shine like the afterglow on the part of the margin


After a week spent deciphering information on various Japanese websites, I became strangely attached to the slightly mad translations offered by google. The awkward phrasing and halting sentences produce a sweet and spicy poetry that inspired me to write three short narratives. 

the artist 

From a young age, she was charmed by the glass marbles black grandfather has been shown to be, because it was too beautiful. Surprised black marbles in child’s heart, he became a favourite. Discoveries and a variety of it, or were they various emotions? That in her, making things is that in looking at the events of everyday life, we are in good shape.

She has also considered a good thing, a bad thing as well, and would like to form her own way.

brad pearson on the importance of form | Daily Art Muse.


Her mother taught her to make fun of various things by hand.

Visiting The Middle East Arab culture VS media.


making fun things by hand

Mother was always filled with handmade things; food in the house, clothes, baskets, flowers and other beautiful things were sensitive to have to learn naturally from childhood. Unlike those of vivid colour, black racing series, but images of adult women that include a little nuance. She has some of the bewitching prettiness and will try to open the lid gently with intellectual curiosity.

If you put it in front of a mirror in a tiny room, lighting, for example, finely intricate lace pattern is a jewel box of a Lady.

Anatomical Venus | Wellcome Collection.

mother filled with handmade things

Jewelry box of a lady

From being attracted to the pattern representing the lineage and genealogy, like a Korean living in Japan, none other than the interest in the entity Din. Eye cannot help but be aware. Bringing eye Din Titty work is really hard, she had thought that as an artist, that the theme of their own, and the value of the work itself, and another thing. But when she thinks about why, and what is attracted to the pattern of the race or crest, she can never stand position that they do not reflect the work; you can work honestly, it and it such that nature, she was led thinking it was.

There is a work named With Margin. What is, and margins. There is a thing that when making a public application, the name has been listed in the margins of the document, she is a Korean living in Japan, or a margin born in this land; whereabouts? It will be led to think.

Out of chagrin, she has thought about margin. Holds things because there is a need for margins; margins, she thought she’d work on the glass, the beauty of the margin.

Shine like the afterglow on the part of the margin.

Margin, which has what is light, but a strong aesthetic sense of its own.

Strength and works, separate from her unshakable soul, ethnic pride is melted quietly, may be referred to as series and also the margin is said to work.

What the iPad Can’t Do by Sue Halpern | NYRblog | The New York Review of Books.

Nor the Kindle, for that matter: Shine like the afterglow on the part of the margin. 

Field is made ​​of glass, beautiful shine backed by high technology. The material does not cease to fascinate her.

She has still cherish, a small ball of glass that gave her childhood grandfather.

Cloudy never once was looking at it without getting tired, and feeling her heart dance.


An ad break for the vertically challenged: shoes appear taller, high.

 “Beauty is Power” by TheoRose – Chictopia.

1970s PLATFORM BOOTS Unworn! Amber Leather. 2.5″ heel, 1″ platform – Sazz Vintage Clothing.

To those who think, “Tall! Want to be a little high,” I want to show a little high.

“!” Like that, I’ll show you the best shoes.

I think I’m short, so I also, for those who, or that I thought many times have become complex, and hopefully, to even offer a little help.  I want to be tall naotaro. I’m back and I have wanted to be taller, and.

First, I am small, and become a model of the “Paris Collection”. Call if it is tall but, but I must not be high.  From now on … just smaller and I do so in order to try to use, at least they show high shoes: “show” high.

People feel the same, I’m glad it helps.

June 2010 | Maison Chaplin.

The Paris Collection


music star: An interview that should unlock the secrets 

Because there were quite a few that you do so, I was able to do in practice, the overall picture of the stage did not look right? suddenly. However, the song you want to mix were songs and in a state of high tension as Te said a while ago; in a moist feeling I have everyone talking. After that, then I can swing a guitar, to refrain from acoustic because I quit trying.

It is said in such a process of trial and error, minutes before the recording is lacking in a hurry about a week of production, to increase or even a song.

The Swinging Guitar of Tal Farlow – Wikipedia, the free encyclopedia.

