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Wide Image: Mythology

Structuralism: Claude Lévi-Strauss.  Following the rule of heuretics curriculum, to treat one’s own materials as belonging to the disciplinary tradition, I applied Lévi-Strauss’s insights into the formal design of mythologies to my wide image. The wide mage in fact is a personal mythology, not only metaphorically but formally. Lévi-Strauss showed that individual instances of a myth manifest a system of relationships, covering all possible variations on the aporia (disaster in our terms) addressed by the myth. The system of relationships is that of proportional analogy (A is to B as C is to D), the figure of hypotyposis encountered throughout the tradition. The practice of myth-work applied to a mystory set (including the Career register documented, along with Family, Entertainment, Community) is to determine which stories/scenes are related in this proportional ratio, along what axes? In my case I found Family and Career related on an axis of space (The Sand and Gravel Plant scene, materializing the Choral metaphor of Plato and Derrida); Entertainment and History related on an axis of time. High Noon plays out almost in real time, intercutting between the clock in the sheriff’s office and the gunmen waiting for their boss to arrive on the noon train, while the sheriff tries to form a posse to fight them. Custer took his Seventh Cavalry far ahead of the rest of the advancing army, hoping to strike a quick blow against the Indians, to get the glory for himself, to propel him into candidacy for President of the United States in the 1876 election.. The symmetries formed in the crossings of this four-fold are provocative, suggestive of a diagram capable of translation into an original hypothesis for konsult.

–Noon Star Diagram

2018-07-30T21:17:39+00:00 July 30th, 2018|Categories: Design, Diagram, Mystory, Terms, Wide Image|Tags: , |

Wide Image: Diagram

Wide Image into Diagram. The next step after using the emblem catechism to generate wide image is to begin translation into diagrams, extracting patterns from the intervals and relationships emerging within the matrix. Composing my first mystory in the mid-1980s, “Derrida at the Little Bighorn,” I discovered a match between Family and Career that produced an epiphany I have developed ever since. One of my first jobs when I worked at the plant was to clean the grids of the screens used to grade the gravel into sizes. Eventually the screens plugged up with stones and I had to knock them loose with a hammer. The pea-gravel screen could be cleaned by running the tip of a large screwdriver along the meshed grids, which produced an almost musical sound. This was the actual “gravel plant.” The washer with its three grades of screen, one on top of the other, was fed by a conveyor belt carrying the pit gravel from the quarry, and fed in turn three piles of sized rock, with the sand coming out the bottom. The whole contraption made a terrible noise and shook violently. I realized years later, reading Plato’s Timaeus after Derrida, that this gravel washer was a good metaphor or model for the operation of chora, sorting chaos into Earth, Air, Fire, Water.

–Plato, Timaeus, 52D-53A (Chora).

“My verdict is that being and space and generation, these three, existed in their three ways before the heaven, and that the nurse of generation, moistened by water and inflamed by fire, and receiving the forms of earth and air, and experiencing all the affections which accompany these, presented a strange variety of appearances. and being full of powers which were neither similar nor equally balanced, was never in any part in a state of equipoise, but swaying unevenly hither and thither, was shaken by them, and by its motion again shook them, and the elements when moved were separated and carried continually, some one way, some another. As, when grain is shaken and winnowed by fans and other instruments used in the threshing of corn, the close and heavy particles are borne away and settle in one direction, and the loose and light particles in another. In this manner, the four kinds of elements were then shaken by the receiving vessel, which, moving like a winnowing machine, scattered far away from one another the elements most unlike, and forced the most similar elements into close contact.”

–Derrida, Chora-L As part of his collaboration with the architect, Peter Eisenman, on a design for one of the folies, to be included in the Park for Creativity, Parc de la Villette, in Paris, Derrida produced a drawing and a descriptive concept for an impossible project: to build Chora. “I propose therefore the following ‘materialisation’: in one or three exemplars (with different scalings) a gilded metallic object will be planted obliquely in the ground. Neither vertical nor horizontal, a most solid frame will resemble at once a mesh, sieve, or grid and a stringed musical instrument. An interpretive and selective filter which will have permitted a reading and sifting of the three sites [at the Park] and the three embeddings.”

