07w11:1 Art Review: Zin Taylor’s ‘Put your eye in your mouth’ at YYZ (March 10 – April 21 2007)
As noted, I’m beginning specific postings of reviews, beginning with previous GR reviews. This is from GR 07w11:1. – Timothy
The work of Zin Taylor could be accused of inspiring more jealousy than admiration. Consider the facts as they appear: part of the Guelph university educated elite clique, he gets to be in show after show in prestigious galleries with work that is sometimes weak (the piece at The Power Plant in 2005 for example) and Taylor’s continual presence in the Toronto art scene PR seems to be attempting to break the record established by Derek Sullivan. Both artists appear to have been elevated to that collection of what seems like the less than ten artists who are overexposed in Toronto and who are continually asked to ‘represent’ this city of millions to others and to itself.
And so it was with ambivalence that I went down to the YYZ opening on Friday night; a chance to drink beer, be social, see some people I like to talk to and consider friends, and be ignored by those who used to say hi to me but now just think I’m an asshole or something. I wasn’t at all expecting Taylor’s video to win me over as it did, and it is now on my highly recommended list.
And yet, my appreciation for this work was based on my ignorance of its subject matter. I recall seeing years ago the call for submissions from the Yukon asking for artists to come on up and be inspired. I also recall hearing that Allyson and Zin, two artists I’d recently met through a friend, had been chosen to go. And so I knew over the past few years that Allyson and Zin had a connection to the Yukon and that they were making work about it.
With Put your eye in your mouth (which a friend suggested meant ‘digest what you see’) Zin has made a sort of fake documentary on a fake thing: Martin Kippenberger’s metro-net station in Dawson City. Now, my ignorance here was based on being familiar with Kippenberger’s name but not his work, so when watching the video, I thought Zin had seen this structure and made up an elaborate history for it, tying it to some art-star’s name in order to get in the trendy props to the masters. Turns out the Metro-Net was legit (also here), and yet this only diminishes by a bit the overall video, which is still fantastic. It is this type of elaborated imagination that I want to experience with art, and in as much that conceptual art usually goes for obscure one-liner cleverness, I hate it for its denial of the imagination. Now, considering Taylor’s background from Canada’s new conceptual It-School, I suppose I can say he’s showing that you can be both conceptual and imaginative, and the product is better for it.
07w11:1: Art Review: Darren O’Donnell at CCL1 (March 8 – 28 2007)
This is reposted from Goodreads 07w11:1. – Timothy
Darren O’Donnell at CCL1
Darren O’Donnell’s work over the past couple of years has been fantastic. His Suicide Site Guide to the City wowed me when I saw it in 2005, and apparently this was because of the ignorance mentioned above, as Kamal Al-Solaylee wrote in his review at the time ‘…only audiences who haven’t been to the theatre in say, a few decades, are expected to be dazzled by the presentation’. I admitted in my review that I was one of such an audience. Yet, how could we not appreciate Haircuts by Children or Ballroom Dancing for Nuit Blanche?
In an arts scene riven by competition and jealousies, Darren’s work is something that we all seem to appreciate without such pettiness. I recently attended the latest production from his theatre company, Diplomatic Immunities: THE END and was genuinely touched: Ulysses Castellanos singing Queen’s `We are the Champions` at the end of the show almost made me cry. This was the song voted on by children at a local school to be that which they wanted to hear at the End of the World. (My vote at the present time is either The Beatles’ `Tomorrow Never Knows` or `Sgt. Pepper’s Lonely Hearts Club Band (Reprise)` and as I listen to them nowadays I imagine it playing over the footage of this video.)
But what is it about Darren’s work along these lines that is so generally fantastic? For me it highlights what is perhaps a greater shift in our culture, which is a movement toward an interest in ‘real life’ (and to that end, reality-tv represents this transition, by using non-actors but still tying them to some sort of narrative structure). The work of Darren’s theatre troupe, Mammalian Diving Reflex, forgoes an explicit narrative structure and seemingly let’s that emerge on it’s own.
