The Death Project art notes

The Dead Lady

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[also in this form: UntitledThe Dead Lady]

Today’s art notes in brief: How to stop odor invasion at local Soup Kitchens

for The Death Project in The Fictional VolunTier Project

by Goura Fotadar

Date: 5418

tag[s]: criminology and art, future and publications on cited: Amazon , trash art, the day of italics, the death project

 

  1. What happens if somebody sits next you as you are doing a murder investigation or several; and smells really bad; more than a normal body could, … and you are deployed as homeless; so your eating options are not many; … what if it’s not just a regular militia deployment; but an advanced militia deployment which lasts in phases until regular society stops lying to a certain level of component; that could take forever; while you continue to clean up their mess, and they pretend they’ve always been doing that: cleaning up their own messes
  2. Somebody else hands you an orange; and of course it’s the component of non-stench, …

cited: for the next rum’s theory, whenever that comes to work; and cited: voicethread

.

.

.

You squish her the lump refuse form down; and she has turned into a dead lady mummified; who killed her among pepper and salt packets and orange peels just in now my usual cited: rum’s theory tradition, … She is both a casket and a mummy; heirloom-ed by a vine growing near a federal building? known as the post office; you smoke near her, and people still want a piece of her, after and past her death; soon she rises dead and rides on the bus; maybe it’s the bus driver that killed her?

theme: piece of, her

theme music citation: Britney spears, piece of me

  1. See slides 31-40 for speed exhibition made: put together quickly, while mostly at the soup kitchen prior to meal; from this link (cited: voicethread) https://voicethread.com/myvoice/thread/8849244/63190734

 

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The T.K. case so far

Posted on Updated on

Untitled

[also in this form: The T]

for The Fictional VolunTier Project

By Goura Fotadar

Date typed up: 4218

tag[s]: the death project, investigations continued, fiction or not, the laws of dead

theme: the virtual image to the side of my head

theme music citation: frou frou let go

[How is this part possible. You are on Earth;] … and you have an assigned house; that you haven’t yet earned and haven’t yet earned in your long er future.  You are not sure who the real owner is; and so it’s almost like stealing. The house is very large; and likely too large in the future of modern culture for one person that does not also or at least work in it; or out of it.

But you still have a job.  The job offers compensation. The first person that hires you at the job is the opposite of your gender and after you get the job; or it’s your job; so after you start your job; that person disappears. & is not replaced right away.

In Investigation Units: On surveillance tapes; the first thing I would do, since everything else like this so far is hanging aire; is locate where the … that first person hiring is [or went to, was].

Regular awareness: when you get hired; the person[s] in the hiring process; has-have access to all of your information if even they are illiterate; and singularly or singular [one group] plural-ly, especially if you didn’t buy your house or its contained equivalent [that is no other group other than yourself yet in your working time has this access].

 

Next, the main person: you;  … gets a same gender boyfriend; which isn’t abnormal then or minority relations then; and that he has nothing in common with; his boyfriend doesn’t work, money in access doesn’t exist; his boyfriend doesn’t have a place to live and this is before homelessness has turned to a social cause to clear especially problems of entropy and its mandated ethics.

 

He stays over some times, and is especially affectionate. Hint: when you [the main lifer] tell him your name he doesn’t seem to understand, but he seems to understand you in other ways.

One day you meet his dad; and he rapes you when the lights go out. The lines are gray [back then] because rape is your form of sexual practice; except it’s not exactly rape. So what does that mean.

Shortly after, you are dead.

Usually as of now, in prediction models of the future: you are dead in an unjust way, and then before you die you start to be raped because you will die; but the death in an unjust way never has to come, and so this is one way to stop being raped.

 

The day you die, you are wearing a very flamboyant outfit in flamboyant coloring its part of your compensation at your work; clothing and such; and you have been to work. But as all the clichés say you leave early. There is a celebration.

 

Your death was planned; it’s better put: but I don’t want to take away your power over yourself: your murder was planned without you noticing. The perpetrators all these years later remember you though none of them are particularly attentive to others and in general.

They were so far, collected: Your boyfriend,

Some lady who you saw on your way to work a few days a week; who knew your boyfriend

Your boyfriend’s dad

Your sister who said he was your brother; that you couldn’t recall prior to your death

[and so far other, several other characters]

Research Interests: Memory after death of victimization; what is in significance changed immediately. Of course you might want to define the size of static immediately, first. [or something]

 

Ethical Interactions of Investigation:

Primary Investigators receive visual recordings that are mildly interactive with their reality function to assess and examine more details of your life prior to your murder; and they then collect pertaining to each investigator relevant observations and data.

