Blog-note de jef safi

’p i c t o s o p h i z i n g

with . . dou_ble_you
If someone bites you, just bite back

Along a Flickr duchampian comment thread exquisite corpse . .

jeudi 31 août 2017


Dream Caused by the Drifts of Oligarchic Predations
In-Between the Shadow Banking Imprudential Rules
a Second Before the Ultimate Apocalyptic Collapsus

Comments :

yanomano Sic ridic !!!

Viki Olner yeah !

dou_ble_you In the immortal words of Keith Richards, "It was the beginning of the ’80s when Mick started to become unbearable. That’s when he became Brenda, or Her Majesty, or just Madam". Enjoyed at ”Duchampian Duchampian snap

Jef Safi . . I will always regret not to read English quite easily enough . . his "LIFE" will be forever inaccessible to me . . even the chapter 12 alone . . may be I’ll crack someday for the french translation. . . Manners and appearances are deceptive . . with the eyes, not with the ears. The most "sophisticated" of these two majesties is not the one we usually think of. Mick is unable to groove in Open G on a 5-strings heavy-gauged telecaster. Keith can, and how ! He can even dare it on a Martin 00-21 . . all is said, no ? . . ˜ç.˜ ) . . . . PS : I will not change my mind even by a Keith’s petition, my favorite band of the last century is "Led Zep", and that’s it ! Do you have any immortal sentence from JPJ ? One of Bonzo ? . .

dou_ble_you Nothing comes to my mind, Jef. I love Led Zep too. Keef spills out so much interesting thoughts in his book. Btw, did you know that Jumpin’ Jack Flash track has no electric guitars at all ? I learned from the book that Richards had a Grundig portable tape recorder, which they don’t produce any longer. He taped himself playing all the riffs on an acoustic guitar. Apparently, Grundig let him distort the recording by ’blowing’ the sound up and make it something else altogether... ♫ ♪

Jef Safi . . Is this true ’cause he says it himself ? What were they smoking to jump so "high" with Jack ? Is this one more rolling legend ? . . I’m . . I’m "dazed and confused" . . no elec at all . . through a Gründig ? . . a teuton disto ? It is also said that there is a 12 strings on the main riff and that the final mix have accelerated the first tape recording. That of the Gründig Tape Distorder ? . . Too much for me . . sUUre, I’ll get the french version . . . . ⊗¿.⊗ ) . . . . PS : I’m thoroughly interested ’cause when I’ll grow up I’ll record an unpublished Rolling Stones album all by myself and take the picture above as cover. Just have to find a Gründig . . yes, but a Gründig distorder 68 . .

dou_ble_you It is quite right that you mention 68. Street Fighting Man was created on the same principle. Gimme Shelter in a large part too. Keith had an opinion of a freak, shooting up in the studio toilets. Well, he did that too, but contrary to the popular belief the man hasn’t lost his mind. When it comes to the instrumental parts, it has been him and Charlie Watts who were rolling the Stones. Otherwise, the moss would be growing wildly on them. What this century is missing, is songs like this one

Jef Safi . . yes, . . and the verse "Mad bull lost its way" (with voice of Merry Clayton) will be the focal point of this 21th century song, no longer to denounce imperialisms as causes of our torments but only as symptoms of the mankind collapse that has already begun, all empires melted as unworthy as each other. The track will give its title to the album. . . Maybe better "Mad bulls lost all ways" . . considering that our techno-productivist and consumerist cupid delusions, as our transhumanist abuses, are our real deep addictions far more deleterious than toilet toys of our old but still solid rock stars of the last century. . . Another title could be "To-Be and Not-To-Be are on our boat", whose refrain would be a medieval minuet on which would dance the "rogue wave". . . ◕ç.◕ ) . . . . PS : That’s true . . I’m not optimistic at all, but trying to stay cheerful, even joyful, . . as the deep blues, both major and minor, phrasing in-between penta scales, un(re)bending blue 3rd and 6th notes . . I’ll record this improbable album . . or not . . probably. It will be a vinyl . . obviously . . or not . . probably. Just have to find a telecaster 52 . . and change its pickups, especially the neck one, by a hot twangy alnico 3.

dou_ble_you You are a very acute listener Jef, and you tend to come up with interesting reactions. Regarding the title of the album, it would be hard to beat the divine sarcasm of Let It Bleed.

Jef Safi . . "Let It Bleed" only sarcastic ? "Yeah, we all need someone we can cream on" was probably the favorite verse of Jimmy Miller who knew that the Beatles was recording "Let It Be" and would publish it a little later. As he accelerated his own production to annoy George Martin and/or Phil Spector ? So, sarcasm or marketing stroke ? What does Keith say in his bio about this episode ? . . ªς ª˜) . . . . PS : I know you don’t want to produce my LP, I feel it, but, let uu be fairplay, what title would you have given it to groovy date in the next a-r’ck-bluuez-fuunck-jaazz apocalyptic dis(re)vival history ? . . "Let It Cash" ?

dou_ble_you Keith doesn’t dwell much on the "Let It Bleed" title story, if at all. He, and Mick, were always good chums with the Beatles. There’s a recent photograph (1990s ?) of Paul McCartney paying flying visit to Richards abode. That title, it might had been an ingenious marketing ploy at the time, although when it came to the contents and titles of their albums, Stones were well beyond the phase when someone would dictate it to them. I didn’t refer to the Beatles episode. What I meant, from the current perspective, the title reads like a metaphor for the death of the consumerist society, including the cake on the cover. Actually, I didn’t answer the question about your LP. Mantramoneyal Pedicure Plasma ? Heh heh.

Jef Safi . . Some days, on the other side of the Channel, we agree that the brexit is not a paradox. This is often the case about gastronomy. Already in 70’s we identified immediately this cake in the category of handguns rather than in that of sweets. Hahaa. . Who would want to practice such an unctuous enticing punishment, . . hmm . . if not a wise sadistic pie thrower (entartor) ? . . The anti-consumerist metaphor worked nevertheless, but in the 2nd and/or 3rd degree and a half, deliciously britishly, but wondering to whom it was really served, and with which tea. It was this ambiguity that pleased me, incapable that I was already to have a binary reading of anthropology. . . ¬¿.¬ ) . . . . PS : It does not matter, Andrew. Your proposed title confirms your marketing skills. Thank you for the offered idea, very sincerely, it’s very generous, but don’t try again.

dou_ble_you My, oh my, you know how to make me laugh Jef. Am I not good at marketing ? I won’t, ever, to try again. ’Let It Cash’ is more straightforward and up the point. I agree. Sincerely, I do. My debit card bends in respect.

Jef Safi . . It’s true, as literally banal it is, "Let It Cash" is up to the point of the picture. More precisely, in words of Barthes, this title is "up to the punctum", isn’t it ? Did you notice that it is a golden tri_ple_dou_ble_punctum ? Haha hihi hoho . . hm sorry ! . . ø¿.ø ) . .

dou_ble_you One of the best marketing skills is to be able to award oneself a trophy. Double-gold points feel adequate for that purpose. I once had a lovely dog. The only trouble was that he was addicted to chasing his own tail . That kind of action makes a good composition, but leads nowhere.

Jef Safi . . You are unfairly severe for your old companion Andrew, traders who have a tail are more criminaly stupid than foolishly players, others don’t have, or no more. They are really convinced that their appendage can brings them goldy fortune. A "voluntary servitude" that leads nowhe(re)n . . ? Rather, I would say leading them to an onanic narcissism frustrating and mortifying . . the libidinal version of Ouroboros pathology . . . . @¿.@ ) . . . . PS : What was his cute name ? Your dog. Dow_bow_wow ? . . Think "Dow_Bow_Wow" could be one track of my virtual LP, for an enriched reprise of "Tail Dragger" (Howlin’ Wolf), adding a bass, reworking gtr with less wah and more twangy crunch, editing a drum line that’s not just a . . juggernaut one, so . . rewriting the text to better match new tempo and new grid of tonalities.

dou_ble_you Dow_Bow_Wow...haha...good one Jef. So interesting, I didn’t realise you could play music. Don’t feel too touchy-feely. It’s bad for survival. If someone bites you, just bite back. Isn’t that the way dogs play with each other ? I like that howlin’ track. My dog was a wolf of sorts. Lovely character, mad fighter with a very soft heart. His name was Max, like in Max Ernst. I miss him badly, my Alsatian friend.

Jef Safi . . My favorite Max is Max Planck. For many reasons, one of which is essential : as I am philosophically, he was convinced as physicist, of the absolute leading role of "entropy". Do you know that his full name was "Max Karl Ernst Ludwig Planck" ? A coincidence with Ernst quite fortuitous, obviously, but "biting" no ? Here is the creativity of pure chance, essence of entropy, . . but on condition of choosing the pertinent digressions, . . here is the creativity of affects. Who, more than Max Ernst, explored in art the creativity of entropy itself ? Dou_ble_who ? . . ô¿.ʘ ) . . . . PS : Hendrix, and some followers who were not dogs, also practiced the "bite" of their guitars. This gave ecstatic results spectacularly, but rather disappointing musicaly, as for dental. Do you remember the snap of Max’s jaws ? This is what we call the "twang" about telecasters in particular. "If someone bites you, just bite back". Telecasters have made this advice their purpose, especially the vintage ones. It is enough to gently attack its strings, even with nails without picker, so that it returns the caress by a very delicious bite of eardrums.

dou_ble_you Alright, let’s lose the tangible sensations. Talking about bytes has its advantages. It hurts less. Max Ernst and entropy ? I doubt it, but you are free to have your angle. Entartete Truppen were probably closer to his mind. On the second thought, if he knew about physical impossibility of his pet parrot’s death, it might have saved him lifelong trauma but would deprave us of some surreal masterpieces, painted, not calculated.

Jef Safi . . « if he knew about physical impossibility of his pet parrot’s death, it might have saved him lifelong trauma » could be an other subjective evocation of what Dali called the paranoia-criticism. Obviously, Ernst didn’t practice it voluntarily as a method, . . and neither Dali ; the psychopath of High Ampurdan only theorized it late after his creative 30’s when Gala marketized him. The heart of this discussion is that such artistic behavior is exactly what I name « to explore propitious gaps opened by growth of entropy ». Ernst, as Dali, and others, was exploring entropy without to think the concept, without to have given it its name. Nevertheless, Dali approached it very closely when, on 1931, he painted the melting clocks titling them, "genially but ingenuously", the « persistencia de la memoria » . . genially today for those who have intuition that memory and time are two faces of the same thing, that only our consciousness of remembering makes our sensation of time. This was also the intuition of Bergson, and now the one of few contemporary physicists . .
. . ºς.º ) . .
. . « Can art masterpieces be painted or calculated ? » I apologize to reformulate, we bite here into the bone. Why such an exclusive alternative as between sensible/intelligible, body/spirit, corpus/habitus, object/subject, etc. ? . . I doubt this dualism, . . but you are free to have your angle. In my opinion our ability to isolate what is only different make us often falling in exclusions. Concepts and affects are both only made of percepts, and this is the essence of art to produce percepts, therefore both affects and concepts in the audience, inclusively. Yes, some artists tries to produce "pure" percepts to bring "pure" affects without any concepts. It’s their choice, paradoxically a concept in itself. It’s the reason why I’m very fan of the "conceptless concept" . . by rejection of values starched by bourgeois aesthetics they often unveils the unspeakable ones, and as such the shocking and cashless ones . . is this part of situationism ?
. . ◠ς.◠ ) . .
. . Don’t worry about my music and my touchy-feeling, Andrew.
. . Riddle of the day : who wrote and sang « No offstage lines could make me feel bitter or treat you unkind ».
. . #Clue of the day : Listen how Keith sounds his 5 strings Martin in Open G. The group performance is much more better here than on the official Sticky Fingers mix, . . in my opinion !

dou_ble_you That is an awesome version, Jef. Thanks for sharing. Dali, like Keef, wasn’t taken seriously by many people. Yet, this self-advertising clown must have been a well read man. Otherwise, Duchamp wouldn’t be his friend. I bet he knew a lot about physics, philosophy, occult, and old masters techniques. He didn’t know much about sex, or rather he knew a lot in a very peculiar way, which benefits his paintings. How this guy, who loved sodomy and its depictions, has become an accepted all American freak, playing chat shows and newspaper schmaltz, is beyond me but he did it... Avida Dollars, eh ? Max Ernst is special. Some of his creations are more bizarre and profoundly surreal than anyone else’s. Surrealism was a fabulous game. Of course, it was calculated, but the instincts and spurs of the moment ruled in an unrestrained way, kind of like this dialogue. Have we consciously built an argument ? No, we did not. However, there is something crystallizing slowly through these unplanned outbursts of paranoiac-critical writing. I think, we are building a Wicker Man. He will get self-burned, as an act of love for that unattainable giraffe. Flames of passion, somewhere on the distant horizon... or is this a delicate sound of thunder ? P.S. your riddle, this line could have come from one of Keith’s solo albums

Jef Safi . . I studied at length life and work of this impotent omnipotent. I was stunned a day when, in a very small expo devoted to Dali’s youthful works, I came upon a book he illustrated with simple ink drawings. A work executed at the end of 20’s. Everything was already there, most of his better elements of language which he will never cease then to decline endlessly, up to nausea. From 40’s he created again, but less and less originally, he only plagiarized himself up to fumisteries. My theory, not very original, is that Gala/Dali couple coproducing the omnipotent star, destroyed very soon the young Salvador inspired because impotent. I know this is not a politically correct theory for the art history doxa.
. . ζ ) . .
. . We don’t built consciously an argument ? Indeed, we only stretch a fortuitous encounter along a "vanishing line" in which various threads are intertwined, as surely as promised to . . their entropic dispersion. However, meanwhile, this thread perseveres in its being, Spinoza named that power the "conatus" . . Bergson named it "vital impulse" . . taoists name it "qi" . . etc., Damien Hurst produced some day "The Physical Impossibility of Death in the Mind of Someone Living" (probably not referring to Ernst’s parrot) . . even Dali painted "the persistence of memory" and repainted it later "desintegrated" . . etc., etc. All are as many evocations of the growth of entropy, consciously or not, whether it is read on its globally dispersive side or on its locally aggregating one. As the two destinations of matter separated by the sculptor’s tool.
. . ºζ º ) . .
. . Remember the "vanishing line" of Deleuze : "a vanishing lines don’t define a future but a becoming. There is no program, no plan (…) we are becoming imperceptible and clandestine on a motionless travel (...) where the biggest secret is to have nothing to hide." ( Deleuze & Guattari - Mille Plateaux ) Something like a "Wicker man" ? Indeed, in the sense that it is constructed . . in order to disappear.
. . ◠ζ.◠ ) . .
PS : I congratulate you for giving such an erroneous answer to such an easy riddle. Your pirouette is fully "surreal" . . so it was easy to remove all doubt by cheating with any robot. Brenda would be very upset if she knew . . hmm . . don’t fear, I’ll not denounce, ’s just between us !?

dou_ble_you LOLLL... I suspected Brenda, because that verse was too neat, too civilised for Keef, but have given it a try without googling. ’Qi’ is something I understand very well. Vanishing lines are interesting, but do they ever vanish for real ? Vanishing point can be experienced at any moment in life. It makes pointless discussion full of hidden meanings. Your analysis of Dali is right on the target. I saw once an exhibition, titled ’Young Dali’ at the Hayward Gallery in London. It was a discovery for me too. He was a genuinely angry, non-conventional, driven by the lust for creation individual. In his latter years we can see echoes of that period. They are only echoes though. Dali’s oeuvre was based on the strength of his drawing skills, which were phenomenal. However (I like this word) he pushed the envelope further than Picasso in certain areas. Salvador was a most gifted performance artist, recording various crazy bravados on film. Picasso was an old master by comparison and never did something like that. Dali could bridge over into the 20th century’s post-dadaist pop-art effortlessly. It is something. He was also fascinated by optical illusions and tricks, which is an element I can detect in your philosophizing creations.

Jef Safi . . OMG-ot ! UU unmasked me ! I confess I am the least well hairdressed masturbator among all the big flabby reincarnated catalans of Cap Creus, reason why I often go back to Spain incognito (mustacheless), to collect money from entrances of my museum theater, to polish the feet of my Cadaques statue (without spitting too generously) and take off the flies stuck on the window glasses of my house in Port Lligat (I’ll never love flies again, even clean ones). No Andrew, I’ll never go to Pubol again, it stinks cold ash there, my rights-holders are poor cupid embalmers, ruins are too callous and memories too . . flaccid.
. . ô¿.ʘ ) . .
. . At the end of my previous earthly life I was, me, the only ancient eternal master. I was painting like Millet, like Raphael, like Leonardo, like Vermeer, even so better. I gave them few kind advices up there en el cielo. Pablo ? Haaahaa, Charon brought him to hell with all communists, he’d never have known to do the same. For all the apostolic and roman eternity of pareidoliac Emporda free to submit to catalan King, I state that cla-ssi-ssis . . . . hrmmr. . I state that the surrealism it’s me, that the chocolate is Lan-vin, and that the waterever-ists are all the ropy silly tiny others. Tell them I love them with all my contempt, and that they don’t have to fear perfection since they will never join me. Amen !
. . δ¿.δ ) . .
. . PS : We never really change, Andrew, even over messy metempsychotic parenthesis of post-pop bridges. « Do not tell anyone » . . this will be your mission, if you accept it, for the few five nanoseconds remaining before your dream awakening.
.
.
.
. . Wake UUp !

dou_ble_you Jef, heh, heh... is this a fever, or fire, or just a fly (in the neuron system) ? The incognito excursions, to which you’ve confessed, bring some fruits. The title of your piece is a paranoiac translation of Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening, after all. It has more marketing muscle though, because it refers to the shadow banking. If it was me, I would quote shadow boxing. If one is a true surrealist, waking up is a waste of time. Sleep is the primary condition for anyone to the left, or right side, of André Breton. By the way, Picasso was considered as a part of surrealism in the 1920s, until he’s gone his own way.

Jef Safi . . Thank you for worrying about me, . . so early from waking up ! These are flies indeed. Since I have no more neurons, they occupy all the place between my ears and, there, assure their full flycognitive role. They are billions inter-connected, it seems. Fortunately, it dies two or seven and a half units each year, which is enough to reassure me, even if it doesn’t diminish in any way the level of the tinnitus. Some time ago, they competed this cavernous space against few spiders, but these ones abdicated and left on the web in the early 90’s.
. . (¤ζ ˜ ) . .
. . Picasso part of surrealism ? Classifiers, all addicts of boxes and labels, are also very surrealist, but tragically. Like all platonists, dazzled by their hypothetical « sky of the ideas », they confuse the territory with the map, that is the end with the means. In short, they refuse to admit they will never leave the Plato’s cave. On the walls of the cave, the Pablo’s vanishing line (1), sinuous, fulgurating, brilliant, jumping, multidimensional, necessarily crossed here and there some other lines slower or softer. It has necessarily crossed, here and there, the no less sinuous lines of surrealists. It’s here that, in their labeling bulimia, classifiers have once again confused crossroads with roads, which is why they appear surrealist, but only in this.
. . (˜ζ.˜ ) . .
. . PS : (1) Deleuze concept is in french « ligne de fuite » (c’est la leçon de français #3,14). A common translation, to ovoid the drawing perspective locution, uses « line of flight ». This is not a good translation of this fulgurating deleuzian concept. Others, like me, prefer « vanishing line » because it means at once a sketch and . . a fading path, without real start point nor punctual destination, as « a path that is made by walking » (cf. Antonio Machado). To translate without to betray is a very subtil hard challenge, not surreal at all . . although.

dou_ble_you Jef, I sympathise with your view of classifiers, but this is historically correct fact. A short period of Picasso’s activity was surreal. I saw it evidenced in some exhibitions over here in London, plus we can trust Guggenheim. There was a magazine, published by Skira, under the directorship of Breton, called Minotaure. Picasso was present on the covers few times. "c’est la leçon de français #3,14"... haha, very good. P.S. is this not surreal ?

Jef Safi . . Doxa have adopted Breton’s definition so that this Pablo’s work enters, more or less well, in the box labeled « surrealism ». So we do justice to the classifiers, but do we give sense to the artist artwork ? Open to sensible and critical to intelligible, when we don’t submit ourself, a priori, to arbitrariness of Doxa, we soon run out of boxes and labels. Look at this Pablo’s work . . we can also find stigmata of symbolist drawings, or dadaist collages, not to mention expressionist accents, even lettrist, neo-classical, psychedelic, etc., without forgetting the obvious and close connections with Cocteau for example. Who would dare to qualify Cocteau’s poetry as surrealist ? To totally honor your question Andrew, it seemed to me appropriate to bring you an answer really intimately artistic.
. . ◕ζ ◕ ) . .
. . As you probably know, Pablo regularly performs metempsychotic performances whenever he can, wherever he can, to militate for peace in this world collapsing and burning step by step. Pablo constantly declines his peace-dove in as many styles as he can according to the conditions of possibilities offered by our terrestrial contingencies. It’s because I’m the faithful witness of this posthumous but no less vivacious work, that we have become, him and I, intimate.
. . ◠ζ.◠ ) . .
. . I asked him your question directly last night, and his answer was immediate, playful, charming, burlesque, comical, spiritual, buffoon, wacky, absurd, . . etc. I let you judge. In the first place, it was immediately positive, yes, he considers this work as surrealist. But the most amazing is the true underlying reason. It is not by chance that Pablo deliberately masked the upper part of the word "Minotaure". He wanted so to indicate that he masked more under the carton. The complete title, masked, is surreal in the first degree of the word, it is : Ceci n’est pas un Minotaure. Had uu guessed it ? Of course, let it remain only between us three, . . he is not very proud of this little sleight of hand.
. . ʘζ.ʘ ) . .

PS : (1) Here you will find the « catalogue raisonné » of Pablo’s graphodovophilous performances gleaned by our flickr colleagues, including the powdery white imprint left in the autumn 2oo7 on the window of my studio, and the wonderful blue origami I found in 2oo8 on a wall of Napoli.

Study #of-the-day : Is not this dove, by itself, its own box&label ?

Flickr « catalogue raisonné » of Pablo’s graphodovophilous metempsychotic pacific activist performances :

- 1st - 2oo6 : /pierre_pouliquin/183098854/
- 2nd - 2oo6 : /70003616@N00/184005033/
- 3rd - 2oo6 : /zen/187099218/
- 4th - 2oo6 : /akiruna/112390525/
- 5th - 2oo6 : /70003616@N00/253505251/
- 6th - 2oo6 : /kanganarora/263220555/
- 7th - 2oo6 : /70003616@N00/334083545/
- 8th - 2oo8 : /schaeffer/2572640957/
- 9th - 2oo7 : /jef_safi/482806515/
- 10th - 2oo8 : /brancollina/2713313541/
- 11th - 2o17 : /stellawind/32549913664/
- 12th - 2o17 : /jef_safi/36942265761/
- . ./. .

dou_ble_you The dove is not Picasso. He depicted it few times but, as a personality, he was a distant cousin of Diego Rivera, a fully blooded Latino bull on the loose. Lee Miller mentioned somewhere that when she visited him after the liberation of Paris in 1944, his hands were all over her, liberating Yankee sex siren from any inhibitions she might still had. Here is my kind of dialogue with the red bull Pablo.
I love your story about the Minotaure cover.

Jef Safi . . Pablo would have lied to me too ? I asked him last night. He confessed to me that he fraudulently signed this drawing without telling Aragon when he gave it. It was a very grave usurpation of artistic identity in sight of God-ot who, when the fatal moment came, gave him the choice between two punishments : the eternal hell-o or the purgatory ritornell-o. Evidently, he chose the second, just to avoid a new burning meeting with Aragon.
. . •¿.• )
. . His purgative penance is to find new solutions to realise some peace-doves each time God-ot decides to reincarnate him anywhere, anytime. As you have seen above, purgatory has greatly mocked him in 2oo6, and then later again from 2o17. I understand now why such a long « interlude », considering the link to your fascinating talk-talk gallery, he clearly neglected his pigeons from 2oo8 to 2o14. You then obviously mobilized all his dou_ble_artistic creativity in your dou_ble_workshop.
. . ʘ¿ ʘ )
. . But, . . I am seized with a great confusion, . . who is the man pretending to be dou_ble_Pablo in my dreams ? Who threw a turtle dove against my window ? Would that seagull dizzy narcissistized by itself or, . . I’m stunned. . would be . . you & you ? . . no metempsychosis but only a tele_kinetic flickr_clouded insatiable dou_ble_situationist dada-minotauring ? . . Help, help Charon . . need your boat . . haaahaaaaa . . wake me up !!!

. . ⊗¿.⊗ )

dou_ble_you I nearly wet my pants reading your Diary of a Genius dear Salvador Dafi. This sh*t is too good to be true, heh heh. Help is on its way. It is called The Charons of Fire.

Jef Safi . . I beg your pardon, Andrew. I didn’t want to leave you in such an uncomfortable posture. It’s okay, you won the game. I put an end to this "exquisite corpse" by this last comment. All the thread is now blog-noted here (with your usurped authorization, obviously).

. . PS : I will not tell Max, there’s no shame, you can keep the go-go gorgons for your yo-yo games . . crackling in hell.

. . ◠ς.◠ ) . .
. . See uu along next vanishing lines . . cordially !