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Stephanie Strickland
- homepage
stephanie.strickland@gm.slc.edu
Office: (TBA)
Classroom: (TBA)
Office Hours: (TBA)
COURSE TEXTS
- A Book of the Book, edited by Jerome Rothenberg and Steven
Clay, Granary Books, 2000
- Richard Barbrook, “The Hi-TechGift Economy” EME,
pp. 31-40
- Anne Carson, Economy of the Unlost, Princeton University
Press, 1999
- John Miles Foley, How to Read an Oral Poem, University of
Illinois Press, 2002
- N. Katherine Hayles, Writing Machines, The MIT Press, 2003
Syllabus:
Tuesday February 15
(Week 1)
INTRODUCTION
Neither painting nor poetry but a virtual poetics that could be leveraged
in a number of directions.
e-works:
- Astronomy Picture of the Day 27 November 2000
http://antwrp.gsfc.nasa.gov/apod/ap001127.html
- Bradford Paley CODeDOC
http://artport.whitney.org/commissions/codedoc/paley.shtml
- Florian Cramer and James Joyce Permutations Page herecomeseverybody
http://userpage.fu-berlin.de/~cantsin/permutations/hce/hce_about.cgi
How It Works
http://userpage.fu-berlin.de/~cantsin/permutations/n-8/aleph.cgi?&q=river&i=w
- David Knoebel How I Heard It and White Room (mute
sound red square upper right)
http://www.StudioCleo.com/cauldron/volume3/contents/index.html
Choose Knoebel under Confluence
- Laurie Baker, Jared Tarbell I Ching Poetry Engine: I Ching Generative
Poetry
http://www.levitated.net/exhibit/iching/
Introduction
http://www.levitated.net/exhibit/iching/ichingdaily.html
- Jonathan Harris Word Count http://www.wordcount.org/main.php
- Jason Nelson Nine Attempts to Clone a Poem http://heliozoa.com/clone.html
- Michael Szpakowski Proof: An Opera
http://www.somedancersandmusicians.com/proof/index.html
- EPIC 2014 http://www.letitblog.com/epic/
Tuesday
February
22 (Week 2)
NOTATION AND THE ARTS OF READING
Karl Young, “Notation and the Art of Reading,” A Book
of the Book, pp. 25-49
e-works:
- Thom Swiss The Narrative You Anticipate You May Produce
http://bailiwick.lib.uiowa.edu/swiss/narrative
[read several times]
- Ingrid Ankerson While Chopping Red Peppers
http://www.poemsthatgo.com/gallery/
2000
- Megan Sapnar Figure 5 Media Series (Figure 5 in Gold Goes By)
http://www.poemsthatgo.com/gallery/
2001
- Jim Rosenberg Barrier Frames
http://www.well.com/user/jer/j/barrier_frames_4.html
- Stephanie Strickland The Ballad of Sand and Harry Soot
http://www.wordcircuits.com/gallery/sandsoot
Make one of the following:
a “screenfold” poem [p. 28]
a “Chinese graphic” poem [Fig. 5 p. 34, note all words have
the same size because all Chinese
characters are about the same size]
a “17th-century manuscript” poem [fluid spelling, handwritten,
puns, singable]
a “score” poem for more than one reading voice
Tuesday
March 1 (Week 3)
BETWEEN TWO WORLDS REMEMBER BOTH: POET AS HINGE
Anne Carson, “Alienation,” Economy of the Unlost,
p. 10-44
Richard Barbrook, “The Hi-TechGift Economy” EME,
pp. 31-40
e-works:
- Young-Hae Chang The Struggle Continues
http://www.yhchang.com/THE_STRUGGLE_CONTINUES.html
http://www.yhchang.com/TOOJEING.html
(check out the Korean version too)
- Barry Smylie / Homer The Iliad http://barrysmylie.com/iliad/iliad000.htm
Book 2 (8pages); Book 7 (10 pages + movie); Book 11 (bardic + multimedia
versions); Book 12 (3 pages + game); Book 16 (movie: introduction up
until speech begins); Book 18 (movie); Book 19 (movie)
- Pauline Masurel and Jim Andrews Blue Hyacinth
http://vispo.com/StirFryTexts/bluehyacinth3.html
(1,152,921,504,606,846,976 texts=4^30)
Discussion of the piece: http://vispo.com/StirFryTexts/mazconv.htm
Joshua Honigwach About Big Numbers http://pages.prodigy.net/jhonig/bignum/
- Brian Lennon and Jim Andrews Log http://vispo.com/StirFryTexts/BrianLennon.html
- Deb King and 48 other women http://www.gender-f.com/
“gender[f] addresses issues of gender, racial
and economic biases resulting in systemic violence against women and
minorities. This project arises from the unseemly juxtaposition of a
"war on terror" with the every day realities faced by women
living in cultures that enforce female circumcision, do not give equal
value for equal work based on cultural bias, tacitly accept violent
domestic situations, use sexual intimidation as a military tactic and
fear of reprisal as a cultural control. The name, gender[f], designates
a programmatic function. The function – gender – holds an
unlimited, presently undefined array – [f] – the identities,
issues and/or representations of women in society. This work is dedicated
to the over 400 murdered and disappeared women of Juarez who worked
in the maquiladoras of Juarez.”
Make one of the following:
a Riddle/Clue poem [p. 23]
a poem that includes the tension between two systems
a poem that reflects a person’s “double character”
[p. 19]
Tuesday March 8
(Week 4)
THE ART OF IMMEMORABILITY
"Poetry's social function in our time is to bring language ear to
ear with its temporality, physicality, dynamism: its evanescence, not
its fixed character; its fluidity, not its authority; its structure, not
its storage capacity; its concreteness and particularity, not its abstract
logicality and clarity." C. Bernstein
Charles Bernstein, "The Art of Immemorability," A Book of
the Book, pp. 504-517
e-works:
- Jim Andrews Nio http://www.turbulence.org/Works/Nio/
- Regina Célia Pinto (and Julio Cortazar) Viewing Axolotls
http://www.iis.com.br/~regvampi/
Explore Museum of the Essential and Beyond That http://www.arteonline.arq.br/
http://www.arteonline.arq.br/viewing_axolotls/
- Simon Biggs Babel http://hosted.simonbiggs.easynet.co.uk/babel/babel.htm
http://hosted.simonbiggs.easynet.co.uk/babel/statement.htm
http://hosted.simonbiggs.easynet.co.uk/babel/intro.htm
- Brian Kim Stefans The Dreamlife of Letters http://www.ubu.com/contemp/stefans/dream/index.html
- Spider Tangle: The Book http://www.spidertangle.net/the_book/
Make one of the following:
a poem “with refractory—unmemorizable—language (unexpected,
nonformulaic, distressed).”
a poem that “foreground[s] features of speech that do not contribute
to the memory function” such
as noise, static, microtextures
a poem that treats language as a material (stone, cloth, feathers, butter,
stardust, …) rather
than as a means
Tuesday
March 15 (Week 5)
THESE FLAMES AND GENEROSITIES OF THE HEART
Letters / Missives
“All scandalous breakings out are thoughts at first.”
“These manuscripts should be understood as visual productions.”
“The poems in packets and sets can be read as linked series.”
“They can be read as events, signals in a pattern, relays, inventions
or singular hymnlike stanzas.”
“Meaning is scattered at the limit of concentration.”
S. Howe
Susan Howe, “These Flames and Generosities of the
Heart: Emily Dickinson and the Illogic of Sumptuary
Values,” A Book of the Book, pp. 113-131
e-works:
- Marta Werner The Flights of A821: Dearchiving the Proceedings
of a Birdsong
http://altx.com/ebr/ebr6/6werner/6wern.htm
- Joel Weishaus and Alan Sondheim Cybermidrash
http://www.cddc.vt.edu/journals/newriver/WeishausSondheim/cybermidrash/title.htm
- Alicia Felberbaum Holes-Linings-Threads
http://www.aliciafelber.com/projects/holes/holesliningsthreads/index.htm
Be an active and persistent explorer of this work
- Peter Howard xylo http://www.wordcircuits.com/gallery/xylo
- Young-Hae Chang Heavy Industries Subject: Hello
http://www.yhchang.com/SUBJECT_HELLO.html
Make a letter poem with some scandalous feature.
Tuesday March
22 (Week 6)
VISIBLES INVISIBLES SIDE BY SIDE
"Simonides says that painting is silent poetry while
poetry is painting that talks." Plutarch
"No other Greek writer of the period, except perhaps Heraklitos,
uses the sentence in this way, as a 'synthetic and tensional' unit that
reenacts the reality of which it speaks. This is mimesis in its most radical
mechanism. This is the bone structure of poetic deception." A. Carson
Anne Carson, "Visibles Invisibles," Economy of the Unlost,
p. 45-72
e-works:
- Shao-lien Su Heart Changes http://www.cddc.vt.edu/journals/newriver
http://www.cddc.vt.edu/journals/newriver/sslee/heart_changes/heart0e.htm
- Nicolaus Clauss, Jean-Jacques Birgé Dervish Flowers
http://www.flyingpuppet.com/shock/dervish.htm
- Chris Green, Erik Natzke Walking Together What Remains
http://www.poemsthatgo.com/gallery/
2001
http://www.poemsthatgo.com/gallery/summer2001/walking/index.html
- Ted Warnell Berlioz http://www.warnell.com/syntac/berlioz.htm
- Ana Maria Uribe Tipoemas and Anipoemas http://vispo.com/uribe/index.html
Middle Column: in A Host of Halfties A Shoal of Mermaids, Ladders
http://vispo.com/uribe/shoal.html
http://vispo.com/uribe/ladders.html
Right Column: Deseo-Desejo-Desire and A Busy Day and
in Some Ani-Poems More Mermaids 2
http://vispo.com/uribe/deseo2/deseo.html
http://vispo.com/uribe/2002b/busy.html
http://vispo.com/uribe/2000/newmer2.html
Make one of the following:
a poem that is "a painting that talks."
a poem that "render[s] the invisible"
Tuesday
April 5 (Week 7)
EPITAPHS
Anne Carson, "Epitaphs," Economy of the Unlost, p. 73-99
e-works:
- 47 Contributors Migrating Memories http://trace.ntu.ac.uk/mime/mime.htm
read at least 10 from 10 different places
- Deena Larsen Carving in Possibilities http://trace.ntu.ac.uk/frame6/
- Ingrid Ankerson / Otagaki Rengetsu Murmuring Insects
http://poemsthatgo.com/gallery/
2001
http://www.poemsthatgo.com/gallery/fall2001/murmuring/launch.htm
- Mark Napier King Kong http://potatoland.org/solid/kingkong/index.html
let it run a bit before intervening
- Alan Sondheim and Rainer Strasser Tao http://nonfinito.de/tao/
Make a poem designed to be read vertically.
Tuesday
April 12 (Week 8)
TOWARDS A POETICS OF POLYPHONY AND TRANSLATABILITY
Dennis Tedlock, "Toward a Poetics of Polyphony and Translatability,"
A Book of the Book, pp. 257-276
John Felstiner, an acclaimed literary translator, believes so strongly
in the process of translation that he teaches Keats in German, Yeats in
French, Eliot in Spanish, to his Stanford students. In a 1997 interview
[Damion Searls, "Bringing the Poem to Life: An Interview with John
Felstiner," Poetry Flash 275 (January-February 1998), p.5.],
Felstiner says,
[…] the poem is just as fine in the original as it ever was, no
matter what happens to it in translation. But still, there's a sense in
which the poem can remain static, or dormant maybe, or quiescent, or even
overcrystallized, unless it is brought back into life. … I
often liken the process to a stress electrocardiogram: you put the poem
under a kind of alienating stress to see what's really going on in it,
because you can't see that in the quiescent state. It seems to me that
to translate a poem is in a sense to-I wouldn't want to say revivify,
because it doesn't need re-; it isn't dead-but to vivify it, especially
in your native language…
Later, he adds, "I feel that the translator enters some kind of
trajectory, call it a re-arcing back, a sparking back, or call it a boomerang."
e-works:
- Michael Samyn and Auriea Harvey Leviticus
http://www.entropy8zuper.org/godlove/it's_not_about_comfort_baby/index.html
(up through Ecstasy/Feather scene, then some of moremoremore through
falling logos)
- Megan Sapnar Pushkin Translation http://www.poemsthatgo.com/gallery/
2000
- Donna Leishman, Red Riding Hood http://www.6amhoover.com/redriding/red.htm
or Deviant http://www.6amhoover.com/index_flash.html
Also (optional) onsite her thesis, "Does Point and Click Interactivity
Destroy the Story?"
- Dane him http://www.eastgate.com/ReadingRoom.html
Exquisite, iconic visual-design features are counterpoised with more
mundane magazine text-snippets referring (pronominally) to men. Because
the snippets themselves are appropriated material, the whole collage
can be read as a critique of socio-journalistic constructions of male
identity. But the greatest power of the piece resides in its truly
striking graphic design elements (of which an image of two birds pecking
at seed, as objective correlative for marriage, is one unforgettable
instance). The viewer gets caught up in exploring (and exhausting)
the trigger-mechanisms for text-sequences (the mix-and-match effects
can be very funny). In a sense, the piece reveals the underlying limits
of our instrumental freedom. But ultimately it was the elegance of
the designer images, with their power of juxtapositive commentary,
that earned this piece its place in the top three.-Heather McHugh,
Judge, ELO Poetry Awards commenting on "Him"
Do you agree with her?
-
Brian Reed Stein Times Nine
http://www.studiocleo.com/cauldron/volume4/contents/index.html
Choose Reed under Confluence
Take a short poem of yours, or a 10-12 line excerpt from a longer
poem of yours, and "translate" it by extending each part into
parallel pairs. [Use p. 273-275 as a model]
Tuesday
April 19 (Week 9)
WRITING IN THE IMAGINATION OF AN ORAL POET / HEALING
Henry Munn, “Writing in the Imagination of an Oral Poet,”
A Book of the Book, pp. 251-256
Cameron, Dan, “from Living History: Faith Ringgold’s Rendezvous
with the Twentieth Century,” A Book
of the Book, pp. 489-493
Faith Ringgold, “from The French Collection, Part 1, #3: The Picnic
at Giverny,” A Book of the Book,
pp. 494-496
Deena Larsen, “What You See is not What I See” http://www.cwrl.utexas.edu/currents/fall01/larsen.html
e-works:
- Melinda Rackham Carrier http://www.subtle.net/carrier/
- Gavin Inglis Same Day Test http://bareword.com/sdt/
- Noah Wardrip-Fruin, Camille Utterback, Clilly Castiglia Talking
Cure
http://www.studiocleo.com/cauldron/volume4/confluence/wardrip-fruin/
- Teri Hoskin, et al., Noon Quilts 1 and 2 http://trace.ntu.ac.uk/quilt/info.htm
- Young-Hae Change Heavy Industries The Last Day of Betty Nkomo
http://poemsthatgo.com/gallery/winter2004/YHCHI/index.htm
Make a POEM that trumps binaries:
http://www.english.vt.edu/~siegle/Comp/Trumping_Binaries/trumping_binaries.html
Tuesday April
26 (Week 10)
VOICED TEXTS and WRITTEN ORAL POETRY
John Miles Foley, How to Read an Oral Poem, “Four Scenarios,”
“What the Oral Poets Say,” “What Is Oral Poetry,”
pp. 1-57 [this book is on reserve]
E-Companion to How to Read an Oral Poem http://www.oraltradition.org/hrop/
e-works:
- Christian Bök Eunoia Chapter E (Flash by Brian Kim Stefans)
http://www.arras.net/RNG/flash/eunoia/eunoia_final.htm
- Ubu Web Sound Poetry Section
http://www.ubu.com/sound/index.html
Choose Samuel Beckett: Rule Number Two, Four Horsemen: Mayakovsky,
Bob Cobbing: Alphabet of Fishes, Insults; Augusto de Campos:
Cidade City Cité, quasar; Fluxus Anthology: Emmett Williams
Duet, Sound Poetry Today: Natalie and Michael Basinki: Parent
+ Child Heebee- Jeebies, Gertrude Stein: If I Told Him. Explore
this site and prepare your own choice of text.
- Martin Wattenberg The Shape of Song http://www.turbulence.org/Works/song/
Two definitions:
Musicalization: meaning and meaning-carrier are so close
that the meaning of words is also suggested by the sounds of the words.
Sonorization: links between meaning and meaning-carrier
are broken. The sounds alone (and their juncture, stress, rhythm, pitch,
pause (“atavistic richness of body language sublimated in voice”)
are employed as self-meaningful material.
Make or find one of the following:
a poem that evinces “musicalization”
a poem that uses “sonorization” (Can such a poem be written
or only performed?)
Tuesday
May 3 (Week 11)
THE CHINESE ART OF WRITING
Jean François Billeter, “from ‘The Chinese Art of Writing,’”
A Book of the Book, pp. 290-310
John Cayley, “Writing (Under-) Sky: On Xu Bing’s Tianshu,”
A Book of the Book, pp. 497-503
Optional: John Cayley Transliteration http://www.shadoof.net/in/translit/transl.html
e-works:
- John Cayley Digital Wen http://www.shadoof.net/in/digitalwen/
on IE only
- Talan Memmott From Lexia to Perplexia
http://www.uiowa.edu/~iareview/tirweb/hypermedia/talan_memmott/
- William Poundstone New Digital Emblems http://beehive.temporalimage.com/content_maps/42b.html
- Young-Hae Chang Heavy Industries http://www.yhchang.com/PERFECT_ARTISTIC_WEB_SITE.html
Young-Hae Chang Heavy Industries http://www.yhchang.com/PERFECT_KOREAN_pc.html
Young-Hae Chang Heavy Industries http://www.yhchang.com/PARFAIT_WEB_SITE.html
Young-Hae Chang Heavy Industries http://www.yhchang.com/DECLARACION_DE_ARTISTA.html
- Roberto de Vicq de Cumptich Bembo's Zoo http://www.bemboszoo.com/Bembo.swf
Go to the Xu Bing website http://www.xubing.com
and write a paragraph or poem about two of the following: Monkeys Grasp
(for) the Moon, The Living Word, Art for the People.
Tuesday
May 10 (Week 12)
NEGATION & ALL CANDLED THINGS
Anne Carson, "Negation" and "All Candled Things,"
Economy of the Unlost, p. 100-134
e-works:
- John Cayley and others What We Will http://www.z360.com/what/index1nn.htm
- Reiner Strasser and others Project Hope http://nonfinito.de/hope/
- http://www.singlecell.org/
Humankind's recent discovery of the World Wide Web has entailed a concomitant
investigation of its fauna, and the birth of a new field, online zoology.
SINGLECELL is a monthly bestiary of these newfound species: a collection
of online interactive life-forms discovered and reared by a diverse
group of computational artists and designers. Look at February: Danny
Brown; May: Marius Watz; July:
Martin Wattenberg; and DOUBLECELL entries: Colony Media, limiteazero, Lia, Jared Shiffman, Manny Tan.
- Stephanie Strickland and Cynthia Lawson V: Vniverse http://vniverse.com
Bring a poem including negation. What might negation be in an e-poem?
Important Note: Take a copy of Mez's word list for next
week's assignment.
Tuesday
May 17 (Week 13)
COMPOSITION AS EXPLANATION: CODE WORK
or, Absence of Paraphrasable Content
Tom Phillips, "Notes on a Humument," A Book of the Book,
pp. 423-430
N. Katherine Hayles, "A Humument as Technotext: Layered
Topographies," Writing Machines, pp. 76-99
Mez (Breeze), The Art of M[ez]ang.elle.ing: Constructing Polysemic
& Neology Fic/factions Online [3] [e]vol[ve]ition::Omeganumeric
Mezangelleing:: [Note, just part 3 of the article]
Beehive 3:4 http://beehive.temporalimage.com/archive/34arc.html
E-poets on the State of their Electronic Art:
Mez http://www.cwrl.utexas.edu/currents/fall01/survey/mez.html
e-works:
- Jonathan J. Harris 10x10: 100 Words and Pictures that Define the
Time http://www.tenbyten.org/10x10.html
http://www.tenbyten.org/developers.html
- Mez and Talan Memmott Sky Scratchez http://beehive.temporalimage.com/archive/25arc.html
- Piotr Szyhalski Ding an Sich
http://www.walkerart.org/gallery9/szyhalski/index.html
for the interview
http://www.walkerart.org/gallery9/szyhalski/dingansich/
- Gary Zebington Termite http://murlin.va.com.au/eyespace/termite/index.html
- Mez _] [ad][Dressed in a Skin C.ode
http://www.cddc.vt.edu/host/netwurker/
"mez's writings are, in my view, examples of reflecting the virulence
of digital text without actually coding in programming language. - The
beauty of 'mezangelle' is that it uses elements of programming language
syntax as material, i.e. reflecting formal programming language without
being one. Of course, many other aesthetic options in Internet poetry
exist, and many of them may have an aesthetics which totally separates
the textuality of the digital poem from the internal textuality of the
machine. I just prefer if the latter is the product of an aesthetically
conscious decision _against_ algorithmic coding (i.e. as its negative
reflection).
