http://www.megaupload.com/?d=BLHS5Q58
Based on designs for Wall Drawings seen at Mima. First 4 letters here, remaining letters will use these letters in various combinations.
These kind of emails are pretty commonplace but still worthwhile reading them for the subtle variations of the well-worn theme of begging and conning..
obviously the most common is the “Nigerian” scam. I liked this one for a number of reasons but particularly the religious element to it and the fact that it makes no pissing sense whatsoever. Plenty of people have made blogs out of “scamming the scammers”, usually where they just lead them on some correspondence for a while. I get the feeling that, like the spam email headers, there is an interesting project in here. Perhaps a video documentary of the ficticious lives described.. or something less pretentious.
From: Mrs.Stephanie Clarke
London, United Kingdom. E-mail:stclarke72@hotmail.com
Dearly Beloved,
It is by the grace of God that I received Christ, having known the truth;I had no choice than to do what is lawful and just in the sight of God for eternal life and in the sight of man for witness of God & His Mercies and glory upon my life. I am Mrs. Stephanie Clarke , the wife of Mr. Robert clarke, my husband worked with the Chevron/Texaco in United Kingdom for twenty years before he died in the year 2006. We were married for ten years without a child. Since his death I decided not to re-marry or get a child outside my matrimonial home which the Bible is strongly against.When my late husband was alive he deposited the sum of £ 17.5 Million (Seventeen Million Five Hundred Thousand Pounds) with a Bank in United Kingdom. Presently, this money is still with the Bank and the management just wrote me as the beneficiary that our account has been DORMANT and if I, as the beneficiary of the funds, do not re-activate the account.The funds will be CONFISCATED or I rather issue a letter of authorization to somebody to receive it on my behalf (note that you need to activate this account) as I can not come over.Presently, I’m in a hospital in the UK where I have been undergoing treatment for esophageal cancer. I have since lost my ability to talk and my doctors have told me that I have only a few weeks to live. It is my last wish to see this money distributed to charity organizations anywhere in the World. Please, I beg you in the name of God to help me Stand-in as the beneficiary and collect the Funds from the Bank.
Awaiting your urgent reply via my personal email address below:
stclarke72@hotmail.com
With God all things are possible.
Your Sister in Christ,
Mrs.Stephnie Clarke
Second Consequences game with a new design; I will redesign the previous game in this style (with different background colour) and continue the theme for the remaining games. Ornaments from BibliOdessey.
CAN YOU SATISFY ANY GIRL YOU WISH?
RIGHT SPOT FOR HER, EVERYTIME
GIRLS WILL DRIVE CRAZY WITH YOU IF YOU INCREASE YOUR MACHINE
WATCH HER CLIMAX OVER AND OVER AGAIN
GAIN CONTROL OVER YOUR DESTINY
HONEY SWEET AND LOW DOWN SEXY
UNBELIEVABLE PLEASURE CAN BE YOURS
SPECIAL OFFER ONLY FOR YOU SWISS R0LEX AS LOW AS 220$
NO MORE AVERAGE LIFESTYLE
PINK AND PERFECT LIPS
COLLEGE HOTTIE TAKEN FROM BEHIND
NOW YOU CAN PLEASE YOUR WIFE
BESTT-SELLING TECHNOLOGY TO INCREASE1YOUR BABY-MAKER SIZE
WHAT DID YOU DO WITH THOSE PILLS?
BEGIN A SE}{ GIANT
NOW YOU CAN PLEASE YOUR WIFE
TOP 10 REASONS FOR GROWTH
YOUR CONFIDENCE WILL BE SKY HIGH
John Cage’s Variations VII, first performed in New York in 1966, relocated to Gateshead’s BALTIC Centre for Contemporary Art as a centrepiece to the region-wide AV Festival. The festival itself promises a wide variety of ambitious events and interventions under the umbrella theme of “Broadcast” – seeking to establish a tenuous link with the national move to digital TV which took its first steps last year. The performers were Atau Tanaka, Matt Wand, and the Newcastle-based experimental musicans :Zoviet*France.
Arriving at a satisfactory description of Variations VII is inherently problematic; sound was picked up from the surroundings – TV and radio broadcasts, telephone conversations, household appliances – and manipulated by the performers to produce an auditory collage from these basic elements. As Cage put it, the experience of the audience depends entirely on what is “in the air at the moment of performance”. “It could sound awful. It could sound amazing” was the neat summary of festival director Honour Harger.
A large room filled with wires, speakers, extension cables, feeding into the centre of the room. Four tables covered in a variety of objects. A table fan, scanner, sewing machine, oscilloscope, hoover, televisions, radios, laptops. A vast array of obscure and everyday objects, new and obsolete technologies. Heart monitors worn by the performers provided a disconcerting bass track. Mobile phones fed back ambient sounds from around the city. The volume gradually rose, each new layer of input building on and distorting the sounds of the last. The various performers struggled to control the discordance and at times the sheer pressure of sound began to consume itself, a white noise of static. A burst of cheering and applause from a game of cricket on Indian TV. Metronomic ticking from kitchen appliances, a fragment of garbled speech from the radios, the steady hum of background noise amplified ten-fold.
The event space became a reverberating chamber, a temporary heart of global and local communication, feeding off the auditory detritus that bombards us ceaselessly. As promised (or forewarned), there was no progression, no narrative bar that imposed upon it by the audience. This intense and challenging experience provided a new interpretation of the cacophony we have learnt to live with, or tune out.
