Wednesday, October 27, 2004

Clunar Ellipse (qbdp # 36)

Southgate Tower, Room 1221, New York, New York

At the end of tonight, half-dead with weariness, I created a small fidgetglyph (and affixed it to a set of postcards) to memorialize the full lunar eclipse I could see from my window, an eclipse that turned the moon a muddy tan, so I chose I muddy red and a muddy green for the glyph.

Geof Huth, "CLUNAR ELLIPSE" (27 Oct 2004)

These are the people who received copies of "CLUNAR ELLIPSE":

1/10 Ruth and Marvin Sackner

2/10 Bob Grumman

3/10 Roy Arenella

4/10 Scott McDonald

5/10 Qpidoremix

6/10 Mick Boyle

7/10 Michael Leigh

8/10 Erin Huth

9/10 Dees Stribling

10/10 qbdp
un violon d'ingres

Tuesday, October 26, 2004

Four for Fall

My wife, the inestimable Nancy Huth, onetime teacher of the year in Schenectady, wonder of wonders, woman of my life, decided that she would include a mailart unit in her creative writing class! She taught--imagine that: taught!--her class mailart, and she gave her students the assignment to create a piece of mailart on the theme of fall.

So we had a little mailart project going on in our house, with a twist. Nancy didn't want to make her students pay for the postage to mail out the cards, yet she knew that the mailing of the cards was essential to making this mailart, so we added the postage ourselves, and from Albany I mailed the art back to us in Schenectady. Over two days last week, all the pieces arrived safely back home.

I've decided to document a little bit of this mailart show tonight, and I'm pleased at the breadth of imagination exhibited by these young minds.

Imbody's "Your lips speak" (Oct 2004)

Imbody has done a great job putting together a girl-centered postcard collage. She glues together many little bits from glossy magazines to present us a kaleidoscopic look at fall love. The obverse of the card includes a little poem, a bit of collage, multiple magic-markered dots, and little rhinestones glued to the page. Amazingly, all of these made it through the mails to our mailbox.

Kirkham, "Fall Fashions" (Oct 2004)

Kirkham, creator of "Fall Fashions," decided to make her "postcard the shape of a leaf, and on the other side fall fashions." She surprises us by drawing a connection between the natural process of autumn and the cultural process of fall fashions.

Lupo's "Wishes Granted" (Oct 2004)

Lupo begins with a postcard of a waterslide, then she punches stars out of it and collages over it, creating a multi-dimensional feel to this simple card: A beautiful design that holds together quite well. On the obverse, she explains, "When I heard the word 'fall' I thought of falling stars and dreams so that's how I came up with this idea."

Tallman's "happy fall!" (Oct 2004)

Tallman's card is quite a production. The side you see here she created from a swatch of plaid cloth, upon which she collaged pictures of plaid! On the reverse is a remarkable collage of torn pieces of paper piled on top of one another. Some of the collage (faux hair) is glued or taped down only partially, allowing the hair to blow in the breeze. This card was so delicate that I had to package it in a transparent bag before mailing it back to us.

And that is a brief rundown of part of Schenectady High School's first mailart show!
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McDonald's Old Cards

Scott McDonald has sent me yet another recycled postal card. These are remarkable bits of ephemera. He takes a postal card that someone has already written upon and mailed, then he turns the card upside-down, literally, to add a new set of addresses. (I'm amazed that the postal service gets these double-addressed cards to my home without incident.)

Scott McDonald, "nonsense v 2.1" (22 Oct 2004)

The card I received this week (entitled "nonsense v 2.1") includes a message written 1 Jan 1943 by Mettie of Cape Cod who wishes her friend Ralph Giles of East Baldwin, Maine, a happy new year. Over Mettie's dark dramatic hand, Scott has typed in red a bit of wonderful (yet difficult to read) nonsense.

What could be better?

un violon d'ingres

Saturday, October 23, 2004

Arses and Sequences

Michael's Arses

Yesterday, I received a couple of cards, the first from long-time mailartist, Michael Leigh. He sends a very humorous and Pythonesque (or Gilliamesque) postcard. The image on this postcard is his own, apparently printed for free by boomerang ("the UK's leading lifestyle and youth media solutions company"--making me wonder how many companies meeting this description exist in that country). The company distributes this and other cards by students "around hundreds of universities all over the UK."

Michael Leigh, "The Arses of Scotland"
from The Beautiful Britain Series (2004?)

