Rudolf Stingel, Untitled (2013). ©Rudolf Stingel. Photo: Christopher Burke Studio. Courtesy of Fondation Beyeler.l
PUT YOUR BEARD IN MY MOUTH

blake kathryn

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Rudolf Stingel, Untitled (2013). ©Rudolf Stingel. Photo: Christopher Burke Studio. Courtesy of Fondation Beyeler.l

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Wilson Bentley (1865 - 1931)
WILSON A. "SNOWFLAKE" BENTLEY (1865-1931) A group of 5 photographs, comprising 3 double studies and 2 singles of crystalline snowflakes. Care of Swann Auction Galleries, October 17, 2019. New York, NY, US
Ladislav Postupa, Květ slunce, 1979
A passage excerpted from ‘The Policeman’s Beard is Half-Constructed: Computer Prose and Poetry’
The Policeman’s Beard Is Half Constructed is a 1984 collection of poems and short prose that was touted as “the first book ever written by a computer.”
It is generally agreed that the sophistication claimed for the program was likely exaggerated.
The book’s “author,” Racter — short for Raconteur — was an artificial intelligence computer program written by William Chamberlain and Thomas Etter that generated English language prose at random.
….
Leah Henrickson explores the contexts surrounding the publication of The Policeman’s Beard is Half Constructed, advertised as “the first book ever written by a computer” at the time of its release in 1984. Drawing from contemporary reviews, personal correspondence with the book’s creators, and analysis of the book itself, Henrickson offers insight into precisely how this book was produced, and by whom. Although a computer program called Racter is listed as the author of The Policeman’s Beard, this attribution does not accurately reflect the human labor driving the book’s development and dissemination. This essay illuminates these networks of human labour that ultimately led to Racter and The Policeman’s Beard.
Ashik Kerib (Georgian: აშიკ-ქერიბი) ("strange ashik") is a 1988 Soviet art film directed by Dodo Abashidze from Georgia and Sergei Parajanov from Armenia that is based on the short story of the same name by Mikhail Lermontov. It was Parajanov's last completed film and was dedicated to his close friend Andrei Tarkovsky, who had died two years previously. The film also features a detailed portrayal of Azerbaijani culture.
An ashik wants to marry his beloved, but her father opposes since he is poor and he expects rich prospects for his 'daughter from heaven'. She vows to wait for him for a thousand days and nights until he comes back with enough money to impress her father. He sets out on a journey to gain wealth and encounters many difficulties, but with the help of a saintly horseman, he returns to his beloved on the 1001st day and they are able to marry.
The entire story is told in a way of Azerbaijan folklore with music and colour playing a key role. Dialogue is minimal and scripts are used to narrate the plot changes. The director included intentional anachronisms such as the use of submachine guns and a movie camera.
Parajanov's previous three major films Shadows of Forgotten Ancestors, The Color of Pomegranates, The Legend of Suram Fortress were colourful illustrations of Ukrainian, Armenian and Georgian culture respectively. Ashik Kerib similarly explores traditional Azerbaijani clothes, music, dance, art and customs.

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Šárka
The story of Šárka (a woman’s name) is a myth dealing with events in the “Maidens’ War” in seventh-century Bohemia. It first appeared in the twelfth-century Chronica Boëmorum of Cosmas of Prague, and later in the fourteenth-century Dalimil’s Chronicle. Following the death of Libuše, Vlasta leads a band of Amazons against the male forces of Libuše’s widower, Přemysl. Šárka, Vlasta’s lieutenant, entraps a band of armed men led by Ctirad by tying herself to a tree and claiming that the rebel maidens tied her there and put a horn and a jug of mead out of reach to mock her. Ctirad believes her story and unties her from the tree, whereupon she pours the mead for the men as a celebratory thank-you gift. Little do the men know that Šárka and the maidens have put a sleeping potion into the mead. When all the men have fallen asleep, Šárka blows the horn as a signal for the rebel maidens to come out of their hiding places and join her in slaughtering the men. She is captured and defeated along with the rest of the army soon afterward (From Wikipedia). See alsohere Cabinet card.
via josefnovak33
Lee Miller | Untitled (Exploding Hand), Paris, France c. 1930
https://www.agos.com.tr/en/article/21831/parajanov-with-sarkis-in-pera-an-appreciation

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Cette série de trente pièces se situe dans le prolongement du Précis de décomposition. Il s’agit toujours d’images corrodées par le temps. Les photogrammes viennent de films colorisés des archives de Montréal. Le choix est centré sur le corps, l’intimité et les titres « motivés » se rapportent directement à l’image.
Petticoat ca.1887
probably French