+
"If it doesn't (conceptually, aesthetically) matter at all for a
work whether it resides on the CD-ROM or in the Internet, then I have
difficulties calling it 'net literature'. The fact that something displays
in a browser isn't enough to make it, to quote mez, a 'net wurk'. You
might consider it picky, but in my view 'net literature' and 'digital
literature' aren't synonymous per se, although they frequently intersect
today. I could, for example, think of a lot of analog 'net literature',
like Mail Art or even 18th century letter novels, or Japanese renshi poetry.
+
"The code poetry of, among others, mez, Alan Sondheim and Ted Warnell
seems to build on two developments a) the re-coding of traditional pictorial
ASCII art into amimetical noise signals by net artists like Jodi, antiorp,
mi-ga and rederic Madre, (b) the mass proliferation of programming language
syntax through web and multimedia scripting languages and search engines.
For the reader of mez's 'netwurks', it remains all the more an open question
whether the 'mezangelle' para-code of parentheses and wildcard characters
only mimics programming languages or is, at least partially, the product
of programmed text filtering."- Florian Cramer, lecturer in Comparative
Literature at Freie Universität Berlin and transmedia 01 jury member
for the Artistic Software Award.
Make a list of 10 terms that name things for which there is no
word but for which you need a word. Condsider the techniques Mez uses
to create words.
Tuesday
May 24 (Week 14)
ARTIFACTUAL WORLDS: GAMES / GENERATIVITY
Greg Ulmer, "Toward Electracy" Beehive 3:4 http://beehive.temporalimage.com/archive/34arc.html
Gonzalo Frasca, "The Sims: Grandmothers Are Cooler than Trolls"
http://www.gamestudies.org/0101/frasca/
e-works:
- Diana Reed Slattery Glide http://www.academy.rpi.edu/glide/portal.html
- Eric Zimmerman Sissyfight http://www.sissyfight.com
- Ferry Halim Orisinal: Morning Sunshine http://www.ferryhalim.com/orisinal/
- Joe Keenan Moment http://beehive.temporalimage.com/content_apps42/app_h.html
http://beehive.temporalimage.com/content_maps/42h.html
Choose a strand in the upper box and choose "spawn aspects"
in the lower box and then keep spawning new aspects.
- Jim Andrews Arteroids http://vispo.com/arteroids
- Geniwate Concatenation
http://www.idaspoetics.com.au/generative/generative.html
- Flashcomguru.com Someone Keeps Stealing My Letters
http://web.okaygo.co.uk/apps/letters/flashcom/
- Valerie Laws Woolly Writing
http://news.bbc.co.uk/1/2541761.stm
Make one of the following:
an algorithmic or recipe or game poem.
a poem using [one of?] these related ideas:
http://www.english.vt.edu/~siegle/Comp/Queneau.../queneau....html
http://www.english.vt.edu/~siegle/Comp/Oulipo_s_N_7/oulipo_s_n_7.html
http://www.english.vt.edu/~siegle/Comp/Exquisite_Corpse/exquisite_corpse.html
Tuesday
May 31 (Week 15)
UNKNOWN OLDER POETS & (ONE?) WORLD OF VOICES
On Lionel Kearns http://www.vispo.com/kearns/
by Jim Andrews
Mark Hansen and Ben Rubin Listening Post http://www.earstudio.com/projects/listeningpost.html
The project Listening Post by Mark Hansen and Ben Rubin won the
Golden Nica in Interactive Arts. It reflects the activity and interactivity
of the web, but does not provide interactive features for the audience
in the exhibition. This piece has a stunning effect on the audience. It
dominates the space and, almost like whispering, displays words on its
huge array of little screens accompanied by clicking sounds and spoken
words. It has a shrine-like effect on everyone entering the room and people
sit down, lie down, stand or slowly walk around, magnetized by the seductiveness
of the installation.
David Daniels The Gates of Paradise http://www.thegatesofparadise.com/tgop.htm
http://www.thegatesofparadise.com/pdf_toc.htm
http://www.thegatesofparadise.com
A Human Being Called David Daniels http://www.arteonline.arq.br/david/
by Regina Pinto
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