art analysis

Pop Fiction, continues; & The Flower Theory

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Reading notes: 4.24.17

tag[s]: crisis of ed. curri-cul.

source, cited:

cver of source text cited

[accompanying] Dictionary of American Portraits

[edt by Hayward & Blanche Cirker and the Staff of Dover Publications, Inc.]

on cited: p. 235

identified from source text cited in coherent relevant lines of citation

what do you think

of the classic heart

+ accompanying second

necklace + pears, pearls

grabbed; and even

in comfort in

open neck.

tag[s]: art edu. ; theme: ideas; mind channels

In second source, cited:

[main text]: z. smith; swing time

source text cited

[for this segment of reading notes:]

in cited: Prologue

[but first theme to respond,

to:] [your art anywhere

outdoors] [like book covers

in libraries; at least.]

[in the entertainment

of psychics [real?]

search groups +

severe [authentic withins

severe academic] politic

groups] badly there

must be the advanced

of the reading group;

even two-person in video-clip

cited: that special person!

[draw a two person skit with recording.]

to supplement academic

esp. reading

related endeavors


Part One. The text as an art lesson.

in reverse order







of appearance

“dancer” cited p. 4

“I experienced myself

as a kind of shadow.

” … that I had [notes:

never [had] [necessary?

had] any light of

my own. ”


after seeing this text; thinking

of art and-or painting: one

notices text such as:

“coast,” through page already



more reading notes for The FVP: The Flower Theory


cited: p. 16 of

main source text ;

while I was thinking on-the

notes in pin-points:

I was thinking of foreign

culture and not difference

in cultural race: but

within; the main-Land:

possibly: here ? [even].

on p. 16 it is

revealed that the

other “girls” are : “these

white girls”

which of course points

us, to: another race

for the narrator +

the defining sector : race;

other than white;

later on the same

page: ” ‘When your

dad’s white it

means—‘ ”

it seems from cited: page

17 the answer is:

“There were consequently

things you couldn’t discuss

in front of Lily Bingham, and

now Tracey shut her mouth … ”

where “consequence […]”

sounds like cost

and there are “things”

“in front of” [a flower]

“things” cost [

have “consequence .. “]

when [colloquial-ly]

“front … ing ”

to / toward /

as to …

flower [s]

flower in name – ing

is invocation

to species:

flower, too?

from p. 14 of the cited: text [main, text]

esp. breaking up:

“espadrilles” => esp. a drill, es


esp. adrill :

is the description of

the shoe: type! [also]

pesa, drill, es

pesa, drills, e

following the continuation of:

s where it

most makes sense ;

and in this case application

wear : it most makes sense

pesa, e-drills [? -> perhaps]


4.18.17 on p. 15 at quick glance oui-oui!

have: ‘ “Freed” ‘ and here on cited:

p. 14 we have :

” Her hair was yellow,

not blond, yellow like a canary. Her

skin was very pink, raw pink, now … ”

paint a  [plain] painted [white]:

frame [[as contrast; even what

could be missing ]]

and so blinging opposite,

earlier on cited: 14;

“It was disappointing .”

“yellow” versus “blond” could

im-ply real story: tale [paradise,

possible] and in our : cultour at least,

please; The cliché [pah-again] of freedom

through dancing; for that is; for the?

subject matter: fiction; much like

a bird: i.e. “canary”

plummets the intelligence of even

the child main subjector [-er];

and if you didn’t know it;

before on excerpt implies a

cultour foreign to the American [english

language]. at the bottom of cited:

14; “trilby”



or even rt. [foreign cultour?]

as opposed what we

see more often here; though

we do see [rt.]

rt. – liby as a joke: might

mean [way to [public space] library] =>

obs. freedom.


— then from this other source, text:

source, text cited; cover / top

cited: p. 352 , The New York Times,

from source cited; as just identified; and being identified in coherent relevant lines

the Complete Front Pages : 1851-2008

  •  – –
  • what the heck: besides general
  • guesses/know : is :
  • “agrarian socialism”
  • ag – rar – ian
  • [e] -> age [Ian] who is ?
  • -> rare


age, rare: Ian;






and this is p.e. haps

one def. of suicide.

when is I [an] an

in a group

[of specific


(belonging to incident)



suicide implies ?


will oui oui oui come

across more; on a more through

and not thorough read of this article? —-> see articlepic.





” “Fly, er” ” [ART] capture

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reading notes for cited: p.13 [and …]  st by zs primary source citation: [swing time by zadie smith]

aside: due to time constraints at p.l. please excuse any differentiations that might not be corrected in type-up; the notes are going of course in the h-less life; func. in the trash as usual.

for The Fictional VolunTier Project


by Goura Fotadar

this group, started typing up: 51317



worked on; on outlined dates:

date: 42617

there seems to be a link;

or rather we can go to

create a link from the same-

phrase : term:

“modern” before the

half-way point of the page

to “modern” again the last word on

the page; unless you count the

period punctuative as a word;

for example if you read a-loud;

and-or a-loud in your mind:

” … modern period”

why you might read this this way besides

not to miss anything: well in this

case context the double-word-link to

itself: is like sound phonology.

and so reading a-loud

the mark . ; would

be following the let’s

say instruction of

that sound phonology.


theme: instead of peanut

butter and child;

I mean jelly; how about

one version: bacon

and jelly : yum!




cited: p.13

” Many girls who might

have made fine dancers never

made it across that road, for

fear of a homemade flyer.”


when convention meets art; and

a reverse reason quest;

“fear of a homemade flyer … ”

is it the intersection of the

“flyer” as a sight



or is it; the knowledge

that response or

not to

the “flyer”

“homemade” implies another

intersection with the maker

[of it]; and-or those

connected to the maker.

tag[s]: the social blunder heard. mirepoix no faux pas


Such as: this is an idea; cause [ x … y]

is interested in; but how

much will [x … y] have to

interact with [z … q]  of the

“flyer” making.

See photograph:


sorry wrong photograph; but on later upcoming analysis is this flyer type; remarking on the potential danger in this space perhaps due to this policy; which should likely as stated earlier in this/ no on this blog; use cell phones to speak on only when necessary and within standard boundaries; otherwise step outside for talking on cellphones and-or otherwise extended talked. [Extended does not mean do no speak ever indoors including to yourself. and I mean no and not not. ]


behind-the-times? The

“flyer” photographed may be considered

such: [and as compared to others];

because : it is; hand-written;

it is about a “relief” effort

that was in the news modernly;

where modern means; of recent

times; but may not still be in the

news; at least not regularly. But

when we examine the group: “homemade

flyer” against modern; we have still

in the modern back-drop: the possibly ility

of not just hand-writing; from an

art perspective: but all the other ways

to font the “flyer.” Modern than [then]

is perhaps dated by font. Surely there

are those that would be offended by

hand-writing; but in the same case

perhaps the same those would also be

offended by too technologically savvy home-ness;

demonstrated in font adeptness ; and-or not enoughe savv and

not salve? compared to a business and-or such

‘s font adrift technology. In this case; what is

about a “homemade flyer” that is particularly

scary and-or offensive is the chance outside

of apropos [sp?] larger venue group; such as

a business that isn’t necessarily the flyer

distributor’s own: and so the “flyer” made

non “home” may not be done in solidarity;

is the presuming assumption regarding regular?

business; why so. Are they such assumptions due to

past acts of terrorism; or such; that no group

business or outside it; in cluster conundrum

or opposite “home-made” may imply self-declaration

in god: forbid! art; and then in the enigma

of arguments: it is the possible of any level art:

show-cased either in real solidarity if even the enemy

lies at home as in cited: sleeping with the enemy.

or if it can’t interlude into your/ the maker/

the maker type’s art.

So in last séance; perhaps:

in the “fear of a homemade flyer”

is really the “fear” of

showcase singular

and-or solidarity

art. ; which

of course means.


label: The Significance of Art

of course to capture [ART] in describer;

to look at: the scene or art; as photographed

in the source, cited: text [again] Norman

Rockwell A & I ; date: 4.29.17 [secondary source citation in this posting]

with the term “Rockwell” one-me in this case

defining myself : through the image:

ART: is reminded of; ( i.e.  I am reminded of me through this image ; i.e. the definition in

practice of ART 🙂 of cited: Rockville/ Vernon I believe

it is called; and time such as captured in at-least the

cited: “The Four Interviews” of being on pilgrimage,


At the house; there; which was presumably

a house; but something of a make-shift shelter;

with an actual shelter right next door; was perhaps

the 1st time in my life; you’d love to hear?

caught stealing: no! I don’t com-mit [sp?] crime;

was the 1st time in my life then; of my falsely being

persecuted for crime; and in this case: likely others’

crimes; I was cooking much like the man is

who is working on a horseshoe; and dressed

similarly to him; and as opposed to

that metal and presumably trunk platform:

was a high stove; and the only thing I

could reliably cook in was an all silver

metal cooking stock cylinder platform pot; and

you in security would wonder where was my cooking

food coming from while homeless? With frequent shifts

between homeless shelters; the renewal notice

tag[s] ” performance act; security procedures

for my 1st time with the cited: ebt card; never

arrived to the new address; and so it was cancelled

unfortunately. No money & no cited: ebt would imply

I was stealing food; unless of course as either and-or

homeless, functional and an actual spiritual-type:

beggar; the obvious solution when not thinking of crime:

might be: well, they, he, she; whoever begged for food;

but actually as the scene of art might apply;

there was something of an

open kitchen; just

not completely open.

and certainly in this scene; though inside

contrary to what others may think; the view

is an opening; and-or you might even call

this an open scene; seen. This then as otherwise

seen is one advantageous technique of artography;

for it allows any nth of viewer a psychic like recollection

of what happened; what could have happened;

and what might happen [future]; including

fiction. Theories of Criminology

tag[s]: criminology training.

cited image from secondary source citation see above for name of source citation

As a training model;

just as an un-willing to reform/progress

criminal fixates on you, the onset, or

whoever; why not fixate on them in some spare

time; and we such have reliable like psychic

predictions butwithout real life/existence marginalized

of what might happen in crime; and-or how to

prevent it.

[some dates might have been left out or not go in dated order: date: 51217]

In the application of safety to

“flyer” in this fiction text; and also

of the seen flyer as photographed

in its scene; even a flyer

of recent but not complete

recent news like content;

may be in the essence

of safety; a

safe measure;

IN this case: the safe measure of

a flyer would create safety, how: ?

this is a semi-basic moon of outline

but at the same time it’s important.

Applying this fiction analysis; folks are afraid

of such in application; perhaps additionally to other hypotheses

described; because they don’t desire safety, ?

In order to not weasel out-of the potential

safety occurrence [sp?] connected to any

ol’ flyer and really despite content; using the

art conception of a flyer as a type of flag

even if you didn’t stand for what the flag

identified as a form of cause and-or cause

worship; as a thing it might bring about the

occurrence of safety; and no offense to weasels.


as an aside theme: isn’t this also

a model of string theory; and whatever

that means: importance around means;

this model as photographed brings together

circle-type structures of different sizes; with

at least temporarily strong enough string in this

case to stay.

As a main application it is one sense an

alternative flyer and-or a flag.



IN a shape of a heart; and almost in a shape of a 2nd heart.

near books; almost seems to state: the love

of books; and not even yet reading! ; where

in popular use: heart means some version

of love; … creates the occurrence of

safety. [and the last part is only on hypothesis.]

[at this point.]

tag[s]: the magic of fiction

at cited p. 12 of primary source citation, text:  “Here is the church

Here is the steeple

Open the doors

There’s all the people. ”



Remove the steeple since it’s not a church in structural design; and you now have … [in safety] : people-folks that are safe & those that are not [safe]: such caught.



I thought about just finishing here: by looking

again at the picture.

If money is real even a small stack of one[s]; is quite a bit

for whatever dated time this almost ancient ART glance;  looks:

the over-lying crime scene; combined with

the beauty of the box; boy, [x, y]

especially in comparison

to most of the rest

of the scene; seen


source, second and the cited image from it as included in photograph as one of the above photographs: of  cited in name abbreviation again: “forging … h-shoe” in ” n. rockwell”

theme: I don’t bless you


[box is boy boy is box]

established especially likely

by the youth of the boy;

but certainly demonstrated

by many faces of age

as compared to the box

except of course the

perhaps girl in red

hair ; which we just

can’t be sure of

the age of; The stack of

ones maybe for the

“contest” and-or for

the boy; to take

all horrible forms.

& because of the ART:

certainly especially may be

the opposite ; on even the

functional homeless scene;

the assumption of consent

to prostitution from one’s-self

is excessive; in of course

ART-scene ; a stack of

ones hardly has any worth

unless you’re starving.

Though I’ve never prostituted

myself; starvation seems

more antiquated than even;

prostitution [ done; to cure it or to cure other at least basic needs, necessities]; and unfortunately both are part of the modern

time; but certainly not ART

but if you, anyone ART

prostituted yourself for food’s

cost; than-then that would be

holy prostitution; would it not?

Talking into this

blase self [ART] & art –

scene discussion ; and

to solve what might

be more crime before it

happens; in the ancient

almost ancient past;

the lens application of

severe college: and undergrad

shows us that perhaps

the boy is starving ; explained

in sooner posts ; such as

an artistic theme: scoring

a goal near a post; anyhow;

maybe walked to what

appeared clearing/clearly a feeding

kitchen; discovered a

synonymous epic but without

food; and so some of the

on-lookers might expect

that sale [non-food] [to food];

and of course this is


/ [a promised basic needs advertised and-or spoken based on real knowledge provisions; and so never to appear] \

and but what is further

crime in-charge is any

such set-up; but when

you consider on-looker

you have a secondary

group classification:

primary : age ->

points us to

mainly the

boy, beauty

secondary : on-looker ->

[t. b. c. ?]






On Cultural Edifications: W[h]oa[h]-man

Posted on Updated on



for The Fictional VolunTier Project

by Goura Fotadar

date, typed up: 5917

hygiene art notes  date: 5817

source, cited text: The Metropolitan Museum of Art H. H.

on cited: p.354

cited: from above as identified source text

Before I do anything else; this looks like a view of an older New York Apartment; turned Modern through squalor hygiene; perhaps left-over with some furnishings from its

former more royal past. Even without the existing? past of hygiene help; when

[one: a person, persons-entity, a being] We think of almost in the Ultra-modern era; such as the local ’90s-to 2010s or so; of exhaustion due to . . . leaving less regular energy for; environmental room[s] hygiene time i.e. cleaning but rarely do we hope to picture the unfortunate dip in environmental space of living and use; such as: work hygiene; to what has come to be considered of not just the myth of the holey apartment; here by holey I mean un-rub-able filth on the bathroom floor; and not just a few disorderly pieces and smudges of dirt; a stench that never completely subsides; and not just the occasional smelly cooked dishes and-or a stack of

trash you / one [ … as defined] hasn’t gotten to,  yet.


As someone once told me all assisting outside

hygiene folks-people should pass an actual not fake police-militia

protecting freedom/unwarranted crime check; albeit in the

ultra-modern era. Just not everybody is “safe” enough to

enter public spaces and-or [beings’] people’s rest-work recreational

areas: and perform functions of [hygiene].

IN any case the view of what might have

once been grandeur hence perhaps the label: “palace” of this

piece: view on the previous page: cited: 354;

the other side or part of the cited: page in the identified text, source: kind of a blur

has despite poor non-potential in

hygiene in the observational ultra–

modern world; turned into attire of

decor not just when left-behind-forgotten-speech:

of so you can keep: have it; but of any class’s use;

thus an inaccuracy in compre that even the poor have

access to such use: decor  in the ultra-modern period of

around now; as their own: impless a sense of out-dated-ness

which is not classic. Is the envy of a non-compre societe causing

us not to compre hygiene functions of when there are those;

by those they perhaps; who in their compre in accuracy

and not those for better lack of information: generation/ exposure,

to; who non-compre the cultural appropriateness of palace

grandeur in every one […] of worth.

Spread the wrong functions of [hygiene] than then is combality mask to blind the “common” folk; an attempt to re-blind them in an act of no-longer

effective and-or appropriate  classism.


In an era of modernist where showers and frequent change of even grandeur items are no longer safe; what qualifies : under, within functions of


In an era of such then protected wealth; what qualifies out-lasting and appropriate “classism” belonging to classifications translated to-modern of “common.”


Hints: Actual Definitions in form-function

of intelligence

& The qualification for militia



On Cultural Edifications:

In imagination’s view: +

view : I see

a dimple in a seat; a near

skid off another seat without a

severe athlete’s rigid like control;

a lounging forward and then back;

a jump and or a dented push back;

the inability to recollect it all; and as magic;

the likely at least double meaning of this:

“to “recollect” it all”

and then the cliché gendered meaning

[s] of “the inability … ” in front of

that; and so to aim to actually recollect it all?

if so that’s one’ […] s aim;

theme product citation: aim toothpaste

you must use toothpaste? rather [perhaps] you might want

to look past cliché [when in time period]

in the facet of gender[s].

it’s hue-e , yellow or cited: “marigold”

from cited: “marigold garden” by Kate greenaway (as procured for free through amazon, cited)

green; and is

that near ivory?

there’s curls and


there are wings

and on


there’s paving

I think and

rulers I think.


as an aside: some of [a one bottle & the other bottle] the perfume as been re-filled with lemonade as the current main liquid addition; and more flower stem without petal.


While sort of cooking in the sun.


the spray bottle is not stuck and on press has turned perhaps temporarily into a roller scent stick.

The turning significance of food [part three, final part?]

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for The Fictional VolunTier Project


by Goura Fotadar

date, typed up: 5717

tags: fiction art notes; too

also from a following, and already p additional q cited; source text, : The Metropolitan Museum of art Howard Hibbard


on cited: p. 445

we see a protective glimpse

of forest

as the animal

is eating its

meal; perhaps

also a slight joke;


\/ the art on cited: 445 especially ; on bloody display.

cited: images as identified in this posting [l from cited: gg, r from cited: mma]
but using cited:

garden gate’s


imaging +

imaging description;

the food is being protected

by emulating jungle form

in appearance; in other

words; the food of the

one animal may or not be

a 2nd animal; and it is

in such jungle; jungle

like forests that animals

roam? at least during meal –

time; to disguise their food

as themselves; and is it

in the jungle ; jungle – like

forest where we all receive

food from ? In any case:

the forest is the first

layer of food concealment

and-or dining concealment;

and the 2nd is of course

cited: p 445 of cited: mma
cited: as last posting back of and or “butterfly section” of cited: garden gate

the image of the food looking

exactly like the consumer of

it; and this Would be

contrary to

popular belief systems at

present; such as presents;

that animals are eating

themselves and-or one-another

for nourishment ; and certainly

we have many documentaries

showing us such “truths.”

In an imaginative :

exercise is there anyway

to guess what the

animal is eating imaginatively instead. The forest

jungle; almost seams

seems with a burgeon

of land-fill plant else;

but more importantly

using the Sky as

the primary temperature

influencer; as with the

“butterfly” in/on cited: garden gate


the opening of placement

animal-eater is perhaps

the temperature of kitchen

draw l’arte: temperature of kitchen;

and when you look carefully

at the animal; you remember:

what you know about its

form: the quill like needle

like fur ; the flower

like eyes and

ears ; the stem

like mouth; th’

tree like limbs and

such ; and you see

a clear emulation :

of the forest; forest jungle

from the animal – eater; [cited: little riding hood or whatever; recollections of; anyhow]

we then have to imaginatively

wonder : does the animal

only look forest connected

to eating. In this art image :

as usual the moon and-or sun

is pupil to sky-eye; and

[to draw back from

animal focus;



each slide almost

blade banner looks

like an up-coming actual

that : lettered sign; to/

instructing of somewhere .

and back to animal


simulated animal

matter; the eated has unusual

the not so much for

animal path-like markings;

and we ponder the e/a ‘ffect’

of perhaps the path-ways

walked by even the animal-

eater; in imaginative-exercises;

on the food and-or kill’s

body. Do you find that;

that this is a meditative

exercise; turning yourself

and-or your food into a

form in your mind that

offers it + you protection

as the cited: garden gate

suggests; on a deeper

red-ing [no typo here; for edifying purpose spelling change] ; and

in perhaps or not

the unfortunat – ancy

of the blood in this

art; the killed’s head

gone ; is blood

like the

heated?  temperated

“nectar” ? of

a flower.

So is the “butterfly”

a legal and


permit-ted killer? at meal-time

at least. cited: garden gate


theme: “stacy”

theme music citation: The Ting Tings – That’s Not My Name


The Turning Significance of Food [part two.]

Posted on

for The Fictional VolunTier Project

by Goura Fotadar

date typed up this group: 5617


theme: carmen-sense





theme 1: it looks like a house:



tags: safety tech; food with-holdings Study : Field, Economics Bio


Basics: aside

the desk with back especially as a flat screen;

but not just for surely even the air is

backing; can be thought of like most

vehicular navigations; such

as the car: and the

obvious ; with flipping

pictures; held up

even temporarily with hand

signals; creates the flat-screen;

if you want to introduce

computation you might cue the

t. b. c.

pictures + time like

a cited: pp + microsoft? and]or such slideshows;

and of course on the brow of cited: garden gate

cited: back cover of source, text 1: garden gate

‘1 ; you must include a view of

what: you might cue into

hand switch; for these basic

counters of cue would be practice

for how long one – you/or they:

theme: visit; [cited;] san francisco public library

theme music citation: beyonce formation


might have to emulate/copy form

of the place in where one-you/or they:

ate? Of course this is also combat modality;

armed or not. But why not be

aware that it’s also ART.

The kettle is so much like the

form of a gowned woman; fragile or not;


but skewed to perhaps standing. Is there

an answer to if women sit or stand

more often [theme: of’ten?] gowned.

And in form art;

the kettle would you

say is stood.

cited: p. 472 &

cited: p.494

cited: page as described from second cited source below identified
cited: page as described from second cited source below identified

[self-notes: look at

cited Tiffany

& co art

on cited. p. 495]

secondary source text cited as identified below

secondary source, cited text: The metropolitan museum of art Howard Hibbard


stopping plagiarism a new art form?

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stopping plagiarism [from: happening] a new art form?

subtitle: [look to bottom, also for contrived form] :which clichés in art have worth.

note: unfortunately; explanatory art that was going to be included; here; could not be uploaded by the same device that uploaded below scratch art; due to library, incompetence; perhaps they should be falsely institutionalized, too; uhm; in the name of philanthropy, actual?





notes for The Fictional VolunTier Project
by Goura Fotadar
date posted, written: 411-410 (17)
start with a sight of something you saw (1)

rough it; and then (2)

blunt it out; (3)

in this case;

a phase change of reality; is the new strike I’m looking for ;

when blunting out the thing I saw from a mind’s recollection: of a photograph:

a moth or a hummingbird; which is it:[theme: which isit]

theme music citation: which witch florence and the machine

cited: n. rockwell artist and illustrator , a few instructions from

either or whichever one scene [fugued analysis?]

on seen; reversal of words in meaning; is the sight of reality shift;

or the art symbol of such; and this stops plagiarism; representations of reality shifts? [how.] (1-3)

who knows;


the cliché moth and-or hummingbird actually has some weight.

the subtitle then; is: which clichés in art have worth.



cited: [e.ordinary] technology used; google docs/drawings [perhaps not so obvs.]