2018-07-30T20:35:55+00:00 July 30th, 2018|Categories: Design, Diagram, Mystory, Wide Image|Tags: , , |

Theopraxesis: Emblem

Catechism: Wide Image. The catechism of modernism (drawing on the Western Tradition) is articulated in Kant’s philosophy and Gauguin’s painting. The answers to the questions are specific to each person, and are generated during the composition of the wide image. Several posts are required to unfold this poetics, by means of which egents learn to actualize in their own projects the intelligence potential (latent) in the cultural archive. This archive in its global version functions for electracy the way Avatar functioned for orality: source of absolute knowledge (the project of Avatar Emergency was learning to receive this communication of Avatar). One of the first things that happens in transition from one apparatus to another is the mise en machine of the previous apparatus. As McLuhan observed, the content of the new medium is the old medium (literacy put oral mythologies into writing; electracy digitized the libraries). The remainder of the apparatus epoch is devoted to invention and diffusion throughout society of the new metaphysics (operating practices).

–Emblem. The translation of mystory into wide image is mediated by emblematics. The emblem (having the same structure as a generic advertisement), considering its historical relationship with allegory, expresses in condensed form the image of wide scope ( sinthome, Lacan) that emerges in the making of a mystory (it embodies the pattern of signifiers that repeat when the makers situation is mapped across the popcycle). Studio and Textshop exercises explore the form, including its history from its introduction in the Renaissance through to contemporary advertising. An advantage of the form is just this combination of archival presence and pop familiarity. Ulmer designed this emblem based on his mystory: Motto is “pithy,” aphoristic, allusive, to produce an evocative connotation when combined with the picture. The epigraph is informational, clarifying what is suggested in the motto-picture juxtaposition.

–Advertisement.The Marlboro Cowboy
In 1954 Philip Morris Corporation sought an advertising agency to design a campaign that would allow men to smoke a filtered cigarette in public without embarrassment. Leo Burnett (The Burnett Agency) did some research to determine the most “virile” male image in American culture, which not surprisingly turned out to be the “cowboy.”

2018-07-29T18:09:54+00:00 July 29th, 2018|Categories: Design, Device, Overview, Theopraxesis, Tutorials, Wide Image|Tags: , , |

MYSTORY: Maurice Sendak

Maurice Sendak is best known for his Caldecott Medal winning illustrated children’s book, Where the Wild Things Are (1963), made into a film by Spike Jonze. Given the importance of childhood experience and how it is remembered to the Wide Image, Ulmer often included in the Hypermedia course a book of short essays by authors of children’s books on the art and craft of writing for children: Worlds of Childhood, edited by William Zinsser. (1998). Sendak’s essay, “Visitors from My Boyhood,” is organized as a mystory, addressing each of the popcycle slots in order to explain the source of his poetics, which suggests there is something intuitive or inherent in the popcycle as a matrix of imagination. Two other features recommending Sendak’s craft as relay for an Exercise is that his stories were rarely more than 300 words (the length of one micro fiction, the narrative  building-block of mystory documentation), and the drawings did not merely illustrate the words but developed the diegesis of the world in their own terms. Students used Sendak’s essay as a relay: making an inventory of his popcycle; extracting a template of examples for each slot; finding equivalents in their own experience.

–Family (Personal): Composition of mystory usually begins with a memory from early childhood, life with the family. Up to three such memories are allowed, to avoid getting stuck deciding on one that is most important (that dilemma if it arises is resolved when the remaining slots are filled, following the rule what resembles assembles). Sendak proposed two memories: the first was one of his earliest, an encounter with one of the pedagogical objects Pasolini mentioned, a book his older sister received from her book club. The book was very thick with a hardcover of pale green with gold lettering. Although not yet able to read, Sendak was fascinated with the book and demanded to have it, creating so much commotion the parents made his sister give it to him. When he finally returned it to his sister it was in bad shape, including suffering from being licked all over.

–Entertainment (Mythology): The popcycle premise is that identity is configured through identifications with people, places, and things during formative years: just as one has a capacity (potentiality) for language in general, with one’s native language depending on the chance of birth; similarly one has a capacity for imagination, and one’s native imagination (wide image) is formed within uniquely particular circumstances (visceral learning). A shortcut to determine which identifications took is just introspection: what remains in memory? Writer’s are good relay resources modeling these shaping identifications of which they necessarily become aware in learning their craft. For Sendak the memory was of The Wizard of Oz, and one scene in particular that he said “stole into my life in 1939 and has been flooding my work continually ever since.”

