carpet fragments #1

Combining Žižek’s cut and paste method with John Hutnyk’s carpet fragments method hopefully by Friday this will be a coherent article on Foucault, theology, power and some other shit.
No access to the toilet or the kitchen until then.
Joven y Alocada - film premiere
UK premier of the Chilean film “Joven y Alocada” (“Young and Wild”) in London. The film received the award for the best script at the Sundance Festival.
The event is free and includes a conversation with the director Marialy Rivas. It will take place on the 31 of May, at 18:00, in Goldsmiths College, University of London, room LG02 in the New Academic Building (NAB). View the trailer here: http://www.youtube.com/watch?v=rdXszeyZWIM
Nyx 7 Launch Party

Nyx, a noctournal invites you to celebrate the forthcoming launch party
for Issue 7: Machines. Continuing their twice yearly journal of philosophy,
art and cultural studies,this new issue is the biggest and most ambitious
Nyx yet, featuring Bernard Stiegler, Luciana Parisi, Michael Taussig,
Benjamin Noys and many more great writers and artists sharing their
thoughts on things technological.
Alongside these literary and visual temptations Nyx, the goddess of night,
will also be offering an evening of sensory explosions - live music, djs
and visual installations from art collective The Chess Club, all on the
theme of Machines. Plus your chance to get your copy of Nyx 7 at the
special launch night price of £5. All this will be taking place in the
abandoned cells of the Old Police Station in Deptford (2 mins walk from
New Cross Station) on Friday the 1st of June.
Exhibits will include:
Cell 1:
Nyx Magazine Launch + Space Sound Painting Machine (sculpture), Catharina
C.Golebiowska
Cell 2:
Judith Spangs interactive Light-Sound-Installation "Just Whistle" (tbc)
Cell 3:
RoboCup - 3D Humanoid Soccer Simulation League
Bold Hearts is a RoboCup team from the University of Hertfordshire (UH), UK.
3D screen simulation
Cell 4:
Drawing Machines - artist performances:
-Simon Schäfer - printing live performance
-Laura Kuch - drawing machine / installation
-Linda Antalova - drawing live performance
Plus in the main bar area live musical performance from The Sonic
Manipulator, DJs, and various other attractions as yet to be decided.
Pre-launch barbecue in the courtyard of the Old Police Station from 4pm.
Launch/Exhibition from 6pm to 11pm.
Entry is free.
dress codes 2: oh so street
volumes have been written on what makes streetwear, erm, street. but all it really seems to involve is being vomited on by the 80s. As Joshua Haddow’s research below demonstrates:
reposted from www.vice.com
OMG, YOU GUYS ARE ALL SO STREET! BUT WHAT IS STREET?

This weekend in a car park in Shoreditch there was an event called Streetfest. At Streetfest there is “street” art, “street” music, skateboarding, BMXing, graffiti and other things that have been broadly defined as being “street”.
But what is “street”? What does it mean? It’s difficult to pin down exactly what “street” is… and what it isn’t. So I went down to Streetfest to find out.
Leo, 19, student (left) and Nick, 27, fashion designer.
VICE: Hey guys, what is “street”?
Nick: Everything you see in London.
Like what, specifically?
Nick: Hi-tops [is wearing hi-tops].
OK. What’s not street?
Nick: You can’t pinpoint anything. Nowadays, you can make a bow tie street.
Really?
I’d make it street.
Are you street?
That word’s not big enough to describe me.
What’s your street name?
I don’t have a street name at the moment.
What’s your street name?
Good question. I’ll let the street decide.
What’s your street name?
Flawless.
OK. But what’s your street name?
Flawless.
No, what’s your street name?
Oh! Camden.
That’s a big street. What makes a street “street”?
Reputations, you know, like if someone gets stabbed…
Getting stabbed is street?
Everything’s street.