New to release in the short term of 10 months from the “école de romantisme” previous work, one thing that was opposed to the “popular song” thoroughly. It made album aims to conceive a sex appeal that’s now in the era of digital glory, such as fragrant dare, and the carpet. Welcome a variety of guest musicians, through melody that boldly challenge soul and funk, to jazz, he is trying to revive the now popular song of the brilliance of the Showa era.

The Japanese Postcard. / Aqua-Velvet.

The Shōwa period (昭和時代 Shōwa jidai?, literally “period of enlightened peace/harmony” is the period of Japanese history corresponding to the reign of the Shōwa Emperor,Hirohito, from December 25, 1926, through January 7, 1989.[1]

This work, including the age of camellia shop quartet, strongly reflected the taste of his own roots and most career history. The “whiff of popular song” of his music degree we have been told so far, how do really born? To make something that was completely different to the sound of mainstream now. It’s pretty analog, there is a feeling like doing the opposite of the times. In that sense: Maybe some people have the impression some people called old. After that, going darker, the density was more a sense of their own songs. This time not want to do halfway. Feeling or something rather than feeling “a little, but now also incorporates sound like pop songs”, and written about over there they will be sound, there is a feeling that was spun off.

Since going to have to study to some extent, such a code may have been issued through the consciousness. l like feeling like this, feeling that it is in or out, or it is out of this feeling. Why?, but I will not be analyzed in detail and only so much as image.

This is not a knowledge of the range that he knows, a song that is riding on it (minor seventh flat fifth), and Half Day Mi Furnish code, so called as one of the key points m7 ♭ 5.

Mode name Notes Intervals
Ionian C E G B d f a 1 3 5 7 9 11 13
Dorian D F A C e g b 1 -3 5 -7 9 11 13
Phrygian E G B D f a c 1 -3 5 -7 -9 11 -13
Lydian F A C E g b d 1 3 5 7 9 +11 13
Mixolydian G B D F a c e 1 3 5 -7 9 11 13
Aeolian A C E G b d f 1 -3 5 -7 9 11 -13
Locrian B D F A c e g 1 -3 -5 -7 -9 11 -13

Chord Naming

What song do you I think I’m not going on!

Wow, it is very likely.

That code, the code of melody m7 ♭ 5, semitone down from the normal scale. Place where there is a semitone down, or produce the K be stumped. It leads to the sex appeal of the song. Well, where he was poked sharp.

But he sometimes says thoughts like, “I like semitone.”

Well, I like the code too.

You really cannot put out their own colour.

But, do not use other people too.

LackLustre Approach to Music II.

the octaval circle of the Lu-Shi Chun-Qiu scale

The code was not awkward or even, but he was thinking that people also used to lower generation of ‘I Do not Have You’ not you come out, for those who have not listened to black music so much comparatively. To give the feeling like blues or jazz minor clearly they’re the perfect code. So, are often used in black music. Were you using from the time of the T shop quartet, I might myself because I like that around here.

It is the sound of jazz and black music is not it much. This is also part of the framework of such songs as melody and chord progression.

Live begins solo debut single; “the end of shite” today! Welcome okay!

Enjoyed it to the last minute to the final! Evening!

“During the tour, I have much,” he had said. “I want to do B, have gone up tray is B these two days very much. Today is the final of the final. Today raise the gold medal of P to everyone from me so !” he said, but it was not broken just responded with roar of the audience of the B.

 “Okay? Let us throb to the death,” he said, “I think as long as the beat of my heart is not ringing, and I want to continue my music.”

Generous applause was sent with tears and a smile.

Mike Marchev | Applause. The Much-Needed Missing Link.

Living big thing, but I always felt uneasy half that, half the fun, we did not have much anxiety. I had experienced at the Y also circular stage, “Summer Commotion Fool Summer Black Thigh.”

Hall first tour that began after that, because I shall have been around the country towards the S Dome; I wonder if I had gone up the cargo. Or consider the representation of each land, I was, or how to show to the audience a lot farther, that the experience learned from the tour stage. There is only a “stupid commotion” theme of all, I want to enjoy than worry anyway!

What if it was a strong feeling?

I think it’ll be easy but I, Oh.