I was eleven when I saw the movie, and I remember it vividly because of how intensely in frightened me. The moment I am talking about is the one when Dorothy is trapped by the Wicked Witch of the West, and the witch takes an hourglass and turns it over and says something horrible like, “When the sand runs out, you’re dead, honey.” Judy Garland is left alone in the room, and one of her best moments ever was her way of saying, “I’m frightened,” and then, as though that realization has just actually dawned on her, says it a second time, “I’m frightened.” I still remember how her hand went to her head–the way she had of fluttering her hand, her desperation was so convincing. There was no way out of that room, nothing she could do. And suddenly, in the witch’s crystal ball, she sees her Auntie Em, back in Kansas, standing in the yard and calling to her. And she rushes to the crystal ball, and stands over it and screams, “Auntie Em! Here I am!”

–Community (History). Family and Entertainment memories are personal and convincing because they “belong to me.” The assumption of the History slot in the popcycle is that identity is formed within a social habitus, which is a major source of education (interpellation) received uncritically and internalized. To access this level of distracted education students first must decide with which Community they identify. Not everyone grows up in a home town. Community could also be an ethnic group, religion, race, military branch, nation. Whichever Community chosen, the story told must be one the Community tells about itself (what the Community remembers). Many students actually knew very little about their communities, so that some research was required. A shortcut was just to recall street names, festivals, memorials, school names and the like, to make a short-list. At that point some personal connection may help the selection. Sendak’s relay is somewhat awry, in that he did have a strong emotional association with his History event (as did James Joyce with the history of Parnell). The particular contribution of the History story is register a Value important to the Community. The Event documented by Sendak was the story of the Lindbergh baby.

The major event of my childhood was the kidnapping of the Lindbergh baby in 1932. That nightmare was probably the origin of my conviction that children can’t be shielded from frightening truths. Although I was only three, I remember intensely the details of the Lindbergh case. Lindbergh was our Prince Charles, and his wife was our Princess Di. I particularly remember a newspaper that had the front-page headline LINDBERGH BABY FOUND DEAD and a photograph of a scene in the woods with a black arrow pointing to something awful. I’ve since learned that Colonel Lindbergh threatened to sue if the New York Daily News didn’t have the morning edition pulled off the newsstands, so I guess not many people saw the  picture.  But I saw the picture.

The first phase of composition is to document each of these scenes (in your own popcycle): use micro fiction form, three micros (900 words) for each register, focusing on the diegesis of the event. The goal is to capture and annotate details of the scene, since wide images emerge in patterns of repeating signifiers.

2018-07-26T21:54:27+00:00 July 26th, 2018|Categories: Assignments, Design, Mystory, Popcycle, Tutorials, Wide Image|Tags: |

Gest 3 (Family)

Family gesture: Nancy Kitchel provides a relay for how to locate mood or atmosphere in a local and family setting.

“Covering My Face: My Grandmother’s Gestures,” 1973 

How a particular Midwestern storytelling tradition resembles the landscape. How my aunt or my mother can tell a story in such a way that the peaks (of violence) are cut off and the low points are filled up (with details, with emphasis), until the whole is perfectly flat and contains the violence.

This family gesture may be linked with the iconic gestures found in religious art and contemporary entertainment media.

Gestures and Icons. Migrant Mother, Nipomo, California, Dorothea Lange, 1936

Nancy Kitchel’s “grandmother’s gesture” may be seen as a series of variations on a gesture of worry and anxiety codified in this photograph taken by Dorothea Lange as part of a New Deal project to document the misery of migrant workers, sponsored by the Farm Security Administration during the Great Depression. “Migrant Mother” is one of the most-cited pictorial images of our times.

A repetition of gestures of this sort opens a conductive inference path between (in this case) Family and History. If Kitchel were doing our assignment this gesture would justify a search in documentation of “the Great Depression” to find a metaphor to express the mood of her Family circumstances.

–Landscape Gest (Outer Scene = State of Mind). Kitchel provides another example of Existential Disaster (cosmic glimpse), inclulding visionary Whiteness.

“Last White (Interior Landscape)”, 1975

This idea I have that the whole inside of my head resembles this landscape (flat? nothing there?), that the particular, peculiar sense of great space, isolation in space, harshness, clarity, severity, the constant transitions, shifts, reveries, the wild swings form one state to another, forms the visual, auditory, reasoning, base for thought or action. A sense that I have been formed out of the quality of the landscape, that everything unnecessary is being slowly eroded by harsher elements. And the confidence that I will survive, denuded, or that something will survive, something will never stop.” 

Nancy Wilson Kitchel, “Visible and Invisible” Individuals: Post-Movement Art in America
Ed. Alan Sondheim

2018-07-25T21:52:55+00:00 July 25th, 2018|Categories: Assignments, Design, Device, EPS, Memory, Photography, Tutorials, Visceral|Tags: , |

Gest 2 (Wonder Woman)

Iconic Gestures

The artist Dara Birnbaum made a videotape collage, edited from an episode of the Wonder Woman TV series (starring Linda Carter), that looped the moment when Diana Prince transforms herself into Wonder Woman by spinning around. This tape exemplifies the way Pop Art isolates and marks certain faces, scenes and gestures from entertainment culture as “language.” These icons form a kind of writing, a shorthand system for alluding to whole semantic domains of information.This “spinning” movement, for example,  may evoke “Wonder Woman” across media and platforms, wherever it appears (metamorphosis).Exercise: Locate and document the iconic features of each of your popcycle discourses (Family, Entertainment, History, Career). 

Wonder Woman

Powers:She is amazing in power…. She has bracers that can deflect bullets. In addition she has a telepathically controled invisible jet and lasso. The lasso also forces anyone caught in it to tell the truth. In addition to all this she is both really smart and really strong.

Origin: She was created on Paradice island, making her an amazon… where she was a statue of a little girl. Her mother/artist begged one of those Greek gods, Aphrodite or Athena, (The cartoon calls her both) to bring her to life… and just like pinochio she was alive. She was faster than Mercury and stronger than Hercules. She was always great but they hold a tournament for the best on paradice island to find someone to join the superfriends…. And Diana(Wonder Woman) sneaks into the contest in disguise and wins.

Her favorite saying seems to be “Great Hera”

2018-07-25T21:52:13+00:00 July 25th, 2018|Categories: Design, Device, Tutorials|Tags: , |

Terms: Popcycle 2

Layout (Annotation): Popcycle 2

WHIRLING SQUARES : The name “Popcycle” alludes to the process of invention/discovery, to call attention to the fact that inventions draw upon the full range of cultural institutions and experience.  I have been especially interested in collecting examples of passage through the popcycle, the vector of creativity, to show how innovation detours outside discipline. A symptom of the popcycle at work may be found in the metaphors and images innovators use in describing their process of insight: The rebus puzzles Freud found in a humor magazine; the parlor game that inspired the Turing test; The duck/rabbit optical illusion central to Wittgenstein’s “aspect;” the children’s encyclopedia analogy that Einstein took as the basis for his thought experiment (riding a beam of light). Heuretics as pedagogy assumes that learning correlates strongly with creativity. Mystory maps (choragraphy) one’s position in the institutions of the popcycle, to track interpellation (construction of identity).  Konsult appropriates and adapts these practices, developed for electrate learning, to an education conducted online.



Meanwhile, some reflection on the popcycle diagram, by way of a question, to ask about your experience with the generative power of diagrams. The mise-en-abyme layout is not formally motivated, nor is there any one structure required to register the components.  Derrida’s reference to heraldry was one inspiration, having in mind his ambivalent explorations of abyssal figures, extending not only to modernist tropes, but to the  structure of Plato’s Timaeus and the operations of chora. I referred to it in terms of the fibonacigeometry of the whirling square (in Internet Invention), to call attention to its dynamics, as vortex (Pound). The figure will be unpacked further, since I have used it to think together every four (+1) series and set that presents itself, in the spirit of the four-color theorem: four causes (ancient and modern), suits of cards, divination systems, four (or five) tastes, the cardinal tropes, cardinal and ordinal directions, and more.

When it comes to the image of wide scope (four or five fundamental images structuring imagination, and central to the history of invention), the prototype is Einstein’s compass (received from his father as a gift at age four or five): the wide image is a compass for the existential positioning system of learning, to orient egents tracking the vector of invention.
Coming across the work of Stephen Willats, I recognized the diagram in Perceptions of a Married Couple (1975), which prompted the thought that I should do a systematic search to trace the diagram conductively. “In ‘Perceptions of a Married Couple’ , the main focus is in the relationship between the form of the inter-personal network that underlies perception of self and others and the resulting generation of social attitudes. It was Willats’ first work where people were photographed within the coded world they themselves had actually constructed.”

