https://www.stlore.net/fiction daily 1.0 2024-06-19 https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1494991153035-LCUABG4D23T0A8Q90X1O/D0D8152-R1-28-29.JPG about—stlore https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1494991153035-LCUABG4D23T0A8Q90X1O/D0D8152-R1-28-29.JPG about—stlore https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1494484984300-VBYM88GWMJNYDL7G3VY2/stlore_paper6758.jpg about—stlore https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1718016738992-QHJJJ6M3UIN4KTMKUV2X/D008155-R1-00-1.JPG about—stlore https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1718790697074-MYORORVQ04ITAO3429T9/D0D8150-R1-01-2.JPG about—stlore https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1494493730449-CXVF7VQ5RFZDDNKYO99X/BANK+FOYER_ST.jpg about—stlore https://www.stlore.net/stlore-sydney-present-we-remember-it-for-you-wholesale daily 0.75 2024-02-17 https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1498879140825-Z6CAYVBWLCP02B9RR814/stlore_entrance_cta.jpg stlore ... 'we remember it for you wholesale' ‘BEST SELLER (PART ONE)’ " ... using the swipe card key, the lift door opens onto a hotel paralysed in time. Under a portrait of the Queen, a rubber pot plant sits on a wooden bench supporting a circular map, a dial-up phone and a lockable glass cabinet. Scanning over the various death notices and membership applications, Hans Albers presentation is scheduled for tomorrow at 8 AM. ‘Board meetings occur on the second Tuesday of every month. Please note: front doors lock automatically. If you require entry post these hours please call +61 431 575 277. Non-attendance of members should be submitted the week prior to the monthly meeting. By ORDER of the CTA Treasurer — Mr G. Gillespie. ' Above the lingering smells of long-extinguished cigarettes, cheaply stirred martinis, bitter pots of coffee and buckets of bleach, Hans prodigious nose twitches at a feminine fragrance defiantly at odds with his hotel surroundings. The floral bouquet instantly wrenches him into the olfactory equivalent of a tropical island. Plunged inside this proto-hippie daydream of palm fronds and the riotous greenery of a foreign jungle, an elderly man and a trio of almond-eyed women gesture for him to sit alone on a cream leather lunge ... shrouded in tobacco smoke …" Read PART ONE https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1498879294937-940VIGMK2AMZGJTB876Y/stlore_fiona_connor_cta.jpg stlore ... 'we remember it for you wholesale' ‘BEST SELLER (PART TWO)’ … AS THE LIFT DOOR BEEPS, Hans Albers olfactory hallucination is shattered. Stumbling in a daze down the curved corridor, he shakes off his daydream aroma by swiping entry to room Number 803. Bypassing a hallway closet, a double bed and a tiny bathroom (unfortunately with no tub) he kicks his luggage under a bedside table and drains a tall glass of water. Reefing open the window blinds, the cityscape is reflected back to him a thousand-fold in the mirrored facade of the opposing building. Despite having never visited the city, the scene is disappointingly familiar: replicated so many times in the Good Morning TV panel shows, foreign car commercials and big-budget movie scenes — something an epidemic of violence is unlikely to disturb. Hanging up his jacket, Hans switches on the kettle and flips open a complimentary newspaper to his all-time favourite comic strip — The Wizard of ID. In this week’s episode, Turnkey is about to torture Spook with a fire-heated iron but when he approaches the bedraggled Spook (hanging in chains to a dungeon wall) he pauses under a speech bubble, and pointing to Spook with the fiery orange glow of his torture implement, reminisces for a moment — “Did I tell you I once Majored in Communications?” Shaking his head Hans chuckles — ‘Who ever imagined a medieval kingdom ruled by a despotic king would not outlast its usefulness?” Dumping coffee into a teacup, pouring in a measure of hot water he settles down at his desk. Removing three sheets of A4 paper, using the same actions — every single time — he crosses his legs, removes the cap on a 0.4 mm black marker and begins drawing angled lines and looping spirals to fill an entire page with strange geometric patterns. This practice has also been observed in infantile scribbling and was ultimately found to stimulate the V4a processing centre of the temporal cortex. Located deep inside Brodmann area 37 of the Fusiform Gyrus this ambiguous brain structure is now linked with the development of lexico-semantic associations (i.e. word retrieval, visual processing and complex metaphor comprehension) that is crucial to Hans’ survival in his marketing career. Read PART TWO https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1495522997983-XM4W84SL935P69WRVTDH/stlore_petherick_cta.jpg stlore ... 'we remember it for you wholesale' *“We Remember It For You Wholesale (Part One)” @ The Commercial Travellers Association Australia Martin Place, May 7, 2017. Photographs: S.T. Lore Author: S.T. Lore Client: Sydney Pages: 30 (3-parts) Format: Short Story PDF Year: 2017 Presented by Sydney & fiction writer S.T. Lore this 3-part exhibition migrates between the CTA Business Hotel and Sydney gallery nodding to objects once peddled by travelling sales employees. Adopting modernist orthodoxies and bureaucratic associations from times past, in 2014 S.T. Lore became an annual member of the Commercial Traveller’s Association in Martin Place to have free-reign of the building space to write his surreal fiction. His short story ‘Best Seller’ is used here as a framework for an offsite exhibition. Disturbing replications of hotel fixtures — a video, photograph, noticeboards, vacuum cleaner, piping, soap, slippers, and bedwear — appear to meld into the hotel surroundings but also nod to a bio-mechanical invasion of people past and present ... www.sydneysydney.net/mlc/ https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1498879447183-P1GC85IMVVT6WFSS4X2Z/stlore_stephenlittle_erkan.jpg stlore ... 'we remember it for you wholesale' https://www.stlore.net/werkplaats-typographie-st-lore-a-soft-departure daily 0.75 2024-05-19 https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1498880713602-HEIUVVRUB2AG7RJZ09GP/radio_kootwijk_detail.jpg st lore... 'a soft departure' *Detail of the facade of Radio Kootwijk in the province of Gelderland, The Netherlands https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1495522258168-Y7WXLHN3KP8E7XNMLKP2/stlore_werkplaats.jpg st lore... 'a soft departure' Author: S.T. Lore Client: Werkplaats Typografie Designer: Robert Milne Pages: 80 Format: 210 x 160, Risograph Book Signatures Year: 2016 This trio of projects takes the form of three 16 page offset book signatures (1/3) generated to assume their own production economy. Researched loosely around global economies, speculation, transaction, marginalism, market, black market, credits, auction, property/patent, ownership, and currency these three fictional stories were composed by author S.T.Lore in Sydney, Australia in consultation with the typeset designer Robert Milne at the Werkplaats Typografie Group. The individual book signatures were then typeset and printed before being sold and distributed at the New York Art Book Fair 2015, The Print Room, Rotterdam and the Werkplaats Typografie End of Year Show on Saturday, 25th of June, 2016 at Radio Kootwijk in National Park Hoge Veluwe. *Any revenue collected in sales allows further chapters to be compiled and subsequently collected before being bound into a completed reader anthology. Purchase here https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497496364061-G4G81UEXTWES6ABQ9IHF/stlore_werkplaats_seeds.jpg st lore... 'a soft departure' A SOFT DEPARTURE — Downtown Paper, Detroit MI, USA Blurb: 'Mass employment in the personal encryption, computer data collation and demographic marketing analysis industries have given rise to a society of individuals frozen in emotional response. Trapped inside this population riddled with autistic spectrum and dementia-like symptoms this dark tale tracks an encounter between a man and a woman desperately trying to preserve the final strands of human face recognition in a robotic state vacuum of surveillance. https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1498880228748-26JQWFTZH5729MRXU28B/stlore_werkplaats_typographie.jpg st lore... 'a soft departure' 3AM ETERNAL — Radio Kootwijk, Netherlands Blurb: 'Online contact is suddenly re-established with a disappeared location scout who mysteriously vanished in January 2001 during an eight-day film location visit to an abandoned site in the Veluwe — located in an isolated woodland area in the province of Gelderland, The Netherlands. Tracking the fragments of archived interviews with the Scout an amateur music journalist is gradually able to reconstruct the specific events that took place that day. *A soundtrack accompanies the final text including original field recordings and audio collages from Australian recording duo MALAKAT. https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1498880671348-41DY6KGF9EF2F95BW84E/stlore_werkplaats_3am.jpg st lore... 