But Michael didn't send me his address. I think I have his old London address somewhere, but that's it. So, Michael, send details of your whereabouts.

Boyle and the dbqpnacci Sequence

Mick Boyle continues to experiment with the possibilities of the dbqpnacci sequence, and he reports (in a curvilinear note), "I could be endlessly facinated by four letters." On the obverse, Mick fiddles with "dbqp," allowing the ascenders of the large d and b and the descenders of the small q and p to cross, suggesting almost a human face.

Mick Boyle, "dbqp" (postcard's obverse, 20 Oct 2004)

On the obverse, we find a blue young man, who is sporting the popular qbdp tattoo on his right arm. But look behind him: that swirling lacy pattern is actually created from qbdp and dpqb repeated and linked together.

Mick Boyle, "qbdp" (postcard's reverse, 20 Oct 2004)

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Sunday, October 17, 2004

Pay Close Attention

Yesterday, I posted descriptions of all the accumulated mailart I've received over the past few weeks, and today I added any missing illustrations to all those posts. So there are ten posts from yesterday for my readers to enjoy. They might take a little while to review, but you'll thank yourself afterwards.

un violon d'ingres

Saturday, October 16, 2004

Roy Arenella in Love

Finally catching up with my mail, I arrive at the one card I received today: "Rest Your Heart" by Roy Arenella.

Roy is one of the observant of mailartists in my coterie, and a man who is always responding to me in beautiful and surprising ways. A few days ago, I wrote a small blog entry arguing that Robert Indiana's "LOVE" is the most famous visual poem of all times.

The next day, Roy mailed me this photocard, which is from his "Continuing Signs" series. On the reverse of the card, he writes, "This one for "gE(•)F."

Roy Arenella, "Rest Your Heart" (31 Jul 2004)

This photo gracing the front of the card is a delicate collection of greys. Roy is a real photographer, and he takes stunning pictures of the most simple tableaux: in this case, a spray-painted and stenciled message ("REST YOUR HEART") on the girder of a railway trestle in Montpelier, Vermont. Roy's photocards are actual original photographs that he prints himself, and they are usually (as in this case) bordered in a graceful black.

The message of this photograph refers back to my essayette without ever mentioning it. If I wondered for a second about, if I ever questioned, Roy's motives, then the beautiful blue stamping (which rests within his pseudo-cancellation on the reverse of the card) would definitely convince me. Roy has created a semiotic poem that echoes Indiana's "LOVE." Various perpendicular lines represent, though just barely, the L and the E of the poem. But, most wonderfully of all, a slightly askew heart (♥) rests within this armature and serves (appropriately) the role of both the O and the V.

Roy Arenella, [Heartshaped LOVE] (13 Oct 2004)

Strangely, Roy didn't use a "LOVE" postage stamp to maximaphilatelize this card, probably because he didn't have one handy. Instead, we have a 20-cent stamp commemorating two centuries of US-Netherlandish relations and a 3-cent stamp remembering the 150th anniversary of the Pennsylvania Academy of the Fine Arts. This card is numbered 433P/C (a photocard, and the 433rd mailing of the year).

The quietest mailing of all hits me, again, the hardest.

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The Maine Man

This week, I received from Reed Altemus yet another stylish neo-fluxus envelope. His mailings are among the most precise and quietly beautiful that I receive.

The envelope is a larger one in his usual tan (not the common orange) and it is decorated with a few rubberstampings in brown: an INTERNATIONAL POSTAL ART STAR pseudo-cancellation (complete with a hammer and sickle), a Post Flux Flux Post crossroads stamping, and a quizzical stamping of a strangely mammalian beetle hunkered down, staring at us, and with its rearend and wings pointing up into the air.

Reed Altemus, [October's Envelope] (Oct 2004)

This time, the contents of the envelope are simple:

A thermoprinted card (with raised lettering): EVERYTHING THAT IS PRINTED IS GOOD (Dieter Roth)

"Another Postal Surrealist Freakout Poem" with a weirdly indistinct cover I quite like that includes bits of an advertisement for "The world's most / Comfortable Chair."
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Dutch Puns and Visual Poetry

I think Qpidoremix, a mailartist from the Netherlands, posted this mailing to me on 6 Oct 2004, since the only numeral I can interpret in the postmark is a "6."

