en.Slow Media

The Idiot – a topical figure again?

ἰδιώτης,idiōtēs I) N. 1) the individual man, private citizen in oposite to the state, att.Pr.; b) the common, ignoble man 2) a) the ignorant, layman in oposite to the trained person, e.g. in oposite to a physician b) someone ignorant to poetry, a prosaic person. [...]

Totski muttered to himself: “He may be an idiot, but he knows that flattery is the best road to success here.”
Dostoevsky, The Idiot

Open systems don’t always win.
Steve Jobs.

Dear Igor Barinov,

The status for the following app has changed to Removed From Sale.
App Name: WikiLeaks App
Techcrunch, 21.12.2010

The iPad as a particular device is not necessarily the future of computing. But as an ideology, I think it just might be.
Steven Frank, http://stevenf.com

An idiōtēs in the Greek Polis was a man, who did not separate the public from the private – in most cases for economic necessity, like the merchants or for social restraint, because he or she would be denied political action, as was the case for slaves or women.

Plato in his Republic describes what he finds pathetic about this: An Idiotes only cares about his own Oikos – his own fire in the hearth and not about the society, the Polis. However, even a rich Idotes can only survive by the society’s mercy. Only, because he can be confident on the society to always be on his side, he can take for granted, not to simply get murdered by his domestics. He would be totally helpless without the public, that he contemns by his Idioty.
***

Net-Politics is on everyone’s lips these days. This word, so you may think further, might imply, that there is something like a Polis, a public, in the Internet.

We have been writing several times here, that a political public can only unfold, if their rules can be negotiated free of purpose. As long as the net is in fact completely controlled by private economy, a liberal, political discussion, driven by values, is hardly possible. Companies control content over CDN, backbone, DNS, ISP, and recently even by means of the operating systems of the terminal devices; the argument for censorship is hardly ever something political or ethical; like the Wikileaks-App, deleted by Apple, just the Standard Terms and Conditions are brought in.

The situation with Social Networks an platforms is similar. Twitter could block my profile at any time with regard to the STCs, Youtube might delete videos just with regard of alleged infractions. And net neutrality – i.e. treating all data packages in the same way – so only as good as the fair chance for all Websites, to get found over search.

All the more interesting, I take the observation, how devotional whole legions of Net activists make of themselves lackeys to the telecom industry, to Google, Facebook and especially to Apple – and confound the partial openness of these with the public.

The shifting of information power from content producers, authors, film makers, musicians and their publishers and copyrights collectives towards the content platforms, the social networks and search engines is probably the irreversible consequence of a much deeper cultural change. Therefore the answer on the question how (and if at all) a political public, a society nevertheless will aliment the economic needs of people in creative professions, is crucial for the future shape of culture and creativity. I think, the Pirate Party’s demanding to “regard as natural” and “explicitly support” non-commercial copying and use of works, while at the same time make authors “more independent of existing structures of power” is utopian. Right now, only Telcos benefit from content free to copy, by better utilising their bandwidth – and of course the platform operators, who generate traffic through this and thus provide better advertising vehicles. And even though I earn my money also with advertising, I would see it as rather poor, if that would be all that can sustain.

Xenophon thus used the Idiot already in the fourth century BC in some metaphorical meaning: an idiot is inartistic person, ignorant to poetry.

Read more:
The Illusion of the Free Internet
Everything is Turned into Highway
Censorship?!

Send to Kindle

“Modernism is our Classical Antiquity”

[Original German Blog Post]

(1) “A Vernacular is like a crumbled street version of a classic language. Like Italian is a vernacular language and Latin is a classic language. What does actual vernacular online video sound like, that’s native to the Internet and speaks vernacular Internet ease? I’ll just read you the categories of an unnamed [Online Video Network] here: ‘LOL, OMG, WTF, Cute, Games, Geeky and Trashy’. Those are actual terms, coined on the Internet. Now, you could think, to be classy, you would like to expunge that vernacular, and instead of them saying ‘LOL’ they should say something like ‘commedy’, instead of ‘OMG’ something like ‘experimental’. – Allright. That’s not how it works. It is a little hard to understand this, but the actual path to classiness is to upgrade the vernacular. You have to get through LOL, OMG, WTF, Cute, Games, Geeky and Trashy and somehow come out the other side. You have to make network culture classy on its own terms. You have to ennoble the vernacular – not by teaching people Latin, but by writing Dante’s Inferno!”
Bruce Sterling, Closing Keynote: Vernacular Video from Vimeo Festival. (My transcript)