'a soft departure' https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1495695171206-QFYNM7CEX8TTBXTUZKY1/stlore_werkplaats_nyartbookfair.jpg st lore... 'a soft departure' ANCIENT SEEDS OF FORTUNE — New York Art Book Fair 2015 Blurb: "International Trade Lawyer Solomon Digby Ryan suffering the classical symptoms of corporate burnout (erratic nocturnal habits, seborrheic skin conditions) stumbles upon the unfortunate death reports of a Japanese Bacterial Plant Pathologist during a routine trade investigation. Influencing the import / export practices of the global apple trade these disturbing accounts cause SRR to question the impact of his own actions on a larger bureaucratic system. In the next 24 hours he uncovers an abandoned model of the Keynesian System and learns how individual actions have a virulent, lasting power. https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1498880506032-802P4HM7V29Z90YO015J/stlore_werkplaats_radio_kootwijk.jpg st lore... 'a soft departure' https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1498880614961-Y8I36HJA2L67J7S0SBJC/stlore_3am_werkplaats.jpg st lore... 'a soft departure' https://www.stlore.net/stlore-acca-eatingworld daily 0.75 2024-10-12 https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497574739788-3P7SYB6T4254IJEH763X/stlore_acca_eating1.jpg ... 'eating world (for ACCA NEW15)' "... Behind her, a siege appeared on a giant HD screen. Broadcast live from a foreign country (indicated by the subtitles and a digital clock counting down): machine guns are fired, rocks are thrown, and a masked man, dressed in fatigues, leaps sideways out of frame while a bomb explodes behind him. At the base of the screen, scrolling from left to right ... 'the tech stocks are rallying after the NASDAQ opened strongly climbing a further 76 points to 2275.16.' Meanwhile, seafood continues to arrive, the waiter cutting the items up with kitchen shears, lopping off their heads and arms, cracking the shells and tearing away limbs. Abalone, still alive when set on the grill, suffer a tortuous death, snipped into mouth-size pieces: ‘Chewy and nutty in texture, slathered in fermented sesame paste. This is perfect!’ For a distressing moment, Larry watches the eyes of an octopus dilate with intense pain. Nausea swells his temple; sweat drips underneath his shirt. Using feverish tenticular retractions, the animal tries to escape, before perishing inches from Larry's plate ...' https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497575732855-1ELP0Z7HWY0J082CNGOD/stlore_acca_eating3.jpg ... 'eating world (for ACCA NEW15)' '... Parked in the emergency lane, away from the prying eyes of tourists, empathy for Wolf Down’s wounded subject is reduced. Using a covert strategy film theorists label aesthetic distance ‘Full disclosure: my name is Laurie Zimmer and I also overeat … inside this dark-age when International Relations are at an all-time low, with a rising collectivism assaulting our individual values, with border disputes labelled human smuggling; new forms of criticism must reveal our human vulnerabilities. But an award ceremony in a takeaway food court is just plain, bad table manners … 'I insist on buying my own food, Mr Spica!' And yet I applaud the fat man without pseudonym who purges himself of this 'Eating World' Larry, comrade! Don't forget to wash your hands!' https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497575145557-0UJ2ZD9FLAVTXJM13LIT/stlore_acca_eating2.jpg ... 'eating world (for ACCA NEW15)' ' ... Larry's hieratic face flinches in astonishment as Lyn eyeballs a robed man grasping an octopus tentacle wriggling from Larry’s plate: “You don’t mind do you buddy? Amazingly agile creatures aren’t they? Shape-shifters. Colour changers. True masters of deception. Only the other day I watched a documentary of an octopus being sent through an underwater maze. It solved the puzzle in under a minute. Apparently the limbs can function independently of the brain and move of their own accord even when separated from the main body. Luckily for us they don’t have any sharp bones though ... hey!’ https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1495769080769-JW71RI2O2JSUDOGNSA9U/stlore_eatingworld.JPG ... 'eating world (for ACCA NEW15)' Author: S.T. Lore Client: ACCA [Australian Centre For Contemporary Art] Designer: Matt Hinkley Pages: 104 ISBN: 980-0-947220-07-5 Format: 1000 copies ACCA NEW15 Catalogue Year: 2015 Purchase here EATING WORLD '... Dishes begin stacking on the table: corn fried in mayonnaise, green onion pancakes, scallops doused in rice wine, potato croquettes, cockles fried in Kimchi, and live octopi squirming over a fresh wad of napkins. With the sudden arrival of food, the political activity of the group is made visible: any discourse held in check by the violent swiping of gadgets. Distant voices announce dish numbers like an infomercial lottery — ‘Number 71, Number 85’. Larry was not expecting this table of cool, biting friction. It is a gastronomic parliament only lacking a bouquet of eager microphones. Reaching out for his first dish, a thin woman to his right, narrates his selection in aloud: ‘Classic Hor Fun! Slightly oily, the delicate rice noodles cool the dish.’ Without touching any food, she introduces herself: ‘Lyn. Speech therapist. You should take better care of yourself Larry. You might even be handsome if you were thinner. Me? I rarely eat. I enjoy looking at the food. But then I try not to smile either.’ Then, she offers him in a low and discrete whisper: ‘It produces wrinkles’.' https://www.stlore.net/-an-invitation-to-love daily 0.75 2024-02-17 https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1498194292933-N6PQM6E7AOO88NYYSC3V/MOTTO+FLYER.jpg ... 'an invitation to love' Author: S.T. Lore Client: VCA & Motto Books Designer: Laura Castagnini and Vikki McInnes (ed.), Pages: 207 pages (+ Illustrations) Format: Poster + Book 'Bureau Two' Year: 2014 [ISBN 9780992458904] INVITATION TO LOVE ' ... May Day Morning. Autumn. People talk with antennas aimed at the sky. A sky blue and coldly clear, crowded with messages and with magenta leaves, with revolving blades and with curved beaks. Next door a man without a leg feeds his yellow canaries in wooden cages. On Saturdays he is always found indoors watching soap operas and disaster documentaries. Today is Volcanoes. Flooding lava, red and turbulent, brutal and disruptive. Cracks. Unstable ground. Seams of heat. He alternates between the channels as they prepare coffee– 'Who were you with the other night? – 'Nobody. Please believe me, baby!' – 'Look I've gotta nose like a tiger, it never misses, and she has a scent like acid. I can smell her on your lying skin' – Helicopter tracking shot of a black granite mountain – 'The temperature inside the crater is as hot as the surface of the sun' – chop, chop, chop – 'the contained pressure causes flaring explosions and a single event would contain enough energy to power a small neighbourhood.' The coffee is black and not sweet, and afterwards he offers them a liquid that is cold and clear. The Firewater. It is potent and transparent. It is illegal and home distilled. It can explode. It can cause blindness. And they drink to his good health. The intercom buzzes inside the television and a voice speaks - 'You have to start thinking about the future, just like I am.' https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1498194406388-TOVV89FW8WSPEBVR2FBJ/image-asset.jpeg ... 'an invitation to love' https://www.stlore.net/-the-bomb-the-still-life daily 0.75 2024-02-17 https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497495252753-6I6A8XCTRI0KPI3H2E95/moebius_discipline_absoluten2.jpg st lore ... 'the bomb & the still life' '... 