Inside the envelope is a sheet of paper, with a letter on one side, covered with photographs, and laminated into one single piece. (As an archivist, I must point out that we do not support lamination as a preservation method. Encapsulation, interleaving a sheet of paper between two sheets of inert plastic, is the allowable alternative. As a mailartist, I must point out that I realize that preservation is not the main issue here; presenting a unique art experience is!)

Qpidoremix's letter discusses his Dutch poetry, which he calls "BarddraB" ("bard" meaning "bard," and "drab" meaning--instead of "drab"--"muddy goo"). He also explains the puns he uses in that poetry, and suggests I check out a site where I can find more "(dutch)(visual) poetry." The example he directs me to is a traditional pattern poem in the shape of a wineglass. Interestingly, this poem is similar in shape (and, I expect, subject) as a very famous French pattern poem. If you click on the link on the bottom of that page, you will find other poems by Qpidoremix, many of which are shaped poems.

On the other side of the sheet, Q has created a design based on the dbqpnacci sequence in the southeast quadrant. The rest of the quadrants, starting with the northwest, are photographs, which Q identifies as "Fountain of youth," "hmbrella" (great title), and "reflection."

Qpidoremix, [Quadrants] (Oct 2004)

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McDonald's October Recyclings

Scott McDonald has (or had) in his possession a number of used postal cards (the USPS's term for a postcard printed by the Postal Service complete with postage). He has slowly been recycling and redistributing these 1-cent cards as a form of mailart.


Scott is, apparently, thinking of elections (the 2000 elections, with vote-counting questions in Florida, and our current presidential election about to occur). Originally, this card was mailed to Katherine Praetz of Brooklyn, New York, on 2 October 1943. Sixty-one years and three days later, Scott turned the card upside-down and addressed and mailed it to me. The card, originally mailed out by the Democratic party, urged Katherine (of the 20th assembly district) to register to vote by October 11th, and the card explains precisely how and where and when to do this. Scott, mimicking the punchcard voting system of parts of 2000 Florida, punctured the card, as if voting himself.

Scott McDonald, [Voting Registration Reminder] (5 Oct 2004)

Lou Reed, Haiku

Scott's other recycling is a card mailed to Mrs. J. M. Leonard (of New York, New York) from Plainfield, New Jersey, on 13 February 1943, with this most quizzical message:
Elastic Stop Nut
Union, N.J.
Over this message, Scott has written (in purple, blue, yellow, red, and green) a "haiku" created out of titles of songs from Lou Reed's solo career and his career with the Velvet Underground:

Berlin: Waves of Fear
Vicious, Heroin, Sweet Jane's
Walk on the Wild Side

Scott McDonald, "Elastic Stop Nut"/Reed Haiku (Oct 2004)

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Matangi Isle Post Lucy Housewife Cinquain

So cruel am I to my readers that I am depriving you of the obverse of this card, which is the heavily pixellated face of a young Lucy Ricardo (Lucille Ball), her hair up in the manner of a 1950s housewife, with her lips a shocking red and green eyeshadow lurking over her peepers. This is such a stunning image and remarkable mailing that my wife took this to her high school creative writing class for a short mailart unit. (Sometime soon, I will have to report on the results of that unit, but not until the kids' mailart flows into our home.)

This card is another surprise from kiyotei, who experiments with methods of creation and forms of work all the time. Even given his past surprises, I was amazed that kiyotei created this piece. He took the image of Lucille Ball as housewife and created a cinquain about housework on the back. Not only that, though: he also made a reference to Adelaide Crapsey, a minor poet most famous for creating the cinquain, an American form based on the "syllable"-count Japanese poetic forms (haiku and tanka).

kiyotei writes a poem using the original cinquain form (a 2-4-6-8-2 syllable count that somehow always reminds me of the shape of the Shakespearean sonnet). The form most people learn is a weird and deadly transmogrification created by English teachers to teach kids the parts of speech. These horrible cinquains consist of five word-counted lines in this pattern: one noun, two adjectives, three gerunds (AKA "verbs"), four adverbs (as I learned it), and another single noun.

If I weren't lazy right now, I'd go up to the third floor, and pull out my archives to find the cinquains I wrote in the eighth grade in Calacoto, Bolivia. But lacking that, enjoy kiyotei's work, not just the poem, but the right-angled bracket for the poem, the Matangi Isle postmark, etc.

kiyotei, "Vaccuum Life" (Oct 2004)

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Three Blue Cards from Boyle in Pennsylvania

I cannot say for sure when each of these cards from Mick Boyle left Conneaut Lake, Pennsylvania, for Schenectady, New York. The first two are postmarked 5 Oct 2004, but all I can read is "Oct 2004" on the postmark from the last one. I'll treat them all as if they came to me at once, but the third arrived separately.