(2) classic 1610s, from Fr. classique (17c.), from L. classicus “relating to the (highest) classes of the Roman people,” hence, “superior,” from classis (see class). Originally in English “of the first class;” meaning “belonging to standard authors of Greek and Roman antiquity” is attested from 1620s. Classics is 1711, and is the earliest form of the word to be used as a noun.
Douglas Harper, Online Etymology Dictionary

(3) “Modernism is our Classical Antiquity”
Roger M. Buergel’s mantra as curator of Documenta 12

“The idea to put together an international Exhibition on the art of the 20th century in Germany is so obvious, that there seems hardly any need for explanation.”, thus gives Werner Haftmann as introduction into the catalogue on the first Documenta 1955 in Kassel. Evidently the makers of this first mass-art-show were exactly clear about what would make the art of their century. After my tour around the Documenta 12, however I was clear about this being the last Documenta for me to visit. While the curators of the three preceding exhibitions would have tried, to draw a picture of today’s art – and would fail, everyone in his own way, 2007′s exhibition had abandoned to define something like “classical art of our time”. What could give the impression of negligence or of idleness of the mind of the curator, I would today take as a symptom for upheaval in visual arts, which will be shaken in a similar way like media, music industry, and all the other so called creative arts.

Modernism – modern art, like it has evolved during the last three centuries – is classical antiquity, exactly like Roger Buergel says. Like the scholastic adherence to the antiquity had governed thought and creativity in modern occidental culture for a long time, the modern-contemporary terms and categories are still seen as the measure for “classical” quality. Review and analysis of contemporary art either lead to anaemic formalism, like in the latest issue of Kunstforum, or end up in total randomness, just like the last Documenta.

Helpless we look around: isn’t there something to step in place of the old and venerable? A new generation? A new direction? Bruce Sterling gives the answer in his nearly hour-long closing-speech at the Vimeo Conference. The new is already there, and thus as vernacular, popular dialect, cant, in short: standing outside the classical culture. The new can be found in the vernacular culture of the Net.

You might argue, that this insight is neither new nor very inventive; the Internet rolling up culture out-and-out is told in whole annuals of Wired and thousands of hours of TED-conference. But Sterling says something different from that: To recognise the new, we have to be able to speak about it. The (professionial) terminology of cultural sciences and the critics is still the Lingua Franca of Modernism. At the same time, the vernacular of the Net-culture is not much more as a jargon yet.

The Shape of future art (as long as we still want to use this word, compromised by the “adoration of the genius” and by the bourgeois production process) could look like Urban Art or Generative Art – Favela Chic, to speak in Sterling’s words – or the eclecticism, peculiar to Net culture, the Bricolage, the Collage, Punk – Sterling’s Gothic High Castle.

This vernacular culture is distinct from classical contemporary culture particularly by its conditions of production. The classical author, artists or composer is remunerated by judicially sanctioned transfer systems like HFA, MCPS, SESAC – or he is directly employed by the state, as a university professor, member of the state orchestra or editor in the public broadcasting system. In opposite to that we find the much lamented “for-free-culture” of blogs, online video, the remixes and covers, and the so called “citizen journalism”, and so forth and so forth. And even if it might occur obvious to some, to just transpose the way of production of the classical culture onto the vernacular creativity of the Net, however this effort is doomed: the categories of the old world gain no longer traction; the people do not want to speak Latin anymore, because Italian now gives them the most fluent ability for expression.

In the table on the left I tried to interpret this development with Herbert Marshall McLuhan’s Tetrad:

As this change’s consequence we will, however, see only few more big novels, only rarely someone will take the risk to produce an expensive, full-length movie, or to practise a symphonic work of Musica Viva with an orchestra. What we experience is the comeback of the dilettante, in the best sense, of the enthusiast; “Everybody a publisher” means: Non-Commodity-Production of Culture.

Read more:
“So literature collapses before our eyes” – Non-Commodity Production
The End of History – for creative professionals.

Send to Kindle

“So literature collapses before our eyes” –
Non-Commodity Production

McLuhan’s tetrad-model: four aspects of the effect of media on culture and society. This example Print and the second one Xerox are quoted from “The Global Village” by McLuhan and Powers, Oxford University Press 1989.

The idea of copyright – the right to retain publication of one’s own words – is much younger than other forms of intellectual property laws. Patents to protect the economic exploitation of technological invention, for example, have been granted by the city’s sovereign since the times of ancient Greece. But not sooner than in the 18th century the perceived value added to a society and its economy by the written word would justify a legal concept to aliment writers. The first copyright law clearly formulates this goal in its title: “An Act for the Encouragement of Learning, by vesting the Copies of Printed Books in the Authors or purchasers of such Copies, during the Times therein mentioned“, also called the Statue of Anne.

Yesterday, Bruce Sterling cried out his concern about the future of literature in three Tweets:

“*Economic calamity that hammered music hits literature. The “solution” for writers? There isn’t one.
So literature collapses before our eyes, while the same fate awaits politics, law, medicine, manufacturing… finance and real estate…
Diplomacy, the military… we’re not gonna die of this, but man, the deeper 21st century looks like nothing anyone ever imagined.” (1,2,3)

The catch-all political party, trade unions, music industry, newspapers, advertising and even the production of art and literature – all are effected by this changing culture to the core. I think we can identify two main drivers for this change if we consider what the function of these mass-cultural phenomena had been in the past.

The first I would call retribalisation (following the term used by McLuhan).
The concept of society was defined in opposite to community by Hermann Thönnies in his famous foundation of sociology “Gemeinschaft und Gesellschaft” in 1887. A community is tied together by something held in common – normally the fate shared by living in the same village. People living in a community know each other in person and information is distributed mostly by word of mouth. Thus oral culture and a common set of allegories give the ground for communication. The mass-alphabetisation brought the mass-society. The man of the crowd was coined by Edgar Allen Poe in his famous short story of this title in 1840. The actor of this modern, industrialised society is no longer a person, it is the individual. The characteristics of an individual can thus be derived from objectives that can be observed from outside. In the modern society of the industrial age, nearly everything you had to know to measure someone would have been their job. The goods that people would exchange became commodities. Mass media – which I shall use as an umbrella for all these topics lined up above – homogenise a society by reaching out to everyone simultaneously. Since the 1950, this has changed dramatically. Social strata or milieu would no longer account for consumption habits. Two individuals of the same socio-demographic profile might have completely different styles of living, preferences in music or consumer brands. What brings people together is no longer social position but to have something in common – the return of the community, but no longer defined by common destiny but much weaker, by some common interest that is highly dependent to the momentary mood and situation in which people find themselves. The Web is the perfect means to organise, inform and entertain such loosely knit communities globally.

The second was sketched by Bruce Sterling earlier: atemporality as he calls it; the end of the great narrative, end of progress, or even end of history. The consequences for creative artists that he sees are dire: the choice of re-arranging findings from the past, eclecticism or “the Gothic castle” as he calls this artistic approach, Punk, the bricolage. Or alternatively generative creation, aggregating small contributions of a large group of people; favela chic in Sterling’s words.

Both developments had been foresighted by some thinkers right after WWII. Most prominent are Herbert Marshall McLuhan and independently from him Vilém Flusser. Both see the decline of written word in favour of the rise of a new oral culture, globally organised in tribe-like structures, tied together by a common set of allegories. The breakup of copyright is the direct consequence to this.

‘The “solution” for writers? There isn’t one.‘ If we use the tetradic set of questions, shown above, on copyright we could get a glimpse on how copyright (and its projected fading away) may affect the publication process:

1. What does the medium enhance?
2. What does the medium make obsolete?
3. What does the medium retrieve that had been obsolesced earlier?
4. What does the medium flip into when pushed to extremes?

Copyright enhances private authorship and leads to a ‘bourgeois’ creative who is paid for his word. The dilettante, the aristocratic amateur enthusiast are rendered obsolete. The professional writer however shares some aspects with the scriptor, the cleric scholar who was funded by the monastery to perform his art. Regarding the forth tetradic questions: by the ecstasies of claiming ownership on intellectual property as seen in the plethora of cease-and-desists fired into the crowed by some corporations to claim their intellectual property rights against bloggers, or the “three-strikes-out”-initiative into which the European Commission was driven by the publishing industry’s lobbyists, the copyright, originally made to foster broad accessibility of knowledge, makes this knowledge less accessible again and creates elites, that still want (or are able) to afford to buy the publications. – Just to make it clear: I personally am opposed against the notion of regarding everything in the Net for free; but to see the consequences of this cultural development, we have to take a neutral angle. – I am convinced that the decay of the royalty-system for authors based on copyright is even accelerated by this effort to defend it.

Some hope might be found in long-tail distribution-systems like iTunes or Amazon which cut out the publisher and in theory directly connect the producers with their clients. But I think, that we already see the margin left for authors as well as the number of possible sales are to be expected to stay rather small. And at the same time, there is so much that can be obtained completely for free in the Internet, that to buy something becomes even less attractive. “The dark side of the free and open” is the decline of the classic publication economy, as Geert Lovink remarks. This leads to the end of handling publications as a commodity. How to make a living from non-commodity-production, from giving your work away for free? On the other hand: how many authors, musicians, composers etc. have been able to make their living by their arts in the past!

Nevertheless: walking down McLuhan’s tetrad, we can expect to get back into a culture of more or less sophisticated dilettantism as seen in most parts of the blogosphere. Small contributions, often highly specialised, often collaged and Punk-style, like Bruce Sterling describes in his post. But on the other hand, we see the return of the scriptorium. Corporate publishing, PR, corporate or brand storytelling; authors, writing to support their consultancy-work and other freelance businesses I would also take into this category. Both live-forms of the future-author, the dilettante and the scribe do no longer support the individual “artist-creator” who can be attributed as the sole author of his work and thus gets paid by royalties.

We will see publications and creations of art, perfectly adopted to the preferences and needs of very small communities; new publications emerging fast, drawn to existence by monitoring, google alerts and inspiration to write something through tweets, just noted by chance.

A possible form of organising these micro-publications is a content network, doing for content, what an ad network does for ads. Bringing all together, corporate publishing, advertising and the user’s still existing desire to get entertained and inspired, might even lead to some monetary compensation for the participating authors.

A second path could lead into creating a new area of public space in the Internet, funded by tax-like fees as to be seen in Europe’s public broadcasting landscape. This public space should be curated in a way, ensuring to maintain cultural productions of high class.

All told, I truly acclaim to Bruce Sterlings speculation: “we’re not gonna die of this, but man, the deeper 21st century looks like nothing anyone ever imagined.”

Further reading:
Memetic Turn
Modernism is our Classical Antiquity
The End of History – for Creative Professionals
Virtual Broadcasting

Send to Kindle

Digital Printing for Art Books

[Original German blog post]

During the debate about the changes in media and the future importance of the Internet, you could get the impression lately, that the age of printing would come to an end after 500 years. In deed many industries that make a living from printed media are in a state of retreat since the dawn of the digital era: newspapers, magazines, intaglio and even offset printing, shown in an impressive way by the financial downturn of global market leader Heidelberger Druckmaschinen AG in 2009.

For classical methods the main effort to print is to produce the printing plates – typesetting book pages, engravings for figures or today the making of plate cylinders in offset printing. Effect: the higher the circulation, the lower the price to print per piece. Everybody who has let something been printed in the classical way is familiar to the print shop’s quote: “it’s the same price if you take 1000 or 2000 pieces.”

The consequence: also valuable books that will address only a small circle of readers are printed in stacks of thousands, although only a few hundred are sold for the targeted price. The remainder of some art catalogue for which its buyers are willing to pay 98 Euros, Dollars or Pounds, goes for 14.99 to the bargain bookseller. Everyone who bought an expensive book once and later found it – fresh from the press and in original wrapping – on rummage table at WHSmiths or Barnes and Noble, will think twice if it would not be worthwhile waiting. A catastrophe from the angle of marketing. And apart from that also ecologically dubious, to go one producing remainders, using toxic ink, wasting lots of energy and paper.

Digital printing technology like laser or ink-jet printing put text and images on paper without printing plates, directly from the digital file – a PDF, a Word-Document etc.

In the last thirty years the publication process had adopted the digital options initially. “Desktop publishing” was the buzzword in the eighties, database publishing in the nineties and during the last decade the Internet brought content management up to “real time publishing”, immediate and instantly from the laptop to the web site. Step by step, publishing was thus detached from paper.

Digital printing for a long time could not compete with offset printing – neither with speed nor with printing quality. But this has changed just recently.
***

During the last weeks I was involved in a large exhibition project: Hundred Masterpieces for Haiti – a charity event that was arranged with support by the Rotary Club in Munich in our Galerie Royal.

Such a short-term project profits especially from the possibilities of digital printing. The time for preparation of this charity is extremely short – due to the circumstances of a sudden desaster like an earthquake, the consequences of which should be eased.

First, forty artists had to be found, willing to contribute the one hundred works of art. The works had to be photographed, the pictures were processed and brought into the same resolution. The correct caption had to be formulated for each piece, the biography of every artist had to be looked into, a price had to be set in negotiation with the artists and these information had to be authored into an accompanying text to every image. Graphics and layout were at the same time developed by the graphic arts expert Gisela Knobel in close coordination with the specialized digital printing service provider MSDD that took on the printing and post production process.

The digital printing machines like the hp Indigo, on which also the substantial catalogue to this exhibition was printed, produce as fast as classical printing machines. A broad variety of different glossy and transparent paper qualities where deployed, as well as special colours giving a realistic and brilliant reproduction.

The production of this catalogue – creation of pictures, text, layout and prepress, finally printing, binding and finishing must not take more then ten days, or there would not have been a printed publication available at the exhibition. Such a time frame would just be impossible for classic printing.

Thereby for our catalogue we had been using only a small fraction of the additional options that digital printing provides compared to classical offset printing. Digitally printed books can be individually produced practically without additional costs, i. e. every book with exactly the content the buyer would want. For catalogues of large collections or museums, a number of special catalogues could be offered: didactic working books for schools that, e.g. would just cover one defined epoch; catalogues that show the exact hanging, i.e. the works of art in the very order, in which the visitor of the exhibitions will find them in the location – no limits are set to creativity. And the catalogues could consider always the latest acquisitions of the collection – they would never become outdated.

Books are useful, they do not need electricity, they are quite robust, get never blue-screened and they can be very well read even after centuries if taken good care. The materiality gives books their pleasing, haptical quality – they lie well in the hand. Printed books show a resolution and colour reproduction that cannot be reached by electronic screens today and for a long time into the future. However books seamed to become old-fashioned, slow and sluggish by the speed and the easy accessibility of digital publishing, particularly in the Internet.

Digital printing has been used mainly for job printing – personalized advertising mailings, leaflets, business cards and so on. Today digital production can revolutionize book printing – liberate the book from its ties to production and give to it wings, like Amor did with the turtle on our Emblem!

Send to Kindle

Stained Glass

[Original German Blog Post]

Window in the southern transept of Cologne cathedral by Gerhard Richter. Image courtesy of Derix Glasstudios GmbH & Co.KG, Taunusstein.

That [Chamber] at the eastern extremity was hung, for example, in blue -and vividly blue were its windows. The second chamber was purple in its ornaments and tapestries, and here the panes were purple. The third was green throughout, and so were the casements. The fourth was furnished and lighted with orange -the fifth with white -the sixth with violet. The seventh apartment was closely shrouded in black velvet tapestries that hung all over the ceiling and down the walls, falling in heavy folds upon a carpet of the same material and hue. But in this chamber only, the color of the windows failed to correspond with the decorations. The panes here were scarlet -a deep blood color.Poe, The Masque of the Red Death
The 19th century Romanticism with it’s enthusiasm for the middle ages brought also the Stained Glass Window back into sight.

House of Sir John Soane in London, built 1808-24. The copyright on this image is owned by Peter Barr and is licensed for reuse under the Creative Commons Attribution-ShareAlike 2.0 license.

There are spectacular examples full of fashionable nationalism like the Bavarian Windows, given to the Cologne Cathedral by King Ludwig I – that however were not so much showing France but more likely the citizens of Cologne where to orientate to – no matter on which side of the Rhine the might be living. Irony of fate that the very Ludwig I became the only German monarch who had to resign in 1848′s revolution – just in the year when the Bavarian Windows had been opened.

***
Stained Glass in art history has rarely managed to get to a level above craftwork. Too dreadful are the vestiges – crown glass windows painted with horse and carriage at bawdy beer halls of the 1930s, or Gothic-nationalistic kitsch like the windows described earlier.

