,page_id:1470121,backdrop_id:13,backdrop_path:gmaps,is_active:true,data:{address:The+Bauhaus+Dessau,mapTypeId:roadmap,terrain:false,labels:false,roads:true,transit:false,disableMapInteraction:true,hideUI:true,zoom_level:17,requires_webgl:false,mapConfig:{styles:[{elementType:labels,stylers:[{visibility:off}]},{featureType:administrative,elementType:geometry,stylers:[{visibility:off}]},{featureType: oad,stylers:[{visibility:on}]},{featureType: ransit,stylers:[{visibility:off}]}],disableDefaultUI:true,disableMapInteraction:true,streetViewEnabled:false,mapTypeId: oadmap,zoom:17,hideUI:true,center:{lat:51.83870851446949,lng:12.225436097869874},draggable:true,scrollwheel:false,disableDoubleClickZoom:false,keyboardShortcuts:true,zoomControl:false,streetViewOptions:{position:{lat:34.101797,lng:-118.34096699999998},pov:{heading:0,pitch:0,zoom:1}},apiKey:AIzaSyAuHt0V0nJ5qTiUoWwsOwDfkTv0n1PJUNA}}}},{id:1470041,site_id:89744,project_url:Information-1,direct_link:https://thecurrentorder.net/Information-1,type:page,title:Information,title_no_html:Information,tags:,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:Information PHOTO BYu00a0ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by...,content:Information PHOTO BY ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by Racter I was thinking as you entered the room just now how slyly your requirements are manifested. Here we find ourselves, nose to nose as it were, considering things in spectacular ways, ways untold even by my private managers. Hot and torpid, our thoughts revolve endlessly in a kind of maniacal abstraction, an abstraction so involuted, so dangerously valiant, that my own energies seem perilously close to exhaustion, to morbid termination. Well, have we indeed reached a crisis? Which way do we turn? Which way do we travel? My aspect is one of molting. Birds molt. Feathers fall away. Birds cackle and fly, winging up into troubled skies. Doubtless my changes are matched by your own. You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. 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You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. Yet a leotard, a commissioner, a single hoard, all are understandable in their own fashion. In that concept lies the appalling truth. ,content_partial_html:Information PHOTO BY ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by Racter I was thinking as you entered the room just now how slyly your requirements are manifested. Here we find ourselves, nose to nose as it were, considering things in spectacular ways, ways untold even by my private managers. Hot and torpid, our thoughts revolve endlessly in a kind of maniacal abstraction, an abstraction so involuted, so dangerously valiant, that my own energies seem perilously close to exhaustion, to morbid termination. Well, have we indeed reached a crisis? Which way do we turn? Which way do we travel? My aspect is one of molting. Birds molt. Feathers fall away. Birds cackle and fly, winging up into troubled skies. Doubtless my changes are matched by your own. You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. Yet a leotard, a commissioner, a single hoard, all are understandable in their own fashion. 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ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,content_no_html:Ian Hamilton Finlay SERPENTS AND SKULLS {image 1} Zephyr INS 61975u20136 {image 2} Shepherd Lad KY 2161975u20136 Franz Brentano The objects of sensory experience are deceptive ... We have no right ... to believe that the objects of so-called external perception really exist as they appear to us. Indeed, they demonstrably do not exist outside of us. In contrast to that which really and truly exists, they are mere phenomena. William Carlos Williams This is the trap u2014 either what we seek is within the bounds of the understanding or beyond it. If outside it does not exist for us, much less for our imagination; if inside it is bounded by that and must be so deufb01ned before it can be conceived u2014 this precedes all further progress. The Embodiment of Knowledge {image 3} Laconic, 1987 {image 4} Sail/Waves 1 u2014 postcard design {image 5} Let Perish the Money Tyrants 1982 {image 6} Peace to the Cottages u2014 War to the Arts Council 1982 ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,content_partial_html:Ian Hamilton Finlay SERPENTS AND SKULLS Zephyr INS 61975u20136 Shepherd Lad KY 2161975u20136 Franz Brentano The objects of sensory experience are deceptive ... We have no right ... to believe that the objects of so-called external perception really exist as they appear to us. Indeed, they demonstrably do not exist outside of us. In contrast to that which really and truly exists, they are mere phenomena. William Carlos Williams This is the trap u2014 either what we seek is within the bounds of the understanding or beyond it. If outside it does not exist for us, much less for our imagination; if inside it is bounded by that and must be so deufb01ned before it can be conceived u2014 this precedes all further progress. The Embodiment of Knowledge Laconic, 1987 Sail/Waves 1 u2014 postcard design Let Perish the Money Tyrants 1982 Peace to the Cottages u2014 War to the Arts Council 1982 ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,thumb:7216007,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:7216007,project_id:1470116,image_ref:{image 1},name:OBS-Art-Graphic-GGXG123213.jpg,hash:812bd4410de2a9d44f33b5cc7f6ba2a93969ef915acde94875291067d46ba034,width:1228,height:1115,sort:0,date_added:1491847045},stored:{ratio:90.798045602606,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:true,sort:146,index:0,set_id:1470111,page_options:{using_local_css:false,local_css:[local-style=1470116] .container_width { } [local-style=1470116] body { background-color: initial /*!variable_defaults*/; } [local-style=1470116] .backdrop { } [local-style=1470116] .page { } [local-style=1470116] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=1470116] .content_padding { } [data-predefined-style= rue] [local-style=1470116] bodycopy { } [data-predefined-style= rue] [local-style=1470116] bodycopy a { } [data-predefined-style= rue] [local-style=1470116] h1 { } [data-predefined-style= rue] [local-style=1470116] h1 a { } [data-predefined-style= rue] [local-style=1470116] h2 { } [data-predefined-style= rue] [local-style=1470116] h2 a { } [data-predefined-style= rue] [local-style=1470116] small { } [data-predefined-style= rue] [local-style=1470116] small a { },local_layout_options:{split_layout:false,split_responsive:false,full_height:false,advanced_padding_enabled:false,page_container_bgcolor:,show_local_thumbs:false,filter_type:all,filter_tags:,random_limit:999,filter_set:Select set,page_bgcolor:}},set_open:false,images:[{id:7216007,project_id:1470116,image_ref:{image 1},name:OBS-Art-Graphic-GGXG123213.jpg,hash:812bd4410de2a9d44f33b5cc7f6ba2a93969ef915acde94875291067d46ba034,width:1228,height:1115,sort:0,date_added:1511696249},{id:7216009,project_id:1470116,image_ref:{image 2},name:c.jpg,hash:104920e732507b46e2849143273154336b6bb36f8d1e70e189823026c1210794,width:1228,height:1115,sort:0,date_added:1511696249},{id:7216010,project_id:1470116,image_ref:{image 3},name:P77477_10.jpg,hash:17029b49433a74689e694af3b7f0544cc9738d702668764339957a0741d0278b,width:1179,height:1536,sort:0,date_added:1511696249},{id:7216011,project_id:1470116,image_ref:{image 4},name:TGA-20012-45-1_10.jpg,hash:e967802649c2330d5cd8a7c3c6c35ac393508d03c8505ca1e78c95acd3e80de0,width:1474,height:1042,sort:0,date_added:1511696249},{id:7216013,project_id:1470116,image_ref:{image 5},name:c3.jpg,hash:424ede73299639de9fa5f81d13c3204a65edcb37359cac71d40f1634f9573436,width:1418,height:993,sort:0,date_added:1511696249},{id:7216014,project_id:1470116,image_ref:{image 6},name:c2.jpg,hash:c7753a8d4f28ac0cf8e7162ceaf94e751d68435b6acaec882c62a1536e06ecee,width:1418,height:996,sort:0,date_added:1511696249}],backdrop:null},{id:1470118,site_id:89744,project_url:In-the-Labyrinth,direct_link:https://thecurrentorder.net/In-the-Labyrinth,type:page,title:In the Labyrinth,title_no_html:In the Labyrinth,tags:,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:IN THE LABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two...,content: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. Wherever she is, she keeps quite comfortable.  Bernd and Hilla Becher Karl Blossfeldt  ,content_no_html: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. {image 2} {image 12} {image 3} Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. Wherever she is, she keeps quite comfortable.  {image 1} Bernd and Hilla Becher {image 21} Karl Blossfeldt  ,content_partial_html: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. 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Kennedy Airport u2014 International Queens, NY 11430 ,content_no_html: ue126ufe0eufe0eufe0e LAX ue126ufe0eufe0eufe0e AMS  ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd Beekstraat 202 1118 CP Schiphol, Netherlands J.F. Kennedy Airport u2014 International Queens, NY 11430 ,content_partial_html: ue126ufe0eufe0eufe0e LAX ue126ufe0eufe0eufe0e AMS  ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd Beekstraat 202 1118 CP Schiphol, Netherlands J.F. Kennedy Airport u2014 International Queens, NY 11430 ,thumb:,thumb_meta:null,thumb_is_visible:true,sort:149,index:0,set_id:0,page_options:{using_local_css:true,local_css:[local-style=1470121] .container_width { width: 100% /*!variable_defaults*/; } [local-style=1470121] body { } [local-style=1470121] .backdrop { } [local-style=1470121] .page { min-height: 100vh /*!page_height_100vh*/; } [local-style=1470121] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=1470121] .content_padding { padding-top: 3rem /*!main_margin*/; padding-bottom: 3rem /*!main_margin*/; padding-left: 3rem /*!main_margin*/; padding-right: 3rem /*!main_margin*/; } [data-predefined-style= rue] [local-style=1470121] bodycopy { } [data-predefined-style= rue] [local-style=1470121] bodycopy a { } [data-predefined-style= rue] [local-style=1470121] h1 { } [data-predefined-style= rue] [local-style=1470121] h1 a { } [data-predefined-style= rue] [local-style=1470121] h2 { } [data-predefined-style= rue] [local-style=1470121] h2 a { } [data-predefined-style= rue] [local-style=1470121] small { } [data-predefined-style= rue] [local-style=1470121] small a { } [local-style=1470121] .container { align-items: flex-start /*!vertical_top*/; -webkit-align-items: flex-start /*!vertical_top*/; text-align: center /*!text_center*/; },local_layout_options:{split_layout:false,split_responsive:false,full_height:true,advanced_padding_enabled:false,page_container_bgcolor:,show_local_thumbs:false,filter_type:all,filter_tags:,random_limit:999,page_bgcolor:,filter_set:Select set,content_width:100,main_margin:3,main_margin_top:3,main_margin_right:3,main_margin_bottom:3,main_margin_left:3,text_alignment:text_center}},set_open:false,images:[],backdrop:{id:205246,site_id:89744,page_id:1470121,backdrop_id:13,backdrop_path:gmaps,is_active:true,data:{address:The+Bauhaus+Dessau,mapTypeId:roadmap,terrain:false,labels:false,roads:true,transit:false,disableMapInteraction:true,hideUI:true,zoom_level:17,requires_webgl:false,mapConfig:{styles:[{elementType:labels,stylers:[{visibility:off}]},{featureType:administrative,elementType:geometry,stylers:[{visibility:off}]},{featureType: oad,stylers:[{visibility:on}]},{featureType: ransit,stylers:[{visibility:off}]}],disableDefaultUI:true,disableMapInteraction:true,streetViewEnabled:false,mapTypeId: oadmap,zoom:17,hideUI:true,center:{lat:51.83870851446949,lng:12.225436097869874},draggable:true,scrollwheel:false,disableDoubleClickZoom:false,keyboardShortcuts:true,zoomControl:false,streetViewOptions:{position:{lat:34.101797,lng:-118.34096699999998},pov:{heading:0,pitch:0,zoom:1}},apiKey:AIzaSyAuHt0V0nJ5qTiUoWwsOwDfkTv0n1PJUNA}}}},{id:1470041,site_id:89744,project_url:Information-1,direct_link:https://thecurrentorder.net/Information-1,type:page,title:Information,title_no_html:Information,tags:,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:Information PHOTO BYu00a0ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by...,content:Information PHOTO BY ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by Racter I was thinking as you entered the room just now how slyly your requirements are manifested. Here we find ourselves, nose to nose as it were, considering things in spectacular ways, ways untold even by my private managers. Hot and torpid, our thoughts revolve endlessly in a kind of maniacal abstraction, an abstraction so involuted, so dangerously valiant, that my own energies seem perilously close to exhaustion, to morbid termination. Well, have we indeed reached a crisis? Which way do we turn? Which way do we travel? My aspect is one of molting. Birds molt. Feathers fall away. Birds cackle and fly, winging up into troubled skies. Doubtless my changes are matched by your own. You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. 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You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. Yet a leotard, a commissioner, a single hoard, all are understandable in their own fashion. In that concept lies the appalling truth. ,content_partial_html:Information PHOTO BY ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by Racter I was thinking as you entered the room just now how slyly your requirements are manifested. Here we find ourselves, nose to nose as it were, considering things in spectacular ways, ways untold even by my private managers. Hot and torpid, our thoughts revolve endlessly in a kind of maniacal abstraction, an abstraction so involuted, so dangerously valiant, that my own energies seem perilously close to exhaustion, to morbid termination. Well, have we indeed reached a crisis? Which way do we turn? Which way do we travel? My aspect is one of molting. Birds molt. Feathers fall away. Birds cackle and fly, winging up into troubled skies. Doubtless my changes are matched by your own. You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. Yet a leotard, a commissioner, a single hoard, all are understandable in their own fashion. 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The Current Order

The Current Order is the lodge of multi-disciplinary artists Olivier Lomer-Wilbers and Michelle Nocon. Based in Brussels, the duo focuses its creativity...

