(not that i am an expert on any of these things, just that i can talk about them; i know some things about them)

eggplants

public transport seating upholstery

coloured pens from Japan

the subtractive colour model (cmyk)

dogs

artist run spaces in Perth

chewing gum

black skinny leg Levi's jeans

converse low top sneakers

Hype Williams

printmaking

IKEA

Apple computers and other devices

container ship accidents

grumpy cat

anxiety cat

anxiety

some parts of the Western Australian adolescent mental health system between 2005 and 2010

resin casting

my family

not crying and crying at funerals

Grimes

Yeah Yeah Yeahs

minor hand surgery

the Western Australian hospital system

agriculture

vegetarianism

shrink wrapping

tourism

subway systems in some foreign countries

facebook

coke zero

how coke tastes different in different countries

art school

Osgood-Schlatter disease

women in electronic dance music

the concept of privilege

asylum seekers

Risograph printing

cheese singles

zines

making jewellery

art and craft markets

arts grants

working in a club

Fringe Festivals

knife puns

(Radio Advertisements Wikipedia page)

I was thinking about advertising a few weeks ago, in relation to the ASAP unit. 

Someone saw a thing

Someone saw a thing and I know that someone saw a thing

Someone saw a thing, I know that someone saw a thing and I know what thing they saw

Someone saw a thing, I know that someone saw a thing, I know what they saw and I know something about them

Someone saw a thing, I know that someone saw a thing, I know what they saw, I know something about them and there is a way for us to get in contact

Someone saw a thing, I know that someone saw a thing, I know what they saw, I know something about them, there is a way for us to get in contact and we have gotten in contact

Also this. Hennessy Youngman on Relational Aesthetics

(I don't need to read no Bourriaurd)

Man, that shit's dense.

But here are some bits that were relevant:

(from Part 4) An analysis of art in the age of mechanical reproduction must do justice to these relationships, for they lead us to an all-important insight: for the first time in world history, mechanical reproduction emancipates the work of art from its parasitical dependence on ritual. To an ever greater degree the work of art reproduced becomes the work of art designed for reproducibility. From a photographic negative, for example, one can make any number of prints; to ask for the “authentic” print makes no sense. But the instant the criterion of authenticity ceases to be applicable to artistic production, the total function of art is reversed. Instead of being based on ritual, it begins to be based on another practice – politics.

For centuries a small number of writers were confronted by many thousands of readers. This changed toward the end of the last century. With the increasing extension of the press, which kept placing new political, religious, scientific, professional, and local organs before the readers, an increasing number of readers became writers – at first, occasional ones. It began with the daily press opening to its readers space for “letters to the editor.” And today there is hardly a gainfully employed European who could not, in principle, find an opportunity to publish somewhere or other comments on his work, grievances, documentary reports, or that sort of thing. Thus, the distinction between author and public is about to lose its basic character. The difference becomes merely functional; it may vary from case to case. At any moment the reader is ready to turn into a writer. As expert, which he had to become willy-nilly in an extremely specialized work process, even if only in some minor respect, the reader gains access to authorship. In the Soviet Union work itself is given a voice. To present it verbally is part of a man’s ability to perform the work. Literary license is now founded on polytechnic rather than specialized training and thus becomes common property.

Alexandra Mir, Newsroom 1986-2000, Mary Boone Gallery. 2007.

re: aesthetic, source material

also: "I lived in New York between 1989 and 2005, 15 years that roughly coincide with the time period of the show. As I never had a studio in the city, I developed a practice that relied heavily on communication instead: phone, Internet, publishing, travel, performance, ephemera, event production. This show draws on all of the above "

Felix Gonzalez-Torres. "Untitled." 1991. Installation view at 11th Avenue and 38th Street, Manhattan (February 20–March 18, 2012), as part of Print/Out, The Museum of Modern Art re: private content - public (advertising) context