Becky, 24, window dresser (left) and Jessica, 23, visual merchandiser.
VICE: What is “street”?
Jessica: The fact that you have skateboarders and dancers here is quite sick. Like, it’s outside, as well…
Does it have to be outside to be street?
Becky: No, street can be inside.
What makes something street?
It’s not about an expense and it’s not about a label. It’s about being real. I think street is just being cool and who you are and a representation of where you’re from.
Where are you from?
Ipswich.
From left to right: Dirty Harry, 18, Bob Keith, 18, and Frazier, 19.
VICE: What makes something “street”?
Bob Keith: Keeping it real.
Dirty Harry: Anything urban.
Bob Keith: Urban is real recognise real.
Dirty Harry: City kids, innit, not the sticks, it’s the city kids.
Frazier: Real eyes recognise real lies.
What’s urban?
Bob Keith: Urban is just a word. But the end of the day these are just words, what do the words mean?
I don’t know.
They mean nothing. The words are made up for rich kids who wanna follow something.
What isn’t street?
Dirty Harry: Posh girls and skinny jeans.
Are you guys “street”?
I’m just a cool dude.
Seems to me that everyone wants to be “street”, but everyone’s too modest to admit that they are.
Dirty Harry: Nah listen, if a nine to five’s street then count me in, innit.
Bob Keith: Recognise real.
Nine to five doing what?
Dirty Harry: Me? Office relocations.

Ash, 27, web developer.
VICE: What makes a person “street”?
Ash: Someone who’s trying too hard. Today I’ve seen way too many tie dyes and leather studs. Stop trying too hard! But I guess we’re in Shoreditch.
Says the man wearing pink leopard-print trousers. Do you think Shoreditch is a “street” area?
No, it’s full of middle class hipsters.

Alex, 20, designer (left) and his Spanish friend who doesn’t speak English.
VICE: Is art “street”?
Depends what art you’re talking about. Art in a gallery isn’t street because it’s not on the street. Even just leaving cardboard cut-outs of people in city centres, that’s street.
What else isn’t street?
Going to uni isn’t street. But we’re at uni so… You gotta do that. You just gotta keep the balance of being street and not being street.
What’s the balance?
Probably like 80:20.
You’re 80 percent street?
Nah, 80 percent being not street.
That’s very sensible. What music is street?
Piff Gang are street. They’re showing the world, the 90 percent of it that’s not street, what is street and that you don’t have to conform to what everyone else wants.
What does everyone else want?
Whatever the government says, man. They do a lot of things behind people’s backs that no one knows about, but street people, they seem to know about that.
How do street people find out what the government is up to?
Through Facebook.

Sammy, 21, student.
VICE: What is “street”?
Sammy: Street is me right now! Individuality.
What makes you street?
I’m from Edmonton, North London! Everyone dresses a bit street there.
What isn’t street?
Corduroys. Old man creps.
What other things are street?
You gotta have a zoot in your hand, you gotta smoke weed and drink alcohol to be street. If you’re sober, you’re not street.
Does it depend on where you’re born?
You need to pursue a persona that doesn’t represent you as the ghetto mentality you may feel. If I dressed like where I was from I’d look like some idiot chav and I don’t want to be a chav.
Chavs aren’t street?
No. They’re just Burberry and fucking tack. You have to own the street to be street. If you don’t get recognition because you look like a chav, you’re not really street, you’re just a tramp.
What’s your street name?
It used to be Lady Blue Eyes because I thought I was a chav. Now it’s Fruit Salad. Can you add me on Facebook? I’m wearing Elton John glasses and I’ve got a fringe.
Alicia, 21, student (left) and Chris, 24, builder.
VICE: What’s “street”?
Alicia: Stoners are street, although I don’t actually smoke weed. Shoreditch definitely is street, but at the same time you get too many people dressing the same.
How so?
I don’t know, disco pants, a pair of Nikes.
Does it matter where you come from, if you wanna be street?
No! I used to live in Devon.
What’s your street name?
Chris: Chris.
But what’s your street name?
Chris!
Alicia: I don’t agree with that sort of thing. When I was 15 I used to call myself Little Miss Hush but that’s just fucking gay, isn’t it?

Leanna, 24, PR (left) and Lara, 25, trend forecaster.
VICE: Hey guys, what isn’t “street”?
Leanna: Essex.
Lara: They are intruding. I feel like everyone should embrace a bit of everything. But they embrace it in a negative way.
OK. I think I got it.
Return to the street - conference programme

