"Locked-out CBC Radio workers in Vancouver will record a two-hour program from the picket line, and three FM radio stations have agreed to carry the broadcast." (CBCunplugged.com)

". . . Montalbetti admitted her win came as a "big surprise." The 22-year-old graduated earlier this year from University of Manitoba's music program. She represented Manitoba at the national festival, but still comes back home to Saskatoon frequently. Montalbetti appeared in Saskatoon Opera's production of Die Fledermaus earlier this summer. She will also return Oct. 29 to participate in the opera company's gala. "I would love to make a living singing," said Montalbetti, "but I'll have to see if that's in the cards." In the fall she will be off to University of Toronto to take their opera diploma. . . "(subscription required|The StarPhoenix |Montalbetti, Ko claim top prizes at competition )

:: note :: . . . a bit of fatherly pride . . . well done and much deserved (from my perspective) . . . graduated this spring and now . . . nice to see a national award as she arrives in Toronto . . . best of luck . . .

"Culture and creativity are the latest 'buzzwords' in the debate on innovation strategies for the knowledge economy. But what is the cultural dimension of the knowledge economy? And what does this imply for the public domain? "(context weblog|creative capital: culture, innovation and the public domain)

:: note :: . . . the words whether buzz or not take on a life of their own . . . they don't have the same meaning to me . . . when in Europe often wondered if the green I spoke was the green others saw . . . now wonder if creativity is a word i can speak . . .

made a terrible mistake
couldn't face reality
doesn't tell the whole story
nothing ever does
songs are of time and distance
the sadness is in you
there is only the dance
these things you treasure
are shells
you are someone else's collage
watch my arms

(early morning dispatch from Mary Wigman)

:: note ::.. . . last night was cold . . . woke up often . . . transcribed this dispatch from the place beyond sleep . . .

:: note :: . . . these tracks are a block away . . . twice a night the rumblings may be felt or heard . . . a comforting concept that flight is just a boxcar leap away . . . ha . . .

"The abject, mimed through sound and meaning, is repeated. Getting rid of it is out of the question - the final Platonic lesson has been understood, one does not get rid of the impure; one can, however, bringing it into being a second time, and differently from the original impurity. It is a repetition through rhythm and song, therefore through what is not yet, or no longer is "meaning," but arranges, defers, differntiates and organizes, harmonizes pathos, bile, warmth, and enthusiasm."(Kristeva.Powers of Horror. 28)

"Sad to say, I suppose it's possible that the sheer penetrating vigour of the work in Within and Beyond the Wall was also a factor in its having been so meticulously ignored by Toronto critics and media while it was available. For this was no ordinary exhibition, even as my observations and personal experience suggest that to be reflectively penetrating in Toronto seems often to be viewed, amid local insecurities, not as a contribution to the textural resilience and sophistication of the polis, but rather as an affront to the perceived need for relentless cheerleading, whether of the urban, corporate or national variety."(Lear's Shadow|Representing Berlin In the Context of Toronto by Douglas Ord )

:: note :: . . . need many more studies of "art work" like this . . . a blend of informed academic, critical with creative, imaginative . . . written as a wonderful personal reflection . . . thanks . . .

:: note :: . . . for the record: 11 jars of jam, 4 jars of jelly, 3 jars of sauce, 10 frozen berry packets (for pies) & 6 containers of fresh eating . . . a good season harvested from my mothers yard . . . much earlier this year due to the wet spring . . .

. . . son shares his dream of delivering my eulogy at St. Phillip's Church . . . just like you did for grandpa . . . "How does that make you feel?" . . . couldn't answer adequately . . . a while later a line from the past echoes: 'the sins of the fathers forgive the grandfathers' . . .

lines may 1st 1966

(from the sorrowful canadians - wilfred watson)

the sins of the fathers forgive the grandfathers.
MY BROTHERS AND I DECIDED ON A SUMMARY EXECUTION
the sins of the fathers forgive the grandfathers.
WE MADE EXCUSES FOR HIS AMIABLE FOLLIES, ESPECIALLY
A VAIN WISH TO SPARE US SUFFERINGS, DEPREVATIONS,
BOREDOMS WHICH HAD STUNG HIM TO THE TEETH
the sins of the fathers forgive the grandfathers.
OUR HEADS WERE NOT YET GREY, HIS HEAD WAS NOT YET
WHITE
the sins of the fathers forgive the grandfathers.
BUT WE DECIDED IN THE HEAT OF MIDSUMMER OUR WRONGS
HAD LASTED TOO LONG.
the sins of the fathers forgive the grandfathers.
WE ACCUSED OUR FATHER OF BEING PARTY TO OUR RAPES
AND OF CONDONING OUR LECHEROUS INSTINCTS
the sins of the fathers forgive the grandfathers.
THE SMILES WITH WHICH HE GREETED THIS INFURIATED
US
the sins of the fathers forgive the grandfathers.
WE ACCUSED OUT FATHER OF TEACHING US TO BE MURDERERS