2012 was a year predicted to be the end: for me, for you, for all of us. It was a year for the dooms-dayers and the calendar chasers. Yet the day passed, and we burst through the atomic floor and into another era. It was a year in which I was delivered into other climates: from Port Moresby to Seoul and onto Istanbul. It was year I found myself in the remote jungle and ended up in the centre of destruction. By year's end I had visited three of the most bombed cities in the world: Hiroshima, Warsaw and Berlin. These cities not only survived, but had thrived. The strangest aspect is they felt the most spacious, the most friendly of all the cities I visited that year — all re-designed with wider streets and with open boulevards — with ample space. Warsaw no doubt has an all-pervading greyness. There is an erasure of monuments and the local people still feel it is not quite as beautiful as Krakow. One night I watched a lightning storm crack across this city. It was amid the soccer World Cup and the city felt alive and full of potential. Standing on the fourteenth floor of a revamped apartment block a beautiful girl danced absent-mindedly to a nostalgic form of techno. Young and happy she wished to be an aerobics instructor. I could not at that time envision the horrors that had occurred in the past. That was, until I met a man named Miroslav. His head was round and balding and his eyes were angled slightly closed like the soft folds of a dumpling. He was older and filled with sadness, as though he contained the entire soul of Poland inside of him: a soul stuck in the past. We sat silently and watched the girl dance. Her young body occupying the present moment. It was a vivid vision of beauty in a time of peace: a moment with no past and with no future. I later learnt Miroslav means 'peace' and 'glory', but the prefix 'Mir' can also mean 'World'. The title of Tolstoy's famous novel, War and Peace, can then be read in the Russian, as 'War and World' - the two, it appears, are inseparable ...' https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497495315578-CH5RD8M7WR1DE84WREA2/moebius_discipline_absoluten4.jpg st lore ... 'the bomb & the still life' https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1495770724836-C5QO957S39T7UM30ES3S/moebius_absoluten_stlore.jpg st lore ... 'the bomb & the still life' Author: S.T. Lore Client: Discipline Magazine Designer: Ziga Testen Pages: 240 — 244 Format: 244 pages, 230 × 300 mm, Softcover, Full Colour, Edition of 1000 Year: 2013, ISSN 1839-082X *Including the first full-colour reprint of Jean Giraud — Moebius — seminal 1977 comic strip 'Absoluten Calfeutrail' approved by the Moebius Foundation France. Originally appeared in the Number 16 issue of magazine Metal Hurlant https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497495286237-AWPW9GYCREHYN7EFFNLU/moebius_discipline_absoluten3.jpg st lore ... 'the bomb & the still life' https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497495193875-4ZBUSKCW3FVQG4PG4UUL/moebius_absoluten_discipline.jpg st lore ... 'the bomb & the still life' Excerpt 2. LINES IN THE SAND "A man descends toward an atomic symbol painted on the desert sand, yet on impact, the earth rips open like a banner of paper to reveal another cavernous room. Standing in the centre of the room is a congregation of robed priests. Undisturbed by his entrance, they stand as silent witnesses ... as though ... he was expected. As the man enters the circle and plummets past them, he reaches inside his jacket and retrieves a note. With a furrowed look he reads ... What do we read when we are in terror, when we are in fear, and we are about to be destroyed? Something personal? Something poetic? A love letter? A confession? A manifesto? Calmly discarding the note paper into the air, we never see the message, and all the while, the man continues to fall. The most important part of 'Absoluten Calfeutrail' is this note of the falling man. It is a message only for his eyes. We never learn what the message is and neither do the priests. If we could view that message what would it contain? If text, would it be religious or personal? There is no quote from a prominent author, no critical theological review, no scientific explanation that could bring reason to this surreal and accidental fall. Yet, we cannot rule out a photograph: an image of a face, the smile of a loved one. It may also be a map, a diagram of this unknown territory. In true horror fashion, it may be a copy of the comic itself, and with this in his possession, the falling man would be viewing his own fall endlessly, locked in an eternal loop — self-reflection upon self-reflection — absolutely sealed. The paper seal his fate and the action of discarding the note is his acceptance. It is only then that we observe the man fall with his head pointed downward. He chooses to aim directly into the rushing air, toward the very ground; and we watch as he rushes toward his fate ... https://www.stlore.net/-portrait-with-pendants daily 0.75 2024-02-17 https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497508419282-T0S7T5718MCAA4BV1CPQ/totalcontrol_vinceguerra.jpg ... 'portrait with pendants' Author: S.T. Lore Client: Total Control Designer: Bart De Baets & James Vinceguerra Pages: Poster Format: LP + Insert Year: 2014, Iron Lung PORTRAIT WITH PENDANTS "... Ornamental People. Dross of novelty. Bulk of faces. Never to be confused with the peculiar patterning design of an Altar book. Economically, we possess this essential shaping agent, and by adopting the broad pen, 'I am unable to state my position except that I believe in honourable merchandising, without taint'. And so, after the drudgery of the apprenticeship, we must perform a thorough investigation into the physical properties of the product: the squareness and the quality of the binding; the mechanism of the fold and the delivery of the content. Though much may be disregarded in the case of these five sloped Roman beings (stranded as they are in ditches, removed from a period of immaculate breeding.) This imprinting from a group of men is marred by a distinctly underground alphabet.'Never before ossified in the cult, nor in the press of the dove: with no need to remedy their deficiencies!' Strictly existing on a diet of undistinguished 'old faces' contrasted severely with the appearance of the 'moderns'. Tall timber. Slack limber. Lop jaw. Hunchback. Clean slate. Stained by hand and by foot. Prepared to give succour with the visionary tale, the armoured car, the blue siren, the heavy breather, and the giant deceiver. Well aware that little murders lie in the secluded heart, these men pour reasoned abuse alongside the cruelty practised by the wind cheater and the silver cross. Delicates are renewed from crumpled hope; vertical towers gleam transparent; residents pose for portraits with pendants; and by snapping elastic band opinion, they accept the plastic flower and the sunroom slave – for there's plenty learn inside this typical system ...' View Poster https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1495857969518-5TJPHTEBVFF7NJZFH74X/totalcontrol_stlore_vinceguerra.jpg ... 'portrait with pendants' https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497676940688-ZPTX86GVL3P70Y6H8KXW/totalcontrol_bartdebaets.jpg ... 'portrait with pendants' *'Typical System'2nd LP by Australian band Total Control. 40 minutes 28 seconds. Produced by Mikey Young. Released June 2014 by Iron Lung Records. https://www.stlore.net/-storm-gods-of-syria daily 0.75 2024-05-19 https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1496203718392-4FS2H0IACABVNZ798UR2/stlore_elp_yalazan.jpg ... 'storm gods of syria' https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/69513c0e-1434-4bed-a78f-c2783c2c2429/SilaYalazan_1280.jpg ... 'storm gods of syria' - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497582028752-9SFDCXXKAQILH0FJJXYF/sila_yalazan.jpg ... 'storm gods of syria' Tarlabaşı neighbourhood of Istanbul, Turkey. Photograph Sila Yalazan, 2013. Author: S.T. Lore Photographer: Sila Yalazan Client: Single Edition Postcards [& Knowledge Editions Book 2018] Designer: Rob Milne Format: Postcard, 100 copies Year: 2015 STORM GODS OF SYRIA Three Syrian Kurdish refugees pose beside a Renault-12 TSW Station Wagon. One child mocks the viewer: his teeth are bared, his hands are in the shape of horns. Another stands forward and offers peace: his arms are held high and open wide. The largest (wearing goggles) stands central: he is benevolent and sturdy and looks prepared for rain. The same model Renault-12 featured in the opening scenes of the 2012 James Bond movie SKYFALL. A motorbike chase raced through Istanbul toward the city of Adana before reaching a tense final shoot-out on the Varda Viaduct. One of 22 train tunnels breaching the Taurus Mountains, they were dug out by Germany in 1912 as part of the Istanbul-Baghdad railway. Crossing the natural territory of the Kurdish people --- steep mountain ranges separating four warring nations --- previously the journey required a treacherous pass through the Cilician Gates using bullock drawn caravans, confronting violent thieves, rock collapses, and death. Now, Renaults and Jeeps merge onto the Class-A European highway called the E-90 which plummets tourists from Istanbul to Cappadocia. The trains are filled with pensioners and the nostalgic. Refugees traverse the territory anyway they can. In a Turkish only re-branding, the Renault-12 was marketed as the Renault 'Toros'. Named after the symbolic bull of the Taurus Mountains in reference to the mythical transport of the Babylonian storm god Hadad. Also known as Baal, the ancient god of rain and of oracles is depicted on religious cylinder seals 'standing on the back of a bull, brandishing a mace or another weapon in his right hand and a thunderbolt in the other…he is bearded, wears a horned head-dress, and treads the mountain tops at the feet of waves'. Son of the great sky god Anu his temples of worship are secured to the mountaintops and decorated in thunderbolts and bulls. Appearing as a demon in the Marvel Comics, this cartoon image, like all myths, explains the forces beyond our control. Turkish Radio and Television Corporation (TRT) started its 24-hour Kurdish television station with the congenial motto: 'We live under the same sky'. It is a poetic statement, full of inclusive sentiment, yet Kurdish cartoons were banned in Turkey until as recently as 2013, alongside the letters X, Q and W. This draconian political move, designed to curb Kurdish literacy, forced children into the rubble-strewn streets. No longer watching television, they played amongst the rocks and discovered a battered 'Toros'. Permanently sealed inside a photograph, these sky-fallen casualties instinctively mimic the ancient storm gods, yet one child alone remains defiant in the background. Standing atop a pile of rubble, he avoids the playfulness of the others and points directly at the viewer. His action, more menacing than a pose, could be curiosity, yet it could also be hostile: an omen, a premonition, a warning of another storm. https://www.perimeterbooks.com/products/sila-yalazan-tarlabasi-vs-gezi https://www.stlore.net/-metabolising-caffeine-into-code daily 0.75 2024-02-17 https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1495779642748-T3D950H3H9E0AXFIDTMU/image-asset.jpeg ... 