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a Wave,title_no_html:Reading a Wave,tags:Photography, Bodybuilding, 2017,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:READING A WAVE He sees a wave rise in the distance, grow, approach, change form and color, fold over itself, break, vanish, and flow again. Isolating one...,content:READING AWAVE He sees a wave rise in the distance, grow, approach, change form and color, fold over itself, break, vanish, and flow again. Isolating one wave is not easy, separating it from the wave immediately following, which seems to push it and at times overtakes it and sweeps it away; and it is no easier to separate that one wave from the preceding wave, which seems to drag it toward the shore, unless it turns against the following wave, as if to arrest it. April 2017 Text:  Mr. Palomar; Italo Calvino Image: Karl Blossfeldt; Urformen der Kunst Then, if you consider the breadth of the wave, parallel to the shore, it is hard to decide where the advancing front extends regularly and where it is separated and segmented into independent waves, distinguished by their speed, shape, force, direction. In other words, you cannot observe a wave without bearing in mind the complex features that concur in shaping it and the other, equally complex ones that the wave itself originates. April 2017 These aspects vary constantly, so each wave is different from another wave, even if not immediately adjacent or successive; in other words, there are some forms and sequences that are repeated, though irregularly distributed in space and time. Since what Mr. Palomar means to do at this moment is simply see a wave u2014 that is, to perceive all its simultaneous components without overlooking any of them u2014 his gaze will dwell on the movement of the wave that strikes the shore until it can record aspects not previously perceived; as soon as he notices that the images are being repeated, he will know he has seen everything he wanted to see and he will be able to stop. ,content_no_html:READING AWAVE He sees a wave rise in the distance, grow, approach, change form and color, fold over itself, break, vanish, and flow again. Isolating one wave is not easy, separating it from the wave immediately following, which seems to push it and at times overtakes it and sweeps it away; and it is no easier to separate that one wave from the preceding wave, which seems to drag it toward the shore, unless it turns against the following wave, as if to arrest it. April 2017 {image 1} Text:  Mr. Palomar; Italo Calvino Image: Karl Blossfeldt; Urformen der Kunst {image 3} Then, if you consider the breadth of the wave, parallel to the shore, it is hard to decide where the advancing front extends regularly and where it is separated and segmented into independent waves, distinguished by their speed, shape, force, direction. In other words, you cannot observe a wave without bearing in mind the complex features that concur in shaping it and the other, equally complex ones that the wave itself originates. April 2017 These aspects vary constantly, so each wave is different from another wave, even if not immediately adjacent or successive; in other words, there are some forms and sequences that are repeated, though irregularly distributed in space and time. Since what Mr. Palomar means to do at this moment is simply see a wave u2014 that is, to perceive all its simultaneous components without overlooking any of them u2014 his gaze will dwell on the movement of the wave that strikes the shore until it can record aspects not previously perceived; as soon as he notices that the images are being repeated, he will know he has seen everything he wanted to see and he will be able to stop. {image 4} ,content_partial_html:READING AWAVE He sees a wave rise in the distance, grow, approach, change form and color, fold over itself, break, vanish, and flow again. Isolating one wave is not easy, separating it from the wave immediately following, which seems to push it and at times overtakes it and sweeps it away; and it is no easier to separate that one wave from the preceding wave, which seems to drag it toward the shore, unless it turns against the following wave, as if to arrest it. April 2017 Text:  Mr. Palomar; Italo Calvino Image: Karl Blossfeldt; Urformen der Kunst Then, if you consider the breadth of the wave, parallel to the shore, it is hard to decide where the advancing front extends regularly and where it is separated and segmented into independent waves, distinguished by their speed, shape, force, direction. In other words, you cannot observe a wave without bearing in mind the complex features that concur in shaping it and the other, equally complex ones that the wave itself originates. April 2017 These aspects vary constantly, so each wave is different from another wave, even if not immediately adjacent or successive; in other words, there are some forms and sequences that are repeated, though irregularly distributed in space and time. Since what Mr. Palomar means to do at this moment is simply see a wave u2014 that is, to perceive all its simultaneous components without overlooking any of them u2014 his gaze will dwell on the movement of the wave that strikes the shore until it can record aspects not previously perceived; as soon as he notices that the images are being repeated, he will know he has seen everything he wanted to see and he will be able to stop. ,thumb:7215981,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:7215981,project_id:1470112,image_ref:{image 1},name:44c7db941b416c5eb3fbeb58d7af6401.jpg,hash:f09585a4bb27cbe4d0599ef16c25f1f91305aba5379cc1a74ff2a5c63c9369e6,width:1273,height:1600,sort:0,date_added:1491507664},stored:{ratio:125.68735271013,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:true,sort:144,index:0,set_id:1470111,page_options:{using_local_css:false,local_css:[local-style=1470112] .container_width { } [local-style=1470112] body { background-color: initial /*!variable_defaults*/; } [local-style=1470112] .backdrop { } [local-style=1470112] .page { } [local-style=1470112] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=1470112] .content_padding { } [data-predefined-style= rue] [local-style=1470112] bodycopy { } [data-predefined-style= rue] [local-style=1470112] bodycopy a { } [data-predefined-style= rue] [local-style=1470112] h1 { } [data-predefined-style= rue] [local-style=1470112] h1 a { } [data-predefined-style= rue] [local-style=1470112] h2 { } [data-predefined-style= rue] [local-style=1470112] h2 a { } [data-predefined-style= rue] [local-style=1470112] small { } [data-predefined-style= rue] [local-style=1470112] small a { },local_layout_options:{split_layout:false,split_responsive:false,full_height:false,advanced_padding_enabled:false,page_container_bgcolor:,show_local_thumbs:false,filter_type:all,filter_tags:,random_limit:999,filter_set:Select set,page_bgcolor:}},set_open:false,images:[{id:7215981,project_id:1470112,image_ref:{image 1},name:44c7db941b416c5eb3fbeb58d7af6401.jpg,hash:f09585a4bb27cbe4d0599ef16c25f1f91305aba5379cc1a74ff2a5c63c9369e6,width:1273,height:1600,sort:0,date_added:1511696246},{id:7215983,project_id:1470112,image_ref:{image 3},name:c2.jpg,hash:e227024a1cbc96e4362df323c6f893cf72f0dca4fe00412db80cc14a3439fe20,width:3000,height:3787,sort:0,date_added:1511696246},{id:7215984,project_id:1470112,image_ref:{image 4},name:tumblr_natho6NLfy1sdlu0ro1_r1_1280.jpg,hash:fbbfe135c3410f276a184ee73e10a4e0c92ccbb9d69abfb4ea7ea87b12934209,width:1000,height:1000,sort:0,date_added:1511696246}],backdrop:null},{id:1470114,site_id:89744,project_url:Marble-and-Blood,direct_link:https://thecurrentorder.net/Marble-and-Blood,type:page,title:Marble and Blood,title_no_html:Marble and Blood,tags:Medical, Photography, 2035,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:MARBLE AND BLOOD Horace Kallen Suppose you take the world as it comes. Suppose you take the world at its face value. Then...,content: MARBLE AND BLOOD Horace Kallen Suppose you take the world as it comes. Suppose you take the world at its face value. Then reality is what you know it as. You find the substantive parts of it connected by relations as truly present and as existent as the parts themselves. You find transition and change, continuity and discontinuity, routine and surprise, multiple unities of manifold kinds, realities of various stuffs and powers u2014 all connected with one another by transitions from next to next, each standing away, alone, unmitigated, unincludable, now from some things, now from others. You find movement. You find beginnings, you find endings, you find continuity and you find transformation. In a word, the world of the daily life which we touch and see and hear and smell and taste, which we struggle against and work together with, need be none other than we experience it to be. Karl Blossfeldt u2014 Urformen Der Kunst,content_no_html: MARBLE AND BLOOD {image 5 scale=60} {image 6 scale=60} {image 1} Horace Kallen Suppose you take the world as it comes. Suppose you take the world at its face value. Then reality is what you know it as. You find the substantive parts of it connected by relations as truly present and as existent as the parts themselves. You find transition and change, continuity and discontinuity, routine and surprise, multiple unities of manifold kinds, realities of various stuffs and powers u2014 all connected with one another by transitions from next to next, each standing away, alone, unmitigated, unincludable, now from some things, now from others. You find movement. You find beginnings, you find endings, you find continuity and you find transformation. In a word, the world of the daily life which we touch and see and hear and smell and taste, which we struggle against and work together with, need be none other than we experience it to be. {image 14} {image 26} {image 25} {image 23} {image 21} {image 20} {image 19} {image 18} {image 12} {image 11} {image 9} Karl Blossfeldt u2014 Urformen Der Kunst,content_partial_html: MARBLE AND BLOOD Horace Kallen Suppose you take the world as it comes. Suppose you take the world at its face value. Then reality is what you know it as. You find the substantive parts of it connected by relations as truly present and as existent as the parts themselves. You find transition and change, continuity and discontinuity, routine and surprise, multiple unities of manifold kinds, realities of various stuffs and powers u2014 all connected with one another by transitions from next to next, each standing away, alone, unmitigated, unincludable, now from some things, now from others. You find movement. You find beginnings, you find endings, you find continuity and you find transformation. In a word, the world of the daily life which we touch and see and hear and smell and taste, which we struggle against and work together with, need be none other than we experience it to be. 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We have no right ... to believe that the objects of so-called external perception really exist as they appear to us. Indeed, they demonstrably do not exist outside of us. In contrast to that which really and truly exists, they are mere phenomena. William Carlos Williams This is the trap u2014 either what we seek is within the bounds of the understanding or beyond it. If outside it does not exist for us, much less for our imagination; if inside it is bounded by that and must be so deufb01ned before it can be conceived u2014 this precedes all further progress. The Embodiment of Knowledge Laconic, 1987 Sail/Waves 1 u2014 postcard design Let Perish the Money Tyrants 1982 Peace to the Cottages u2014 War to the Arts Council 1982 ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,content_no_html:Ian Hamilton Finlay SERPENTS AND SKULLS {image 1} Zephyr INS 61975u20136 {image 2} Shepherd Lad KY 2161975u20136 Franz Brentano The objects of sensory experience are deceptive ... We have no right ... to believe that the objects of so-called external perception really exist as they appear to us. Indeed, they demonstrably do not exist outside of us. In contrast to that which really and truly exists, they are mere phenomena. William Carlos Williams This is the trap u2014 either what we seek is within the bounds of the understanding or beyond it. If outside it does not exist for us, much less for our imagination; if inside it is bounded by that and must be so deufb01ned before it can be conceived u2014 this precedes all further progress. The Embodiment of Knowledge {image 3} Laconic, 1987 {image 4} Sail/Waves 1 u2014 postcard design {image 5} Let Perish the Money Tyrants 1982 {image 6} Peace to the Cottages u2014 War to the Arts Council 1982 ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,content_partial_html:Ian Hamilton Finlay SERPENTS AND SKULLS Zephyr INS 61975u20136 Shepherd Lad KY 2161975u20136 Franz Brentano The objects of sensory experience are deceptive ... We have no right ... to believe that the objects of so-called external perception really exist as they appear to us. Indeed, they demonstrably do not exist outside of us. In contrast to that which really and truly exists, they are mere phenomena. William Carlos Williams This is the trap u2014 either what we seek is within the bounds of the understanding or beyond it. If outside it does not exist for us, much less for our imagination; if inside it is bounded by that and must be so deufb01ned before it can be conceived u2014 this precedes all further progress. The Embodiment of Knowledge Laconic, 1987 Sail/Waves 1 u2014 postcard design Let Perish the Money Tyrants 1982 Peace to the Cottages u2014 War to the Arts Council 1982 ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,thumb:7216007,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:7216007,project_id:1470116,image_ref:{image 1},name:OBS-Art-Graphic-GGXG123213.jpg,hash:812bd4410de2a9d44f33b5cc7f6ba2a93969ef915acde94875291067d46ba034,width:1228,height:1115,sort:0,date_added:1491847045},stored:{ratio:90.798045602606,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:true,sort:146,index:0,set_id:1470111,page_options:{using_local_css:false,local_css:[local-style=1470116] .container_width { } [local-style=1470116] body { background-color: initial /*!variable_defaults*/; } [local-style=1470116] .backdrop { } [local-style=1470116] .page { } [local-style=1470116] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=1470116] .content_padding { } [data-predefined-style= rue] [local-style=1470116] bodycopy { } [data-predefined-style= rue] [local-style=1470116] bodycopy a { } [data-predefined-style= rue] [local-style=1470116] h1 { } [data-predefined-style= rue] [local-style=1470116] h1 a { } [data-predefined-style= rue] [local-style=1470116] h2 { } [data-predefined-style= rue] [local-style=1470116] h2 a { } [data-predefined-style= rue] [local-style=1470116] small { } [data-predefined-style= rue] [local-style=1470116] small a { },local_layout_options:{split_layout:false,split_responsive:false,full_height:false,advanced_padding_enabled:false,page_container_bgcolor:,show_local_thumbs:false,filter_type:all,filter_tags:,random_limit:999,filter_set:Select set,page_bgcolor:}},set_open:false,images:[{id:7216007,project_id:1470116,image_ref:{image 1},name:OBS-Art-Graphic-GGXG123213.jpg,hash:812bd4410de2a9d44f33b5cc7f6ba2a93969ef915acde94875291067d46ba034,width:1228,height:1115,sort:0,date_added:1511696249},{id:7216009,project_id:1470116,image_ref:{image 2},name:c.jpg,hash:104920e732507b46e2849143273154336b6bb36f8d1e70e189823026c1210794,width:1228,height:1115,sort:0,date_added:1511696249},{id:7216010,project_id:1470116,image_ref:{image 3},name:P77477_10.jpg,hash:17029b49433a74689e694af3b7f0544cc9738d702668764339957a0741d0278b,width:1179,height:1536,sort:0,date_added:1511696249},{id:7216011,project_id:1470116,image_ref:{image 4},name:TGA-20012-45-1_10.jpg,hash:e967802649c2330d5cd8a7c3c6c35ac393508d03c8505ca1e78c95acd3e80de0,width:1474,height:1042,sort:0,date_added:1511696249},{id:7216013,project_id:1470116,image_ref:{image 5},name:c3.jpg,hash:424ede73299639de9fa5f81d13c3204a65edcb37359cac71d40f1634f9573436,width:1418,height:993,sort:0,date_added:1511696249},{id:7216014,project_id:1470116,image_ref:{image 6},name:c2.jpg,hash:c7753a8d4f28ac0cf8e7162ceaf94e751d68435b6acaec882c62a1536e06ecee,width:1418,height:996,sort:0,date_added:1511696249}],backdrop:null},{id:1470118,site_id:89744,project_url:In-the-Labyrinth,direct_link:https://thecurrentorder.net/In-the-Labyrinth,type:page,title:In the Labyrinth,title_no_html:In the Labyrinth,tags:,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:IN THE LABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two...,content: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. Wherever she is, she keeps quite comfortable.  Bernd and Hilla Becher Karl Blossfeldt  ,content_no_html: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. {image 2} {image 12} {image 3} Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. Wherever she is, she keeps quite comfortable.  {image 1} Bernd and Hilla Becher {image 21} Karl Blossfeldt  ,content_partial_html: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. Wherever she is, she keeps quite comfortable.  Bernd and Hilla Becher Karl Blossfeldt  ,thumb:7216015,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:7216015,project_id:1470118,image_ref:{image 1},name:1.jpg,hash:3ddb14931a69ac5dc7fbce2523f83dc2f1003ac6e526efb6188f231fec303a84,width:1407,height:1927,sort:0,date_added:1492193068},stored:{ratio:136.95806680881,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:true,sort:147,index:0,set_id:1470111,page_options:{using_local_css:false,local_css:[local-style=1470118] .container_width { } [local-style=1470118] body { background-color: initial /*!variable_defaults*/; } [local-style=1470118] .backdrop { } [local-style=1470118] .page { } [local-style=1470118] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=1470118] .content_padding { } [data-predefined-style= rue] [local-style=1470118] bodycopy { } [data-predefined-style= rue] [local-style=1470118] bodycopy a { } [data-predefined-style= rue] [local-style=1470118] h1 { } [data-predefined-style= rue] [local-style=1470118] h1 a { } [data-predefined-style= rue] [local-style=1470118] h2 { } [data-predefined-style= rue] [local-style=1470118] h2 a { } [data-predefined-style= rue] [local-style=1470118] small { } [data-predefined-style= rue] [local-style=1470118] small a { },local_layout_options:{split_layout:false,split_responsive:false,full_height:false,advanced_padding_enabled:false,page_container_bgcolor:,show_local_thumbs:false,filter_type:all,filter_tags:,random_limit:999,filter_set:Select set,page_bgcolor:}},set_open:false,images:[{id:7216015,project_id:1470118,image_ref:{image 1},name:1.jpg,hash:3ddb14931a69ac5dc7fbce2523f83dc2f1003ac6e526efb6188f231fec303a84,width:1407,height:1927,sort:0,date_added:1511696250},{id:7216016,project_id:1470118,image_ref:{image 2},name:4.jpg,hash:08a6a8461ee234c62e54c73ff96982d8f4a29ce8d35fe106950870834f27e711,width:2292,height:3000,sort:0,date_added:1511696250},{id:7216018,project_id:1470118,image_ref:{image 3},name:5.jpg,hash:bdf9f255b1611a4e981c947eb7ee114ce8fc81177d2b4b673a462285ebeeae0f,width:2290,height:3000,sort:0,date_added:1511696250},{id:7216019,project_id:1470118,image_ref:{image 4},name:2.jpg,hash:73c1823ffecf6fedcfa2a4cab51bb1672ca011dfb1893230a8bc5b4f39e3ba79,width:2275,height:3000,sort:0,date_added:1511696250},{id:7216021,project_id:1470118,image_ref:{image 5},name:3.jpg,hash:df570b6bed5ee31c7d7e09fbbc42cf045a45d1bde16548e08c159365cc5b0dc9,width:2267,height:3000,sort:0,date_added:1511696250},{id:7216022,project_id:1470118,image_ref:{image 12},name:bl5.jpg,hash:b0039c07c2d54e1060e444bd9aa9e76cdbf9abe268ee98b2bdc338c638379ce8,width:790,height:1000,sort:0,date_added:1511696250},{id:7216023,project_id:1470118,image_ref:{image 21},name:c.jpg,hash:a7e05c1870e780d32c7a5e2aa046ee992a327333b4d0ce99ee98dd6447b05652,width:736,height:1008,sort:0,date_added:1511696250}],backdrop:null},{id:1470121,site_id:89744,project_url:Info,direct_link:https://thecurrentorder.net/Info,type:page,title:Info,title_no_html:Info,tags:,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:true,is_set:false,stack:false,excerpt:ue126ufe0eufe0eufe0eu00a0LAX ue126ufe0eufe0eufe0e AMSu00a0 ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd...,content: ue126ufe0eufe0eufe0e LAX ue126ufe0eufe0eufe0e AMS  ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd Beekstraat 202 1118 CP Schiphol, Netherlands J.F. Kennedy Airport u2014 International Queens, NY 11430 ,content_no_html: ue126ufe0eufe0eufe0e LAX ue126ufe0eufe0eufe0e AMS  ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd Beekstraat 202 1118 CP Schiphol, Netherlands J.F. Kennedy Airport u2014 International Queens, NY 11430 ,content_partial_html: ue126ufe0eufe0eufe0e LAX ue126ufe0eufe0eufe0e AMS  ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd Beekstraat 202 1118 CP Schiphol, Netherlands J.F. Kennedy Airport u2014 International Queens, NY 11430 ,thumb:,thumb_meta:null,thumb_is_visible:true,sort:149,index:0,set_id:0,page_options:{using_local_css:true,local_css:[local-style=1470121] .container_width { width: 100% /*!variable_defaults*/; } [local-style=1470121] body { } [local-style=1470121] .backdrop { } [local-style=1470121] .page { min-height: 100vh /*!page_height_100vh*/; } [local-style=1470121] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=1470121] .content_padding { padding-top: 3rem /*!main_margin*/; padding-bottom: 3rem /*!main_margin*/; padding-left: 3rem /*!main_margin*/; padding-right: 3rem /*!main_margin*/; } [data-predefined-style= rue] [local-style=1470121] bodycopy { } [data-predefined-style= rue] [local-style=1470121] bodycopy a { } [data-predefined-style= rue] [local-style=1470121] h1 { } [data-predefined-style= rue] [local-style=1470121] h1 a { } [data-predefined-style= rue] [local-style=1470121] h2 { } [data-predefined-style= rue] [local-style=1470121] h2 a { } [data-predefined-style= rue] [local-style=1470121] small { } [data-predefined-style= rue] [local-style=1470121] small a { } [local-style=1470121] .container { align-items: flex-start /*!vertical_top*/; -webkit-align-items: flex-start /*!vertical_top*/; text-align: center /*!text_center*/; },local_layout_options:{split_layout:false,split_responsive:false,full_height:true,advanced_padding_enabled:false,page_container_bgcolor:,show_local_thumbs:false,filter_type:all,filter_tags:,random_limit:999,page_bgcolor:,filter_set:Select set,content_width:100,main_margin:3,main_margin_top:3,main_margin_right:3,main_margin_bottom:3,main_margin_left:3,text_alignment:text_center}},set_open:false,images:[],backdrop:{id:205246,site_id:89744,page_id:1470121,backdrop_id:13,backdrop_path:gmaps,is_active:true,data:{address:The+Bauhaus+Dessau,mapTypeId:roadmap,terrain:false,labels:false,roads:true,transit:false,disableMapInteraction:true,hideUI:true,zoom_level:17,requires_webgl:false,mapConfig:{styles:[{elementType:labels,stylers:[{visibility:off}]},{featureType:administrative,elementType:geometry,stylers:[{visibility:off}]},{featureType: oad,stylers:[{visibility:on}]},{featureType: ransit,stylers:[{visibility:off}]}],disableDefaultUI:true,disableMapInteraction:true,streetViewEnabled:false,mapTypeId: oadmap,zoom:17,hideUI:true,center:{lat:51.83870851446949,lng:12.225436097869874},draggable:true,scrollwheel:false,disableDoubleClickZoom:false,keyboardShortcuts:true,zoomControl:false,streetViewOptions:{position:{lat:34.101797,lng:-118.34096699999998},pov:{heading:0,pitch:0,zoom:1}},apiKey:AIzaSyAuHt0V0nJ5qTiUoWwsOwDfkTv0n1PJUNA}}}},{id:1470041,site_id:89744,project_url:Information-1,direct_link:https://thecurrentorder.net/Information-1,type:page,title:Information,title_no_html:Information,tags:,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:Information PHOTO BYu00a0ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by...,content:Information PHOTO BY ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by Racter I was thinking as you entered the room just now how slyly your requirements are manifested. Here we find ourselves, nose to nose as it were, considering things in spectacular ways, ways untold even by my private managers. Hot and torpid, our thoughts revolve endlessly in a kind of maniacal abstraction, an abstraction so involuted, so dangerously valiant, that my own energies seem perilously close to exhaustion, to morbid termination. Well, have we indeed reached a crisis? Which way do we turn? Which way do we travel? My aspect is one of molting. Birds molt. Feathers fall away. Birds cackle and fly, winging up into troubled skies. Doubtless my changes are matched by your own. You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. Yet a leotard, a commissioner, a single hoard, all are understandable in their own fashion. In that concept lies the appalling truth. ,content_no_html:Information {image 3} PHOTO BY ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by Racter I was thinking as you entered the room just now how slyly your requirements are manifested. Here we find ourselves, nose to nose as it were, considering things in spectacular ways, ways untold even by my private managers. Hot and torpid, our thoughts revolve endlessly in a kind of maniacal abstraction, an abstraction so involuted, so dangerously valiant, that my own energies seem perilously close to exhaustion, to morbid termination. Well, have we indeed reached a crisis? Which way do we turn? Which way do we travel? My aspect is one of molting. Birds molt. Feathers fall away. Birds cackle and fly, winging up into troubled skies. Doubtless my changes are matched by your own. You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. Yet a leotard, a commissioner, a single hoard, all are understandable in their own fashion. In that concept lies the appalling truth. ,content_partial_html:Information PHOTO BY ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by Racter I was thinking as you entered the room just now how slyly your requirements are manifested. Here we find ourselves, nose to nose as it were, considering things in spectacular ways, ways untold even by my private managers. Hot and torpid, our thoughts revolve endlessly in a kind of maniacal abstraction, an abstraction so involuted, so dangerously valiant, that my own energies seem perilously close to exhaustion, to morbid termination. Well, have we indeed reached a crisis? Which way do we turn? Which way do we travel? My aspect is one of molting. Birds molt. Feathers fall away. Birds cackle and fly, winging up into troubled skies. Doubtless my changes are matched by your own. You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. Yet a leotard, a commissioner, a single hoard, all are understandable in their own fashion. 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ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,content_no_html:Ian Hamilton Finlay SERPENTS AND SKULLS {image 1} Zephyr INS 61975u20136 {image 2} Shepherd Lad KY 2161975u20136 Franz Brentano The objects of sensory experience are deceptive ... We have no right ... to believe that the objects of so-called external perception really exist as they appear to us. Indeed, they demonstrably do not exist outside of us. In contrast to that which really and truly exists, they are mere phenomena. William Carlos Williams This is the trap u2014 either what we seek is within the bounds of the understanding or beyond it. If outside it does not exist for us, much less for our imagination; if inside it is bounded by that and must be so deufb01ned before it can be conceived u2014 this precedes all further progress. The Embodiment of Knowledge {image 3} Laconic, 1987 {image 4} Sail/Waves 1 u2014 postcard design {image 5} Let Perish the Money Tyrants 1982 {image 6} Peace to the Cottages u2014 War to the Arts Council 1982 ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,content_partial_html:Ian Hamilton Finlay SERPENTS AND SKULLS Zephyr INS 61975u20136 Shepherd Lad KY 2161975u20136 Franz Brentano The objects of sensory experience are deceptive ... We have no right ... to believe that the objects of so-called external perception really exist as they appear to us. Indeed, they demonstrably do not exist outside of us. In contrast to that which really and truly exists, they are mere phenomena. William Carlos Williams This is the trap u2014 either what we seek is within the bounds of the understanding or beyond it. If outside it does not exist for us, much less for our imagination; if inside it is bounded by that and must be so deufb01ned before it can be conceived u2014 this precedes all further progress. The Embodiment of Knowledge Laconic, 1987 Sail/Waves 1 u2014 postcard design Let Perish the Money Tyrants 1982 Peace to the Cottages u2014 War to the Arts Council 1982 ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. 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The space between Au2026u2019s left hand and Francku2019s right hand is approximately two...,content: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. Wherever she is, she keeps quite comfortable.  Bernd and Hilla Becher Karl Blossfeldt  ,content_no_html: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. {image 2} {image 12} {image 3} Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. Wherever she is, she keeps quite comfortable.  {image 1} Bernd and Hilla Becher {image 21} Karl Blossfeldt  ,content_partial_html: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. 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Kennedy Airport u2014 International Queens, NY 11430 ,content_no_html: ue126ufe0eufe0eufe0e LAX ue126ufe0eufe0eufe0e AMS  ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd Beekstraat 202 1118 CP Schiphol, Netherlands J.F. Kennedy Airport u2014 International Queens, NY 11430 ,content_partial_html: ue126ufe0eufe0eufe0e LAX ue126ufe0eufe0eufe0e AMS  ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd Beekstraat 202 1118 CP Schiphol, Netherlands J.F. 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Here we find ourselves, nose to nose as it were, considering things in spectacular ways, ways untold even by my private managers. Hot and torpid, our thoughts revolve endlessly in a kind of maniacal abstraction, an abstraction so involuted, so dangerously valiant, that my own energies seem perilously close to exhaustion, to morbid termination. Well, have we indeed reached a crisis? Which way do we turn? Which way do we travel? My aspect is one of molting. Birds molt. Feathers fall away. Birds cackle and fly, winging up into troubled skies. Doubtless my changes are matched by your own. You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. Yet a leotard, a commissioner, a single hoard, all are understandable in their own fashion. In that concept lies the appalling truth. ,content_no_html:Information {image 3} PHOTO BY ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by Racter I was thinking as you entered the room just now how slyly your requirements are manifested. Here we find ourselves, nose to nose as it were, considering things in spectacular ways, ways untold even by my private managers. Hot and torpid, our thoughts revolve endlessly in a kind of maniacal abstraction, an abstraction so involuted, so dangerously valiant, that my own energies seem perilously close to exhaustion, to morbid termination. Well, have we indeed reached a crisis? Which way do we turn? Which way do we travel? My aspect is one of molting. Birds molt. Feathers fall away. Birds cackle and fly, winging up into troubled skies. Doubtless my changes are matched by your own. You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. Yet a leotard, a commissioner, a single hoard, all are understandable in their own fashion. In that concept lies the appalling truth. ,content_partial_html:Information PHOTO BY ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by Racter I was thinking as you entered the room just now how slyly your requirements are manifested. Here we find ourselves, nose to nose as it were, considering things in spectacular ways, ways untold even by my private managers. Hot and torpid, our thoughts revolve endlessly in a kind of maniacal abstraction, an abstraction so involuted, so dangerously valiant, that my own energies seem perilously close to exhaustion, to morbid termination. Well, have we indeed reached a crisis? Which way do we turn? Which way do we travel? My aspect is one of molting. Birds molt. Feathers fall away. Birds cackle and fly, winging up into troubled skies. Doubtless my changes are matched by your own. You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. Yet a leotard, a commissioner, a single hoard, all are understandable in their own fashion. 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Zion Lacroixue04bufe0eu00a0zionlacroix.com AI: u00a0 u00a0 Are you a boy or a ? User: u00a0 I donu2019t know. AI: u00a0u00a0 u00a0If you could be ANYTHING what would...,content:Doga Vurgun a.k.a. Zion Lacroixue04bufe0e zionlacroix.com AI:     Are you a boy or a ?User:   I donu2019t know.AI:     If you could be ANYTHING what would you be?User:   Beautiful.AI:     And how can I ist you? ,content_no_html:Doga Vurgun a.k.a. Zion Lacroixue04bufe0e zionlacroix.com AI:     Are you a boy or a ?User:   I donu2019t know.AI:     If you could be ANYTHING what would you be?User:   Beautiful.AI:     And how can I ist you? {image 2} {image 3} {image 4} {image 5} ,content_partial_html:Doga Vurgun a.k.a. 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The Current Order

Ghost Molecules Paintings by Michelle Nocon 2018 The being and the un-being, the universe and the molecule, matter and antimater... We are part of the...

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a Wave,title_no_html:Reading a Wave,tags:Photography, Bodybuilding, 2017,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:READING A WAVE He sees a wave rise in the distance, grow, approach, change form and color, fold over itself, break, vanish, and flow again. Isolating one...,content:READING AWAVE He sees a wave rise in the distance, grow, approach, change form and color, fold over itself, break, vanish, and flow again. Isolating one wave is not easy, separating it from the wave immediately following, which seems to push it and at times overtakes it and sweeps it away; and it is no easier to separate that one wave from the preceding wave, which seems to drag it toward the shore, unless it turns against the following wave, as if to arrest it. April 2017 Text:  Mr. Palomar; Italo Calvino Image: Karl Blossfeldt; Urformen der Kunst Then, if you consider the breadth of the wave, parallel to the shore, it is hard to decide where the advancing front extends regularly and where it is separated and segmented into independent waves, distinguished by their speed, shape, force, direction. In other words, you cannot observe a wave without bearing in mind the complex features that concur in shaping it and the other, equally complex ones that the wave itself originates. April 2017 These aspects vary constantly, so each wave is different from another wave, even if not immediately adjacent or successive; in other words, there are some forms and sequences that are repeated, though irregularly distributed in space and time. Since what Mr. Palomar means to do at this moment is simply see a wave u2014 that is, to perceive all its simultaneous components without overlooking any of them u2014 his gaze will dwell on the movement of the wave that strikes the shore until it can record aspects not previously perceived; as soon as he notices that the images are being repeated, he will know he has seen everything he wanted to see and he will be able to stop. ,content_no_html:READING AWAVE He sees a wave rise in the distance, grow, approach, change form and color, fold over itself, break, vanish, and flow again. Isolating one wave is not easy, separating it from the wave immediately following, which seems to push it and at times overtakes it and sweeps it away; and it is no easier to separate that one wave from the preceding wave, which seems to drag it toward the shore, unless it turns against the following wave, as if to arrest it. April 2017 {image 1} Text:  Mr. Palomar; Italo Calvino Image: Karl Blossfeldt; Urformen der Kunst {image 3} Then, if you consider the breadth of the wave, parallel to the shore, it is hard to decide where the advancing front extends regularly and where it is separated and segmented into independent waves, distinguished by their speed, shape, force, direction. In other words, you cannot observe a wave without bearing in mind the complex features that concur in shaping it and the other, equally complex ones that the wave itself originates. April 2017 These aspects vary constantly, so each wave is different from another wave, even if not immediately adjacent or successive; in other words, there are some forms and sequences that are repeated, though irregularly distributed in space and time. Since what Mr. Palomar means to do at this moment is simply see a wave u2014 that is, to perceive all its simultaneous components without overlooking any of them u2014 his gaze will dwell on the movement of the wave that strikes the shore until it can record aspects not previously perceived; as soon as he notices that the images are being repeated, he will know he has seen everything he wanted to see and he will be able to stop. {image 4} ,content_partial_html:READING AWAVE He sees a wave rise in the distance, grow, approach, change form and color, fold over itself, break, vanish, and flow again. Isolating one wave is not easy, separating it from the wave immediately following, which seems to push it and at times overtakes it and sweeps it away; and it is no easier to separate that one wave from the preceding wave, which seems to drag it toward the shore, unless it turns against the following wave, as if to arrest it. April 2017 Text:  Mr. Palomar; Italo Calvino Image: Karl Blossfeldt; Urformen der Kunst Then, if you consider the breadth of the wave, parallel to the shore, it is hard to decide where the advancing front extends regularly and where it is separated and segmented into independent waves, distinguished by their speed, shape, force, direction. In other words, you cannot observe a wave without bearing in mind the complex features that concur in shaping it and the other, equally complex ones that the wave itself originates. April 2017 These aspects vary constantly, so each wave is different from another wave, even if not immediately adjacent or successive; in other words, there are some forms and sequences that are repeated, though irregularly distributed in space and time. 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Suppose you take the world at its face value. Then...,content: MARBLE AND BLOOD Horace Kallen Suppose you take the world as it comes. Suppose you take the world at its face value. Then reality is what you know it as. You find the substantive parts of it connected by relations as truly present and as existent as the parts themselves. You find transition and change, continuity and discontinuity, routine and surprise, multiple unities of manifold kinds, realities of various stuffs and powers u2014 all connected with one another by transitions from next to next, each standing away, alone, unmitigated, unincludable, now from some things, now from others. You find movement. You find beginnings, you find endings, you find continuity and you find transformation. In a word, the world of the daily life which we touch and see and hear and smell and taste, which we struggle against and work together with, need be none other than we experience it to be. Karl Blossfeldt u2014 Urformen Der Kunst,content_no_html: MARBLE AND BLOOD {image 5 scale=60} {image 6 scale=60} {image 1} Horace Kallen Suppose you take the world as it comes. Suppose you take the world at its face value. Then reality is what you know it as. You find the substantive parts of it connected by relations as truly present and as existent as the parts themselves. You find transition and change, continuity and discontinuity, routine and surprise, multiple unities of manifold kinds, realities of various stuffs and powers u2014 all connected with one another by transitions from next to next, each standing away, alone, unmitigated, unincludable, now from some things, now from others. You find movement. You find beginnings, you find endings, you find continuity and you find transformation. In a word, the world of the daily life which we touch and see and hear and smell and taste, which we struggle against and work together with, need be none other than we experience it to be. {image 14} {image 26} {image 25} {image 23} {image 21} {image 20} {image 19} {image 18} {image 12} {image 11} {image 9} Karl Blossfeldt u2014 Urformen Der Kunst,content_partial_html: MARBLE AND BLOOD Horace Kallen Suppose you take the world as it comes. Suppose you take the world at its face value. Then reality is what you know it as. You find the substantive parts of it connected by relations as truly present and as existent as the parts themselves. You find transition and change, continuity and discontinuity, routine and surprise, multiple unities of manifold kinds, realities of various stuffs and powers u2014 all connected with one another by transitions from next to next, each standing away, alone, unmitigated, unincludable, now from some things, now from others. You find movement. You find beginnings, you find endings, you find continuity and you find transformation. In a word, the world of the daily life which we touch and see and hear and smell and taste, which we struggle against and work together with, need be none other than we experience it to be. 