The first card is just another example of the fine typographic design created by Mick, who's certainly the most accomplished typographer I deal with. He has taken the blue outlines of a number of identical birds and fit them together in a pattern similar to those designed by M.C. Escher. But I also love the text: the red return address, the offsides tail of the Q in QBDP, and the inclusion of a Greek capital E in the chosen typeface.

I chose this side of the card (too lazy to do both as I try to catch up with mailart documentation) because I think the card may be presenting us bluejays, and therefore it echoes Roy Arenella's bluejaypost. But the "message" side, also presented in blue, is an interesting jigsaw of images: a tv-scan-lined images of a young man, a drawing of a pair of feet across the grain of a wood floor, a bound man with his mouth taped, and about a third of a naked man who is tattooed as "Joe" and whose left eye is barely visible to our own.

Mick Boyle, [escherbirdpatterning] (Oct 2004)

On the face of this card, Mick writes, "here is one way to deal with spam." And it is a beautiful solution to spam. I like how words suddenly jump out of the text announcing themselves before falling back into tumult.

Mick Boyle, [spamtextvisualization] (Oct 2004)

This old almost-deckle-edged snapshot is a beautiful composition, and the design I once again love. We miss, however, the "SHINY HAPPY PEOPLE" who are arguably the central subject of this card. On the reverse is a blurry close-up of three very pink and quite shiny men, who are smiling at something to the right of me.

Mick Boyle, [snapshotpostcard] (Oct 2004)

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The obverse of Roy Arenella's card (from 28 September 2004 or so) reports the blue jays were prevalent "this week" in his area of the world (Long Island, New York).

This calligraphic card is a rarity among Arenellanisms. Made up of five letters and a hollow tittle over the i, the word "biRdS" is a visual pwoermd. In some way that I cannot express, the look of each of these letters is birdlike. The S is definitely birdshaped: an avian swoop. The bellies on the b and the d suggest the carriage of a pigeon (though not quite a bluejay). The R, with its right leg swooping low and away, is a walking bird. The tittle is maybe an egg. And the b, the p-like R, and the d in a row suggest something of the bobbing of an ambulatory bird. Over the past few weeks, I've been drawn back to this imagetext, but I still cannot quite explain why. I've just tried, but I'm missing something, or much.

The side of the card includes Roy's occasionally-seen Japanese-style signature stamp. Look closely, and you will see that the stamp is not in Japanese characters of any kind. Instead, the stamp spells out "ROY" in Latin letters given a Japanese look.

This card is mailing 419C (a card and the 419th mailing of the year), and it is another maximaphilist adventure. The card concerns blue jays, the pseudo-cancellation includes a rubberstamping of a bluejay, and the card is postage stamped with a 20-cent blue jay and a 3-cent bluebird. Will wonders never cease?

Roy Arenella, "biRdS" (28 Sep 2004)

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Found Poetry from Belgium

Luc Fierens has rubberstamped the address side of his recent postcard with the words "FOUND POETRY," and the rest of that side is covered with stampings and labels, images and words in the usual Fierensian style.

The obverse of the card is a multi-media collage that includes but a few words (so not exactly found poetry). The collage includes photocopied images, a cash register receipt, a color photograph, and a bit of wallpaper with a couple of purple stampings, a signature, and a date. These pieces are joined together to fill the space together. There is no attempt here to construct another visual story with these pieces. Instead, we have the Bern Porter method of collage: slivers of images and text added to the same space to suggest disorder, even chaos, to suggest the lack of suggestion.

Luc Fierens, "Social" (27 Sep 2004)

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Mail from Three Places Sent on 27 September 2004

Dr. Strangulensis Continues

Last I heard, Ficus strangulensis planned to recede into temporary mailart semi-retirement to take care of his parents, so I was surprised to receive another Ficus mailing bundle. Fike always sends an envelope of pieces: a table listing recent email received and sent, a note written on the sheet with the table, bunches of little cards (two cards of textual collage, an abstract painting/postcard entitled "Slewage Doubled Spindle four"), and always a text or collage or something printed directly on the envelope (this time, "Hebephrenic detail for Ack [from R.A. Wilson's "Shrodinger's Cat"].