'metabolising caffeine into code' Author: S.T. Lore Client: Y3K Designer: Nicholas Mangan Pages: 3 Format: Poster Year: 2011 METABOLISING CAFFEINE INTO CODE (FOR NICHOLAS MANGAN) 'Outside his door, she hesitates. His office is shrouded in near darkness. Beyond a venetian blind, a desktop phone casts an eerie blue light across his face. Seated at his desk, Viktor is motionless. For a man on the verge of bankruptcy, persisting to be a major media tycoon he looks dead to the world: drifting outside linear time, with little use for human conversation. The unwashed plates at his feet complete a cartoon facsimile portrait of the laziest man she has ever known or ever seen and having little time to stamp her authority, inhaling a deep invigorating breath, she enters his room and using a neatly manicured fingernail prods a soft fold of skin sagging beneath his third rib. Sniffing, snorting, farting in a hideous release of gas, Viktor rubs his belly under a heavily stained t-shirt and using the thin slits still functioning as eye sockets inspects the pale apparition of her face: “Ambition is a bloody traitor … a real sallow faced bitch …” he mumbles — sotto voce — without a trace note of regret. The main problem for Viktor is that his initial fortune came too easily. Riding a tidal wave of luck on a local chain of gymnasiums called POWERSLAVE outfitted with red vinyl floor coverings, kettle bells and electronic stair masters, Viktor soaked up the exercise habits of office workers and of computer technicians watching TV shows and jogging side-by-side. By expanding his snack counters to include micronutrient smoothies, pea protein powders and a wide-range of dietary supplements (linked to vague trending research on Ketosis) he quickly raked in over ten-times the initial membership fees. Visual merchandising went unchecked: branded water bottles, embroided sweat towels and tie-died headbands, with ideas being drip-fed on a steady diet of late-night TV: “I only ever watch the foreign channels … our domestic networks are utter dogshit!” Inspired by a diverse range of programs, such as the cruel, voyeuristic Japanese masterpiece Susume! Denpa Shonen and US Public Access show Let’s Paint TV —“with dynamic artist-host John Kilduff”— Viktor directed a series of promotional adverts called POWER TIME. Each episode began with him being lowered in a body harness while singing a Motley Crue inspired theme song: ‘It’s Time! It’s Time! For Power Time!’ Call it luck. Call it timing. But his motivational delivery and shameless self-promotion collided perfectly with a population of sedentary telecommunications workers. The viewers ate up his new-age health recipes, treadmill exercises and home-gym giveaways and all the while Viktor kept repeating: “There are no limits! You can have it all’ ...' https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497246553562-HUXLLVW5YW8PXBV9I7P1/image-asset.jpeg ... 'metabolising caffeine into code' https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497246672908-6B7OO5KV8ZGX4IZXYIAG/image-asset.jpeg ... 'metabolising caffeine into code' https://www.stlore.net/-menace-and-wonder daily 0.75 2024-02-17 https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497496560744-TNIQLOXSFKQLOVI6J4B9/stlore_losangeles_ennis.jpg ... 'menace and wonder (interview for distort #43)' Author: S.T. Lore Client: Distort Magazine #43 Designer: DX Stewart Pages: 32 - 38 Format: Interview ... I studied the efficacy of truth serums, a thesis on the memory encoding of human faces, the role of sleep and arousal disorders and the interaction of Bufotenin (Cane Toad Poison) on our neurobiology ... reading psychological and scientific texts ranging from drug toxicity and poisoning, to the scientific basis of dreams and the use of plastics in modern cosmetics. I handled cadavers and looked at the micro and macro anatomy of the human brain. Lots of writers emerge from obscure scientific fields. I would just label Psychology, as more of a fractured pseudo science, than into that kind of role ... The space I want to convey is not alien so much - not schizophrenic, like dada poetry or a cut-up (though I enjoy cut-up) and certainly not a derivative use of drugs and drug references. I want to create a space that is stranger, lighter and more foreign. There is not much representation of swearing, of profanity, of gratuitous violence or sex in my recent book — all of the elements of society that are plainly ubiquitous. I understand this is a strange point of view. But I find value in things hidden from direct view, like ageing, the elderly, insect plagues or the disappearance of animal species, the gradual decay of memory rather than the things common to advertisements, magazines, image blogs, talkback radio, even casual conversations between ordinary people. By negating those common elements it becomes a lot more difficult, you have to be a little more sophisticated to try and to maintain the attention of the reader. I found that a real challenge. It is also selfishly a space that I create for myself to inhabit, that pushes certain realities far inside my consciousness. When I was in Papua New Guinea recently there was no electricity and I had so much space for my mind I found my mental speed slowed right down. It was a really great feeling. I even was surrounded by a swarm of bees when I was out in the ocean. They were migrating between islands and I had to lie beneath the water and just submerge myself, ignore the fear and the paranoia and just enjoy the collective noise until they passed. I want to re-create that in a text somehow ... https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497346853866-PVXVRZT74415EKKGFJ4K/distort_two_web.jpg ... 'menace and wonder (interview for distort #43)' https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497346701511-RNYX9J45PLIPHGWX51F2/distort_three_stlore.jpg ... 'menace and wonder (interview for distort #43)' https://www.stlore.net/-insignificance daily 0.75 2024-02-17 https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497496910120-DGULH42TDY7DFBC0QA6L/distort_magazine.jpg 2015 'insignificance' *Reproduction of text and introduction of events leading to closure of Paris Photo 2015 for adjunct newsletter of DISTORT magazine (April 2016) https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497247405492-M4QDB538I1I47T6HFLA0/tim_johnson.jpg 2015 'insignificance' https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1495864712228-GWS0S70YWJTIS3UTIPKP/stlore_johnson_parisphoto15.jpg 2015 'insignificance' Author: S.T. Lore Client: Tim Johnson & Tolarno for PARIS PHOTO 2015 Pages: 1 Format: Exhibited A4 sheet Year: 2015 'This text was written for Paris Photo 2015 at the Grand Palais (unfortunately shut down by the Paris bombings). It accompanied a suite of photographs taken in 1972 by the Australian Artist — Tim Johnson. What initially looks like a perverted surveillance series, belonged to a far more conceptual approach of art happenings called 'DISCLOSURES'. Tim explored how people reacted during various interactions by rearranging each others’ clothing, or by, either men or women or both lying motionless on the floor while Tim lifted up shirts or pulled down their pants. This photographic series called 'PUBLIC FITTING' was taken over a series of 20 non-consecutive days in 1972 with a large frame Pentax Camera. He noticed the wind also stripped our municipal facade of control to reveal something more child-like and innocent (not just underwear). Although showing women with their skirts blowing in the air, it was demonstrating how nature determines the behaviour of people in the public sphere. Tim Johnson is one cool cat. He is the father of twin 7 years old boys. He is in his late 60's and when we hung out he gave me a small painting of the Russian Poet Gogol in exchange for my writing. He does more spiritual paintings now-a-days and this gift represents his Buddhist philosophy. He also collects artefacts of his idols / heroes. He has an original Rimbaud personal diary; a document of Red Cloud's treaty signature with the US Government. And last I heard he was trying to buy a piece of Gogol's skull from auction ...' INSIGNIFICANCE Beside you sits a photocopy catalogue of UFO sightings, a stone sculpture from the East and a cardboard tray of printed cards … each one oddly coinciding with Sinatra’s first visit to Australia, only a few years after the publication of The Female Eunuch. Let me just say … that these documents, are not, in any way, motivated by ‘desire’ … and any reading of financial interest or puerile symbolism occupy the shallowest valley. To the untrained eye, acts that appear overtly sexual, more truly represent human beings interacting with a mystical force. A notarized dairy verifies that each act (altogether 20 in total) was predetermined by occurrence of specific meteorological phenomena. Recorded in ritualistic fashion as squalls, breezes, gales, or (the most powerful of all), as a cyclone, with this time ahead of us, we can look over the innocent reactions, the child-like visages smeared by make-up, and the entire business may help erode voguish belief systems. For we “can never understand anything by agreeing, by making definitions. Only by turning over the possibilities.”1 Violently detained in the future, a political correspondent offers me this advice: ‘disseminate this material within a week, or you’re completely out of date.” And if I am a student of history, she is perhaps compelled by contemporary aesthetics. Swept up in the hallucination of the moment (or that is the impression I am given) our discussion is amiable, but somewhat awkward, and full of her own reactionary media concerns — crushing the anti-liberal movements. But if these represent proposed solutions, I find many improbable. By posing as a futurist, I have bored of the crunching algorithmic analysis of human movement studies (our true behaviour patterns forever being ignored, passed over, as inherently fragile and somewhat illusory human gestures). And while the storm has long passed by, restoring a semblance of civilization to this small city, I hold the grey toned fragments in my lap (a crude homage to figures carved in Cambodian stone; or ornately woven into Hindu tapestries). The gales that once drove oceanic discovery, formed interior deserts, and determined materials used in our grandest architecture, deliver me upon the ice, and I stand with the polar bear, watching the ascent of the irradiating sun. It is unlikely we can expose any one true way of perceiving all this mess. For if we meet again it will be a chance collision inside the supra megacities of Mexico City, Shanghai or the urban spread of Chennai being the latest to rise. Utilising accrued data of surveilled intelligence, a sophisticated game model (coded by a power-law curve corrupting the Pareto principle) predicts the elite 5% will pit themselves against the useless 95%. And with our increasing dependence on robotics, the advance of autistic gene mutations, delicate spheres of human consciousness, along with any appreciation of natural mystery, will decline, leaving inhabitants to be captured by the ingenuity of their own devices. My softest answer to this remains simple: ‘I am unconcerned. I have consumed large amounts of an illegal drug called Norma Gene and am sufficiently inoculated against this looming virus. Intoxicated by the refraction of light on my retina, I step out into the evening breeze and enjoy recording the joyful disarray of naive reactions, occurring, right here, down in the gutter.” *1 Title and quote from Insignificance. A 1981 play script by Terry Johnson. Directed in 1985 by Nicholas Roeg. https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1495865123821-GN9P7XJT7J8XRXV69WS0/stlore_johnson_parisphoto2.jpg 2015 'insignificance' Tim Johnson's Personal Notes for Public Fitting 1971-72 "... Public Fitting began as simple instructions (to myself) to use a camera to record dresses being blown up by the wind on Sydney streets. It grew out of a work that had previously used the photographic record of performances of men and women wearing underwear in various ways and changed this into a recorded glimpse of something, that was in many ways similar, but that already existed on the streets on windy days. It was taking a contemporaneous look at the human body at a moment when there was an emotional response to an act of nature ... I started using erotic imagery more for its surprise or confrontational value than for it's sensory nature. In Public Fitting I wasn't interested in presenting young women on the street as desirable objects. Instead they are real people caught at a specific moment in time when private information was being made public, hence the title — Public Fitting. By recording people exactly as they were, on the street in the early 70's, the artwork also becomes a kind of social document. Making an artwork with a camera on the street in the early 19 70's in Australia was an unlikely thing to do, but it made perfect sense in the emerging climate of performance, conceptual and new media art, and it broke with the tradition of a static contemplated image replacing it with the immediacy of a 'live' recorded event ..." https://www.stlore.net/-open-to-a-conclusion daily 0.75 2024-02-17 https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1496108791713-1ORG6VZS03BSE94Z2BX1/10488754_331232597025758_2026650207_n.jpg ... 'open to conclusion' Author: S.T. Lore Client: Claustrum Steel Inc. Designer: Takeshi Endo Pages: 3 paragraphs Format: Web Year: 2016 OPEN TO CONCLUSION An empty star field. Silent and endless. Distant lights transmit life — possible and remote. Against this universe we possess steel chips of technology. Located in Ginza, Tokyo, Claustrum Steel Inc. views a complete world view with citizen access to similar items: keys, phone, pen, credit card, digital storage, and encrypted information. Claustrum designs functional items to facilitate our urban survival by offering a series of open, lock and close capsules that reflect our bio-isolation. Torch glares cut through metal. A fiery glow pulses. Sparks shower into a black liquid. Illuminating ways out of this darkening world. All materials used are earth-bound and durable: life-cycle costs are considered VIA longevity and high-strength. Stainless steel is processed to mimic the urban exteriors (of grime, of darkness, of weather) and enhance our knowledge of any unconscious segregation. By manipulating the surface, elemental markings are revealed and the alloyed steel is then drilled, cut, polished, blackened, and angled (mirror, minimal, and sleek). All depth appears in the surface. Every process is visible. Aesthetics are purposefully neutral, culturally discrete and universally pleasing to pursue a continuum between human consciousness and our basic element: CARBON Opening with a machine cut precision. Folding along a rectangular path. Beyond the sprawling and complex beauty of material architecture, a gateway is revealed into the personal. It takes discipline to discover another world and intelligent research to navigate modular habitats. Claustrum creates technology with dedicated and sophisticated workmanship: requiring the fewest practical elements to operate with effortless realism. Human actions move articles with intuitive motion. Weight and balance is bounded by singular lines — simple in form — pure in material — modern life is felt with a new awareness of the physical self. https://www.stlore.net/-the-dawn-process daily 0.75 2024-02-17 https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1498194481574-TO0RNC6IYCODGPU1XUMK/image-asset.jpeg ... 'a golden breed; a dawn process' https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497509419339-FW09H11DDZ2DD010C640/image-asset.jpeg ... 'a golden breed; a dawn process' https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497509397737-S9NECQIRHBKYVWXOL7GL/image-asset.jpeg ... 'a golden breed; a dawn process' https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1496205984578-EHVVIJ79EMH9SLPVOO67/image-asset.jpeg ... 'a golden breed; a dawn process' Author: S.T. Lore Client: Y3K / World Food Books Designer: Joshua Petherick Pages: 24 Format: Softcover Ring-bound, 210 x 150 mm, Edition of 100 Year: 2010 "Of the poster, little is known, beyond the formal dimensions. Measuring 120 by 100 centimetres, slightly ripped and torn at one edge, this numbered edition 1/1 includes the artist’s own initials — VA — scrawled haphazardly in the right-hand corner. By all accounts, this original airbrush print was dredged up during the 2005 demolition of local Art-deco horror cinema The Odeon. Found sealed away in a cardboard tube with other discarded movie poster designs — for POSSESSION (1981) with Sam Neil and Isabelle Adjani and for NEXT OF KIN (1982) with John Jarrett — this one-off hand produced edition was apparently commissioned for a never-released science fiction movie entitled: A GOLDEN BREED (1987). Pushing aside his scant belongings (a shoebox, a string bag of oranges, a thin foam mattress) Oliver Hextall reaches out with his long and artistically elegant fingers to re-examine the work. Despite the condition of the poster, the imagery retains the same powerful and technically flawless composition. Expressionistic colours blend seamlessly with realistic portraiture to create a mysterious, hypnotic backdrop. Backlit by the malefic circle of a rising sun, under a sky streaked by weird stretchy clouds, titanic buttresses of rock shelter a crescent shaped sandy beach. Devoid of any trees or the peaceful shapes of Pacific birds, ocean waves crash into the base of a large stone in the centre of the beach. Carved with a multitude of pregnant figures (long-limbed beings with rounded bellies and pointed teeth) this totemic sculpture is surrounded, on all sides, by a strange array of hundreds of egg-shaped orbs. By far the largest figure inside the poster is the magnificent portrait of the wild-eyed woman. Airbrushed into the foreground, half-turned in profile, her eyes are pinned by intractable pupils as her left arm clutches a blunt medieval weapon. The dynamic posture clearly establishes a moment separated from a longer string of action, as her sandalled feet occupy a ruin of fragments shattered from a nearby orb. In the distance, under a rock cornice, a priestly looking figure raises his arm before a sheltered army of longhaired soldiers as they prepare to launch forward a momentous beach assault. A dark drip of blood clings to the woman’s headband as she stares defiantly outward: with one eye fixed on the viewer and one eye fixed on them ..." https://www.stlore.net/stlore-nada-new-york daily 0.75 2024-10-12 https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1496291924052-66LVPQ8H5WBBPLTGZ8LW/image-asset.jpeg ... 'nada new york' https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1496292029673-WVS6QDW955OHTW5QKJ4L/image-asset.jpeg ... 'nada new york' https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497252157926-WZL1EGU7Q4DDNQV9VSAE/image-asset.jpeg ... 'nada new york' https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497252209209-7HEW0ZYU8WV6NKSF3BA1/image-asset.jpeg ... 'nada new york' https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497242115179-KFFOO29P6802MYLAZBM2/image-asset.jpeg ... 'nada new york' https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1496291542334-03ECCB4UKTMORVB9JXV0/Minerva_NADA_front.jpg ... 'nada new york' Author: S.T. Lore Client: Minerva & Rainoff Designer: Robert Milne Pages: 29 ISBN: 978-0-646-93840-0 Format: Fictional Texts and Biographies 400 Copies Year: 2015 "... Incorporating carbon-fingerprint dust as a base material, like a new-age detective, he agitates and inverts antioxidant cereal boxes and organic milk box cartons, filtering these objects from fixed positioning to reveal any detritus lost in the print and edit room gutters. Similar to the dust that grips our delicate skin tissue residues, he explores a resinous spectrum of visual and tactile nutrients left behind, grading his discoveries for qualities of fineness, of adhesion, of sensitivity, of colour, and of flow. Concerned with transforming these radical assemblage combinations, he blends the synthetic and natural materials by leaping between digital, manual graphic and sculptural processes until sensual relics are created that can nourish our future visual-tactile understanding. The fantastical titles (“Petrified Dawn III”, “Capitulating Study I” et al.) hint at the layers of complex imagery once produced by pioneers of Special FX prosthetic teams and Fantasy RPG designers. Petherick convincingly argues that visual and material production is never lost, but merely fossilised, and at the break of a new dawn, there is no event horizon, only an apparent horizon, an ambiguous plane dissolving material boundaries: beautiful, cool, serene ..." https://www.stlore.net/-institute-zagreb-1986 daily 0.75 2024-02-17 https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497345328018-LUS0B5TLF6H7GF1ICMN6/nicholasmangan_stlore.jpg ... 'institute zagreb 1986' INSTITUTE ZAGREB 'The men’s faces loom in the parabolic glass: frozen, obtuse, blank ... their visage magnified in harmonised bureaucracy and autistic dedication. She had already been questioned by them once, not that long ago, about the disappearance of certain items from BEACON Pty Ltd. Was this visit the same again? “Tell us about ZAGREB. The Institute Zagreb. What does it mean to you?” Nothing. No reply and the men hover closer. “We found these parts: copper-free aluminium cast housing, the number 9 fabricated from heavy duty aircraft bolts, the rest includes lead compartments for various moving parts, weapons grade steel, and it has been coated in something ordinarily used on the outer surface of submarines.” The girl blinks in response but does not move. Her eyes are followed by their stare but that is all. “Look I’m afraid you’ll have to leave her alone. This therapy will take at least three treatments and she is still not sure of her bearings. I have to ask you to leave.” Another hulking figure shadows the nurse in the doorway, so the men pause for a brief moment before exiting into the corridor and reluctantly leaving the premises via one of the exterior glass lifts. On the far-side of the city, they could see the empty space BEACON Pty Ltd once occupied. In the distance is the cleared spot, a blasted void. They exit into a de-compression chamber on the ground floor, where they are required to wait for 30 minutes. "Look We Don’t need this. I’m telling you. We’e not going to find out any more, we should be going out there and seeing for ourselves what the place looks like . You wanna sit around here, bent out of shape like jagged knives, while the evidence is stacked up beyond the few metres of a simple moat? We just gotta time the tideflow and we’ll be sweet ... What about the girl? What’s her age? I don’t know, maybe Twenty-one, Thirty, thirty-two. Who can tell? I know that she doesn’t lie all day in the sun if that helps. Girl drips into view like tall milk. Forget about it. I know what you’re thinking. You wanna put her back in there and use her as a decoy, put her in a position to be taken back ... I mean, what else do we have? ... Do you even have a map of this place? ..." https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497676154577-BOYBLP8RCSWXELHIDQ6Z/institutezagreb_stlore2.jpg ... 'institute zagreb 1986' https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497675913131-NTHUUW28EQLYQJRM5RMO/petherick_zagreb_stlore.jpg ... 'institute zagreb 1986' *PART B Illustration by Joshua Petherick (2012) https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497345049128-8FJ67IDJ4M1182ZG04ZE/institutezagreb_stlore.jpg ... 'institute zagreb 1986' Author: S.T. Lore Client: Discipline Designer: Annie Wu / S.T. Lore Illustrations: Joshua Petherick Photographs: Nicholas Mangan Pages: 208 pages, 18 x 12 cm Format: Softcover, Offset Print Year: 2012, English, ISBN: 978-0-646-57919-1 Presented in a flip novel these two novella-length works of fiction are the first solo publication by S.T. Lore and feature a complimentary duo of stories that pivot around characters immersed in ambiguous scenes of claustrophobia, obsessive archiving, impossible architectures, image-saturation and delusion. 'Institute Zagreb 1986' intertwines two contrasting narratives about a religion conceived by a pair of demographic analysts on the rooftop of an abandoned building and a lonely rock-collecting character named 'The Saxon'. The narrative is collated through uncovering archived audio recordings retained by an ʻexplosion proofʼ telephone. Institute Zagreb 1986 is interspersed with a series of graphic elements created for the publication by artist Joshua Petherick. 'The Air of Conquerors' is a surreal detective fiction set against a backdrop of the South Australian Desert scattered about with ruined Parisian monuments. It chronicles an academic search for a solitary telephone operator who disappeared long-ago into a subterranean hotel. The narrative was written in reference to a series of photographs taken by the Australian artist Nicholas Mangan while on residency in Paris in late November, 2011. These images were shared with the author as part of a correspondence project exploring the fictionalisation of images — both historical and the everyday ... discipline worldfoodbooks mottodistribution b-r-u-n-o gangatelier https://www.stlore.net/-watts-tale-of-endless-ore daily 0.75 2024-02-17 https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497579942436-W17MERVWJ0ZHZRDE6WMP/stlore_discipline_endlessore2.jpg ... 