Conference to be held on 27-28 June 2012 at Goldsmiths, University of London. Specific room locations tbc.
Day One – 27 June 2012
9.00-9.40 Registration
9.45 Welcome – Les Back, Professor of Sociology, Goldsmiths, UK
10.00-11.00 Plenary 1: The Dialectic of the Street
- Ash Sharma, University of East London
Chair: Sophie Fuggle, Centre for Cultural Studies, Goldsmiths, UK
11.00-11.15 Break
11.15-12.45 (Sessions 1 and 2)
Session 1 - Returning to the Street
The Twenty-First Century Street Protest: A Radical Beginning? – Michael J. Kelly, University of Leeds, UK
Streets of Bucharest: How transition changed and yet not the streets movements after 20 years - Ioana Vrabiescu, SNSPA, Bucharest, Romania
A Return to photographing the street: a politics of street photography? – Ruben Demasure, University of Antwerp, Belgium
Session 2 - Surfaces, Levels and Layers
Schizophrenic Space: Who does the street think it is? - Rob Sawyer, University of Plymouth, UK
The Street as Digital Display: Augmented Reality and Autoamputation in 3D Street Art - Regner Ramos & Sabina Andron, The Bartlett School of Architecture, UCL, UK
The Stairway as Street: An Alternate Street Typology - Jennifer Preston, University of Queensland, Australia
1.00-2.30 Lunch
2.30-4.00 (Sessions, 3,4 and 5)
Session 3 - Taking to the Street
Blue Buckets, Bolotnaia square and the new middle class protest in Russia - Ivan Gololobov, University of Warwick, UK
Whose Streets? Our Streets? The Place of the Streets in the Occupy Movement: a Critical Analysis - Ashley Lavelle, Macquarie University, Australia
Street credentials: Subjectivity and politics on the move - Nikos Patelis, Panteion University of Athens, Greece
Session 4 - Street as Theatre
Politics (and mimes) on the street – Paulius Yamin, Goldsmiths, UK
New bodies in disguise take the streets: Ritual, carnival and event in the Chilean education movement - Daniel Opazo, Universidad de Chile
Eu—Político - Barbara Neves Alves, Goldsmiths, UK
Session 5 - The art of protest
Takin’ it to the Streets and Stickin’ it to the Man: Contemporary Street Art Stickers as Cultural Expression and Political Protest – Catherine Tedford, Richard F. Brush Art Gallery, St. Lawrence University, NY, USA
Protest posters as street art: everydayness vs event, identity vs anonymity - Varvara Kobyshcha, National Research University Higher School of Economics, Russia
Producing Anti-Fascism: Lea Grundig and the Print Portfolio 1933-1939 – Caitlin Dalton, Boston University, USA
4.00-4.30 Break
4.30 – 6.00 (Sessions 6,7 and 8)
Session 6 - Street Violence
Politics, Performative Violence and Agency: comparing uprisings in London and Athens - Miranda Iossifidis, Goldsmiths, UK
Riders to the Grave: Street Stories, General Abacha, and the Politics of Death in Nigeria - Nduka Otiono, Brown University, USA
Enlightened Streets: Public Art and Anti-Violence Campaigns – Patricia Anne Simpson, Montana State University, USA
Session 7 - Technologies of the Street
Posthuman Urbanism - Debra Benita Shaw, University of East London, UK
Political Agency in the Works of Chris Marker – Gavin Keeney, Deakin University, Australia
Catalyzing Dissent: Irreversible Noise and Computational Immanence – Andrew Osborne, Middlesex University, UK
Session 8 - Street in Transit
Bike workshops in social centres, The squatting is overflowing the walls – Elisabeth Lorenzi
Whose Cycle-ised City? Shaping spaces for activism and advocacy in London – Rachel Aldred, University of East London, UK
Loiterers Resistance Movement – Morag Rose, Manchester Metropolitan University, UK
6.15 – 7.00
Workshop: Escaping Psychogeographical Cul-de-Sacs - Mihaela Brebenel and Christopher Collier, Ernest Art Collective, UK
Film screening (details tbc)
7.00 Reception
Day Two – 28 June 2012
10.00-11.30 (Sessions 9,10 and 11)
Session 9 - Youth
The rebel without a cause as protagonist of unruly politics - Femke Kaulingfreks, University of Humanistic Studies, Utrecht, The Netherlands
“Leave the Capitol!: Sabotage, skinheads and continual connectivity in the neoliberal era” – J.D. Taylor, UK