2018-07-22T18:25:45+00:00 July 22nd, 2018|Categories: Design, Mystory, Popcycle, Terms, Tutorials, Wide Image|Tags: |

Terms: Popcycle

  Popcycle. Learning is a complex adaptive system, and an aspect of what we are exploring is a certain isomorphism transversing all such systems. Heuretic pedagogy is describable within a systems perspective, beginning with the popcyle of institutions within which identity is constructed.  Mystory (electrate equivalent of historiography) maps the position of a subject within the popcycle of institutions. The premise of heuretics is that there is an equivalent in learning of the four color theorem in mapping (choragraphy maps learning).  “In mathematics, the four color theorem, or the four color map theorem, states that, given any separation of a plane into contiguous regions, producing a figure called a map, no more than four colors are required to color the regions of the map so that no two adjacent regions have the same color.” The analogy is that the four institutions of the popcycle suffice as interface relating a learner with every possible dimension of reality.  This allusive argument is unpacked in subsequent posts, seeking further understanding, in configuring konsult as the mise-en-abyme of a popcycle.

 –Mandala. A basic diagram (popcycle mandala) is used consistently throughout KE to map and correlate correspondences across the layers and levels of the popcycle-mystory-wide image as Interface for the Stack of digital civilization. The diagram is not original, but is appropriated from various fourfold system templates. The diagram below registers the CATTt of a seminar documented in Ulmer’s blog, Routine, which includes extensive exposition of CATTt generators.

2018-07-22T18:11:59+00:00 July 22nd, 2018|Categories: Design, Popcycle, Terms, Tutorials|Tags: , , |


5) Recognition. The kind of memory specifically supported in electracy is discussed in Konsult: Theopraxesis using the example of Marcel Proust’s involuntary memory (the event of remembrance when Marcel tasted the biscuit dipped in tea). Roland Barthes referred to the punctum or sting of recognition he experienced when viewing certain photos. This event of recognition signals the operation of intuition, the intelligence accessing deep memory formed during the visceral education of disposition in childhood. This visceral orientation is not accessed directly, but informs judgments of taste (Kant), of action in prudence (phronesis), constituting the thymotic dimension of all decision. The discovery of konsult is that mystory enables theopraxesis (integrated thought-action-imagine), mise-en-machine of visceral attraction-repulsion (passional intelligence). This logic of orientation is called flash reason, conductive inference, structured in the manner of poetic epiphany, adaptive for real-time augmented smart space. We will address this rhetoric throughout KE.

–Antonio Damasio: Context for flash reason, used in the composition and design of mystory.


In his most recent book (Self Come to Mind), the neuroscientist Antonio Damasio discusses the human capacity to recognize one’s  own being in features of the external world (natural and cultural things, events, works).  The world offers us a mirror in which to track the turns of our identity.  He offers an example of his own experience of this capacity.

It is an object that has helped him construct, interpret, ponder and crystallize his identity, or at least his idea of it. It came to him in the early 1970s, when he was in medical school at the University of Lisbon. The sculpture, made by a woman he had just begun dating (a fellow neuroscience student and a sculptor named Hanna Costa), is a little terra-cotta figure of a man seeming to fight his way forward in a storm. And it all but cried out to Dr. Damasio with a mysterious urgency.

“Somehow I felt that it was me, or belonged to me,” he recalled. “Even though she had done it before we met.”

The doctor was even more convinced that it was a sculpture of his favorite boyhood hero: Tintin, the boyish blond reporter and detective whose comic-book adventures, written by Georges Remi (a k a Hergé) from the 1930s to the early 1980s, delighted generations of European children. Dr. Damasio was one of them, having found endless inspiration in Tintin’s feats of derring-do and the restlessly inquisitive mind that dispatched mystery after mystery with faultlessly astute reasoning and a killer right punch.

In a review of Damasio’s book, Ned Block pointed to one significant area of disagreement, not with Damasio’s example, but with how the capacity  is interpreted.  It reflects not so much “self-consciousness” as “phenomenal” consciousness, related to Merleau-Ponty’s “flesh.”

But there is also a different kind, as anyone who knows what it is like to have a headache, taste chocolate or see red can attest. Self-consciousness is a sophisticated and perhaps uniquely human cognitive achievement. Phenomenal consciousness by contrast — what it is like to experience — is something we share with many animals. A person who is drunk or delirious or dreaming can be excruciatingly conscious without being wakeful, self-aware or aware of his surroundings. (Block)

For the purposes of flash reason this disagreement is beside the point.  It is important rather to mark this capacity as precisely the capacity augmented in the electrate apparatus, whose skill set is flash reason managing dromosphere information sprawl.  The funtion of measure in image metaphysics is this event of recognition (belonging to me).

2018-07-20T15:25:48+00:00 July 20th, 2018|Categories: Art, Design, Intuition, Memory, Mystory, Orientation, Theopraxesis, Tutorials, Visceral|Tags: , , |



Purpose: Details
The fundamental goal of each part of the mystory  is to record and accumulate details, sensory material signifiers, from each discourse of the popcycle. The mystory serves as a kind of “dream catcher,” an aesthetic filter, to register the events of interaction between the individual and the society. Within this general purpose there is a specific fit between each part of the mystory and the commonly available basic forms of composition and design. The commitments noted below were arrived at through a process of trial and error, and are open to revision (as are all aspects of this pedagogy).

  Family Discourse: Narrative
Memories of family experience are entered into the mystory by means of narrative form. The literary anecdote (adapted from oral storytelling) works well. The various versions of supershort, micro or flash fiction fit with the brevity desirable in online venues. The exercise of putting the memory into narrative form enhances and intensifies the memory experience. There is also the fact that any formal requirements tend to stimulate inventiveness. Some key points about narrative are:

  • Incident: something must happen. A narrative records a change from an earlier to a later situation, with the two moments having a relationship of similarity in difference. The very short forms that I favor are distinguishable from prose poems mostly by this inclusion of incident. These short forms are desirable not only because of the nature of hypermedia but because they may be performed successfully without special training in creative writing.
  • Structure: the narrative has two levels — a situation, and some implicit manifestation in the arrangement and treatment of the details revealing the narrator’s attitude to the situation. This dual structure allows the author to combine past and present times, to show the situation as it was then, and to evaluate it from the vantage point of the present. This evaluation of course is not made explicit or explained, but is shown implicitly in the story.

Entertainment Discourse: Exposition
Unlike the Family memory, the Entertainment work is already a narrative. The diegesis of this narrative (its imaginary world) is entered into the mystory not by retelling the story but by using the documentary form of expository analysis. The features of a scene deemed most relevant by the maker are recorded using technical, objective, encyclopedic style to enhance and augment those props and gestures that most contribute to the atmosphere of the world.

  One version of the assignment proposed that this documentation be entirely visual, to foreground the pictorial image in the way that the Family entry foregrounded the verbal image. However, this distinction is arbitrary since in both cases there is supposed to be a balance of words and graphics (adapting the forms to the medium of the Web). Roland Barthes’ Empire of Signs is a relay for the desired documentary description. Each entry of his short book on Japan constitutes a “sign,” consisting of some 400-500 words, often with a pictorial illustration. The instruction is do for the diegesis of your Entertainment work what Barthes did for Japan. Other relays are possible, including encyclopedic dictionaries. The principle is to adapt an existing model as a guide for your composition. Another possibility is to use the formal features of screenplays or scriptwriting to record the necessary details: shot lists, treatments, dialogue, camera work, and the like. All these versions may be used together. The scenario form in general is a useful model for konsult experiments, with sketchbooks, storyboards, scrapbooks, journals, as contemporary retrievals of manuscript commonplace books and memory palaces.

History: Combination and Repetition
In the version in which Entertainment features visual graphics, History is recorded using exposition. In an alternative version this third installment is an opportunity to repeat all the forms and devices introduced in the first two installments. The diegesis of a relevant historical event from the egent’s community is recorded using a combination of short narrative, documentary sign, and visualization. The narrative established the event (the situation) and the documentation (sign) focused on some detail, promoted through this intensification into a metonym evoking the attitude of the narrator to the situation.

2018-07-20T00:54:50+00:00 July 20th, 2018|Categories: Design, Mystory, Popcycle|Tags: , , |