'watts tale of endless ore (discipline magazine)' “Who are you? Where does that saying come from?” He ignored my questions and span the wheel. A kaleidoscope of numbers flickered before my eyes. The number 19 was passed over for Black 31. The widow had placed a stack on black and collected. She encouraged me to try again. Placing my chips again on Red 19, I could not let the croupier pass unnoticed. “Have we met before? Have you always been here? Here on the ship?” The impostor, the croupier, ignored me and watched as other hands placed their bets. When all is done he makes a signal, but before spinning the wheel, he quietly speaks to me again. “(this and that) put (here and there) out of sight of Polaris”. The greedy crowd continue ignore him. All eyes are on the wheel. It was me alone who couldn't believe it. "Polaris? Is that the name of the ship?" He refused to answer me and, infuriated by this incipient insubordination, I jumped over the table. Chips were knocked everywhere and the wheel come crashing down. I seized the Pervert around the neck and was squeezing the very life from him. "What are these statements? What the hell do you mean? I need to get out of here man. Polaris! Fucking Polaris! You mean the star? Listen up arsehole! I was born in the city. I don't look at the fucking stars!" Staring directly into his eyes I could see nothing but dark circles; they were vacant, utterly vacant. I sensed no feelings of malice nor pain from him: just egoless circles staring back. His only reaction was to blow tobacco smoke in my face and like a sea fog it enveloped me. I began coughing and had to release my grip. Desperately I reached out again for him, knowing he had answers to my endless questions, but I found only a solid wall. With my hands I felt the edges of hexagram tiles in the darkness all around me. Somehow I had been transported back into my room, plunged into the darkness of before. Slumping against the tiled floor I curled up into a ball and gently rocked myself back and forth like a child abandoned in a war-torn and borderless country. All authority had deserted me. I looked upwards for any sign of grace or of love. I released my hands around my knees and stopped rocking, then calmly lay flat on the ground. I was willing to tell my interrogator all my knowledge of the gold. "You have won," I yelled. "You have won." Yet there was no response. https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497243503648-7JNJ3CYWLU7HKNHB1L8Q/stlore_endlessore.jpg ... 'watts tale of endless ore (discipline magazine)' Author: S.T. Lore Client: Discipline Magazine Designer: Ziga Testen Guest Editor: Maria Fusco Pages: 176 Format: 30 x 23 cm, Perfect Bound, Full Colour, Edition of 1000 Year: 2012, ISSN 1839-082X WATTS' TALE OF ENDLESS ORE '... There was a ship. A luxury ship. An Ocean Liner over ten stories high. It had a room like this, a view like this, though slightly different. There was a private balcony, 24-hour room service, an indoor cinema and catered dining hall. Everybody, everywhere, was suntanned. I was on an assignment for an industry magazine, basically a hired-gun for pensioner tourism. I had been hired to document life aboard the ship; life for the passengers and for the staff. It was a slow-paced gig compared to my usual but one I was happy to take due to my recent fear of flying. Rarely do I speak to anyone of these commerical projects, but unfortunately, I am willing to discard anything — ideology, logic, values — in order to upkeep my gambling lifestyle. Most days began with me reluctant to leave the room. I despise the noise of crowds you see. I shot several rolls of film from my balcony, seated alone, over the remnants of a recent breakfast. I took dozens of shots of the endless expanse of the blue ocean and some of the interior suite Eventually I ventured into the routine of the ship. Finally, I became accustomed to life aboard. Mostly I was alone, apart from the odd fling, and yet soon I met a drinking companion ... https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497581622961-U5PD7QWYKU2Y2VOI3XV7/stlore_discipline_endlessore.jpg ... 'watts tale of endless ore (discipline magazine)' Over the next few days we would meet around NOON and again at 5 and 8 PM, to drink, but to talk about life also. She had been aboard for a record 2342 continuous days and never left the confines of the ship ... even when in Port. Everything was at her disposal: top-notch medical facilities, luxurious shopping boutiques, a parade of new companions and troughs of exotic food. On the board the ship she enjoyed a minor celebrity in this transient community and this seemed to occupy the vacant spot deserted by her late husband who died some 7 years prior. In my opinion, she was a well-kept woman, quite elderly, but also quite vivacious and friendly. We would drink and talk of her earlier life. She flirted openly with me but wanted nothing in return, just the dying hints of nocturnal seduction were enough. We danced once, briefly. She was quite graceful despite here restricted movement and it was actually how we had met. The widows’ dance occurred once a week, on a Friday, from seven until ten p.m. I thought it a strange event, perhaps in poor taste, and yet I learnt it had been initiated by a travelling couple. The wife had been dismayed by the loneliness of the widows aboard - her dining companions and her bridge partners - and so she organised this weekly dance. A dress code was strictly enforced and the widows wore evening gowns. When I first entered the room I was struck by a veritable museum of fashion: a floating time machine of gowned widows twirling and laughing. Out on the floor, the other men, although mostly married, cordially escorted the ladies in the dance routine as best they could. Almost immediately I spotted her in the corner. She was holding court at dinner time, like a countess of the sea and I confess I was moved to approach her by the atmosphere and the display of loneliness and conviviality. I do not dance well and yet I do not lack confidence or charm and she followed me onto the floor. Despite all the ports and cities we were to visit, the wealth of parties and dignitaries, I shot a single image of the dancing widows and used it for my article. It was a perspective of genius and one that has further enhanced my journalistic career. I selected a photograph blurring legs and colours and forms of fabric as they swirled across a backdrop of the deep blue oceanic backdrop. Despite the sun having set, the light was perfect, and I captured a beautifully composed shot. Everything about the image suggested movement and grace and defied those unrelenting elements of nostalgia, of gravity and of age. Readers responded to the article in their hundreds ... " Entering the dining hall downstairs we approached the Roulette table. The man behind the wheel looked unlike any other croupier aboard the ship: unshaven and with a long, scraggly beard, his thinning hair was tied in a loose knot. His clothes were also mismatched and his fingers stained a deep tobacco brown. Zola did not pay attention to him and held out her hand to receive some chips. "Shall we bet on black or red? On thirds? Or shall we gamble all on a single number? Go on choose a number", she encouraged. I placed a stack of chips on Red 19. “What is set upon the table sits upon the table ... ”, the croupier uttered under his breath. “Excuse me?!” “What is set upon the table sits upon the table ... ” He repeated again. It was the statement from the note I found under my door earlier. https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497580528988-9WFGH0YPG9H62UZZIL1D/stlore_discipline_endlessore3.jpg ... 'watts tale of endless ore (discipline magazine)' https://www.stlore.net/-flash-hunter daily 0.75 2024-05-19 https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497514030484-O5O2NLKG288QUDPQD38D/zephyr_pavey_stlore.jpg ... 'kwanon, flash hunter' https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497510709643-00WC91LH5Q2ZTO92U4I2/UN_stlore_pavey.jpg ... 