Given calm down now, do not that annoying to me there homework, because not only consistent with the textbook basis, I’m not such a difficult thing. When I thought of the incumbent or “I wonder if there’s meaning to do this,” or “I wish troublesome,”.

“Oh, I should do it when you have such.” Pinch me when I graduated.

Child of the students had better do it right now you’re fine!

I mean you are defiant state.

Defiance: Beyond the Borderline Personality

present tense

It is so easy for one’s work to get lost in translation when distracted by the clamouring voices that demand a succinct ‘artist’s statement’ ; to distill one’s process to a final, definitive bon mot.

Whenever I try to write one of those, it reads something like the text below – my first email sent from my BlackBerry, written in Afrikaans and put through the wringer of an English spellchecker. (I unknowingly OK’d the wrong option throughout.)

So hammer on he hood mast boy day by ain’t hers tel is. Sit by Visa of OR Rambo en wag on he board. Opening was heeding, soviet oh friend Jason en Johannesburg we winter leeugraskleur opened onto en warder. Top spin van nostalgics intrigue. Hoop one man maker you he scene key. Lived dear, w

I especially love the way our dignified struggle icon, O.R. Tambo, became the renegade American fictional character,  O. R Rambo. And that ‘leeugraskleur‘ escaped unscathed: dried grass, the colour of a lion.

Oliver Tambo


March and April 2011.

Grass the colour of lion

 Happy creating, and don’t forget to shine like the afterglow on the part of the margin.

last word on zuma’s genitalia

I want to post this sane, excellently written article here, instead of my own musings on the matter. Really, really could not have said it better. The author’s blog/website is worth a visit. Chris Thurman – South African academic, journalist and author.

CHRIS THURMAN: As in Hamlet, Zuma betrays himself in his moral outrage

President Jacob Zuma and his allies, through their over-reaction to Brett Murray’s art, are in fact acknowledging that there is some merit in its critique.

One of the more annoying aspects of the controversy surrounding Brett Murray’s The Spear is the lack of appreciation for context: that is, for the artwork both as part of an exhibition and as an addition to the artist’s already-substantial portfolio (never mind as a contribution to a pre-existing national discourse).

Reading the diatribes of the artist’s sternest castigators and staunchest defenders alike, one could be forgiven for thinking that Murray woke up one morning, decided to draw a penis — a black man’s penis, the president’s penis, Jacob Zuma ’s penis — and asked the Goodman Gallery if he could hang the picture on a wall, quietly assuming that nobody would be upset.

The fact is that Hail to the Thief II, the exhibition in question, is not a new departure in Murray’s work. Nor was the first incarnation of Hail to the Thief. If advocates of Zuma’s right to dignity had paid any attention to Murray’s work before now, they would probably have read (emblazoned on the walls of the same gallery three years ago) his declaration: “Every time I hear you sing the machine gun song, I want to find one and shove it up your fat arse.”

Murray has been saying insulting things about the African National Congress (ANC) and its top brass for some time now. So why — apart from the fact that, as spokesman Jackson Mthembu so felicitously put it, the transgression was “brought to our attention by one of the media houses” — is The Spear deemed so offensive by ANC bigwigs?

Moreover, why has their umbrage been adopted by so-called “activists”, to the point of hysteria? What can explain the frenzy of courthouse protests and, ultimately, the defacing of the work earlier this week? Whether the vandals who added their censorial red-and-black paint did so on behalf of a larger constituency or not, they enacted what had been threatened by others.

A cynical answer is that the ruling party realised the picture would simultaneously appeal to the prurient and appall the puritanical, two overlapping South African demographics whose sympathy for the president might (with the correct spin and an emphasis on moral outrage) be increased — or whose attention might temporarily be distracted from the daily news coverage of government ineptitude. A more earnest answer, echoed by the most convincing voices in the tripartite alliance, Gwede Mantashe and Zwelinzima Vavi, comes in the form of an accusation: Murray is perpetuating the stereotype of the sexually rapacious black male.