Digi-tafsir: Middle Eastern hip hop, exegesis and social transformation in a digital age - Omid Tofighian, University of Sydney and UWS, Australia
Session 10 - Street Encounters
“The private kindness of one individual towards another; a petty, thoughtless kindness; an unwitnessed kindness. Something we could call senseless kindness. A kindness outside any system of social or religious good.” Vasily Grossman, Life and Fate – Tiffany Page, Goldsmiths, UK
Unattended Items: Cooperation vs. Anxiety - Jekaterina Lavrinec, Vilnius Gediminas Technological University, Lithuania & Oksana Zaporozhets, National Research University Higher School of Economics, Russia
Sidewalk Variations – Children and ‘Urban Care’ – Kim Kullman, University of Helsinki, Finland
Session 11 - Walking the Streets
Sophie Calle and Annie Ernaux Stalk the Streets: Objectivity as an Alibi - Ania Wroblewski, Université de Montréal, Canada
Street Walker: Slutwalk and the Street - Linda Stupart, Goldsmiths, UK
The political potential of walking. A critical analysis of embodied resistance in the projects of the artist collective Ne pas plier – Elke Couchez
11.30-11.45 Break
11.45-1.15 (Sessions 12,13 and 14)
Session 12 - Power on the Street
Democracy of the police: The Istanbul 2010 European Capital of Culture (ECoC) Volunteer Program as an attempt of inclusion - Vildan Seçkiner, Ludwig Maximilians University, Turkey
Shape shifting and Sikhism in Southall: the consolidation of power through religious processions and public visibility - Sukhwant Dhaliwal, Goldsmiths, UK
The negotiated street in post-reforms Ho Chi Minh City, Conceptualising streets resistances under an authoritarian political regime - Marie Gibert, University Paris I Panthéon-Sorbonne, France
Veins of Volatility: Sensationalizing the Streets in Amitav Ghosh’s ‘The Shadow Lines’ - Ratika Kaushik, University of Sussex, UK
Session 13 - Open Spaces
The Street Painted in Red Herrings - Patrick Turner, London Metropolitan University & Marcus Willcocks, Central St Martin’s College of Art and Design, UK
Walls, the last analogic device for popular communication - Xavier Ballaz, Difusor.org, Spain
A Government Walk of the City: Reinforcing the Urban Centre as a Political Signifier - Manole Razvan Voroneanu, Southern Polytechnic State University, USA
Session 14 - Mapping and Counter-Mapping
Public space design in the contemporary city: emerging themes - Martina Orsini, Polytechnic of Milan, Italy
Always Let the Road Decide 2008 – 2012 – David Kendall, Goldsmiths, UK
Mapping new political territories in the light of Spinoza: The affective tones of the multitude - Ljuba Castelli, Queen Mary, University of London, UK
1.15 – 2.30 Lunch
2.30-4.00 (Session 15 and 16)
Session 15 - Subversive Politics
The politics of playing in the street – Louise Fabian, Institut for Kultur og Samfund, Denmark
The hood, the ends, the road, the ghetto, the deprived urban community – Blackness and the street – Dhanveer Singh Brar, Goldsmiths, UK
Street-Queer - Joseph Russo, Goldsmiths, UK
Session 16 - Documenting the Street
Bring streets into your home - contain the revolution! - Nela Milic, Goldsmiths, UK
Graphic representations of the current Russian protests: démarche of the middle classes or demand for the real change? - Daria Zelenova & Vladislav Kruchinsky, Russian Academy of Sciences, Russia
4.00 – 4.30 Break
4.30-6.00 Plenary 2: ‘I throw some shit in your face when I see ya, ‘cause I got something to say’ MIA Videos and Discussion
- Nabeel Zuberi, University of Auckland, New Zealand
- Anamik Saha, University of Leeds, UK
Chair: John Hutnyk, Centre for Cultural Studies, Goldsmiths, UK
Close of Conference
All welcome. Attendance is free - click here to register.
Please contact: s.fuggle at gold.ac.uk for further info.
A decline in standards?
Contrary to popular opinion, the standard of today’s PHD does not lack the quality and rigour of previous decades. Below is more than ample evidence of the continued originality, innovation and richness of material being produced:

films with eggs in them
One of my biggest ambitions is to curate (I use the term loosely) a film series on the theme of eggs.

Only 3 raw eggs? Will have to wait until Rocky 2 for the chicken-chasing scene, though
A work in progress and open to further suggestions. The current list includes:
- Airplane!
- Earth Girls are Easy
- Ai no corrida
- Cool Hand Luke
- Withnail and I
- Rocky
- Ghostbusters
- Pee Wee’s Big Adventure
- Godzilla (the Hollywood remake)
- 9 1/2 weeks
- Jurassic Park
- Who Framed Roger Rabbit?
- Angelheart
(There is also an endearing egg chair scene in Sleepless in Seattle but that might be a little off-topic.)
I also feel it is imperative to include a Mork and Mindy retrospective at some point.

NB. films that WILL NOT be included:
- Chicken Run
- Runaway Bride
Inevitably the Guardian has already ripped off my idea: http://www.guardian.co.uk/film/filmblog/2010/mar/31/clip-joint-eggs
attica

Some notes on Attica:
Foucault’s trip to Attica was the first time he set foot inside a prison. He visited Attica in early 1972, about a year after the riots in 1971. At that time, the GIP work was well underway. Yet, it is perhaps this trip that constitutes a major turning point in Foucault’s conception of power. In his 1971 lectures, Foucault still adheres to an understanding of power as essentially repressive. His expectation prior to visiting Attica was that the prison was an essentially exclusionary apparatus.
Today the prison still operates under the shadow of riots of 71 during which 39 people died - many of the prison guards were killed by state troopers storming the building. The disciplinary measures operating throughout the prison embody the idea not simply that where there is power, there is resistance but, rather, where there is resistance, there is power. Disciplinary measures emerge as a reaction to new strategies and tactics of resistance. The C.O’s are inculcated into the art of drug smuggling by the prisoners.
Attica houses some of the most dangerous prisoners in the U.S. Prisoners are sent to Attica from other prisons and were described by the C.O. showing us around as ‘bad’ and ‘incorrigible.’ Rehabilitation is not an objective it seems both in Attica and throughout the U.S. penal system. Which raises questions about the role and value of the various work and education programmes offered to the inmates. Excess bodies which must be managed.
The prison industry
There was something eerily Fordist about the whole establishment both in the work being done by the prisoners but also in the attitude of the guards. When asked what the most rewarding aspect of his job was, the C.O. told us, with no irony, that it was ‘getting to leave at 3 every afternoon’. The guards like the prisoners are caught up in the disciplinary space of the prison in which everyone has a place and everyone know it.
On arriving at Attica at 8am in the morning - the first thing that is striking is the number of cars parked outside. Visiting hours were not yet under way and the visitors parking area is relatively small compared to the huge number of SUVs and other vehicles, all of which belong to staff working in the prison. There are 2200 prisoners, 500 guards and about 300 other members of staff.
However, we were told by the C.O. that the prisoners do much of the work needed in the prison themselves. The prison was spotless, prisoners do all the gardening and cooking. There is a metal work shop which produces large metal cabinets mostly for use, I gather, in industrial and public institutions like hospitals and schools. The C.O. told us that due to union labour laws, many organisations refuse or are not allowed to buy items produced in prisons (prisoners get paid 60c a day to be in prison). To get round these laws, parts are sent out to be assembled elsewhere then sold. The C.O. was unapologetic about this - from his perspective, the prison needs to be financially viable and has been hit by the recession like all manufacturing. Yet, at the same time, how is it possible to justify what is essentially slave labour. The obvious answer would seem to be the experience and skills the prisoners are acquiring which should help them gain employment when they leave prison. But, here, we were told that rehabilitation is not the aim. Programmes in the prison whether education or work-based are seen as a means of keeping prisoners busy and situated in the complex system of privileges that can be taken away for any form of bad behaviour. Moreover, the sight of a manufacturing production line is something becoming increasingly rare throughout the U.S. so rehabilitation aside, it is unlikely that once outside, those working in the metalwork shop will find comparable employment.
The dismissal of any lasting value to the programmes offered in the prison by the C.O. also attests to a certain ideology running throughout U.S. society. Prisoners cannot be seen to be benefiting from their time in prison or using it to give themselves any sort of competitive advantage. The tax-paying public resent the idea of any form of assistance which might actually help people improve their situation because that would, in turn, threaten the privileged position of those ‘providing’ the assistance. So, while many universities offer degree programmes to prisoners, these are not something the universities promote or even mention. The fear is that the wealthy parents of their regular students, will object to paying for the children to obtain the same piece of paper as someone in prison - who gets it for free. In order to maintain these programmes they cannot be spoken even amongst faculty members which obviously prevents newer members of staff getting involved.
Knowledge is not always power
The layout of Attica is deliberately disorientating. There are no markings in the corridors between blocks and they are all decorated the same. This is so that a prisoner who somehow gets out of his block cannot easily find his way around - this is especially true in the case that chemical deterrents (probably tear gas) are released due to an incident.
The only point where one can get an overview of the prison is by ascending the watchtower immediately above Times Square (the central point in the prison and the only way to get from one block to another, everything has to go via Times Square). The view from the bridge at the top looks out onto all 4 yard areas. All the yards are marked with a series of numbers. The first indicates the cell numbers so if anything gets passed out of windows, it is easy to identify which cell they have come from. Around all the walls are stone tables with numbers on the sides and top so they can be seen from different watch towers. If anything suspicious is going down, the guards can use the table numbers as point of reference.
However, there are no surveillance cameras overlooking the yard and limited CCTV throughout the prison (if at all) - the C.O. told us that this was a good thing since CCTV footage was only ever used to incriminate guards.
He also acknowledged the different systems of knowledge circulating in Attica. When a new prisoner arrived - within hours, all the other prisoners would be aware of this and know exactly why he was there. If something kicked off in one block, prisoners in every block would know why. Yet, they are forbidden from talking in the hallways and everywhere we went was eerily quiet. The guards deliberately deny rather than try to harness such knowledge so it cannot be used as a bargaining tool. They also do not want to know why a prisoner is there - this makes dealing with all prisoners equally much easier.
The shadow of the riots
The whole system at Attica is intended to produce docile bodies. We passed numerous prisoners in the hallway who not only didn’t speak but also didn’t make any form of eye contact since they can get written up for this. There were a series of yellow lines marked in the hallways but also in communal areas like the workshop - prisoners would stop and wait behind these until instructed to do otherwise as if obeying a complex traffic system.
Today, if a prisoner kicks off it is usually a response to some immediate deprivation like no ketchup. The C.O. lamented the days when prisoners would think more strategically, even organise their resistance. In the 80s, prisoners would freak out the guards by eating in silence in the mess hall. Now, there is no organisation, no solidarity, no long-term strategy either for resistance or improved conditions. The C.O. both blamed and thanked crack for this. His job is easier but he seems to respect the prisoners (and perhaps as a consequence his role in managing them) less.
Special Housing Unit
The Special Housing Unit (SHU) is a variation on the supermax. It was the only part of the prison we weren’t shown. Apparently, there are some issues with shit slinging. The C.O. deemed this an example of the loss of all humanity - I wondered how individuals got to the point where this was the only option - the only possibility of having some sort of agency or impact on their environment. Prisoners in SHU spend about 23 hours a day locked up with no contact with anyone, bar the absolute minimum needed to serve them meals etc. They spend about an hour a day in individual exercise pens. We were shown some of these for the less problematic prisoners who nevertheless couldnt be trusted to be in the yard with everyone else. The fences of these enclosures had been topped off with barbed wire to prevent cage fights.
John Lennon’s killer, Mark David Chapman, is also housed in SHU - not for disciplinary reasons but because this is the only place he is safe - not even the protective unit (for snitches and bitches) is deemed secure enough. Apparently, he is in charge of the law library.
niagara on wax
Possibly the best $7 I will spend on this trip…

A small sample of this veritable box of delights:

I forgot to note who these chaps all are but I was struck throughout the museum by the accuracy of representation of Niagara’s colonial past.

This reenactment of the Devil’s Hole Massacre was brought to life by the slowly turning cartwheel on the left - it really felt as if we had arrived at the scene moments after the bloodshed had occurred.

Juxtaposed with key scenes depicting Niagara’s history, were a few figures whose impact transcends time and place thus making them relevant features of any museum. The first of these being Mother Teresa. The caption reads: ‘Mother Teresa is revered because of her inner beauty, and like the Falls of Niagara - proves God’s beauty and grace commands the world.’

Other timeless figures of key importance to the Niagara Falls wax museum are Julia Roberts and Princess Diana. Although no framing is really needed, the curator has helpfully provided the following captions:
For Julia: ‘Julia Roberts and other stars of stage screen - reaffirm beauty passes with time! - It is in loving that you are loved. - it is in giving that you receive.’
For Diana: ‘Princess Diana of England: An aristocrat and beauty - affirms that beauty is not in the eye of the beholder. But in the love you have for your God, your country and your fellow men.’

In Mythologies, Barthes distinguishes between toys made of wood and those made of plastic. I’m not really sure what he would make of the apple dolls featured here.
And no museum is complete without a mechanised Mark Twain in his rocking chair…
Mark Twain in his rocking chair.