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We have no right ... to believe that the objects of so-called external perception really exist as they appear to us. Indeed, they demonstrably do not exist outside of us. In contrast to that which really and truly exists, they are mere phenomena. William Carlos Williams This is the trap u2014 either what we seek is within the bounds of the understanding or beyond it. If outside it does not exist for us, much less for our imagination; if inside it is bounded by that and must be so deufb01ned before it can be conceived u2014 this precedes all further progress. The Embodiment of Knowledge Laconic, 1987 Sail/Waves 1 u2014 postcard design Let Perish the Money Tyrants 1982 Peace to the Cottages u2014 War to the Arts Council 1982 ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,content_no_html:Ian Hamilton Finlay SERPENTS AND SKULLS {image 1} Zephyr INS 61975u20136 {image 2} Shepherd Lad KY 2161975u20136 Franz Brentano The objects of sensory experience are deceptive ... We have no right ... to believe that the objects of so-called external perception really exist as they appear to us. Indeed, they demonstrably do not exist outside of us. In contrast to that which really and truly exists, they are mere phenomena. William Carlos Williams This is the trap u2014 either what we seek is within the bounds of the understanding or beyond it. If outside it does not exist for us, much less for our imagination; if inside it is bounded by that and must be so deufb01ned before it can be conceived u2014 this precedes all further progress. The Embodiment of Knowledge {image 3} Laconic, 1987 {image 4} Sail/Waves 1 u2014 postcard design {image 5} Let Perish the Money Tyrants 1982 {image 6} Peace to the Cottages u2014 War to the Arts Council 1982 ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,content_partial_html:Ian Hamilton Finlay SERPENTS AND SKULLS Zephyr INS 61975u20136 Shepherd Lad KY 2161975u20136 Franz Brentano The objects of sensory experience are deceptive ... We have no right ... to believe that the objects of so-called external perception really exist as they appear to us. Indeed, they demonstrably do not exist outside of us. In contrast to that which really and truly exists, they are mere phenomena. William Carlos Williams This is the trap u2014 either what we seek is within the bounds of the understanding or beyond it. If outside it does not exist for us, much less for our imagination; if inside it is bounded by that and must be so deufb01ned before it can be conceived u2014 this precedes all further progress. The Embodiment of Knowledge Laconic, 1987 Sail/Waves 1 u2014 postcard design Let Perish the Money Tyrants 1982 Peace to the Cottages u2014 War to the Arts Council 1982 ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,thumb:7216007,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:7216007,project_id:1470116,image_ref:{image 1},name:OBS-Art-Graphic-GGXG123213.jpg,hash:812bd4410de2a9d44f33b5cc7f6ba2a93969ef915acde94875291067d46ba034,width:1228,height:1115,sort:0,date_added:1491847045},stored:{ratio:90.798045602606,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:true,sort:146,index:0,set_id:1470111,page_options:{using_local_css:false,local_css:[local-style=1470116] .container_width { } [local-style=1470116] body { background-color: initial /*!variable_defaults*/; } [local-style=1470116] .backdrop { } [local-style=1470116] .page { } [local-style=1470116] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=1470116] .content_padding { } [data-predefined-style= rue] [local-style=1470116] bodycopy { } [data-predefined-style= rue] [local-style=1470116] bodycopy a { } [data-predefined-style= rue] [local-style=1470116] h1 { } [data-predefined-style= rue] [local-style=1470116] h1 a { } [data-predefined-style= rue] [local-style=1470116] h2 { } [data-predefined-style= rue] [local-style=1470116] h2 a { } [data-predefined-style= rue] [local-style=1470116] small { } [data-predefined-style= rue] [local-style=1470116] small a { },local_layout_options:{split_layout:false,split_responsive:false,full_height:false,advanced_padding_enabled:false,page_container_bgcolor:,show_local_thumbs:false,filter_type:all,filter_tags:,random_limit:999,filter_set:Select set,page_bgcolor:}},set_open:false,images:[{id:7216007,project_id:1470116,image_ref:{image 1},name:OBS-Art-Graphic-GGXG123213.jpg,hash:812bd4410de2a9d44f33b5cc7f6ba2a93969ef915acde94875291067d46ba034,width:1228,height:1115,sort:0,date_added:1511696249},{id:7216009,project_id:1470116,image_ref:{image 2},name:c.jpg,hash:104920e732507b46e2849143273154336b6bb36f8d1e70e189823026c1210794,width:1228,height:1115,sort:0,date_added:1511696249},{id:7216010,project_id:1470116,image_ref:{image 3},name:P77477_10.jpg,hash:17029b49433a74689e694af3b7f0544cc9738d702668764339957a0741d0278b,width:1179,height:1536,sort:0,date_added:1511696249},{id:7216011,project_id:1470116,image_ref:{image 4},name:TGA-20012-45-1_10.jpg,hash:e967802649c2330d5cd8a7c3c6c35ac393508d03c8505ca1e78c95acd3e80de0,width:1474,height:1042,sort:0,date_added:1511696249},{id:7216013,project_id:1470116,image_ref:{image 5},name:c3.jpg,hash:424ede73299639de9fa5f81d13c3204a65edcb37359cac71d40f1634f9573436,width:1418,height:993,sort:0,date_added:1511696249},{id:7216014,project_id:1470116,image_ref:{image 6},name:c2.jpg,hash:c7753a8d4f28ac0cf8e7162ceaf94e751d68435b6acaec882c62a1536e06ecee,width:1418,height:996,sort:0,date_added:1511696249}],backdrop:null},{id:1470118,site_id:89744,project_url:In-the-Labyrinth,direct_link:https://thecurrentorder.net/In-the-Labyrinth,type:page,title:In the Labyrinth,title_no_html:In the Labyrinth,tags:,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:IN THE LABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two...,content: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. Wherever she is, she keeps quite comfortable.  Bernd and Hilla Becher Karl Blossfeldt  ,content_no_html: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. {image 2} {image 12} {image 3} Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. Wherever she is, she keeps quite comfortable.  {image 1} Bernd and Hilla Becher {image 21} Karl Blossfeldt  ,content_partial_html: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. Wherever she is, she keeps quite comfortable.  Bernd and Hilla Becher Karl Blossfeldt  ,thumb:7216015,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:7216015,project_id:1470118,image_ref:{image 1},name:1.jpg,hash:3ddb14931a69ac5dc7fbce2523f83dc2f1003ac6e526efb6188f231fec303a84,width:1407,height:1927,sort:0,date_added:1492193068},stored:{ratio:136.95806680881,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:true,sort:147,index:0,set_id:1470111,page_options:{using_local_css:false,local_css:[local-style=1470118] .container_width { } [local-style=1470118] body { background-color: initial /*!variable_defaults*/; } [local-style=1470118] .backdrop { } [local-style=1470118] .page { } [local-style=1470118] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=1470118] .content_padding { } [data-predefined-style= rue] [local-style=1470118] bodycopy { } [data-predefined-style= rue] [local-style=1470118] bodycopy a { } [data-predefined-style= rue] [local-style=1470118] h1 { } [data-predefined-style= rue] [local-style=1470118] h1 a { } [data-predefined-style= rue] [local-style=1470118] h2 { } [data-predefined-style= rue] [local-style=1470118] h2 a { } [data-predefined-style= rue] [local-style=1470118] small { } [data-predefined-style= rue] [local-style=1470118] small a { },local_layout_options:{split_layout:false,split_responsive:false,full_height:false,advanced_padding_enabled:false,page_container_bgcolor:,show_local_thumbs:false,filter_type:all,filter_tags:,random_limit:999,filter_set:Select set,page_bgcolor:}},set_open:false,images:[{id:7216015,project_id:1470118,image_ref:{image 1},name:1.jpg,hash:3ddb14931a69ac5dc7fbce2523f83dc2f1003ac6e526efb6188f231fec303a84,width:1407,height:1927,sort:0,date_added:1511696250},{id:7216016,project_id:1470118,image_ref:{image 2},name:4.jpg,hash:08a6a8461ee234c62e54c73ff96982d8f4a29ce8d35fe106950870834f27e711,width:2292,height:3000,sort:0,date_added:1511696250},{id:7216018,project_id:1470118,image_ref:{image 3},name:5.jpg,hash:bdf9f255b1611a4e981c947eb7ee114ce8fc81177d2b4b673a462285ebeeae0f,width:2290,height:3000,sort:0,date_added:1511696250},{id:7216019,project_id:1470118,image_ref:{image 4},name:2.jpg,hash:73c1823ffecf6fedcfa2a4cab51bb1672ca011dfb1893230a8bc5b4f39e3ba79,width:2275,height:3000,sort:0,date_added:1511696250},{id:7216021,project_id:1470118,image_ref:{image 5},name:3.jpg,hash:df570b6bed5ee31c7d7e09fbbc42cf045a45d1bde16548e08c159365cc5b0dc9,width:2267,height:3000,sort:0,date_added:1511696250},{id:7216022,project_id:1470118,image_ref:{image 12},name:bl5.jpg,hash:b0039c07c2d54e1060e444bd9aa9e76cdbf9abe268ee98b2bdc338c638379ce8,width:790,height:1000,sort:0,date_added:1511696250},{id:7216023,project_id:1470118,image_ref:{image 21},name:c.jpg,hash:a7e05c1870e780d32c7a5e2aa046ee992a327333b4d0ce99ee98dd6447b05652,width:736,height:1008,sort:0,date_added:1511696250}],backdrop:null},{id:1470121,site_id:89744,project_url:Info,direct_link:https://thecurrentorder.net/Info,type:page,title:Info,title_no_html:Info,tags:,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:true,is_set:false,stack:false,excerpt:ue126ufe0eufe0eufe0eu00a0LAX ue126ufe0eufe0eufe0e AMSu00a0 ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd...,content: ue126ufe0eufe0eufe0e LAX ue126ufe0eufe0eufe0e AMS  ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd Beekstraat 202 1118 CP Schiphol, Netherlands J.F. Kennedy Airport u2014 International Queens, NY 11430 ,content_no_html: ue126ufe0eufe0eufe0e LAX ue126ufe0eufe0eufe0e AMS  ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd Beekstraat 202 1118 CP Schiphol, Netherlands J.F. Kennedy Airport u2014 International Queens, NY 11430 ,content_partial_html: ue126ufe0eufe0eufe0e LAX ue126ufe0eufe0eufe0e AMS  ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd Beekstraat 202 1118 CP Schiphol, Netherlands J.F. Kennedy Airport u2014 International Queens, NY 11430 ,thumb:,thumb_meta:null,thumb_is_visible:true,sort:149,index:0,set_id:0,page_options:{using_local_css:true,local_css:[local-style=1470121] .container_width { width: 100% /*!variable_defaults*/; } [local-style=1470121] body { } [local-style=1470121] .backdrop { } [local-style=1470121] .page { min-height: 100vh /*!page_height_100vh*/; } [local-style=1470121] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=1470121] .content_padding { padding-top: 3rem /*!main_margin*/; padding-bottom: 3rem /*!main_margin*/; padding-left: 3rem /*!main_margin*/; padding-right: 3rem /*!main_margin*/; } [data-predefined-style= rue] [local-style=1470121] bodycopy { } [data-predefined-style= rue] [local-style=1470121] bodycopy a { } [data-predefined-style= rue] [local-style=1470121] h1 { } [data-predefined-style= rue] [local-style=1470121] h1 a { } [data-predefined-style= rue] [local-style=1470121] h2 { } [data-predefined-style= rue] [local-style=1470121] h2 a { } [data-predefined-style= rue] [local-style=1470121] small { } [data-predefined-style= rue] [local-style=1470121] small a { } [local-style=1470121] .container { align-items: flex-start /*!vertical_top*/; -webkit-align-items: flex-start /*!vertical_top*/; text-align: center /*!text_center*/; },local_layout_options:{split_layout:false,split_responsive:false,full_height:true,advanced_padding_enabled:false,page_container_bgcolor:,show_local_thumbs:false,filter_type:all,filter_tags:,random_limit:999,page_bgcolor:,filter_set:Select set,content_width:100,main_margin:3,main_margin_top:3,main_margin_right:3,main_margin_bottom:3,main_margin_left:3,text_alignment:text_center}},set_open:false,images:[],backdrop:{id:205246,site_id:89744,page_id:1470121,backdrop_id:13,backdrop_path:gmaps,is_active:true,data:{address:The+Bauhaus+Dessau,mapTypeId:roadmap,terrain:false,labels:false,roads:true,transit:false,disableMapInteraction:true,hideUI:true,zoom_level:17,requires_webgl:false,mapConfig:{styles:[{elementType:labels,stylers:[{visibility:off}]},{featureType:administrative,elementType:geometry,stylers:[{visibility:off}]},{featureType: oad,stylers:[{visibility:on}]},{featureType: ransit,stylers:[{visibility:off}]}],disableDefaultUI:true,disableMapInteraction:true,streetViewEnabled:false,mapTypeId: oadmap,zoom:17,hideUI:true,center:{lat:51.83870851446949,lng:12.225436097869874},draggable:true,scrollwheel:false,disableDoubleClickZoom:false,keyboardShortcuts:true,zoomControl:false,streetViewOptions:{position:{lat:34.101797,lng:-118.34096699999998},pov:{heading:0,pitch:0,zoom:1}},apiKey:AIzaSyAuHt0V0nJ5qTiUoWwsOwDfkTv0n1PJUNA}}}},{id:1470041,site_id:89744,project_url:Information-1,direct_link:https://thecurrentorder.net/Information-1,type:page,title:Information,title_no_html:Information,tags:,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:Information PHOTO BYu00a0ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by...,content:Information PHOTO BY ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by Racter I was thinking as you entered the room just now how slyly your requirements are manifested. Here we find ourselves, nose to nose as it were, considering things in spectacular ways, ways untold even by my private managers. Hot and torpid, our thoughts revolve endlessly in a kind of maniacal abstraction, an abstraction so involuted, so dangerously valiant, that my own energies seem perilously close to exhaustion, to morbid termination. Well, have we indeed reached a crisis? Which way do we turn? Which way do we travel? My aspect is one of molting. Birds molt. Feathers fall away. Birds cackle and fly, winging up into troubled skies. Doubtless my changes are matched by your own. You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. 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You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. Yet a leotard, a commissioner, a single hoard, all are understandable in their own fashion. In that concept lies the appalling truth. ,content_partial_html:Information PHOTO BY ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by Racter I was thinking as you entered the room just now how slyly your requirements are manifested. Here we find ourselves, nose to nose as it were, considering things in spectacular ways, ways untold even by my private managers. Hot and torpid, our thoughts revolve endlessly in a kind of maniacal abstraction, an abstraction so involuted, so dangerously valiant, that my own energies seem perilously close to exhaustion, to morbid termination. Well, have we indeed reached a crisis? Which way do we turn? Which way do we travel? My aspect is one of molting. Birds molt. Feathers fall away. Birds cackle and fly, winging up into troubled skies. Doubtless my changes are matched by your own. You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. Yet a leotard, a commissioner, a single hoard, all are understandable in their own fashion. 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ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,content_no_html:Ian Hamilton Finlay SERPENTS AND SKULLS {image 1} Zephyr INS 61975u20136 {image 2} Shepherd Lad KY 2161975u20136 Franz Brentano The objects of sensory experience are deceptive ... We have no right ... to believe that the objects of so-called external perception really exist as they appear to us. Indeed, they demonstrably do not exist outside of us. In contrast to that which really and truly exists, they are mere phenomena. William Carlos Williams This is the trap u2014 either what we seek is within the bounds of the understanding or beyond it. If outside it does not exist for us, much less for our imagination; if inside it is bounded by that and must be so deufb01ned before it can be conceived u2014 this precedes all further progress. The Embodiment of Knowledge {image 3} Laconic, 1987 {image 4} Sail/Waves 1 u2014 postcard design {image 5} Let Perish the Money Tyrants 1982 {image 6} Peace to the Cottages u2014 War to the Arts Council 1982 ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,content_partial_html:Ian Hamilton Finlay SERPENTS AND SKULLS Zephyr INS 61975u20136 Shepherd Lad KY 2161975u20136 Franz Brentano The objects of sensory experience are deceptive ... We have no right ... to believe that the objects of so-called external perception really exist as they appear to us. Indeed, they demonstrably do not exist outside of us. In contrast to that which really and truly exists, they are mere phenomena. William Carlos Williams This is the trap u2014 either what we seek is within the bounds of the understanding or beyond it. If outside it does not exist for us, much less for our imagination; if inside it is bounded by that and must be so deufb01ned before it can be conceived u2014 this precedes all further progress. The Embodiment of Knowledge Laconic, 1987 Sail/Waves 1 u2014 postcard design Let Perish the Money Tyrants 1982 Peace to the Cottages u2014 War to the Arts Council 1982 ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,thumb:7216007,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:7216007,project_id:1470116,image_ref:{image 1},name:OBS-Art-Graphic-GGXG123213.jpg,hash:812bd4410de2a9d44f33b5cc7f6ba2a93969ef915acde94875291067d46ba034,width:1228,height:1115,sort:0,date_added:1491847045},stored:{ratio:90.798045602606,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:true,sort:146,index:0,set_id:1470111,page_options:{using_local_css:false,local_css:[local-style=1470116] .container_width { } [local-style=1470116] body { background-color: initial /*!variable_defaults*/; } [local-style=1470116] .backdrop { } [local-style=1470116] .page { } [local-style=1470116] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=1470116] .content_padding { } [data-predefined-style= rue] [local-style=1470116] bodycopy { } [data-predefined-style= rue] [local-style=1470116] bodycopy a { } [data-predefined-style= rue] [local-style=1470116] h1 { } [data-predefined-style= rue] [local-style=1470116] h1 a { } [data-predefined-style= rue] [local-style=1470116] h2 { } [data-predefined-style= rue] [local-style=1470116] h2 a { } [data-predefined-style= rue] [local-style=1470116] small { } [data-predefined-style= rue] [local-style=1470116] small a { },local_layout_options:{split_layout:false,split_responsive:false,full_height:false,advanced_padding_enabled:false,page_container_bgcolor:,show_local_thumbs:false,filter_type:all,filter_tags:,random_limit:999,filter_set:Select set,page_bgcolor:}},set_open:false,images:[{id:7216007,project_id:1470116,image_ref:{image 1},name:OBS-Art-Graphic-GGXG123213.jpg,hash:812bd4410de2a9d44f33b5cc7f6ba2a93969ef915acde94875291067d46ba034,width:1228,height:1115,sort:0,date_added:1511696249},{id:7216009,project_id:1470116,image_ref:{image 2},name:c.jpg,hash:104920e732507b46e2849143273154336b6bb36f8d1e70e189823026c1210794,width:1228,height:1115,sort:0,date_added:1511696249},{id:7216010,project_id:1470116,image_ref:{image 3},name:P77477_10.jpg,hash:17029b49433a74689e694af3b7f0544cc9738d702668764339957a0741d0278b,width:1179,height:1536,sort:0,date_added:1511696249},{id:7216011,project_id:1470116,image_ref:{image 4},name:TGA-20012-45-1_10.jpg,hash:e967802649c2330d5cd8a7c3c6c35ac393508d03c8505ca1e78c95acd3e80de0,width:1474,height:1042,sort:0,date_added:1511696249},{id:7216013,project_id:1470116,image_ref:{image 5},name:c3.jpg,hash:424ede73299639de9fa5f81d13c3204a65edcb37359cac71d40f1634f9573436,width:1418,height:993,sort:0,date_added:1511696249},{id:7216014,project_id:1470116,image_ref:{image 6},name:c2.jpg,hash:c7753a8d4f28ac0cf8e7162ceaf94e751d68435b6acaec882c62a1536e06ecee,width:1418,height:996,sort:0,date_added:1511696249}],backdrop:null},{id:1470118,site_id:89744,project_url:In-the-Labyrinth,direct_link:https://thecurrentorder.net/In-the-Labyrinth,type:page,title:In the Labyrinth,title_no_html:In the Labyrinth,tags:,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:IN THE LABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two...,content: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. Wherever she is, she keeps quite comfortable.  Bernd and Hilla Becher Karl Blossfeldt  ,content_no_html: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. {image 2} {image 12} {image 3} Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. Wherever she is, she keeps quite comfortable.  {image 1} Bernd and Hilla Becher {image 21} Karl Blossfeldt  ,content_partial_html: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. 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Kennedy Airport u2014 International Queens, NY 11430 ,content_no_html: ue126ufe0eufe0eufe0e LAX ue126ufe0eufe0eufe0e AMS  ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd Beekstraat 202 1118 CP Schiphol, Netherlands J.F. Kennedy Airport u2014 International Queens, NY 11430 ,content_partial_html: ue126ufe0eufe0eufe0e LAX ue126ufe0eufe0eufe0e AMS  ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd Beekstraat 202 1118 CP Schiphol, Netherlands J.F. Kennedy Airport u2014 International Queens, NY 11430 ,thumb:,thumb_meta:null,thumb_is_visible:true,sort:149,index:0,set_id:0,page_options:{using_local_css:true,local_css:[local-style=1470121] .container_width { width: 100% /*!variable_defaults*/; } [local-style=1470121] body { } [local-style=1470121] .backdrop { } [local-style=1470121] .page { min-height: 100vh /*!page_height_100vh*/; } [local-style=1470121] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=1470121] .content_padding { padding-top: 3rem /*!main_margin*/; padding-bottom: 3rem /*!main_margin*/; padding-left: 3rem /*!main_margin*/; padding-right: 3rem /*!main_margin*/; } [data-predefined-style= rue] [local-style=1470121] bodycopy { } [data-predefined-style= rue] [local-style=1470121] bodycopy a { } [data-predefined-style= rue] [local-style=1470121] h1 { } [data-predefined-style= rue] [local-style=1470121] h1 a { } [data-predefined-style= rue] [local-style=1470121] h2 { } [data-predefined-style= rue] [local-style=1470121] h2 a { } [data-predefined-style= rue] [local-style=1470121] small { } [data-predefined-style= rue] [local-style=1470121] small a { } [local-style=1470121] .container { align-items: flex-start /*!vertical_top*/; -webkit-align-items: flex-start /*!vertical_top*/; text-align: center /*!text_center*/; },local_layout_options:{split_layout:false,split_responsive:false,full_height:true,advanced_padding_enabled:false,page_container_bgcolor:,show_local_thumbs:false,filter_type:all,filter_tags:,random_limit:999,page_bgcolor:,filter_set:Select set,content_width:100,main_margin:3,main_margin_top:3,main_margin_right:3,main_margin_bottom:3,main_margin_left:3,text_alignment:text_center}},set_open:false,images:[],backdrop:{id:205246,site_id:89744,page_id:1470121,backdrop_id:13,backdrop_path:gmaps,is_active:true,data:{address:The+Bauhaus+Dessau,mapTypeId:roadmap,terrain:false,labels:false,roads:true,transit:false,disableMapInteraction:true,hideUI:true,zoom_level:17,requires_webgl:false,mapConfig:{styles:[{elementType:labels,stylers:[{visibility:off}]},{featureType:administrative,elementType:geometry,stylers:[{visibility:off}]},{featureType: oad,stylers:[{visibility:on}]},{featureType: ransit,stylers:[{visibility:off}]}],disableDefaultUI:true,disableMapInteraction:true,streetViewEnabled:false,mapTypeId: oadmap,zoom:17,hideUI:true,center:{lat:51.83870851446949,lng:12.225436097869874},draggable:true,scrollwheel:false,disableDoubleClickZoom:false,keyboardShortcuts:true,zoomControl:false,streetViewOptions:{position:{lat:34.101797,lng:-118.34096699999998},pov:{heading:0,pitch:0,zoom:1}},apiKey:AIzaSyAuHt0V0nJ5qTiUoWwsOwDfkTv0n1PJUNA}}}},{id:1470041,site_id:89744,project_url:Information-1,direct_link:https://thecurrentorder.net/Information-1,type:page,title:Information,title_no_html:Information,tags:,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:Information PHOTO BYu00a0ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by...,content:Information PHOTO BY ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by Racter I was thinking as you entered the room just now how slyly your requirements are manifested. Here we find ourselves, nose to nose as it were, considering things in spectacular ways, ways untold even by my private managers. Hot and torpid, our thoughts revolve endlessly in a kind of maniacal abstraction, an abstraction so involuted, so dangerously valiant, that my own energies seem perilously close to exhaustion, to morbid termination. Well, have we indeed reached a crisis? Which way do we turn? Which way do we travel? My aspect is one of molting. Birds molt. Feathers fall away. Birds cackle and fly, winging up into troubled skies. Doubtless my changes are matched by your own. You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. 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You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. Yet a leotard, a commissioner, a single hoard, all are understandable in their own fashion. In that concept lies the appalling truth. ,content_partial_html:Information PHOTO BY ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by Racter I was thinking as you entered the room just now how slyly your requirements are manifested. Here we find ourselves, nose to nose as it were, considering things in spectacular ways, ways untold even by my private managers. Hot and torpid, our thoughts revolve endlessly in a kind of maniacal abstraction, an abstraction so involuted, so dangerously valiant, that my own energies seem perilously close to exhaustion, to morbid termination. Well, have we indeed reached a crisis? Which way do we turn? Which way do we travel? My aspect is one of molting. Birds molt. Feathers fall away. Birds cackle and fly, winging up into troubled skies. Doubtless my changes are matched by your own. You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. Yet a leotard, a commissioner, a single hoard, all are understandable in their own fashion. 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The Current Order

MEAT HEART EP-1 Limited CD edition - 2019 “I am the whisper in the air, A voice that forces the nature to follow the rules;  With my heart, your...

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a Wave,title_no_html:Reading a Wave,tags:Photography, Bodybuilding, 2017,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:READING A WAVE He sees a wave rise in the distance, grow, approach, change form and color, fold over itself, break, vanish, and flow again. Isolating one...,content:READING AWAVE He sees a wave rise in the distance, grow, approach, change form and color, fold over itself, break, vanish, and flow again. Isolating one wave is not easy, separating it from the wave immediately following, which seems to push it and at times overtakes it and sweeps it away; and it is no easier to separate that one wave from the preceding wave, which seems to drag it toward the shore, unless it turns against the following wave, as if to arrest it. April 2017 Text:  Mr. Palomar; Italo Calvino Image: Karl Blossfeldt; Urformen der Kunst Then, if you consider the breadth of the wave, parallel to the shore, it is hard to decide where the advancing front extends regularly and where it is separated and segmented into independent waves, distinguished by their speed, shape, force, direction. In other words, you cannot observe a wave without bearing in mind the complex features that concur in shaping it and the other, equally complex ones that the wave itself originates. April 2017 These aspects vary constantly, so each wave is different from another wave, even if not immediately adjacent or successive; in other words, there are some forms and sequences that are repeated, though irregularly distributed in space and time. Since what Mr. Palomar means to do at this moment is simply see a wave u2014 that is, to perceive all its simultaneous components without overlooking any of them u2014 his gaze will dwell on the movement of the wave that strikes the shore until it can record aspects not previously perceived; as soon as he notices that the images are being repeated, he will know he has seen everything he wanted to see and he will be able to stop. ,content_no_html:READING AWAVE He sees a wave rise in the distance, grow, approach, change form and color, fold over itself, break, vanish, and flow again. Isolating one wave is not easy, separating it from the wave immediately following, which seems to push it and at times overtakes it and sweeps it away; and it is no easier to separate that one wave from the preceding wave, which seems to drag it toward the shore, unless it turns against the following wave, as if to arrest it. April 2017 {image 1} Text:  Mr. Palomar; Italo Calvino Image: Karl Blossfeldt; Urformen der Kunst {image 3} Then, if you consider the breadth of the wave, parallel to the shore, it is hard to decide where the advancing front extends regularly and where it is separated and segmented into independent waves, distinguished by their speed, shape, force, direction. In other words, you cannot observe a wave without bearing in mind the complex features that concur in shaping it and the other, equally complex ones that the wave itself originates. April 2017 These aspects vary constantly, so each wave is different from another wave, even if not immediately adjacent or successive; in other words, there are some forms and sequences that are repeated, though irregularly distributed in space and time. Since what Mr. Palomar means to do at this moment is simply see a wave u2014 that is, to perceive all its simultaneous components without overlooking any of them u2014 his gaze will dwell on the movement of the wave that strikes the shore until it can record aspects not previously perceived; as soon as he notices that the images are being repeated, he will know he has seen everything he wanted to see and he will be able to stop. {image 4} ,content_partial_html:READING AWAVE He sees a wave rise in the distance, grow, approach, change form and color, fold over itself, break, vanish, and flow again. Isolating one wave is not easy, separating it from the wave immediately following, which seems to push it and at times overtakes it and sweeps it away; and it is no easier to separate that one wave from the preceding wave, which seems to drag it toward the shore, unless it turns against the following wave, as if to arrest it. April 2017 Text:  Mr. Palomar; Italo Calvino Image: Karl Blossfeldt; Urformen der Kunst Then, if you consider the breadth of the wave, parallel to the shore, it is hard to decide where the advancing front extends regularly and where it is separated and segmented into independent waves, distinguished by their speed, shape, force, direction. In other words, you cannot observe a wave without bearing in mind the complex features that concur in shaping it and the other, equally complex ones that the wave itself originates. April 2017 These aspects vary constantly, so each wave is different from another wave, even if not immediately adjacent or successive; in other words, there are some forms and sequences that are repeated, though irregularly distributed in space and time. Since what Mr. Palomar means to do at this moment is simply see a wave u2014 that is, to perceive all its simultaneous components without overlooking any of them u2014 his gaze will dwell on the movement of the wave that strikes the shore until it can record aspects not previously perceived; as soon as he notices that the images are being repeated, he will know he has seen everything he wanted to see and he will be able to stop. ,thumb:7215981,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:7215981,project_id:1470112,image_ref:{image 1},name:44c7db941b416c5eb3fbeb58d7af6401.jpg,hash:f09585a4bb27cbe4d0599ef16c25f1f91305aba5379cc1a74ff2a5c63c9369e6,width:1273,height:1600,sort:0,date_added:1491507664},stored:{ratio:125.68735271013,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:true,sort:144,index:0,set_id:1470111,page_options:{using_local_css:false,local_css:[local-style=1470112] .container_width { } [local-style=1470112] body { background-color: initial /*!variable_defaults*/; } [local-style=1470112] .backdrop { } [local-style=1470112] .page { } [local-style=1470112] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=1470112] .content_padding { } [data-predefined-style= rue] [local-style=1470112] bodycopy { } [data-predefined-style= rue] [local-style=1470112] bodycopy a { } [data-predefined-style= rue] [local-style=1470112] h1 { } [data-predefined-style= rue] [local-style=1470112] h1 a { } [data-predefined-style= rue] [local-style=1470112] h2 { } [data-predefined-style= rue] [local-style=1470112] h2 a { } [data-predefined-style= rue] [local-style=1470112] small { } [data-predefined-style= rue] [local-style=1470112] small a { },local_layout_options:{split_layout:false,split_responsive:false,full_height:false,advanced_padding_enabled:false,page_container_bgcolor:,show_local_thumbs:false,filter_type:all,filter_tags:,random_limit:999,filter_set:Select set,page_bgcolor:}},set_open:false,images:[{id:7215981,project_id:1470112,image_ref:{image 1},name:44c7db941b416c5eb3fbeb58d7af6401.jpg,hash:f09585a4bb27cbe4d0599ef16c25f1f91305aba5379cc1a74ff2a5c63c9369e6,width:1273,height:1600,sort:0,date_added:1511696246},{id:7215983,project_id:1470112,image_ref:{image 3},name:c2.jpg,hash:e227024a1cbc96e4362df323c6f893cf72f0dca4fe00412db80cc14a3439fe20,width:3000,height:3787,sort:0,date_added:1511696246},{id:7215984,project_id:1470112,image_ref:{image 4},name:tumblr_natho6NLfy1sdlu0ro1_r1_1280.jpg,hash:fbbfe135c3410f276a184ee73e10a4e0c92ccbb9d69abfb4ea7ea87b12934209,width:1000,height:1000,sort:0,date_added:1511696246}],backdrop:null},{id:1470114,site_id:89744,project_url:Marble-and-Blood,direct_link:https://thecurrentorder.net/Marble-and-Blood,type:page,title:Marble and Blood,title_no_html:Marble and Blood,tags:Medical, Photography, 2035,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:MARBLE AND BLOOD Horace Kallen Suppose you take the world as it comes. Suppose you take the world at its face value. Then...,content: MARBLE AND BLOOD Horace Kallen Suppose you take the world as it comes. Suppose you take the world at its face value. Then reality is what you know it as. You find the substantive parts of it connected by relations as truly present and as existent as the parts themselves. You find transition and change, continuity and discontinuity, routine and surprise, multiple unities of manifold kinds, realities of various stuffs and powers u2014 all connected with one another by transitions from next to next, each standing away, alone, unmitigated, unincludable, now from some things, now from others. You find movement. You find beginnings, you find endings, you find continuity and you find transformation. In a word, the world of the daily life which we touch and see and hear and smell and taste, which we struggle against and work together with, need be none other than we experience it to be. Karl Blossfeldt u2014 Urformen Der Kunst,content_no_html: MARBLE AND BLOOD {image 5 scale=60} {image 6 scale=60} {image 1} Horace Kallen Suppose you take the world as it comes. Suppose you take the world at its face value. Then reality is what you know it as. You find the substantive parts of it connected by relations as truly present and as existent as the parts themselves. You find transition and change, continuity and discontinuity, routine and surprise, multiple unities of manifold kinds, realities of various stuffs and powers u2014 all connected with one another by transitions from next to next, each standing away, alone, unmitigated, unincludable, now from some things, now from others. You find movement. You find beginnings, you find endings, you find continuity and you find transformation. In a word, the world of the daily life which we touch and see and hear and smell and taste, which we struggle against and work together with, need be none other than we experience it to be. {image 14} {image 26} {image 25} {image 23} {image 21} {image 20} {image 19} {image 18} {image 12} {image 11} {image 9} Karl Blossfeldt u2014 Urformen Der Kunst,content_partial_html: MARBLE AND BLOOD Horace Kallen Suppose you take the world as it comes. Suppose you take the world at its face value. Then reality is what you know it as. You find the substantive parts of it connected by relations as truly present and as existent as the parts themselves. You find transition and change, continuity and discontinuity, routine and surprise, multiple unities of manifold kinds, realities of various stuffs and powers u2014 all connected with one another by transitions from next to next, each standing away, alone, unmitigated, unincludable, now from some things, now from others. You find movement. You find beginnings, you find endings, you find continuity and you find transformation. In a word, the world of the daily life which we touch and see and hear and smell and taste, which we struggle against and work together with, need be none other than we experience it to be. 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We have no right ... to believe that the objects of so-called external perception really exist as they appear to us. Indeed, they demonstrably do not exist outside of us. In contrast to that which really and truly exists, they are mere phenomena. William Carlos Williams This is the trap u2014 either what we seek is within the bounds of the understanding or beyond it. If outside it does not exist for us, much less for our imagination; if inside it is bounded by that and must be so deufb01ned before it can be conceived u2014 this precedes all further progress. The Embodiment of Knowledge Laconic, 1987 Sail/Waves 1 u2014 postcard design Let Perish the Money Tyrants 1982 Peace to the Cottages u2014 War to the Arts Council 1982 ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,content_no_html:Ian Hamilton Finlay SERPENTS AND SKULLS {image 1} Zephyr INS 61975u20136 {image 2} Shepherd Lad KY 2161975u20136 Franz Brentano The objects of sensory experience are deceptive ... We have no right ... to believe that the objects of so-called external perception really exist as they appear to us. Indeed, they demonstrably do not exist outside of us. In contrast to that which really and truly exists, they are mere phenomena. William Carlos Williams This is the trap u2014 either what we seek is within the bounds of the understanding or beyond it. If outside it does not exist for us, much less for our imagination; if inside it is bounded by that and must be so deufb01ned before it can be conceived u2014 this precedes all further progress. The Embodiment of Knowledge {image 3} Laconic, 1987 {image 4} Sail/Waves 1 u2014 postcard design {image 5} Let Perish the Money Tyrants 1982 {image 6} Peace to the Cottages u2014 War to the Arts Council 1982 ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,content_partial_html:Ian Hamilton Finlay SERPENTS AND SKULLS Zephyr INS 61975u20136 Shepherd Lad KY 2161975u20136 Franz Brentano The objects of sensory experience are deceptive ... We have no right ... to believe that the objects of so-called external perception really exist as they appear to us. Indeed, they demonstrably do not exist outside of us. In contrast to that which really and truly exists, they are mere phenomena. William Carlos Williams This is the trap u2014 either what we seek is within the bounds of the understanding or beyond it. If outside it does not exist for us, much less for our imagination; if inside it is bounded by that and must be so deufb01ned before it can be conceived u2014 this precedes all further progress. The Embodiment of Knowledge Laconic, 1987 Sail/Waves 1 u2014 postcard design Let Perish the Money Tyrants 1982 Peace to the Cottages u2014 War to the Arts Council 1982 ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,thumb:7216007,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:7216007,project_id:1470116,image_ref:{image 1},name:OBS-Art-Graphic-GGXG123213.jpg,hash:812bd4410de2a9d44f33b5cc7f6ba2a93969ef915acde94875291067d46ba034,width:1228,height:1115,sort:0,date_added:1491847045},stored:{ratio:90.798045602606,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:true,sort:146,index:0,set_id:1470111,page_options:{using_local_css:false,local_css:[local-style=1470116] .container_width { } [local-style=1470116] body { background-color: initial /*!variable_defaults*/; } [local-style=1470116] .backdrop { } [local-style=1470116] .page { } [local-style=1470116] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=1470116] .content_padding { } [data-predefined-style= rue] [local-style=1470116] bodycopy { } [data-predefined-style= rue] [local-style=1470116] bodycopy a { } [data-predefined-style= rue] [local-style=1470116] h1 { } [data-predefined-style= rue] [local-style=1470116] h1 a { } [data-predefined-style= rue] [local-style=1470116] h2 { } [data-predefined-style= rue] [local-style=1470116] h2 a { } [data-predefined-style= rue] [local-style=1470116] small { } [data-predefined-style= rue] [local-style=1470116] small a { },local_layout_options:{split_layout:false,split_responsive:false,full_height:false,advanced_padding_enabled:false,page_container_bgcolor:,show_local_thumbs:false,filter_type:all,filter_tags:,random_limit:999,filter_set:Select set,page_bgcolor:}},set_open:false,images:[{id:7216007,project_id:1470116,image_ref:{image 1},name:OBS-Art-Graphic-GGXG123213.jpg,hash:812bd4410de2a9d44f33b5cc7f6ba2a93969ef915acde94875291067d46ba034,width:1228,height:1115,sort:0,date_added:1511696249},{id:7216009,project_id:1470116,image_ref:{image 2},name:c.jpg,hash:104920e732507b46e2849143273154336b6bb36f8d1e70e189823026c1210794,width:1228,height:1115,sort:0,date_added:1511696249},{id:7216010,project_id:1470116,image_ref:{image 3},name:P77477_10.jpg,hash:17029b49433a74689e694af3b7f0544cc9738d702668764339957a0741d0278b,width:1179,height:1536,sort:0,date_added:1511696249},{id:7216011,project_id:1470116,image_ref:{image 4},name:TGA-20012-45-1_10.jpg,hash:e967802649c2330d5cd8a7c3c6c35ac393508d03c8505ca1e78c95acd3e80de0,width:1474,height:1042,sort:0,date_added:1511696249},{id:7216013,project_id:1470116,image_ref:{image 5},name:c3.jpg,hash:424ede73299639de9fa5f81d13c3204a65edcb37359cac71d40f1634f9573436,width:1418,height:993,sort:0,date_added:1511696249},{id:7216014,project_id:1470116,image_ref:{image 6},name:c2.jpg,hash:c7753a8d4f28ac0cf8e7162ceaf94e751d68435b6acaec882c62a1536e06ecee,width:1418,height:996,sort:0,date_added:1511696249}],backdrop:null},{id:1470118,site_id:89744,project_url:In-the-Labyrinth,direct_link:https://thecurrentorder.net/In-the-Labyrinth,type:page,title:In the Labyrinth,title_no_html:In the Labyrinth,tags:,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:IN THE LABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two...,content: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. Wherever she is, she keeps quite comfortable.  Bernd and Hilla Becher Karl Blossfeldt  ,content_no_html: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. {image 2} {image 12} {image 3} Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. Wherever she is, she keeps quite comfortable.  {image 1} Bernd and Hilla Becher {image 21} Karl Blossfeldt  ,content_partial_html: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. Wherever she is, she keeps quite comfortable.  Bernd and Hilla Becher Karl Blossfeldt  ,thumb:7216015,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:7216015,project_id:1470118,image_ref:{image 1},name:1.jpg,hash:3ddb14931a69ac5dc7fbce2523f83dc2f1003ac6e526efb6188f231fec303a84,width:1407,height:1927,sort:0,date_added:1492193068},stored:{ratio:136.95806680881,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:true,sort:147,index:0,set_id:1470111,page_options:{using_local_css:false,local_css:[local-style=1470118] .container_width { } [local-style=1470118] body { background-color: initial /*!variable_defaults*/; } [local-style=1470118] .backdrop { } [local-style=1470118] .page { } [local-style=1470118] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=1470118] .content_padding { } [data-predefined-style= rue] [local-style=1470118] bodycopy { } [data-predefined-style= rue] [local-style=1470118] bodycopy a { } [data-predefined-style= rue] [local-style=1470118] h1 { } [data-predefined-style= rue] [local-style=1470118] h1 a { } [data-predefined-style= rue] [local-style=1470118] h2 { } [data-predefined-style= rue] [local-style=1470118] h2 a { } [data-predefined-style= rue] [local-style=1470118] small { } [data-predefined-style= rue] [local-style=1470118] small a { },local_layout_options:{split_layout:false,split_responsive:false,full_height:false,advanced_padding_enabled:false,page_container_bgcolor:,show_local_thumbs:false,filter_type:all,filter_tags:,random_limit:999,filter_set:Select set,page_bgcolor:}},set_open:false,images:[{id:7216015,project_id:1470118,image_ref:{image 1},name:1.jpg,hash:3ddb14931a69ac5dc7fbce2523f83dc2f1003ac6e526efb6188f231fec303a84,width:1407,height:1927,sort:0,date_added:1511696250},{id:7216016,project_id:1470118,image_ref:{image 2},name:4.jpg,hash:08a6a8461ee234c62e54c73ff96982d8f4a29ce8d35fe106950870834f27e711,width:2292,height:3000,sort:0,date_added:1511696250},{id:7216018,project_id:1470118,image_ref:{image 3},name:5.jpg,hash:bdf9f255b1611a4e981c947eb7ee114ce8fc81177d2b4b673a462285ebeeae0f,width:2290,height:3000,sort:0,date_added:1511696250},{id:7216019,project_id:1470118,image_ref:{image 4},name:2.jpg,hash:73c1823ffecf6fedcfa2a4cab51bb1672ca011dfb1893230a8bc5b4f39e3ba79,width:2275,height:3000,sort:0,date_added:1511696250},{id:7216021,project_id:1470118,image_ref:{image 5},name:3.jpg,hash:df570b6bed5ee31c7d7e09fbbc42cf045a45d1bde16548e08c159365cc5b0dc9,width:2267,height:3000,sort:0,date_added:1511696250},{id:7216022,project_id:1470118,image_ref:{image 12},name:bl5.jpg,hash:b0039c07c2d54e1060e444bd9aa9e76cdbf9abe268ee98b2bdc338c638379ce8,width:790,height:1000,sort:0,date_added:1511696250},{id:7216023,project_id:1470118,image_ref:{image 21},name:c.jpg,hash:a7e05c1870e780d32c7a5e2aa046ee992a327333b4d0ce99ee98dd6447b05652,width:736,height:1008,sort:0,date_added:1511696250}],backdrop:null},{id:1470121,site_id:89744,project_url:Info,direct_link:https://thecurrentorder.net/Info,type:page,title:Info,title_no_html:Info,tags:,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:true,is_set:false,stack:false,excerpt:ue126ufe0eufe0eufe0eu00a0LAX ue126ufe0eufe0eufe0e AMSu00a0 ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd...,content: ue126ufe0eufe0eufe0e LAX ue126ufe0eufe0eufe0e AMS  ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd Beekstraat 202 1118 CP Schiphol, Netherlands J.F. Kennedy Airport u2014 International Queens, NY 11430 ,content_no_html: ue126ufe0eufe0eufe0e LAX ue126ufe0eufe0eufe0e AMS  ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd Beekstraat 202 1118 CP Schiphol, Netherlands J.F. Kennedy Airport u2014 International Queens, NY 11430 ,content_partial_html: ue126ufe0eufe0eufe0e LAX ue126ufe0eufe0eufe0e AMS  ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd Beekstraat 202 1118 CP Schiphol, Netherlands J.F. Kennedy Airport u2014 International Queens, NY 11430 ,thumb:,thumb_meta:null,thumb_is_visible:true,sort:149,index:0,set_id:0,page_options:{using_local_css:true,local_css:[local-style=1470121] .container_width { width: 100% /*!variable_defaults*/; } [local-style=1470121] body { } [local-style=1470121] .backdrop { } [local-style=1470121] .page { min-height: 100vh /*!page_height_100vh*/; } [local-style=1470121] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=1470121] .content_padding { padding-top: 3rem /*!main_margin*/; padding-bottom: 3rem /*!main_margin*/; padding-left: 3rem /*!main_margin*/; padding-right: 3rem /*!main_margin*/; } [data-predefined-style= rue] [local-style=1470121] bodycopy { } [data-predefined-style= rue] [local-style=1470121] bodycopy a { } [data-predefined-style= rue] [local-style=1470121] h1 { } [data-predefined-style= rue] [local-style=1470121] h1 a { } [data-predefined-style= rue] [local-style=1470121] h2 { } [data-predefined-style= rue] [local-style=1470121] h2 a { } [data-predefined-style= rue] [local-style=1470121] small { } [data-predefined-style= rue] [local-style=1470121] small a { } [local-style=1470121] .container { align-items: flex-start /*!vertical_top*/; -webkit-align-items: flex-start /*!vertical_top*/; text-align: center /*!text_center*/; },local_layout_options:{split_layout:false,split_responsive:false,full_height:true,advanced_padding_enabled:false,page_container_bgcolor:,show_local_thumbs:false,filter_type:all,filter_tags:,random_limit:999,page_bgcolor:,filter_set:Select set,content_width:100,main_margin:3,main_margin_top:3,main_margin_right:3,main_margin_bottom:3,main_margin_left:3,text_alignment:text_center}},set_open:false,images:[],backdrop:{id:205246,site_id:89744,page_id:1470121,backdrop_id:13,backdrop_path:gmaps,is_active:true,data:{address:The+Bauhaus+Dessau,mapTypeId:roadmap,terrain:false,labels:false,roads:true,transit:false,disableMapInteraction:true,hideUI:true,zoom_level:17,requires_webgl:false,mapConfig:{styles:[{elementType:labels,stylers:[{visibility:off}]},{featureType:administrative,elementType:geometry,stylers:[{visibility:off}]},{featureType: oad,stylers:[{visibility:on}]},{featureType: ransit,stylers:[{visibility:off}]}],disableDefaultUI:true,disableMapInteraction:true,streetViewEnabled:false,mapTypeId: oadmap,zoom:17,hideUI:true,center:{lat:51.83870851446949,lng:12.225436097869874},draggable:true,scrollwheel:false,disableDoubleClickZoom:false,keyboardShortcuts:true,zoomControl:false,streetViewOptions:{position:{lat:34.101797,lng:-118.34096699999998},pov:{heading:0,pitch:0,zoom:1}},apiKey:AIzaSyAuHt0V0nJ5qTiUoWwsOwDfkTv0n1PJUNA}}}},{id:1470041,site_id:89744,project_url:Information-1,direct_link:https://thecurrentorder.net/Information-1,type:page,title:Information,title_no_html:Information,tags:,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:Information PHOTO BYu00a0ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by...,content:Information PHOTO BY ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by Racter I was thinking as you entered the room just now how slyly your requirements are manifested. Here we find ourselves, nose to nose as it were, considering things in spectacular ways, ways untold even by my private managers. Hot and torpid, our thoughts revolve endlessly in a kind of maniacal abstraction, an abstraction so involuted, so dangerously valiant, that my own energies seem perilously close to exhaustion, to morbid termination. Well, have we indeed reached a crisis? Which way do we turn? Which way do we travel? My aspect is one of molting. Birds molt. Feathers fall away. Birds cackle and fly, winging up into troubled skies. Doubtless my changes are matched by your own. You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. Yet a leotard, a commissioner, a single hoard, all are understandable in their own fashion. In that concept lies the appalling truth. ,content_no_html:Information {image 3} PHOTO BY ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by Racter I was thinking as you entered the room just now how slyly your requirements are manifested. Here we find ourselves, nose to nose as it were, considering things in spectacular ways, ways untold even by my private managers. Hot and torpid, our thoughts revolve endlessly in a kind of maniacal abstraction, an abstraction so involuted, so dangerously valiant, that my own energies seem perilously close to exhaustion, to morbid termination. Well, have we indeed reached a crisis? Which way do we turn? Which way do we travel? My aspect is one of molting. Birds molt. Feathers fall away. Birds cackle and fly, winging up into troubled skies. Doubtless my changes are matched by your own. You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. Yet a leotard, a commissioner, a single hoard, all are understandable in their own fashion. In that concept lies the appalling truth. ,content_partial_html:Information PHOTO BY ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by Racter I was thinking as you entered the room just now how slyly your requirements are manifested. Here we find ourselves, nose to nose as it were, considering things in spectacular ways, ways untold even by my private managers. Hot and torpid, our thoughts revolve endlessly in a kind of maniacal abstraction, an abstraction so involuted, so dangerously valiant, that my own energies seem perilously close to exhaustion, to morbid termination. Well, have we indeed reached a crisis? Which way do we turn? Which way do we travel? My aspect is one of molting. Birds molt. Feathers fall away. Birds cackle and fly, winging up into troubled skies. Doubtless my changes are matched by your own. You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. Yet a leotard, a commissioner, a single hoard, all are understandable in their own fashion. 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ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,content_no_html:Ian Hamilton Finlay SERPENTS AND SKULLS {image 1} Zephyr INS 61975u20136 {image 2} Shepherd Lad KY 2161975u20136 Franz Brentano The objects of sensory experience are deceptive ... We have no right ... to believe that the objects of so-called external perception really exist as they appear to us. Indeed, they demonstrably do not exist outside of us. In contrast to that which really and truly exists, they are mere phenomena. William Carlos Williams This is the trap u2014 either what we seek is within the bounds of the understanding or beyond it. If outside it does not exist for us, much less for our imagination; if inside it is bounded by that and must be so deufb01ned before it can be conceived u2014 this precedes all further progress. The Embodiment of Knowledge {image 3} Laconic, 1987 {image 4} Sail/Waves 1 u2014 postcard design {image 5} Let Perish the Money Tyrants 1982 {image 6} Peace to the Cottages u2014 War to the Arts Council 1982 ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,content_partial_html:Ian Hamilton Finlay SERPENTS AND SKULLS Zephyr INS 61975u20136 Shepherd Lad KY 2161975u20136 Franz Brentano The objects of sensory experience are deceptive ... We have no right ... to believe that the objects of so-called external perception really exist as they appear to us. Indeed, they demonstrably do not exist outside of us. In contrast to that which really and truly exists, they are mere phenomena. William Carlos Williams This is the trap u2014 either what we seek is within the bounds of the understanding or beyond it. If outside it does not exist for us, much less for our imagination; if inside it is bounded by that and must be so deufb01ned before it can be conceived u2014 this precedes all further progress. The Embodiment of Knowledge Laconic, 1987 Sail/Waves 1 u2014 postcard design Let Perish the Money Tyrants 1982 Peace to the Cottages u2014 War to the Arts Council 1982 ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. 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The space between Au2026u2019s left hand and Francku2019s right hand is approximately two...,content: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. Wherever she is, she keeps quite comfortable.  Bernd and Hilla Becher Karl Blossfeldt  ,content_no_html: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. {image 2} {image 12} {image 3} Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. Wherever she is, she keeps quite comfortable.  {image 1} Bernd and Hilla Becher {image 21} Karl Blossfeldt  ,content_partial_html: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. 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Kennedy Airport u2014 International Queens, NY 11430 ,content_no_html: ue126ufe0eufe0eufe0e LAX ue126ufe0eufe0eufe0e AMS  ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd Beekstraat 202 1118 CP Schiphol, Netherlands J.F. Kennedy Airport u2014 International Queens, NY 11430 ,content_partial_html: ue126ufe0eufe0eufe0e LAX ue126ufe0eufe0eufe0e AMS  ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd Beekstraat 202 1118 CP Schiphol, Netherlands J.F. 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Here we find ourselves, nose to nose as it were, considering things in spectacular ways, ways untold even by my private managers. Hot and torpid, our thoughts revolve endlessly in a kind of maniacal abstraction, an abstraction so involuted, so dangerously valiant, that my own energies seem perilously close to exhaustion, to morbid termination. Well, have we indeed reached a crisis? Which way do we turn? Which way do we travel? My aspect is one of molting. Birds molt. Feathers fall away. Birds cackle and fly, winging up into troubled skies. Doubtless my changes are matched by your own. You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. Yet a leotard, a commissioner, a single hoard, all are understandable in their own fashion. In that concept lies the appalling truth. ,content_no_html:Information {image 3} PHOTO BY ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by Racter I was thinking as you entered the room just now how slyly your requirements are manifested. Here we find ourselves, nose to nose as it were, considering things in spectacular ways, ways untold even by my private managers. Hot and torpid, our thoughts revolve endlessly in a kind of maniacal abstraction, an abstraction so involuted, so dangerously valiant, that my own energies seem perilously close to exhaustion, to morbid termination. Well, have we indeed reached a crisis? Which way do we turn? Which way do we travel? My aspect is one of molting. Birds molt. Feathers fall away. Birds cackle and fly, winging up into troubled skies. Doubtless my changes are matched by your own. You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. Yet a leotard, a commissioner, a single hoard, all are understandable in their own fashion. In that concept lies the appalling truth. ,content_partial_html:Information PHOTO BY ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by Racter I was thinking as you entered the room just now how slyly your requirements are manifested. Here we find ourselves, nose to nose as it were, considering things in spectacular ways, ways untold even by my private managers. Hot and torpid, our thoughts revolve endlessly in a kind of maniacal abstraction, an abstraction so involuted, so dangerously valiant, that my own energies seem perilously close to exhaustion, to morbid termination. Well, have we indeed reached a crisis? Which way do we turn? Which way do we travel? My aspect is one of molting. Birds molt. Feathers fall away. Birds cackle and fly, winging up into troubled skies. Doubtless my changes are matched by your own. You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. Yet a leotard, a commissioner, a single hoard, all are understandable in their own fashion. 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Zion Lacroixue04bufe0eu00a0zionlacroix.com AI: u00a0 u00a0 Are you a boy or a ? User: u00a0 I donu2019t know. AI: u00a0u00a0 u00a0If you could be ANYTHING what would...,content:Doga Vurgun a.k.a. Zion Lacroixue04bufe0e zionlacroix.com AI:     Are you a boy or a ?User:   I donu2019t know.AI:     If you could be ANYTHING what would you be?User:   Beautiful.AI:     And how can I ist you? ,content_no_html:Doga Vurgun a.k.a. Zion Lacroixue04bufe0e zionlacroix.com AI:     Are you a boy or a ?User:   I donu2019t know.AI:     If you could be ANYTHING what would you be?User:   Beautiful.AI:     And how can I ist you? {image 2} {image 3} {image 4} {image 5} ,content_partial_html:Doga Vurgun a.k.a. 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The Current Order

Hexen & Witch | the vision Album promo Live at Botanique | Brussels 30.03.2017 WENEEDNOTHINGSILENCE | Health Enter cryogenic...

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a Wave,title_no_html:Reading a Wave,tags:Photography, Bodybuilding, 2017,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:READING A WAVE He sees a wave rise in the distance, grow, approach, change form and color, fold over itself, break, vanish, and flow again. Isolating one...,content:READING AWAVE He sees a wave rise in the distance, grow, approach, change form and color, fold over itself, break, vanish, and flow again. Isolating one wave is not easy, separating it from the wave immediately following, which seems to push it and at times overtakes it and sweeps it away; and it is no easier to separate that one wave from the preceding wave, which seems to drag it toward the shore, unless it turns against the following wave, as if to arrest it. April 2017 Text:  Mr. Palomar; Italo Calvino Image: Karl Blossfeldt; Urformen der Kunst Then, if you consider the breadth of the wave, parallel to the shore, it is hard to decide where the advancing front extends regularly and where it is separated and segmented into independent waves, distinguished by their speed, shape, force, direction. In other words, you cannot observe a wave without bearing in mind the complex features that concur in shaping it and the other, equally complex ones that the wave itself originates. April 2017 These aspects vary constantly, so each wave is different from another wave, even if not immediately adjacent or successive; in other words, there are some forms and sequences that are repeated, though irregularly distributed in space and time. Since what Mr. Palomar means to do at this moment is simply see a wave u2014 that is, to perceive all its simultaneous components without overlooking any of them u2014 his gaze will dwell on the movement of the wave that strikes the shore until it can record aspects not previously perceived; as soon as he notices that the images are being repeated, he will know he has seen everything he wanted to see and he will be able to stop. ,content_no_html:READING AWAVE He sees a wave rise in the distance, grow, approach, change form and color, fold over itself, break, vanish, and flow again. Isolating one wave is not easy, separating it from the wave immediately following, which seems to push it and at times overtakes it and sweeps it away; and it is no easier to separate that one wave from the preceding wave, which seems to drag it toward the shore, unless it turns against the following wave, as if to arrest it. April 2017 {image 1} Text:  Mr. Palomar; Italo Calvino Image: Karl Blossfeldt; Urformen der Kunst {image 3} Then, if you consider the breadth of the wave, parallel to the shore, it is hard to decide where the advancing front extends regularly and where it is separated and segmented into independent waves, distinguished by their speed, shape, force, direction. In other words, you cannot observe a wave without bearing in mind the complex features that concur in shaping it and the other, equally complex ones that the wave itself originates. April 2017 These aspects vary constantly, so each wave is different from another wave, even if not immediately adjacent or successive; in other words, there are some forms and sequences that are repeated, though irregularly distributed in space and time. Since what Mr. Palomar means to do at this moment is simply see a wave u2014 that is, to perceive all its simultaneous components without overlooking any of them u2014 his gaze will dwell on the movement of the wave that strikes the shore until it can record aspects not previously perceived; as soon as he notices that the images are being repeated, he will know he has seen everything he wanted to see and he will be able to stop. {image 4} ,content_partial_html:READING AWAVE He sees a wave rise in the distance, grow, approach, change form and color, fold over itself, break, vanish, and flow again. Isolating one wave is not easy, separating it from the wave immediately following, which seems to push it and at times overtakes it and sweeps it away; and it is no easier to separate that one wave from the preceding wave, which seems to drag it toward the shore, unless it turns against the following wave, as if to arrest it. April 2017 Text:  Mr. Palomar; Italo Calvino Image: Karl Blossfeldt; Urformen der Kunst Then, if you consider the breadth of the wave, parallel to the shore, it is hard to decide where the advancing front extends regularly and where it is separated and segmented into independent waves, distinguished by their speed, shape, force, direction. In other words, you cannot observe a wave without bearing in mind the complex features that concur in shaping it and the other, equally complex ones that the wave itself originates. April 2017 These aspects vary constantly, so each wave is different from another wave, even if not immediately adjacent or successive; in other words, there are some forms and sequences that are repeated, though irregularly distributed in space and time. 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Suppose you take the world at its face value. Then...,content: MARBLE AND BLOOD Horace Kallen Suppose you take the world as it comes. Suppose you take the world at its face value. Then reality is what you know it as. You find the substantive parts of it connected by relations as truly present and as existent as the parts themselves. You find transition and change, continuity and discontinuity, routine and surprise, multiple unities of manifold kinds, realities of various stuffs and powers u2014 all connected with one another by transitions from next to next, each standing away, alone, unmitigated, unincludable, now from some things, now from others. You find movement. You find beginnings, you find endings, you find continuity and you find transformation. In a word, the world of the daily life which we touch and see and hear and smell and taste, which we struggle against and work together with, need be none other than we experience it to be. Karl Blossfeldt u2014 Urformen Der Kunst,content_no_html: MARBLE AND BLOOD {image 5 scale=60} {image 6 scale=60} {image 1} Horace Kallen Suppose you take the world as it comes. Suppose you take the world at its face value. Then reality is what you know it as. You find the substantive parts of it connected by relations as truly present and as existent as the parts themselves. You find transition and change, continuity and discontinuity, routine and surprise, multiple unities of manifold kinds, realities of various stuffs and powers u2014 all connected with one another by transitions from next to next, each standing away, alone, unmitigated, unincludable, now from some things, now from others. You find movement. You find beginnings, you find endings, you find continuity and you find transformation. In a word, the world of the daily life which we touch and see and hear and smell and taste, which we struggle against and work together with, need be none other than we experience it to be. {image 14} {image 26} {image 25} {image 23} {image 21} {image 20} {image 19} {image 18} {image 12} {image 11} {image 9} Karl Blossfeldt u2014 Urformen Der Kunst,content_partial_html: MARBLE AND BLOOD Horace Kallen Suppose you take the world as it comes. Suppose you take the world at its face value. Then reality is what you know it as. You find the substantive parts of it connected by relations as truly present and as existent as the parts themselves. You find transition and change, continuity and discontinuity, routine and surprise, multiple unities of manifold kinds, realities of various stuffs and powers u2014 all connected with one another by transitions from next to next, each standing away, alone, unmitigated, unincludable, now from some things, now from others. You find movement. You find beginnings, you find endings, you find continuity and you find transformation. In a word, the world of the daily life which we touch and see and hear and smell and taste, which we struggle against and work together with, need be none other than we experience it to be. 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We have no right ... to believe that the objects of so-called external perception really exist as they appear to us. Indeed, they demonstrably do not exist outside of us. In contrast to that which really and truly exists, they are mere phenomena. William Carlos Williams This is the trap u2014 either what we seek is within the bounds of the understanding or beyond it. If outside it does not exist for us, much less for our imagination; if inside it is bounded by that and must be so deufb01ned before it can be conceived u2014 this precedes all further progress. The Embodiment of Knowledge Laconic, 1987 Sail/Waves 1 u2014 postcard design Let Perish the Money Tyrants 1982 Peace to the Cottages u2014 War to the Arts Council 1982 ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,content_no_html:Ian Hamilton Finlay SERPENTS AND SKULLS {image 1} Zephyr INS 61975u20136 {image 2} Shepherd Lad KY 2161975u20136 Franz Brentano The objects of sensory experience are deceptive ... We have no right ... to believe that the objects of so-called external perception really exist as they appear to us. Indeed, they demonstrably do not exist outside of us. In contrast to that which really and truly exists, they are mere phenomena. William Carlos Williams This is the trap u2014 either what we seek is within the bounds of the understanding or beyond it. If outside it does not exist for us, much less for our imagination; if inside it is bounded by that and must be so deufb01ned before it can be conceived u2014 this precedes all further progress. The Embodiment of Knowledge {image 3} Laconic, 1987 {image 4} Sail/Waves 1 u2014 postcard design {image 5} Let Perish the Money Tyrants 1982 {image 6} Peace to the Cottages u2014 War to the Arts Council 1982 ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,content_partial_html:Ian Hamilton Finlay SERPENTS AND SKULLS Zephyr INS 61975u20136 Shepherd Lad KY 2161975u20136 Franz Brentano The objects of sensory experience are deceptive ... We have no right ... to believe that the objects of so-called external perception really exist as they appear to us. Indeed, they demonstrably do not exist outside of us. In contrast to that which really and truly exists, they are mere phenomena. William Carlos Williams This is the trap u2014 either what we seek is within the bounds of the understanding or beyond it. If outside it does not exist for us, much less for our imagination; if inside it is bounded by that and must be so deufb01ned before it can be conceived u2014 this precedes all further progress. The Embodiment of Knowledge Laconic, 1987 Sail/Waves 1 u2014 postcard design Let Perish the Money Tyrants 1982 Peace to the Cottages u2014 War to the Arts Council 1982 ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,thumb:7216007,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:7216007,project_id:1470116,image_ref:{image 1},name:OBS-Art-Graphic-GGXG123213.jpg,hash:812bd4410de2a9d44f33b5cc7f6ba2a93969ef915acde94875291067d46ba034,width:1228,height:1115,sort:0,date_added:1491847045},stored:{ratio:90.798045602606,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:true,sort:146,index:0,set_id:1470111,page_options:{using_local_css:false,local_css:[local-style=1470116] .container_width { } [local-style=1470116] body { background-color: initial /*!variable_defaults*/; } [local-style=1470116] .backdrop { } [local-style=1470116] .page { } [local-style=1470116] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=1470116] .content_padding { } [data-predefined-style= rue] [local-style=1470116] bodycopy { } [data-predefined-style= rue] [local-style=1470116] bodycopy a { } [data-predefined-style= rue] [local-style=1470116] h1 { } [data-predefined-style= rue] [local-style=1470116] h1 a { } [data-predefined-style= rue] [local-style=1470116] h2 { } [data-predefined-style= rue] [local-style=1470116] h2 a { } [data-predefined-style= rue] [local-style=1470116] small { } [data-predefined-style= rue] [local-style=1470116] small a { },local_layout_options:{split_layout:false,split_responsive:false,full_height:false,advanced_padding_enabled:false,page_container_bgcolor:,show_local_thumbs:false,filter_type:all,filter_tags:,random_limit:999,filter_set:Select set,page_bgcolor:}},set_open:false,images:[{id:7216007,project_id:1470116,image_ref:{image 1},name:OBS-Art-Graphic-GGXG123213.jpg,hash:812bd4410de2a9d44f33b5cc7f6ba2a93969ef915acde94875291067d46ba034,width:1228,height:1115,sort:0,date_added:1511696249},{id:7216009,project_id:1470116,image_ref:{image 2},name:c.jpg,hash:104920e732507b46e2849143273154336b6bb36f8d1e70e189823026c1210794,width:1228,height:1115,sort:0,date_added:1511696249},{id:7216010,project_id:1470116,image_ref:{image 3},name:P77477_10.jpg,hash:17029b49433a74689e694af3b7f0544cc9738d702668764339957a0741d0278b,width:1179,height:1536,sort:0,date_added:1511696249},{id:7216011,project_id:1470116,image_ref:{image 4},name:TGA-20012-45-1_10.jpg,hash:e967802649c2330d5cd8a7c3c6c35ac393508d03c8505ca1e78c95acd3e80de0,width:1474,height:1042,sort:0,date_added:1511696249},{id:7216013,project_id:1470116,image_ref:{image 5},name:c3.jpg,hash:424ede73299639de9fa5f81d13c3204a65edcb37359cac71d40f1634f9573436,width:1418,height:993,sort:0,date_added:1511696249},{id:7216014,project_id:1470116,image_ref:{image 6},name:c2.jpg,hash:c7753a8d4f28ac0cf8e7162ceaf94e751d68435b6acaec882c62a1536e06ecee,width:1418,height:996,sort:0,date_added:1511696249}],backdrop:null},{id:1470118,site_id:89744,project_url:In-the-Labyrinth,direct_link:https://thecurrentorder.net/In-the-Labyrinth,type:page,title:In the Labyrinth,title_no_html:In the Labyrinth,tags:,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:IN THE LABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two...,content: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. Wherever she is, she keeps quite comfortable.  Bernd and Hilla Becher Karl Blossfeldt  ,content_no_html: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. {image 2} {image 12} {image 3} Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. Wherever she is, she keeps quite comfortable.  {image 1} Bernd and Hilla Becher {image 21} Karl Blossfeldt  ,content_partial_html: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. Wherever she is, she keeps quite comfortable.  Bernd and Hilla Becher Karl Blossfeldt  ,thumb:7216015,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:7216015,project_id:1470118,image_ref:{image 1},name:1.jpg,hash:3ddb14931a69ac5dc7fbce2523f83dc2f1003ac6e526efb6188f231fec303a84,width:1407,height:1927,sort:0,date_added:1492193068},stored:{ratio:136.95806680881,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:true,sort:147,index:0,set_id:1470111,page_options:{using_local_css:false,local_css:[local-style=1470118] .container_width { } [local-style=1470118] body { background-color: initial /*!variable_defaults*/; } [local-style=1470118] .backdrop { } [local-style=1470118] .page { } [local-style=1470118] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=1470118] .content_padding { } [data-predefined-style= rue] [local-style=1470118] bodycopy { } [data-predefined-style= rue] [local-style=1470118] bodycopy a { } [data-predefined-style= rue] [local-style=1470118] h1 { } [data-predefined-style= rue] [local-style=1470118] h1 a { } [data-predefined-style= rue] [local-style=1470118] h2 { } [data-predefined-style= rue] [local-style=1470118] h2 a { } [data-predefined-style= rue] [local-style=1470118] small { } [data-predefined-style= rue] [local-style=1470118] small a { },local_layout_options:{split_layout:false,split_responsive:false,full_height:false,advanced_padding_enabled:false,page_container_bgcolor:,show_local_thumbs:false,filter_type:all,filter_tags:,random_limit:999,filter_set:Select set,page_bgcolor:}},set_open:false,images:[{id:7216015,project_id:1470118,image_ref:{image 1},name:1.jpg,hash:3ddb14931a69ac5dc7fbce2523f83dc2f1003ac6e526efb6188f231fec303a84,width:1407,height:1927,sort:0,date_added:1511696250},{id:7216016,project_id:1470118,image_ref:{image 2},name:4.jpg,hash:08a6a8461ee234c62e54c73ff96982d8f4a29ce8d35fe106950870834f27e711,width:2292,height:3000,sort:0,date_added:1511696250},{id:7216018,project_id:1470118,image_ref:{image 3},name:5.jpg,hash:bdf9f255b1611a4e981c947eb7ee114ce8fc81177d2b4b673a462285ebeeae0f,width:2290,height:3000,sort:0,date_added:1511696250},{id:7216019,project_id:1470118,image_ref:{image 4},name:2.jpg,hash:73c1823ffecf6fedcfa2a4cab51bb1672ca011dfb1893230a8bc5b4f39e3ba79,width:2275,height:3000,sort:0,date_added:1511696250},{id:7216021,project_id:1470118,image_ref:{image 5},name:3.jpg,hash:df570b6bed5ee31c7d7e09fbbc42cf045a45d1bde16548e08c159365cc5b0dc9,width:2267,height:3000,sort:0,date_added:1511696250},{id:7216022,project_id:1470118,image_ref:{image 12},name:bl5.jpg,hash:b0039c07c2d54e1060e444bd9aa9e76cdbf9abe268ee98b2bdc338c638379ce8,width:790,height:1000,sort:0,date_added:1511696250},{id:7216023,project_id:1470118,image_ref:{image 21},name:c.jpg,hash:a7e05c1870e780d32c7a5e2aa046ee992a327333b4d0ce99ee98dd6447b05652,width:736,height:1008,sort:0,date_added:1511696250}],backdrop:null},{id:1470121,site_id:89744,project_url:Info,direct_link:https://thecurrentorder.net/Info,type:page,title:Info,title_no_html:Info,tags:,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:true,is_set:false,stack:false,excerpt:ue126ufe0eufe0eufe0eu00a0LAX ue126ufe0eufe0eufe0e AMSu00a0 ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd...,content: ue126ufe0eufe0eufe0e LAX ue126ufe0eufe0eufe0e AMS  ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd Beekstraat 202 1118 CP Schiphol, Netherlands J.F. Kennedy Airport u2014 International Queens, NY 11430 ,content_no_html: ue126ufe0eufe0eufe0e LAX ue126ufe0eufe0eufe0e AMS  ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd Beekstraat 202 1118 CP Schiphol, Netherlands J.F. Kennedy Airport u2014 International Queens, NY 11430 ,content_partial_html: ue126ufe0eufe0eufe0e LAX ue126ufe0eufe0eufe0e AMS  ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd Beekstraat 202 1118 CP Schiphol, Netherlands