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| − | '''Research: The MeatBook''' | + | '''To-Do List''' |
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| − | 1. SFU contract between DGr & JC
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| − | 2. collect prior MeatBook work
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| − | on large computer; create and place all of it in a folder titled MEATBOOK
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| − | ----------------
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| − | 3. literature review
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| − | search for prior art related to meat.
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| − | Be sure to find:Jana Sterbak (Canadian), the (Italian?) guy who created a parquet floor
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| − | comprised of cold cuts (in artbook that is inside inflated plastic pillow).
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| − | 4. place all the prior art, including images and text files (be sure to include citation info) in the MEATBOOK folder,
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| − | in a subfolder titled PRIOR ART
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| − | ---------------- | |
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| − | 5. for talk in Stockholm, reshoot prototype (video)
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| − | 6. edit, debug, make sure it runs on Gromala's laptop
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| − | 7. create an archive of all info; put on a CDROM entitled MEATBOOK 2006
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| − | ----------------
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| − | 8. Here, let's discuss the conceptual issues.
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| − | 9. Technical issues:
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| − | decay, stink, legal preventatives, role of dead animal/carnivore/commodified predatorial behavior
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| − | paradox of meat and text
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| − | teleological argument about text: it led to the dimunition of the senses since people no longer sit around a campfire in real-time, as a community (though I wonder how many communities didn't just resort to eating each other or raiding).
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| − | Thus, we are not nec. present in real-time; cannot see, smell, kinesthetically relate to gestures, share food.
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| − | So senses are condensed to the visual (and sublingual, according to some who think that when we read we kind of move our tongue as if silently reading).
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| − | Humanistic argument (that I also challenged with the biomorphic typography).
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