2
the sins of the fathers forgive the grandfathers.
AS EVIDENCE THERE WERE TOY PISTOLS, BURNED OUT FIRE
CRACKERS, TWENTY-TWO RIFLES,A CHEAP SHOT-GUN, FISHING
EQUIPMENT, A GLOVE FOR KILLING MINK WITHOUT DAMAGING
THE PELTS, A TRAP FOR EARWIGS (HOME-MADE), A BROKEN
KILLER CANE FOR KILLING DANDELIONS, A USED INSECTICIDE
BOMB WE HAD AIMED AT A WASP NEST IN A DISUSED GARBAGE
TIN, AND VARIOUS PIECES OF LIKE EVIDENCE.
the sins of the fathers forgive the grandfathers.
WE ACCUSED OUR FATHER OF TEACHING US AN OBSCENE LOVE
FOR THE CREATURE MONEY
the sins of the fathers forgive the grandfathers.
WE GENEROUSLY GAVE HIM A CHANCE TO DEFEND HIMSELF.
the sins of the fathers forgive the grandfathers.
MY FATHER, REPLIED OUR FATHER, WAS LECHEROUS, MURDEROUS
AND FULL OF LOVE FOR THE CREATURE MONEY.
the sins of the fathers forgive the grandfathers.
WE REFUSED THE EXCUSE
the sins of the fathers forgive the grandfathers.
WE ERECTED A SCAFFOLD.
the sins of the fathers forgive the grandfathers.

3
WE MADE THE EXECUTION AS CRUEL AS POSSIBLE, SO
OUR SONS SHOULDN'T BE ABLE TO BLAME US IN THIS
KIND.
the sins of the fathers forgive the grandfathers.
AS HE DIED, HE CRIED OUT, MY FATHER WAS OEDIPUS
the sins of the fathers forgive the grandfathers
IT WAS A FLAGRANT DEATH, AND THE TEARS WE COULD
NOT EASILY SUPPRESS COMPROMISED OUR RIGHTEOUSNESS
THE SINS OF THE FATHERS EXCUSE THE GRANDFATHERS

"The battleground, so to speak, is the interior world that ultimately resides in the soul."(The Experience Designer Network| Tension: Artists of the Living )

:: note :: . . . image titile: outside . . .

"But modern creativity theory argues that the creative process is as much an intellectual and social process as an emotional and individual process. As Dean Keith Simonton writes, 'creativity involves the participation of chance processes both in the origination of new ideas and in the social acceptance of these ideas by others... probabilistic or stochastic mechanisms operate at fundamental levels to generate original conceptions and to isolate the subset of these ideas that are judged adaptive by others -- and hence deserving of the designation 'creative'.' (2)"(artnet| The Matrix of Sensations by Donald Kuspit)

:: note :: . . . say what . . . title of the above image: Look . . .

An empty theater. On stage is dying
A player according to his art's demands
The dagger in his neck. His lust exhausted
A final solo courting the applause.
And not one hand. In a box, as empty
As the theater, a forgotten robe
The silk is whispering what the player screams.
The silk turns red, the robe grows heavy
From the player's blood that pours out while he dies
In the chandelier's luster that blanches the scene
The forgotten robe drinks empty the veins of
The dying man who now resembles no one but himself
Neither lust nor terror of transfiguration left
His blood a colored stain of no return

(Heiner Müller trans. Carl Weber)

:: note :: . . . a couple of years back with the grade 11/12 class examining different types of theater . . . Grotowski's Akropolis & Lepage's Seven Streams of the River Ota . . . discovered they knew little about Hiroshima . . . spent a fascinating week fielding unanswerable questions . . . didn't know which was more frightening their lack of knowledge or disbelief of what they were learning . . . we need to inform . . . all of us at any time . . .

"If art is a way of knowing by doing then clearly arts-based research must follow this tenet of allowing for "knowing" to emerge out of the creative process and finding adequate ways to document this process."(The Journal of Pedagogy Pluralism & Practice Issue 9: Fall 2004|Artists, Arts Educators, and Arts Therapists as Researchers byPhillip Speiser)

:: note :: . . . documenting process with a sharp, critical yet understanding eye is remarkably difficult . . .

. . . caught (poster on wall photoshopped) . . .

. . . nothing like the blue sky of august . . . flipped me out . . .

. . . started with the body's recollection of being (david michael levin) . . . the "Problem" of the Body The Problem of the Contemporary Body "The absent body" The "Ecstatic" Surface Body The "Recessive" Visceral Body The "Aesthetic" "Inner" Bodymind The Aesthetic "Outer" Body "Chiasmatic Body" (Theatre Journal 56.4 (2004) | Toward a Phenomenological Model of the Actor's Embodied Modes of Experience by Phillip B. Zarrilli |access Project Muse)