 

Future Continuing Conversations …

How the dead [in dead body or perhaps more sensibly turning to dead body ] through victimized murder are treated after they are killed by their perpetrators and does this transfer to a new recollection?

More evidence for … you have that feeling.

 

Mission State. [for the next upcoming publication]

Posted on Updated on

Mission State. [for the next upcoming publication]

[also in this form: Mission State]

for The Fictional VolunTier Project

By Goura Fotadar

Date typed up: 2,17,18

 

tag[s]: for upcoming publication, the death project art, publication connections, art notes

Untitled drawing-1

 

Date: 2,16,18

Of course the aim is to ensure any publication,

is completed as to complete

enough. The engine of art takes in my usual demonstration of let’s say existence state, personal;

or state; trash and perishes into art. And what might these have at all to do with this publication: guava; and not another mine of: candy like juice of that variety: uhm, my favorite. To do with this publication; well the culture of c-ettes is contained at least some: wear; and not contradicting some research.

I read back in college: woah! That was long ago … I just started smoking (minus a couple of c-ettes in my before  life) (though I can hardly remember those early year, s; early early years ; and who knows if I did then) (so early regular to now) despite, just starting to smoke, and not having the cash for c-ettes now; when-then, I’ve struggled with cancer-like my (hole) life. My brother [of this publication]; started smoking around approx.–>entry; and didn’t have this.

donated, sponsored ciga-boxes filled

with

are my coffins

The death (cited) project art

for “regular” love and replaced with non-incestuous brotherly love.

Hence heart crossed to a new horizon to my brother, and brothers

[actual = actualized]

then left covered up; so

Un-recognized but likely as trash; uhm, for protection in expressed in sentiment.

theme: where is the art? Well, this public computer has a gadget attachment issue; and so maybe you’ll see it in the publication,

When it’s out or maybe I’ll post it later

The next part of the tree itself/ Book a

Posted on Updated on

The next part of the tree itself

for The Fictional VolunTier Project

By Goura Fotadar

Date typed up, this part: 1518

[also in this form: Later at one of our temporary kidnapped shacks I came downstairs one]

 

 

I believe our primary names were kept; our birthyear difference kept in the right order: but our actual birthdates changed to make us legally older; my race was kept my brother’s changed to mine; and our genders and birth-places were kept in-tact. [uh, I mean on paper documents et al]

But maybe one assumes I am non-usefully hallucinating and that this can’t be true! In any case

later at one of our temporary kidnapped shacks I came downstairs one-day to see my brother then approx. 3-4 years old with his hands tied with ropes: because of what a group of adult child kidnappers said: [was/is] his real ethnic race. They had already set-up one imposter at least; who was glee-fully watching as my brother was trying to eat dinner with his hands tied. What did I do at this rancid

discovery; I’d rather not say why hadn’t the 3-4 year old brother told me? We were quite close. Like a pop-song the imposter was screaming “Call me … (his name)” “I’m your brother now” Years later though the tie-ing up halted: my brother’s hands were permanently damaged by the ropes. The “parent” and such couldn’t remember if he were born with such damaged hands; but we could remember the shift from his normal toddler hands to his mutilated hands; and this was especially an identifying discrepancy; I’m sure with digital imaging it would be easy to conceal that: mutilation. But as the years in childhood went on; art became something me and my brother were not enthusiastic about; and it’s an interesting story of trauma recovery because I’m a non-paid in money artist, now. So much of art in childhood expected and demanded the use of one’s normal hands; without such a set; and with cognition of him missing such a set; regular art never became our childhood thing. [Well, regular art only; and to start with only, I wouldn’t want to fib and claim that I didn’t create irregular forms of art in my childhood; the type that was less dependent on the regular birth privilege of not being mutilated by abuse and-or emotionally connected to such mutilating abuse.]

In this case the perpetrators of such actions would be charged for both children one would be as described [charge: enforcing into violating physical deformity through mutilation as an unjust response to racism and prejudice: so the enactment of elevated racism and prejudice with the intention to create a depiction of re-generating undeserved homicide] ; and the other would something like match. (as traumatized through witness). [back to main:]

The star of course has been mentioned in the I believe the first set of this posting or something; and in connection to child trauma: it would precipitate authorities not believing in a child, or such child’s potential; and enforcing that disbelief to as: reality. Then; perhaps at least attempting to perpetuate this against actualized accomplishment

12.8.17

In the child the child turning adult, and the adult who used to be a child: and then in this case: the star is an extremely interesting reality euphemism; defining something like the reaching of an otherwise un-reachable a generally

stage; to still not be high enough for an abusive traumatizer : to sway away from the incorrect dis-belief a reality they’ve cemented perhaps such that the culminating child receives the message he/she/that is not capable of a thing of worth, substance, et al; even at the outside sky’s star elevation.