After the end of the middle ages the architecture concentrated on natural sunlight. Windows served no longer as independent creations of art but became mere installations to the building. The set-up mystical atmosphere of the old cathedrals
opposites the grandiose theatre of the baroque edifices and finally the artificially coloured light would not fit the increasingly longing for immediate experience of a supreme meaning in nature, which was formed since the 17th century not only by Claude Lorrains’ landscapes:
I know that others find you in the light,
That sifted down through tinted window panes.
And yet I seem to feel you near tonight,
In this dim, quiet starlight on the plains. (Lomax, Lomax, Spencer, Rogers)

The metaphorical denotation of light had changed. Thereby we get to an important aspect of designed glass windows: they had been not (just) part of the architecture but rather media, created for reading.

The earliest preserved stained glass windows can be found in the cathedral of Augsburg: three prophets, likely from a larger series, approx. 1060 A.D. with already completely distinct material and type of representation that we know from the successive four centuries. Small, dyed pieces of glass put together with bands of lead, partly covered with drawings in brown enamel paint or silver pigment.
The medieval windows communicate in different layers of meaning:
In the first instance they serve as Biblia Pauperum, i. e. as pictorial illustration of theological content for the church’s visitors who at that time usually where not able to read.
The second layer is an image of “Heavenly Jerusalem”. Of course the medieval man was at first overwhelmed – not getting any colours in sight outside the church apart from brown, green and the blue sky.
But the stained glass is not just staging, there is also a theological aspect deducted from Ezekiel’s vision and from the Revelation:

* Above the expanse over their heads was what looked like a throne of sapphire (Eze 1,26)
* Also before the throne there was what looked like a sea of glass, clear as crystal. (Rev 6,6)
* It shone with the glory of God, and its brilliance was like that of a very precious jewel, like a jasper, clear as crystal. (Rev 21,11)
* The wall was made of jasper, and the city of pure gold, as pure as glass. (Rev 21,18)

The stained glass of the cathedrals was as precious and expensive as real gemstones. Deep read, so called Gold Ruby for example was obtained by blending nanoscopic gold particles. Thus during the Gothic times glass was not just seen as mere substitute for genuine gems. Like with the glass, the gemstones had been assigned their meaning because of their coloured translucency.

Sainte Chapelle Copyright-Informationen

The diaphanousness opens the third and spiritual layer of meaning: the light itself is inscribed by colour and content of the pictorial windows, it is transcorporated like the Holy Water. This idea of a “light baptism” is truly the most original aspect of medieval glass art. The most spectacular example in my opinion gives the Sainte Chapelle at Paris.

***
Like mentioned in the beginning, the renaissance of tinted Glass windows in the 19th century has been completely eclectic and shows hardly any discretion – not to speak about subtle, spiritual layers of meaning like in the middle ages. It took not until the 20th century to generate creations of glass that could rightly be seen as works of art.

Obviously many of these works are used in church buildings: Le Corbusiers Notre-Dame-du-Haut at Ronchamp has many little coloured windows, but these lack the medial character – the panes remain architectural decoration.
A different thing is the wonderful glass collage by Rupprecht Geiger – sacral like the Baptistery Window in the Evangelische Apostelkirche at Stockdorf – or profane like at the stair case at Munich’s Technische Universität (at cross section Theresienstreet, Luisenstreet). Geiger manages without any eclecticism to find an abstract form of expression in his glass windows.

The window of the southern transept in Cologne’s cathedral by Gerhard Richter also has the distinct layers of meaning. The hue is taken right away from the production of the Gothic glasses. A Poor-man’s-bible, this is made clear by Richter, is no longer needed in our world of technically reproduced seemingly objective images; and so he distinguishes his work from the usual wood-cut sacred kitsch that reminds to Ernst Barlach. Human words and images step completely back; nothing is abstracted, nothing transferred from reality into image. The coloured panes are arranged by mere random within each field; but the very fields are mirror symmetric one to the other. In this global symmetry the local contingency is dissolved. Thus the aspect of Gothic light mystics gets fully visible again.

***
One glass picture marks properly a turning point between epochs: the Large Glass by Marcel Duchamp, 1923. It is the pivotal point for Duchamp himself and represents like rarely another work of art the whole 20th century.
The original title of this most important work of glass art of the modern times is:
“The Bride Stripped Bare By Her Bachelors, Even”
“La mariée mise à nu par ses célibataires, même”
Art, the Machine Célibataire, the Bachelor Machine.

Send to Kindle