sorry. i just got this email from the new emerging voices d00d who said i needed to answer immediately. hopefully you will find this up to snuff.

How did participation or selec-tion benefit you? (personally or as a firm)

The exhibition gave us a forum to frame our past work in a new way. We did not look at this as an opportunity to just show our work but to present it in a unified way that would transform it into a living mission statement, an allegorical charter for usefulness. We did not take anything away from the selec-tion directly other than faith in ourselves for being able to complete the work and the excitement at breathing new representational life and potential into old projects.
† continue reading back to yaf

we can resubmit once ruseveldt is incorporated into the narrative, maybe amsterdam houston imprisons some grant reviewers there.

funny, i was just crying at saul’s feet, ‘if we don’t get that grant, i fucking give up!’

tags: news, marquis, publications, hacks

the mf work.group.

Greetings mesdames and messieurs, twinks and taurs,

The first book, ‘marquis’, of the work.group epic _ex_nihilo_ has been closed. For those who were unable or unwilling to attend the show at the Museum of Design Atlanta in person, the work.group has put together a virtual romp where the text and vignettes follow the same temporal order as the work in the the MODA installation.

The virtual show may be found at:
sisyphean.com/projekts/marquis/install

In addition, the work.group has compiled and made public a series of
digital images of the installation process, the work in situ, and the
fête d’ouverture.

These images may be found at:
sisyphean.com/galleries

† continue reading never before seen materials

some things we might have included, and some things that look tight:

• i am not enthused about the display of the map; maybe it could have gone into a frame or had more map ‘on the wall’ (paint/labels)
• the publius frames could have been larger!
• the legends seem prominent; maybe they don’t need corners?
• that ‘mville secedes’ headline is a great opening’ you can peep it from any where in the espace, and it sets off the idea of a fictional realm well.
• those handwritten notes in mville look dumb; ‘i’ should have used the ocr versions.
• i forgot the handwritten p3 journal!
• could have put ‘wrk.grp on the wall, above arlingtonton, large enough to be peeped from the hall/msme space
• added ‘picaresque parable’ or whatever somehere in large type
• added years.
• should not have included the white truck pic; it is lame
• jt’s mom wants us to change our name so jt will get out there? would she tell mick jagger that ‘rolling stones’ isn’t cutting it for him?

cold lounging in p’tree centre mall, peeping ron through the wolf glass, and listening to slack jawed yokels ask for directions to dq. tight work hath been cook’d this week + past months, b’hoy; you should be proud.

“it has been 20 years since the events chronicled here began; 20 years since the brutal slaying of publius/3; 20 years i have spent combing pussy out of my beard”

-amsterdam houston

sean michael finn taunts us with: got a break in the weather and a salad at go veggie today. attached are the
shots i got.

substation: king pond, in progress. the rest of this piece will be some handmade modifications by the pineys. i might get rid of the legend…or put the icons on the map.

ellijay photo 1

here are some pending issues that i think we should discuss:

† type of paint to be used for narrative tracks… i specified ‘one shot’, needs to stand up to transfer lettering and irregular perimeter.

† final tally of lettering, titles, dialogues. how many sheets, do we need back-ups…

† printing of vignettes, what kind of paper, are we printing them, how large?

† mounting of non-case’d media. will everthing not in a case be under glass? if not will they be spray mounted, framed, pinned… materials that are under glass: how will we hang the glass, bent nails, custom frame corners, rails?

more to come…

phase 1 of archival map from fort ancient agora, ohia. approx. 6″x9″

sipping amaretto pecan, listening to kschulze’s moondawn, drawing the fort ancient agora, and kicking it with the beeb.

sipping kaffa and listening to a cover of ‘moondance’ whilst striking pinelands campsites.

oakridge pallisades 1
† continue reading episode ah.2

i don’t know!

ok, i have found the place that does the labels for the high museum, it is called a ‘dry ink transfer’ process, it sounds like what they do is actually print letraset for you, it is a place called adprops in atlanta, shit aint cheap though so we should evaluate whether this is the way we want to go. the pricing is as follows: 24″x30″ is $150 for the first copy and $105 for backups, 11″x14″ is $75 for the first copy and $50 for backups, and 8″x10″ is $65 for the first copy and $40 for backups. maybe we should just get the backups?

anyway… it would probably be prudent to edit down the text that i have written. i do not think we could get by with any less than 2 of the 24″x30″ sheets in any situation, unless we completely eliminate the text.

progress report on arlington vignette underlay. any thoughts on view, cropping? i know the rendering blows. compositional suggestions welcomed.

† manhattanville
‡ brkln
‡ forked river
† pinelands
‡ king pond
‡ baltimor highlands
† arlingtonton
‡ st louis
‡ rock island
‡ sioux city
‡ badlands
† pierre

i am not sure if this belongs in the manhattanville station (probably not since it is an atlanta paper, perhaps more intimately involved with the ballad of amsterdam). i have the toastmaster masthead saved without the headline or phony newsprint if you need it.