The thing about this ornament piece is also a reminder of the actual seen star; and how it might be possible to become enough like one; [or a?].

For example: in metaphysics or something or metaphysical counseling trauma, combat actions to recovery; imagine translating into reality what that actual star-like existence; like-stars existences; for the uniqueness of stars? would equivocate to in the non-sky version of the world. Likely equivocate to the translated reality version of star;

Would restrict the ability of traumatic abusers from infiltrating an in[n]correct disbelief reality into/onto and as abuse of an innocent victim; traumatizing; and after such trauma if the star-path is only then accessible and-or available for entry: it poses as an ability to eviscerate such incorrect disbelief

realit[-ies] for one’s self.

Usually, I believe: in these type of star studies: but can’t exactly recall you look for star qualities.

In definitions of solidarity; you might look at star similarities. You might for example write a translation formula; even; a basic one of conversion to general her[e] reality.

 

Outside box but coherent in relative knowledge; a

formula may be the conception of book;

The proof for book[s]; [as a comparison, perhaps]

 

12.9.17 The obvious thing would be usual structure or form of a book; as witnessed; in this case especially: a front & a back , and I suppose everything in the center or middle: something like a passage. When comparing like to stars: I don’t know my guess would be something like a reflection with at least first, and second incidence or sight; and perhaps between this [these] incidences and-or/and/or reflections is passage. If time were not relevant it might be instead the work it takes to go from 1st to 2nd incidence. And as a book equivalent: what it either —-à it takes to go from start to finish or how one flips from start to finish; or perhaps in some cases both: passages, version of passages; and-or centers are required.

I’m not sure but I think this would; noticing with the invention of book[s] be some beginning star-equivalent; in translation

startheory

each book while moving

from its front to back;

is an experienced passage

and-or journey; such as life, death, college, etc.;

a career, et al

In I believe the second version; if one wanted to transpire various passages and or journeys when entering the examination of book arts; a simple flip from front cover to back cover would encompass the flip as the center /passage

|

\/

for that might not need to be internal

the situation may also imply retrieval:

example:

Book a: incidence
/ 1

Step 1 [front cover]

Possible retrieval effective equal

To front cover sight such as book title

Step 2 external to book or this translated to reality star a flip to the back cover

Step 3 incidence 2/ [back cover] or retrieval possible effective equal to back cover sight such as back cover hue/. Main design or something.

The quasi-question and or relational question might be in another version outter space or something reality: how do you after incidence 1st sight turn or effectively equivalently turn a star over; and is that a modality of invention: strength

Social Dynamics through Art

Posted on

[and also in this form: 103117]

for The Fictional VolunTier Project

By goura fotadar

Date typed up: 11217

103117

 

Source, citation: Lotus Magazine, Issue No. 2, 2017, pgs.3-4

[2nd poem segment], E.A. Gordon, 6,971 Steps

 

Tags[]: analysis for The Death project, too

Untitled

 

Of course about

Death;

Soon about

Life, also?

Since about the

Passage of movement.

In “hike”

About gender through

The comprehension of

“group”

Versus “one”

Type variations

Considers, tag[]s:

Social dynamics through art

 

And of course in gender what me might see, be described to;

May be pun to true

Meaning of.

within the first

Two commas

Are parts of gender

Exhibitive nuance:

“semen” “war” “truce”

Upon “ … sly betrayal”

We enter “hike”  “…”

Where we first have:

A proposition of

View from  s.d. perspective

And perhaps from

This perspective

We have the entry

Into the top: of this

Poem:

Who comes

With is it

Like alliance

To “a grave”

cited accompanying music:

Grimes, (-human) kill v. maim

Human behavior, Bjork

Rag n’ bone human

 

and the opposition of

“human” to “woman”

i.e. suggesting

based on what we conceive

in culture of notion: “woman”

points “human” as being of to it; opposite.

It is perhaps noteworthy

Why this might be a primary

Method to measuring “woman” [cultural notions and perhaps in opposition to contextual, this analysis]

As another séance in this

Poem:

“To hike is to be

Comfortable in nature, a one-to-one

Relationship.” And still:

“To hike alone without

Preparation is to be a

Woman wandering, either

Lost or batshit or both”

Lookup “batshit” and

How odd so; since

In case of “human”

“nature”

Then; “is … comfortable”

Either as “woman” the “hike”

Is not “in nature” or “human”

Is really to it “woman”

a different species.