Ficus strangulensis, "Holy Zoloft, Batman!" (23 Sep 2004)

Arenella Pulls it All Together

Roy Arenella sends me a photocard that explains where he found the "house/tree image in 'Hurricane's Alphabet'" (which I identified as a house destroyed in the Johnstown Flood). The altered photo on the postcard somehow ties this issue together. In "Hurricane's Alphabet," Roy used a photo from a flood to represent damage from a generic disaster. Nothing wrong with that, and his card made its point well. The whole worked well, and that parts didn't have to be truly parts of a hurricane.

In this card, Roy has taken a simple photograph, crisply photographed but almost unremarkable, and he has enhanced this through an adamic process: he names the pieces in the photo. The solid black window, painted and barred, is the "WHOLE," and giant shards of something on the ground are marked "P," "A," "R," "T," and "S."

This is mailing number 408XP/C.

Roy Arenella, "Whole & Parts" (21 May 2004)

Flying Paper (Air)planes through the Mail

Scott McDonald sends a small card that successfully bonds an slip of inkjet-printed plastic (with the negative image of a paper airplane) onto a piece of card. Beautifully bonded, but all I can wonder about is the longevity of the technique!

Scott also reports that "'FATE' was a very trippy thing to find in my mailbox yesterday..."

Scott McDonald, [ghostpaperplane] (Sep 2004)

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Arenellamail and Altemuspost


Returning to my accumulated mail, I discover that the earliest one, from almost three weeks ago, it's a photocard mailed out by Roy Arenella on September 23rd.

Roy is often a documentary visual poet, a photographer who finds texts in the wild and captures them in their native environments. The photograph on the obverse of this card is a simple capture: a license plate, from the state we share (New York), with the message "1 POETIC." On my copy, the rollers used to move this card through the mailworks left smudges on the card. These smudges suggest speed and movement, which is appropriate since Roy uses this card to tell me he's traveling with his wife (Martine) and dog (Dash) all over that part of upstate New York to the west of me.

This card is number 405 CXP/C, meaning it is the 405th mailing and also a photocard with color xeroxing. The pseudo-cancellation includes a wavy red rectangle inside of which we find the characters, "NY!" Roy is (was) traveling the state!

Roy Arenella, "1 POETIC" (1987)

Roy addressed this card to "gE(+)F UTH." The presentation of my first name, which I very much enjoy, follows a common Arenellan pattern. But the UTH without an initial H is new. There is no way that Roy could know that Uth is actually one of the forms of my surname, not necessarily a "correct" form, but it is one form that h-dropping priests, guessing a spelling, entered into sacramental registers in Alsace, France.


On the same day that Roy sent me his card, Reed Altemus sent me a large envelope of mailart, decorated with colorful artists' stamps.

Inside the envelope there are, according to Reed, "Some recent and not-so-recent page works & stamps. Also some small treats of the networking variety":

The note quoted above on a Lettrism Against Fascism postcard.

Three "Typollages," rectangles filled with a beautiful collection of asemic type speciments in full paragonnage.

A copy of the zine, Unarmed, out of St. Paul, Minnesota.

An announcement for the assembling project, Floss.

Two remarkably vibrant color xerox "collage journal" pages.

A couple of sheets of photocopied text movements.

"100 Percent Recycled Mail Art Content Stampsheet No. 3"

Three other visual poems (my favorite includes a chameleon surrounded by a mishmash of letters).

Weirdest of all, Reed has included a small card with the words "THANK YOU" in raised lettering, though I cannot imagine why Reed would thank me!

Reed Altemus, "ffeyo" (2004)

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Monday, October 11, 2004

MY NAME IS (qbdp # 35)

I created a simple card while still out at the lake today. I took free cards picked up in New York City last year: bright red faces (each with a separate sentence, like "Take charge / of your love life."), each advertising the ABC reality show, The Bachelor.

In this environment, I scratched out three labels, each meant to represent a name badge such as people sometimes wear at professional meetings.