30 pages of text in the fashion that they may be then adhered to a wall (or
equivalent media to be printed by wrk.grp)

6 sheets of glass @ 24″x36″ (final cut size to be specified by wrk.grp)

30 board feet of cherry or equivalent

6 yards of velvet (colour tbd)

15 high quality 11″x17″ colour laser prints

60 4″x6″ photographic prints from digital files

4 full sets of epson inkjet cartridges

2 gallons flat interior paint

4 enamel sign paints @ 1/2 pint increments

here is the underlay for the remington vignette, just as an example and to initiate repositories for station materials.

† atlanta
‡ oakridge
‡ madison
† remington
‡ lebanon
‡ elk river
† arlingtonton
‡ saint louis
‡ branson
† groom
‡ winslow
† republic of los angeles county

open for discussion.

chronology, geography, situation. does the wall-map fold together these three concerns? i believe it should be a conflation of situation (gallery, immediate locale) and geography (the representation of abstract relationships, the north american city states). chronology is left to the narrative and the formatting of materials. situation is the binding agent as it should be, that ties geography to chronology through the wall-map. however, the wall-map, needing a primarily geographic status in order to communicate with idiots who do not know where groom, tx is, should then indirectly inform situational concerns about the formatting of pieces on the wall. in other words, the wall map should not just be a throwaway plotting of points, it should also shake out a set of values for how work is placed on the wall in order to infuse the chronology with a broader relevance.

ashley bemoaned:
jc, we have to meet these aia/moda d00ds tomorrow!

do you reckon we ought to bring something? maybe print out our logs (not the ones in san pedro) to share with them?

listening to neil sedaka and plotting la première étape d’amsterdam houston.

amsterdam: atlanta to remington, narrative keypoints along the route (fording the ohio river into indiana, the knoxville pallisades). {publius/3 heads to virginia} remington to arlington, containing an encounter with publius/3 and a visit to the former capital. westward travel with publius/3 is discontinued in branson after an unfortunate situation. {publius/3 tangent} amsterdam travels westward through groom and into the desert. {publius/3 heads south to the desert from bismarck (or wherever)} groom to winslow, containing an encounter with publius/3 at which point the duo complete their trek to the republic of los angeles county to toil on a crabapple collective.

ashley said:
i don’t know how much we need to show them to express our ideas for the presentation, but i imagine that i have the ability to work on that, currently. what i was addressing in my previous comment was/is the work that will be on the wall itself, as opposed to what we will propose to them (between thanksgiving and xmas, according to format). i can’t be drawing on boards or vellum as i don’t have a desk or t-square anymore.

pdf of press release [.1 MB] composed by laura moody of moda.

i have spent quite a bit of time researching ways that we might both determine and then link (or vice versa) our stations geographically. i am not sure whether amsterdam and publius would be travelling on foot, bicycle, veg-diesel-powered scooter, or hoverbus (or whether you were anticipating group movement or sometimes intersecting individual movements). i thought we might be looking at a more (what we might now call) secondary or abject movement web. two systems that i have looked into are raillines and power transmission corridors. there is not a very condensed, coherent, or affordable source for plotting out routes using these two modes so i have begun using the online resource of usgs maps at the usgs website. you can use their map viewer and turn off all layers save the usgs quadrangles under topographic maps. these maps contain rail, power transmission, and other possible routes (waterways, state roads, and pipelines). so far i have determined a route that may have allowed amsterdam to reach remingtonton from atlanta. i am not sure whether the bulk of the documented travels should occur later when publius busts out of manhattanville. maybe they meet up in arlingtonton? what have you been cooking up? do you have any liturgical criteria for the picaresque sequence of stations that are to document this cook’d up realm?

please find site photos here.

eats, 28oct04
it seems to me that a few things were discussed that are worth recording for reference as we develop this exhibition and propel our catalogue.

 
1. you mentioned the aesthetic agenda of the group. i believe you called it the gimmick? there has been a certain wip quality to pieces that we have produced, whether they are actual process artifacts or conclusions (although you didnt see it, the board for habitat had a certain work’d quality). there have been some discrepancies in this aesthetic. what comes to mind is the presentation of pentagon as homogeneous computer renderings and drawings (except my vignettes, which you apparently thought were worthless, which even still were rather self-conscious). i dont think we need to force ourselves to scrawl on a fine rendering with mspaint or to tape an insurgent to the grotto, but perhaps we have not given enough thought to our agenda; perhaps it is against our principles to even be discussing whether we have an agenda or an aesthetic, i believe it would be.
 
2. ex_nihilo is an allegorical representation of both our working methods and our relationship with the status quo of cultural production. is ex_nihilo really a project that is separate from pentagon, 93, fort, or whathaveyou, or is it an underlay that is continually being developed, along with our wikifesto, to continually inform and support (and in some cases give context to) the work. what i believe is that ex_nihilo is actually the realm of the work.group, and that in the exhibition it should play a structuring role rather than appearing as a singular goal oriented project like habitat.
 