'kwanon, flash hunter' KWANON FLASH HUNTER AGENT OF MERCY Entering a sunless stream of obliterated faces, a paper merchant clips a pedestrian one night and barely slows down; but it is uncertain if he was just in a hurry, afraid or sick of the drunks, but while accelerating away, he watches the victim stumble to his feet (framed inside his rear view mirror). At night, he is haunted again by the reflection of the man's ink-stained hands raised in fury. A salute to subversive journalists of a mutated breed. Now, as a forensic spotlight shines into this vacated space – all that is left are the stains, the flares, and the flashes: the messages from people hooded and hidden. Blow up. Zoom in. Imagine a primitive future shaped by criminal architects. Black headlines cover a white wall. Typeface. Calculator. Diagram of a pen. Under the faded CANON logo is a love heart stamped in the bottom right corner. Street love and gutter credentials of the Anti-Fascists. Disciples of the pitbull and the greyhound. But the original battle began long ago in Japan, the land of the Rising Sun. The year was 1934 and a humble buddhist man began manufacturing his own selection of bootleg cameras with long, sniper-like lenses. He named these instruments after the goddess of a thousand eyes anfd a thousand arms. She is KWANON – the Bodhisattva of Mercy. This was, of course, at the very beginning of a wholesale photographic era. Witness to the I class submarine. The '92-Type' Airplane. The Kwanon camera. All world leaders. But, nothing was ever manufactured: the advertisements featured models constructed of wood spray-painted black. It was a mystery. A bluff. A battle with the Germans for precision engineering in the war to construct the smallest range-finder. Canon was born street-side from a Japanese Buddhist whose love is stamped in the bottom right hand corner of our documented life. Fringe dwellers now denigrate the faded image of this news agent of mercy. Flash hunters document the scrawls of dirt-bag emperors and thousand armed rulers who form gang religions. Merciful hearts capture the news in a solitary frame where the villains face each other in the circle pit of apathy down under ...' https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497510682788-TD6OJPPNT4ZVV9KP1P3G/UN71_constructedworld_stlore.jpg ... 'kwanon, flash hunter' *Cover Image: A Constructed World, "Treesex", 2010 (detail), costumes, mixed media, dimensions variable, courtesy a constructed world and solang Production Paris and Brussels Author: S.T. Lore Client: UN Magazine Photographer: Zephyr Pavey Designer: Brad Haylock Pages: 137 Format: Softcover, Grange Offset 70 GSM, Full Colour, Edition of 1000 Year: 2013, ISSN 1449-6747 https://www.stlore.net/-have-it-your-way daily 0.75 2024-05-19 https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1498195863795-R0T3NHAPKQ5UVUZUJF4R/toiletsnottemples_benedict_leonard2.jpg ... 'have it your way' https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/1497588578845-KKSY4BQCT39IBF4BERDY/minerva_willbenedict_toilets.jpg ... 'have it your way' *'Toilets not Temples" by artists Will Benedict and David Leonard. Shot in locations in France, Norway, India and the USA, it explores the transnational politics of food distribution through reportage, interviews and analysis, with various protagonists including a talking dolphin, giant rats and human rain. Author: S.T. Lore Client: Minerva Artists: Will Benedict & David Leonard, Fiona Connor, Joshua Petherick, Puppies Puppies Format: Catalogue, Web Year: 2015 PANIC MERCHANT 'Polish-born Władysław Ziembicki (belonging not to one system, nor to any nation) re-entered the government building at exactly 11.23pm on the 31st of December. Using a pocketknife to force the locks, he quietly navigated to his desk and logged onto beige PC desktop: Number One. His profile — WZ — prefaced by an obscure quote (never referenced): ‘In the din of language, in the millions of words per minute, in the excrescence of press, film and television, there looms another, unmediated reality; and the first, which is mediated, cannot keep pass with the second, ever less so in the last century.’ Now in the near darkness, his belly distended by KFC Zinger burgers, Big M flavoured milk, and ENDONE® prescriptions, he posted to the World of Warcraft forum: ‘A nimbus of evil surrounds Blizzard Incorporated. Single crimes are no longer distinguishable from bureaucratic cruelty. I have been here 8 years and taken issue with every single expansion. The traditional ways of making gold (on top of questing and dailies) was to hone a crafting (or gathering) profession. It required at least a month to make any money, and yet old characters, rich from the previous expansions, wouldn’t know anything about the misery of starting afresh. No doubt those closest to the original hoard, as with many other ancient coin hoards, put out false information claiming: ‘that all things ancient, found in their part of the realm, belong to them!’ But to me, this only leads to further secrecy and misinformation. On top of all that, the old world mats have been disposed of and I could tolerate the world up-dates if they weren’t such an annoyance to navigate: unable to fly, doomed to hug the mountain passes, forced to struggle down perilous rope ladder descents. I mean I enjoy playing the monk and the holy priest (yet am only passably proficient at shadow). If only my shield, my sword, and my helmet were intact to protect from the unswerving arrows. Sadly, Blizzard has limited the ability to customize our armour and characters and cheapened the entire experience. The heraldic symbols that once distinguished armoured participants in combat (their faces hidden, their identities enclosed, their individual features masked forever). The bend sinister drawn crossways from right to left, crossing the centre and angling downward, featured on banners and flags, banderoles and pennons, pinsels and gonfalons, indicated a company disgusted with ‘formal rules’. Yes, I know these posts are usually met with, “K, bye” and “Don’t let the door hit you on the way out” but I’ve taken another wrong turn and figured I’d share what I feel. Yes, maybe I stayed too long and my chaos bolts are limp: the rest I’m sure you can guess. The game is no fun anymore.’ https://www.stlore.net/reversible-destiny daily 0.75 2024-06-10 https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/b5c8e727-a107-4402-9195-6f6de84aa783/D0D8144-R1-30-7A.JPG stlore ... 'reversible destiny' - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.stlore.net/collective-informants daily 0.75 2024-05-19 https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/93b8f1a1-0e8c-4751-84de-c38d85b93379/Tahrir_Square_during_8_February_2011.jpg stlore ... 'collective informants' - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/3dbcb188-b21f-4774-a8ef-927d9a17d4e8/Fiona-Connor_063.jpg stlore ... 'collective informants' - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.stlore.net/2011-the-five-surfaces daily 0.75 2024-06-10 https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/fcc2e698-9260-4172-b070-a9b92dc6d113/TheFiveSurfaces_10.jpg 2011 'the five surfaces' - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.stlore.net/2020-dirty-software daily 0.75 2024-05-19 https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/28d4c401-070f-43df-8678-eef99977b640/_AC_3844_D.jpg s.t.lore ... 'dirty software' - Make it stand out Termite Economies - Nicholas Mangan Author: S.T. Lore Client: Bom Dia Books Pages: 152 Format: Fiction Year: 2020 https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/06e489fe-0e07-4936-a50f-2e83f1237485/Screenshot+2024-05-19+at+4.53.05%E2%80%AFPM.png s.t.lore ... 'dirty software' - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.stlore.net/2022-rings-of-debris daily 0.75 2024-10-12 https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/c0ad5e7b-c7dc-4d39-a9f9-2f3a1ead1804/PiguetText_image2021.jpg s.t.lore ... 'rings of debris' - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.stlore.net/2023-edge-detection daily 0.75 2024-10-16 https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/a7328ff2-c204-4ea7-9ed6-79c94e4ea1c9/Andre-Piguet_2-scaled.jpg 2023 'edge detection' - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/64a369e1-62b2-460f-a3d9-126df9d73902/Andre-Piguet_7-scaled.jpg 2023 'edge detection' - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.stlore.net/2024-core-correlations daily 0.75 2024-10-27 https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/e8466154-1931-4e66-b8e4-28de75f17f96/Screenshot+2024-03-08+at+9.19.52%E2%80%AFpm.png 2024 'core coralations' - Make it stand out Nicholas Mangan, Core-Coralations (early production still), 2022-23, single-channel digital video, high definition, colour, sound, image courtesy the artist https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/9f67b35c-1bee-44dc-9c24-06520b496beb/Screenshot+2024-10-12+at+1.38.44%E2%80%AFPM.png 2024 'core coralations' - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/31ed1b1c-6a03-4198-b713-503f07137856/Screenshot+2024-03-08+at+9.20.40%E2%80%AFpm.png 2024 'core coralations' - Make it stand out Nicholas Mangan, Core-Coralations (early production still), 2022-23, single-channel digital video, high definition, colour, sound, image courtesy the artist https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/7ec85b2f-a0ac-48ef-96a4-8b548bdf3301/MCA-Workshop%232.png 2024 'core coralations' - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/591402a9a5790aa5282317c3/7fe4cb59-c7af-4c7e-a6e8-d8e33ec2a934/MCA-Workshop%233.png 2024 'core coralations' - Make it stand out Climate Fiction Workshop to Accompany ‘A World Undone’ May 2024