The recipients of "MY NAME IS" (qbdp # 35) are the following:

1. Ruth and Marvin Sackner

2. Bob Grumman

3. Roy Arenella

4. Erin Huth

5. qbdp

Geof Huth, "MY NAME IS" (11 Oct 2004)

un violon d'ingres

Sunday, October 10, 2004

Danauzgy (qbdp # 34)

Still Point, Garlock Road, Caroga Lake, New York

I've let this "responsibility" of my life (qbdp) slip a bit over the past couple of weeks. I didn't keep up with my process of recognizing my mailart correspondents, held back too much by sickness, travel, and preparation for travel. Worst of all, I didn't even release an "issue" of qbdp on two separate nights away from home over the past week. Last Sunday, I slept on a plane, taking a redeye back east from Los Angeles, so I didn't have the energy to create a set of cards while I was flying--and what would the other passengers have thought? And two days later, I was away from home again (in Elmsford, just outside of White Plains, New York), and I was so sick and busy that night (not getting into my hotel room until about 11:30) that I gave up the idea of producing an "issue."

In the next few days, I will add illustrations to my more recent entries below and I will return to a discussion of the mail I've received over the past couple of weeks. Catching up should be interesting.

Today, I made up for my laziness regarding qbdp's by producing the most complicated one yet, a small found card decorated with a fidgetglyph and other handwriting and stored within a handlettered envelope.

The carrier for this mailing is a grey invitation envelope with a bold address in black covering most of its front. The reverse includes two return addresses: My home address on the premlip, and a partial address for this camp I'm writing from just under the premlip.

Inside, there is a found card. I had sixteen of these, so I made sixteen mailings. The card is a grey laid card printed on one side: a vinelike decoration around the edge, a logo (a boy riding a giant grasshopper jumping over a giant H that protects a smaller H between its two legs) at the top of the page, and a simple message ("Holiday House / is coming to town"). I can no longer remember where I found these cards, but they are interesting.

Under this logo and message (or emblem and verse), I wrew a small fidgetglyph called "Danauzgy," which is a simple fidgetglyph about vision and the interpretation of what we see.

The "colophon" for this issue I wrote within the openings between the entwining tendrils of the edge decoration. This colophon includes the qbdp number, the date of creation, my name (as author), and the sequential number ("1/16," etc.). I also added "UT" between the two aitches under the grasshopper--thus spelling out my name. Finally, I colored the logo in red, green, brown, and blue.

Since this is a holiday card (apparently celebrating Columbus Day), I wrapped the card in a ribbon made of a cutting of Berroco Mosaic FX yarn, which looks something like two lines of thread held together with a series of thick rungs.

Geof Huth, "Danauzgy" (10 Oct 2004)

On the back of the card, I wrote a unique message to each of the recipients.

These are the lucky recipients of "Danauzgy" (qbdp # 34):

1. Ruth and Marvin Sackner

2. Robert Grumman

3. Roy Arenella

4. Mick Boyle

5. kiyotei

6. Ficus strangulensis

7. Scott McDonald

8. Ross Priddle

9. Reed Altemus

10. Luc Fierens

11. j0llyr0ger

12. endwar

13. Dees and Yuriko Stribling

14. Angelica Paez

15. Erin M. Huth

16. qbdp

un violon d'ingres

Saturday, October 02, 2004

"SKREED" (qbdp # 33)

Courtyard by Marriott, Room 310, Long Beach, California

I flew across the country today, little thinking what I'd create tonight but knowing I should plan to do something for tonight. As I was waiting for a shuttle to the airport, I found a graffito carved into a pole. This small graffito (with silver letters in a brown pole) was a great bit of inspiration, and tonight's "'SKREED'" is a reworking of this found text.

The recipients of "'SKREED'" (qbdp # 31) are as follows:
1. Ruth and Marvin Sackner

2. Bob Grumman

3. Roy Arenella

4. Erin Huth

5. qbdp

Geof Huth, "SKREED" (2 Oct 2004)

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Friday, October 01, 2004

(eyg)(eau)(auo)(Eft) (qbdp # 32)

Hilton Pittsburgh, Room 1933, Pittsburgh, Pennsylvania

Today, I wrew a tiny fidgetglyph where each character represented three separate characters. To ge the right effect, I had to wraw these with a ballpoint pen.

The recipients of "(eyg)(eau)(auo)(Eft) " (qbdp # 32) are as follows:

1. Ruth and Marvin Sackner

2. Bob Grumman

3. Roy Arenella

4. kiyotei

5. Qpidoremix

6. qbdp

Geof Huth, eyg.eau.auo.Eft (1 Oct 2004)

un violon d'ingres