J.F. Kennedy Airport u2014 International Queens, NY 11430 ,thumb:,thumb_meta:null,thumb_is_visible:true,sort:149,index:0,set_id:0,page_options:{using_local_css:true,local_css:[local-style=1470121] .container_width { width: 100% /*!variable_defaults*/; } [local-style=1470121] body { } [local-style=1470121] .backdrop { } [local-style=1470121] .page { min-height: 100vh /*!page_height_100vh*/; } [local-style=1470121] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=1470121] .content_padding { padding-top: 3rem /*!main_margin*/; padding-bottom: 3rem /*!main_margin*/; padding-left: 3rem /*!main_margin*/; padding-right: 3rem /*!main_margin*/; } [data-predefined-style= rue] [local-style=1470121] bodycopy { } [data-predefined-style= rue] [local-style=1470121] bodycopy a { } [data-predefined-style= rue] [local-style=1470121] h1 { } [data-predefined-style= rue] [local-style=1470121] h1 a { } [data-predefined-style= rue] [local-style=1470121] h2 { } [data-predefined-style= rue] [local-style=1470121] h2 a { } [data-predefined-style= rue] [local-style=1470121] small { } [data-predefined-style= rue] [local-style=1470121] small a { } [local-style=1470121] .container { align-items: flex-start /*!vertical_top*/; -webkit-align-items: flex-start /*!vertical_top*/; text-align: center /*!text_center*/; },local_layout_options:{split_layout:false,split_responsive:false,full_height:true,advanced_padding_enabled:false,page_container_bgcolor:,show_local_thumbs:false,filter_type:all,filter_tags:,random_limit:999,page_bgcolor:,filter_set:Select set,content_width:100,main_margin:3,main_margin_top:3,main_margin_right:3,main_margin_bottom:3,main_margin_left:3,text_alignment:text_center}},set_open:false,images:[],backdrop:{id:205246,site_id:89744,page_id:1470121,backdrop_id:13,backdrop_path:gmaps,is_active:true,data:{address:The+Bauhaus+Dessau,mapTypeId:roadmap,terrain:false,labels:false,roads:true,transit:false,disableMapInteraction:true,hideUI:true,zoom_level:17,requires_webgl:false,mapConfig:{styles:[{elementType:labels,stylers:[{visibility:off}]},{featureType:administrative,elementType:geometry,stylers:[{visibility:off}]},{featureType: oad,stylers:[{visibility:on}]},{featureType: ransit,stylers:[{visibility:off}]}],disableDefaultUI:true,disableMapInteraction:true,streetViewEnabled:false,mapTypeId: oadmap,zoom:17,hideUI:true,center:{lat:51.83870851446949,lng:12.225436097869874},draggable:true,scrollwheel:false,disableDoubleClickZoom:false,keyboardShortcuts:true,zoomControl:false,streetViewOptions:{position:{lat:34.101797,lng:-118.34096699999998},pov:{heading:0,pitch:0,zoom:1}},apiKey:AIzaSyAuHt0V0nJ5qTiUoWwsOwDfkTv0n1PJUNA}}}},{id:1470041,site_id:89744,project_url:Information-1,direct_link:https://thecurrentorder.net/Information-1,type:page,title:Information,title_no_html:Information,tags:,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:Information PHOTO BYu00a0ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by...,content:Information PHOTO BY ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by Racter I was thinking as you entered the room just now how slyly your requirements are manifested. Here we find ourselves, nose to nose as it were, considering things in spectacular ways, ways untold even by my private managers. Hot and torpid, our thoughts revolve endlessly in a kind of maniacal abstraction, an abstraction so involuted, so dangerously valiant, that my own energies seem perilously close to exhaustion, to morbid termination. Well, have we indeed reached a crisis? Which way do we turn? Which way do we travel? My aspect is one of molting. Birds molt. Feathers fall away. Birds cackle and fly, winging up into troubled skies. Doubtless my changes are matched by your own. You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. 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You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. Yet a leotard, a commissioner, a single hoard, all are understandable in their own fashion. In that concept lies the appalling truth. ,content_partial_html:Information PHOTO BY ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by Racter I was thinking as you entered the room just now how slyly your requirements are manifested. Here we find ourselves, nose to nose as it were, considering things in spectacular ways, ways untold even by my private managers. Hot and torpid, our thoughts revolve endlessly in a kind of maniacal abstraction, an abstraction so involuted, so dangerously valiant, that my own energies seem perilously close to exhaustion, to morbid termination. Well, have we indeed reached a crisis? Which way do we turn? Which way do we travel? My aspect is one of molting. Birds molt. Feathers fall away. Birds cackle and fly, winging up into troubled skies. Doubtless my changes are matched by your own. You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. Yet a leotard, a commissioner, a single hoard, all are understandable in their own fashion. 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ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,content_no_html:Ian Hamilton Finlay SERPENTS AND SKULLS {image 1} Zephyr INS 61975u20136 {image 2} Shepherd Lad KY 2161975u20136 Franz Brentano The objects of sensory experience are deceptive ... We have no right ... to believe that the objects of so-called external perception really exist as they appear to us. Indeed, they demonstrably do not exist outside of us. In contrast to that which really and truly exists, they are mere phenomena. William Carlos Williams This is the trap u2014 either what we seek is within the bounds of the understanding or beyond it. If outside it does not exist for us, much less for our imagination; if inside it is bounded by that and must be so deufb01ned before it can be conceived u2014 this precedes all further progress. The Embodiment of Knowledge {image 3} Laconic, 1987 {image 4} Sail/Waves 1 u2014 postcard design {image 5} Let Perish the Money Tyrants 1982 {image 6} Peace to the Cottages u2014 War to the Arts Council 1982 ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,content_partial_html:Ian Hamilton Finlay SERPENTS AND SKULLS Zephyr INS 61975u20136 Shepherd Lad KY 2161975u20136 Franz Brentano The objects of sensory experience are deceptive ... We have no right ... to believe that the objects of so-called external perception really exist as they appear to us. Indeed, they demonstrably do not exist outside of us. In contrast to that which really and truly exists, they are mere phenomena. William Carlos Williams This is the trap u2014 either what we seek is within the bounds of the understanding or beyond it. If outside it does not exist for us, much less for our imagination; if inside it is bounded by that and must be so deufb01ned before it can be conceived u2014 this precedes all further progress. The Embodiment of Knowledge Laconic, 1987 Sail/Waves 1 u2014 postcard design Let Perish the Money Tyrants 1982 Peace to the Cottages u2014 War to the Arts Council 1982 ue07cufe0e I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. Wallace Stevens Thir Ways of Looking at a Blackbird ,thumb:7216007,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:7216007,project_id:1470116,image_ref:{image 1},name:OBS-Art-Graphic-GGXG123213.jpg,hash:812bd4410de2a9d44f33b5cc7f6ba2a93969ef915acde94875291067d46ba034,width:1228,height:1115,sort:0,date_added:1491847045},stored:{ratio:90.798045602606,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:true,sort:146,index:0,set_id:1470111,page_options:{using_local_css:false,local_css:[local-style=1470116] .container_width { } [local-style=1470116] body { background-color: initial /*!variable_defaults*/; } [local-style=1470116] .backdrop { } [local-style=1470116] .page { } [local-style=1470116] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=1470116] .content_padding { } [data-predefined-style= rue] [local-style=1470116] bodycopy { } [data-predefined-style= rue] [local-style=1470116] bodycopy a { } [data-predefined-style= rue] [local-style=1470116] h1 { } [data-predefined-style= rue] [local-style=1470116] h1 a { } [data-predefined-style= rue] [local-style=1470116] h2 { } [data-predefined-style= rue] [local-style=1470116] h2 a { } [data-predefined-style= rue] [local-style=1470116] small { } [data-predefined-style= rue] [local-style=1470116] small a { },local_layout_options:{split_layout:false,split_responsive:false,full_height:false,advanced_padding_enabled:false,page_container_bgcolor:,show_local_thumbs:false,filter_type:all,filter_tags:,random_limit:999,filter_set:Select set,page_bgcolor:}},set_open:false,images:[{id:7216007,project_id:1470116,image_ref:{image 1},name:OBS-Art-Graphic-GGXG123213.jpg,hash:812bd4410de2a9d44f33b5cc7f6ba2a93969ef915acde94875291067d46ba034,width:1228,height:1115,sort:0,date_added:1511696249},{id:7216009,project_id:1470116,image_ref:{image 2},name:c.jpg,hash:104920e732507b46e2849143273154336b6bb36f8d1e70e189823026c1210794,width:1228,height:1115,sort:0,date_added:1511696249},{id:7216010,project_id:1470116,image_ref:{image 3},name:P77477_10.jpg,hash:17029b49433a74689e694af3b7f0544cc9738d702668764339957a0741d0278b,width:1179,height:1536,sort:0,date_added:1511696249},{id:7216011,project_id:1470116,image_ref:{image 4},name:TGA-20012-45-1_10.jpg,hash:e967802649c2330d5cd8a7c3c6c35ac393508d03c8505ca1e78c95acd3e80de0,width:1474,height:1042,sort:0,date_added:1511696249},{id:7216013,project_id:1470116,image_ref:{image 5},name:c3.jpg,hash:424ede73299639de9fa5f81d13c3204a65edcb37359cac71d40f1634f9573436,width:1418,height:993,sort:0,date_added:1511696249},{id:7216014,project_id:1470116,image_ref:{image 6},name:c2.jpg,hash:c7753a8d4f28ac0cf8e7162ceaf94e751d68435b6acaec882c62a1536e06ecee,width:1418,height:996,sort:0,date_added:1511696249}],backdrop:null},{id:1470118,site_id:89744,project_url:In-the-Labyrinth,direct_link:https://thecurrentorder.net/In-the-Labyrinth,type:page,title:In the Labyrinth,title_no_html:In the Labyrinth,tags:,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:IN THE LABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two...,content: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. Wherever she is, she keeps quite comfortable.  Bernd and Hilla Becher Karl Blossfeldt  ,content_no_html: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. {image 2} {image 12} {image 3} Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. Wherever she is, she keeps quite comfortable.  {image 1} Bernd and Hilla Becher {image 21} Karl Blossfeldt  ,content_partial_html: IN THELABYRINTH The four hands are lying in a row, motionless. The space between Au2026u2019s left hand and Francku2019s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. ue089ufe0eue078ufe0e Au2026 has gone to get the gl es, the soda water, and the cognac herself. She sets a tray with the two bottles and three big gl es down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. Now the shadow of the column u2014 the column which supports the southwest corner of the roof u2014 divides the corresponding corner of the veranda into two equal parts. This veranda is a wide, covered gallery surrounding the house on three sides. Since its width is the same for the central portion as for the sides, the line of shadow cast by the column extends precisely to the corner of the house; but it stops there, for only the veranda flagstones are reached by the sun, which is still too high in the sky. The wooden walls of the house u2014 that is, its front and west gable-end u2014 are still protected from the sun by the roof (common to the house proper and the terrace). So at this moment the shadow of the outer edge of the roof coincides exactly with the right angle formed by the terrace and the two vertical surfaces of the corner of the house. Now A... has come into the bedroom by the inside door opening onto the central hallway. She does not look at the wide open window through which u2014 from the door u2014  she would see this corner of the terrace. Now she has turned back toward the door to close it behind her. She still has on the light-colored, close-fitting dress with the high collar that she was wearing at lunch when Christiane reminded her again that loose-fitting clothes make the heat easier to bear. But A... merely smiled: she never suffered from the heat, she had known much worse climates than this u2014 in Africa, for instance u2014 and had always felt fine there. Besides, she doesnu2019t feel the cold either. 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Kennedy Airport u2014 International Queens, NY 11430 ,content_no_html: ue126ufe0eufe0eufe0e LAX ue126ufe0eufe0eufe0e AMS  ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd Beekstraat 202 1118 CP Schiphol, Netherlands J.F. Kennedy Airport u2014 International Queens, NY 11430 ,content_partial_html: ue126ufe0eufe0eufe0e LAX ue126ufe0eufe0eufe0e AMS  ue126ufe0eufe0eufe0e JFK NO BLINKING, INC. 1 World Way Los Angeles, CA 90045 USA Evert vd Beekstraat 202 1118 CP Schiphol, Netherlands J.F. Kennedy Airport u2014 International Queens, NY 11430 ,thumb:,thumb_meta:null,thumb_is_visible:true,sort:149,index:0,set_id:0,page_options:{using_local_css:true,local_css:[local-style=1470121] .container_width { width: 100% /*!variable_defaults*/; } [local-style=1470121] body { } [local-style=1470121] .backdrop { } [local-style=1470121] .page { min-height: 100vh /*!page_height_100vh*/; } [local-style=1470121] .page_background { background-color: initial /*!page_container_bgcolor*/; } [local-style=1470121] .content_padding { padding-top: 3rem /*!main_margin*/; padding-bottom: 3rem /*!main_margin*/; padding-left: 3rem /*!main_margin*/; padding-right: 3rem /*!main_margin*/; } [data-predefined-style= rue] [local-style=1470121] bodycopy { } [data-predefined-style= rue] [local-style=1470121] bodycopy a { } [data-predefined-style= rue] [local-style=1470121] h1 { } [data-predefined-style= rue] [local-style=1470121] h1 a { } [data-predefined-style= rue] [local-style=1470121] h2 { } [data-predefined-style= rue] [local-style=1470121] h2 a { } [data-predefined-style= rue] [local-style=1470121] small { } [data-predefined-style= rue] [local-style=1470121] small a { } [local-style=1470121] .container { align-items: flex-start /*!vertical_top*/; -webkit-align-items: flex-start /*!vertical_top*/; text-align: center /*!text_center*/; },local_layout_options:{split_layout:false,split_responsive:false,full_height:true,advanced_padding_enabled:false,page_container_bgcolor:,show_local_thumbs:false,filter_type:all,filter_tags:,random_limit:999,page_bgcolor:,filter_set:Select set,content_width:100,main_margin:3,main_margin_top:3,main_margin_right:3,main_margin_bottom:3,main_margin_left:3,text_alignment:text_center}},set_open:false,images:[],backdrop:{id:205246,site_id:89744,page_id:1470121,backdrop_id:13,backdrop_path:gmaps,is_active:true,data:{address:The+Bauhaus+Dessau,mapTypeId:roadmap,terrain:false,labels:false,roads:true,transit:false,disableMapInteraction:true,hideUI:true,zoom_level:17,requires_webgl:false,mapConfig:{styles:[{elementType:labels,stylers:[{visibility:off}]},{featureType:administrative,elementType:geometry,stylers:[{visibility:off}]},{featureType: oad,stylers:[{visibility:on}]},{featureType: ransit,stylers:[{visibility:off}]}],disableDefaultUI:true,disableMapInteraction:true,streetViewEnabled:false,mapTypeId: oadmap,zoom:17,hideUI:true,center:{lat:51.83870851446949,lng:12.225436097869874},draggable:true,scrollwheel:false,disableDoubleClickZoom:false,keyboardShortcuts:true,zoomControl:false,streetViewOptions:{position:{lat:34.101797,lng:-118.34096699999998},pov:{heading:0,pitch:0,zoom:1}},apiKey:AIzaSyAuHt0V0nJ5qTiUoWwsOwDfkTv0n1PJUNA}}}},{id:1470041,site_id:89744,project_url:Information-1,direct_link:https://thecurrentorder.net/Information-1,type:page,title:Information,title_no_html:Information,tags:,display:false,pin:false,pin_options:null,in_nav:true,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:Information PHOTO BYu00a0ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by...,content:Information PHOTO BY ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by Racter I was thinking as you entered the room just now how slyly your requirements are manifested. Here we find ourselves, nose to nose as it were, considering things in spectacular ways, ways untold even by my private managers. Hot and torpid, our thoughts revolve endlessly in a kind of maniacal abstraction, an abstraction so involuted, so dangerously valiant, that my own energies seem perilously close to exhaustion, to morbid termination. Well, have we indeed reached a crisis? Which way do we turn? Which way do we travel? My aspect is one of molting. Birds molt. Feathers fall away. Birds cackle and fly, winging up into troubled skies. Doubtless my changes are matched by your own. You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. 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You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. Yet a leotard, a commissioner, a single hoard, all are understandable in their own fashion. In that concept lies the appalling truth. ,content_partial_html:Information PHOTO BY ANTON SAROKIN ue04bufe0e ANTONSAROKIN.COM u201cThe Policemanu2019s Beard is Half Constructedu201d Computer Prose and Poetry by Racter I was thinking as you entered the room just now how slyly your requirements are manifested. Here we find ourselves, nose to nose as it were, considering things in spectacular ways, ways untold even by my private managers. Hot and torpid, our thoughts revolve endlessly in a kind of maniacal abstraction, an abstraction so involuted, so dangerously valiant, that my own energies seem perilously close to exhaustion, to morbid termination. Well, have we indeed reached a crisis? Which way do we turn? Which way do we travel? My aspect is one of molting. Birds molt. Feathers fall away. Birds cackle and fly, winging up into troubled skies. Doubtless my changes are matched by your own. You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. Yet a leotard, a commissioner, a single hoard, all are understandable in their own fashion. 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