3. there should be some facet of the exhibition that interactively promotes our theories of collaboration. i take your anecdotes to heart because i know i would be somewhat reticent to interact with a gallery piece that seemed like a manufactured collaborative situation. i think it will have to be more subtle than the bucket of pencils on a desk and more obvious than the pair of wire strippers on a pedestal. it is going to be tough to keep this idea from being trite and i think the approach will come to us once we get started thinking about what the actual artifacts in the exhibition can and should be.

site plan.

hey rubes, we have a new projekt folder online; welcome to marquis, the repository and laboratory for the development of the jensen gallery installation, ruminations on celebrity, and backdated projekt work.

m. moore and m. trefry are the current manifestation of the work.group, a community and an allegorical action of creativity at work on a community. each project undertaken is a phase in the life of the community. the work.group, being a decentralized endeavour, is made physical by the external references of its members and the internal language of its own history.

loci and foci
harlem: conflict, appliqué, non-sequitur
atlanta: freedom, wit, theft
cheviot hills: anachronism, rigour, skepticism

agendas are made to be burned; get back to work.

a stealth mission by members of the wrk.grp has uncovered the location of the binder submitted to aiaga on friday, september tenth. one hopes that the dismissive nature of their stowage does not reflect their interest in the contents therein.

contrast enhanced for maximized effect.

am wrkgrp: you can just peep them with comic book reader
jt wrkgrp: so what do you think about the status of our binder?
jt wrkgrp: you should go look at it tomorrow
am wrkgrp: is it in the window w/ other books?
jt wrkgrp: they acted like they had received no submissions when i brought it in
am wrkgrp: haha
jt wrkgrp: there are no other submissions there next to it
am wrkgrp: serves them right; that flyer sucked
jt wrkgrp: i asked if i was the first and they kind of dodged the issue
am wrkgrp: is this in the room by the food court at p’tree mall?
am wrkgrp: did you go early in the day?
am wrkgrp: maybe a stack appeared at 4.50pm
jt wrkgrp: it is in the ground floor of the candler building
jt wrkgrp: i went at 2pm friday to turn it in
jt wrkgrp: but when i looked in the window today, the binder sat there alone on a shelf, with no other entries visible nearby
jt wrkgrp: all of these clues lead me to believe we were the only ones to submit
am wrkgrp: did you see her lay it there?
jt wrkgrp: no
am wrkgrp: do you think they will call it off?
jt wrkgrp: she put it on her desk
am wrkgrp: htf can they go through w/ it if there is only one submission?
jt wrkgrp: i would imagine they will devote the whole show to us, rather than forcing us to split the space with paul valembois
am wrkgrp: i hope they realize what fucking losers they are
am wrkgrp: and you are seeking their approval!
am wrkgrp: as validation for your work/life!
jt wrkgrp: ill take a gallery show
jt wrkgrp: im sure not going to get it honestly
am wrkgrp: riddle me this,
jt wrkgrp: sure
am wrkgrp: do you think they will break it off to us early, if no one else submitted?
jt wrkgrp: haha
am wrkgrp: or will they wait, to fool us
am wrkgrp: or, will they ‘extend’ the deadline?
am wrkgrp: where did you find out about this shit?
jt wrkgrp: hopefully when the woman sees me taking pictures in her window tomorrow she will just beckon for me to come in
jt wrkgrp: i cant remember
jt wrkgrp: their website?
am wrkgrp: can you see this shit from the sidewalk?
jt wrkgrp: yes
am wrkgrp: i can’t imagine that they’d go through with it
jt wrkgrp: i was standing on peachtree street at 3pm today looking at our binder!
am wrkgrp: i have less respect for dgreen than before
am wrkgrp: let me rephrase that
am wrkgrp: it is less likely that i will ever respect dgreen than it was before this bs
jt wrkgrp: did you ever even know him?
jt wrkgrp: i never had the guy
am wrkgrp: fuck!!
am wrkgrp: my pants leg is rolled up from riding my bike 12 hours ago
jt wrkgrp: i did have ddurfee twice though
jt wrkgrp: i see
am wrkgrp: i went to the store like this!
am wrkgrp: no wonder no one talked to me

following in our line of publication types (dossier, pamphlet), we issue the wrk.grp binder. this publication includes the work.group’s three (3) ‘finished’ projects in a pleasing narrative format and is available directly from the work.group by contacting us to arrange for transfer of $85 us to our coffers.

a print-ready pdf [7 MB] of the binder is available for you hi-bandwidth dogs who can’t wait.

please monitor this site for possible future publications that may take the following formats: album, booklet, brochure, codex, folio, leaflet, zine, scroll, tome, broadsheet, circular, flyer, folder, throwaway, tractate, rag, or memorandum. the more mercurial bearder crier will not be available through this site.

listening to the mountain goats and regretting the consumption of a ‘family size’ bag of ‘pictsweet’ baby butter beans.

listening to azaghal and eating dried pineapple