Neither of these answers is adequate (and the second, however sincerely felt, is misguided). The actual cause is a basic misunderstanding of how “realism” and “representation” operate in works of art — or, to apply some art-circuit jargon, of the limitations of mimesis. This can be explained by recalling Murray’s 2009 exhibition, Crocodile Tears, in which he mocked the idea of Thabo Mbeki as a pipe-smoking “philosopher king” by reproducing the 1928 painting, La Trahison des Images (The Treachery of Images), by Belgian surrealist René Magritte.

Magritte wrote the words “Ceci n’est pas une pipe ” (This is not a pipe) below a picture of a pipe. The point he was trying to make was that works of art imitate things in the real world, but are not the objects themselves. In fact, what appears on the canvas is often a representation of an idea, an image of an image. Murray adapted this, inscribing the words “Ceci n’est pas un president ” below the pipe — the implication being that the version of Mbeki so often touted by his supporters, the unappreciated intellectual, was a sham: a pipe does not a president make.

How does this apply to The Spear? First,, the appropriation and adaptation of iconic works of art is an established part of Murray’s practice; he often conflates the global symbol and the local politician, typically with an ironic or allusive title, and leaves the viewer to join the dots. In this case, both Zuma’s stance and the red/black colouring are obviously modelled on a Soviet propaganda poster depicting Vladimir Lenin in revolutionary pose. Is it outlandish to compare the decline of communist idealism into totalitarianism to the manifest failures of our own “revolutionary party” in government? Or to suggest that, in SA as in Russia, the seeds of postrevolutionary corruption, brutality or neglect were sown even in the heady days of Bolshevism? Here, “Zuma” stands for something much larger — the party, and the state, he heads.

But what about Zuma in his personal capacity? His struggle credentials rest heavily on his involvement in UmKhonto we Sizwe, “the spear of the nation”. Equally, during his watch, terrible atrocities — including sexual abuse — were committed in MK camps. There is no dispute that, over the last five years, sex has been a major part of Zuma’s public identity: one that he flaunts when convenient (each time he marries again) but deflects as “a private matter” when activists chastise his irresponsible sexual behaviour as the leader of a country beset by unhealthy sexual practices (we cannot forget that rape trial). The spear is a shorthand but evocative description of the damaging phallus.

Second, then — if Murray is simply using the penis as a metonym for a series of already-current critiques — Magritte’s warning should hover over The Spear like an invisible subtitle: This is not Zuma’s pipe. It is not even a mimetic representation of Zuma’s pipe. It’s a provocative placement of a symbol. I’ve made the point on these pages before: famous people, politicians included, are (to all intents and purposes) just simulacra. Yes, the president is a husband, a father, a man whose feelings can be hurt; but to most South Africans, he is nothing more than an accumulation of images, most of which he is responsible for placing in the popular imagination. This is the choice he made in taking office.

Zuma’s penis — or, at least, representations of it — has been in the public domain for some time now.

It is telling that the ANC and the prudish moral high-grounders who wag their fingers at Murray seem to think that a painting always functions like a documentary photograph of the real. In their defence, Shakespeare said something similar — or rather, Hamlet, his creation, did: the purpose of art, affirms Hamlet, is to “hold the mirror up to nature; to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure”.

Hamlet’s idea is to catch out his uncle Claudius, who has usurped the throne by killing Hamlet’s father. So the meta-theatrical prince devises a plan to have the murder acted out in front of the murderer: “guilty creatures sitting at a play”, he says, cannot tolerate it when their sins are portrayed to them by actors, and so they “proclaim their malefactions” — they are forced to confess. As expected, Claudius betrays himself through his outraged response to Hamlet’s play. He falls into the trap of mimesis, confusing the work of art for the real world, precisely because it aggravates his guilty conscience.

Zuma and his allies, through their over-reaction to Murray’s art, are in fact acknowledging that there is some merit in its critique. Claudius calls off Hamlet’s play; Zuma wanted The Spear removed from the gallery; two “free radicals” pre-empted any court decision by defacing the painting. But although Zuma and his supporters have pretended to be offended by the artist, or may even have convinced themselves they are truly offended, like King Claudius they will soon privately admit: “O, my offence is rank — it smells to heaven!”

• Thurman is a senior lecturer at the University of the Witwatersrand.