In the case of “batshit”

though often

Heard of

With reference to

Crazy when

Broken down to the obvious:

Bat shit; it almost sounds

Like or rather the response

Of fear at scared. Of course

Within the derivations of

Scared and fear; in any

Case; “to hike alone

Without preparation”

 

Derivations

Of Look-up

Can also

Include

Recollecting

In process

 

Is conceivable with reference

To the perhaps new frame

Of bat shit; which of

Course could mean

Batting poorly, also. In any

Case running to a trail for a “hike”

Might make belief if

In a severe or even varied

State of scare and-or fear.

And with reference to,  here “woman” may be

The species that experiences

Such; whereas either

“human” is socially dynamically

Protected against

It: in reverse:

“that is, the normal kind”

“To hike in a pair or a group is to be the pack kind of human,”

Or perhaps to reserve the moment

Of a “hike” for preferences

Of “comfort—“ ; in

Any case; such perspicacity  [sp?]

Is what differentiates these

Mythical versions of “woman”

And “human” if even

Based on the regular

Derivations of these

Perhaps at least contextual

Now cultural terms. In any

Case the sense of fear or

Scared as in bat shit

Might mean directs us to

The beginning of the poem:

And of course

Since it comes form

“woman” we finally have

The reason for the perhaps

Opposing woman nuances:

“semen” et al. In any case it is likely “a grave”

Of “woman” do you think

Due to that “woman” version

Of “hike” or do you think

The “batshit” of its any

Variant meaning is

What is caused

By the “grave”

Of “woman”

11217

 

 

“D-F” [in reference to M.C. also]

Posted on

for The Fictional VolunTier Project

and in this case also for The Death Project as part of the FVP

date: 10.26.17

by goura fotadar

[and also in this form: D]

poetry from source citation: notes from the dragon-faerie song on p.15 of Lotus Magazine

Issue No. 2 -2017

IMG_20171026_170216[1]
from source, citation: as identified above as of 102617
 

For this analysis: labels: as photographed and included above from citation: bracket: what might be the 1st stanza

bracket: what might be the 2nd stanza

 

I believe it’s about

“shelter”

why first it uses

the word

second: you/one

might brake-break

from the “whistle”

of life; in

your version

of “  “

what might be the

1st stanza, see

picture: declares

how to be?

or what it’s

like to be on

break from

the “whistle”

of external

to your version

theme: versions of rest [housing, not housing, …?]

theme music citation: adam ant wonderful & Madonna this used to be my playground

of “ “

the what might

be 2nd [see picture]

stanza describes

what is

this working

version of

the poet’s  “ “ [disclaimer: if even if derived away from actual reality/ experiential reality of real]

perhaps a side

consumptive notification

might be howis this

a both, a

“D-F”

D: “leaves”

“triangle”

“richly”

“life”

“horn”

F: “words?”

“memory?”

“dug-out”

“gut”

“more than vanity”

space

Untitled

 

 

 

The Box Show, Emotional Analysis VI: The Sponsorship journey, continued.

Posted on

The Box Show, Emotional Analysis VI: The Sponsorship journey, continued.  

[or in this form: The opposite of alcoholism]

for The Fictional VolunTier Project

by Goura Fotadar

dedicated to my freedom, as earned by me.

date typed up: 93017

tag[s]: the actual sponsorship journey; the reasoning for combat; the reality transitional process; and the death project for the fvp.

The opposite of alcoholism [continued]

|

\/

In a box: I’m angry because I never got to hit back.

theoppositeofalcoholism

In another box: I’m angry because hitting back [physically] would have put me in jail.

thenextinslide

In yet another box: I’m angry because those that abused me; continued their cycle of infliction upon me. [and drew in; others like themselves toward me]

infliction

In yet another box: I’m angry because; when I left the abusive nest; they continued to attempt to abuse me and others again without consequence.

theme: how did they find us; again. [hint: money]

nest

In yet another box: I’m angry because they were revered as heros for being unjust and unjustly violent abusers.

[heros/ keeps from heroes?]

theme: what then actually qualifies heros.

heros

 

In yet another box: To manage my anger: I’ve processed what works, and repeated another cycle of what works.

manage

 

 

The proliferation of abuse onto identities:

In another box:  I’m angry because my brother is being impersonated past his death and past his service death; and that he was beaten in front of me and these became my memories, and that I had to invent non-weaponed combat drives; to aid his survival; because it wasn’t legal for me to tell that brother to pick up a gun; then.

Zany Hint; how is to, dead to living dead.

 

And so, on:

In another box: