page: “cage”
fragments:
Liz Kotz pulled from her book
Words To Be Looked At: Language in 1960s Art Cambridge: MIT P (2007)
“...set of instructions to the performer...”
“For Cage’s self-consciously...”
“...of execution and realization...”
(54 - 55)
“Rather than viewing this serene acceptance...”
(38)
a portion of the Indian Alcatraz Proclamation from Adam Fortunate Eagle’s book
Heart of the Rock Norman: U of Oklahoma P (2002)
“WE FEEL THAT THIS SO CALLED ALCATRAZ ISLAND IS MORE THAN SUITABLE AS AN INDIAN RESERVATION....”
(208-09)
Image of Cage’s score for “Fontana Mix” also pulled from Kotz’s text.
(56)
page: “indian”
fragments:
Robert A Rundstrom’s “American Indian Placemaking on Alcatraz, 1969-71” from American Indian Activism: Alcatraz to the Longest Walk Ed. Troy Johnson, Joane Nagel, and Duane Champagne. Urbana: U of Illinois P (1997)
“The power of signs to invent meaning and incorporate
place...”
(191)
John Cage from “Letter Outlining Plans for Noh-opera” pulled from the book
Musicage: Cage Muses on Words, Art , Music Ed. Joan Retalllack, Wesleyan UP (1996)
“I now have an idea...”
(344)
Scrap of an AD for the DVD “The Take” pulled from the text Sin Patron by the Lativa Collective
image:
“indians welcome” pulled from
American Indian Activism: Alcatraz to the Longest Walk Ed. Troy Johnson, Joane Nagel, and Duane Champagne. Urbana: U of Illinois P (1997)
page: “taiwan”
fragments:
Text from Nedra Reynold’s book The Geographies of Writing: Inhabiting Places and Encountering Difference Southern Illinois UP (2004)
“The Berkeley School...”
(56)
“While not all of us in composition studies...”
(76)
Text from Judith Halberstam’s In a Queer Time and Place New York: New York UP (2005)
“Queer time and place are useful frameworks...”
(4)
image:
“This Land is My Land” from American Indian Activism: Alcatraz to the Longest Walk Ed. Troy Johnson, Joane Nagel, and Duane Champagne. Urbana: U of Illinois P (1997)
Background: From a street looking up somewhere in Taiwan taken by ME
page: “mutt”
fragments:
(left, and sort of center, top to bottom)
Rise B. Axelrod and Charles Cooper from their book
The St. Martin’s Guide to Writing Eighth Ed. Bedford (2008)
“CHANGES IN THE EIGHTH EDITION ... “
(ix)
“THE WRITING ASSIGNMENT ... “
(103)
“PROVEN FEATURES ...”
(vii)
Also:
(upper right corner, and then some)
an appropriated page (words and images), page 58, from Catherine Lupton’s book Chris Marker: Memories of the Future Reaktion (2005-06)
And:
(where do you think? where else is left?)
background image of page, an alteration of a still of Duchamp’s “Fountain (1917).” Originally photographed by Alfred Stieglitz...Source of image for alteration ... Modern Painters (Magazine), Oct. 2007.
Also from Modern Painters:
images of “gallery tags” for some of the painter Luc Tuyman’s work ...
(69)
page: “nostalgia”
Lyrics for Radon’s “Science Fiction” from the record “28”
a fragment from “France’s Bright Shining Lie” by Jean-Claude Guillebaud’s Op-Ed in the New York Times, May 24th 2008
page: “deskill”
More from Kotz and Sheils (see “skill”)
image:
“Don’t Be A Scab” scanned from an image purchased from a street vendor on the Upper-West Side of NYC by Allison Campbell, we assume image comes from Library of Congress archive ...
“Xerox Machine” image pulled from http://bsginc.biz/Office_Machines.html
page: “maps”
fragments:
(clockwise from left)
The DVD menu, etc. from the liner notes of for the VDV release of Chris Marker’s La Jetee (1963) and San Soleil (1983) from Janus Films/The Criterion Collection (2007)
Sketch of an unrealized map of this project by Jason
Excerpt from an an interview with Kate and Louise Wilson by Claire Bishop from http://www.postmedia.net/999/wilson.htm
“The Atomic Priesthood” is taken from “Menacing Earthworks” by Alexander Proven (published in The Believer, May ’08)
page: “events”
fragments:
“Composition 1960 #10 ...”
This is an event score from La Monte Young. I pulled it, again, from Liz Kotz’s Words To Be Looked At: Language in 1960s Art MIT P (2007) page Fifty-nine.
“RE: Project for Hanau Squatters ... “
and
“The sides of the map ...”
from a “Project for Hanau Squatters”
a letter by Andrew Culver RE: a composition by John
Cage
pulled from: Musicage: Cage Muses on Words, Art , Music Ed.
Joan Retalllack, Wesleyan UP (1996)
APPENDIX L
“Every recovered company knows...”
puled from
the Lativa Collective’s Sin Patron: Stories from Argentina’s Worker-Run Factories Chicago: Haymarket (2007)
Various Scraps: A letter to Gene about a film I’m making, Sin Patron, Adam Fortunate Eagle’s book Heart of the Rock