Here, I’m most inspired by a snippet of dialogue from a Star Trek show. In the Enterprise episode ‘Dear Doctor’ which first aired in January 2002, there’s a scene depicting movie-night on the starship; while watching ‘For Whom the Bell Tolls’ a 1943 film being shown in that time-frame of 209 years from its creation, the character Ensign Cutler asks the alien Doctor Phlox, ‘They don’t have movies where you come from do they?’ He replied, ‘We had something similar a few hundred years ago, but they lost their appeal when people discovered their real lives were more interesting’.
Now, imagine living on Phlox’s planet during that time of transition, when people were discovering their own lives were more interesting. Wouldn’t that time resemble our own, with diminishing box office returns, reality-tv programing undermining celebrity culture, a global communications network allowing for unedited dialogue within varying degrees of privacy, and the rise of the documentary genre in popularity?
This statement was typed out initially by a scriptwriter in Los Angeles at the beginning of this decade and perhaps was meant both as an inside joke to Star Trek’s fanbase (Shatner’s ‘Get a Life‘ skit from his 1986 appearance on Saturday Night Live) and reflecting the concern of Hollywood that they would lose their market. Three years later, Enterprise was cancelled, the only franchise since its resurrection twenty years ago to not last through seven seasons.
Leaving DI: The End four weeks ago I was convinced that our own lives were definitely more interesting. The performance incorporated an element of chance in its selection of two audience members during the course of the evening for interviews by the cast and attendees; on the night I was there, I was stunned by the answers given by the second girl chosen, who told us of saving the life of one of her friends during a climbing accident years before. Also, when asked a question along the lines of ‘why are we here’ she gave such an unexpectedly Buddhist/Eastern Tradition answer that I found myself saying ‘wow’.
The point made for me was that this girl, who had simply been someone sitting in the aisle in front of me, had a much more dramatic world inside her than anything I’m ever offered by fictional constructions, and I took this knowledge onto the street, walking with my companion who was someone new in my life and hence still full of mystery, and saw everyone around me with a new appreciation for our variety, our potential, and of the unknown masterpieces of real life.
This past Thursday, I attended Darren’s opening at The Centre of Leisure and Culture No. 1, Video Show for the People of Pakistan and India which consists of an approximately twenty-minute video and chapbooks of the blog Darren kept while on tour in Pakistan and India late last year. I’ve prompted Darren to place this video online eventually, and if and when that happens I’ll follow through with the link.
At the time of Darren’s trip, I was moved to contact CBC’s The Current because I’d recently heard an interview (begins at 7:45min) with the 24 year old Afghani woman Mehria Azizi who was doing a tour through Canada showing a documentary she’d made about women’s lives in her homeland. This had been one of the more insightful things I’d been exposed to with regard to this part of the world. I imagined Anna Maria Tremonti asking Darren about his conversation with Mike the soldier on the plane, or asking for stories from Darren’s experience with the humanity of these people. I figured it would have fit into The Current’s mandate as I understood it: to educate, to inform, to bring us perspective. Darren’s work deserved this national audience. There was a bit of a followup from someone who was going to forward the info to a producer but in the end nothing came of it. Meanwhile, due to the unreliableness of the CBC’s internet stream, and what I see as too much focus on Canada’s military presence in Afghanistan, I’ve avoided listening to The Current at work for the past couple of months, preferring instead France Culture or the BBC. I did catch the broadcast the other day of their self-flagellation on under and mis-reporting the story of Global Warming. Anna Maria was somewhat bothered by a statement of one of the scientists: ‘never underestimate the illiteracy of reporters’.
The following morning, (that of March 9th) the CBC included in its news roundup the visit by Canada’s Governor General to the troops in Afghanistan, and there was something said about ‘putting a human face’ on the story (mov and realmedia). What’s unfortunate is that Michaëlle Jean, who in the past has seemed an intelligent, well informed woman, was responsible for the stupidest statements in the report. ‘There’s no future without women …’. No shit. But perhaps the real fault lies with the editors of the video, or the fact that she used to be a reporter.
The evening before I’d been to Darren’s show to see the Pakistan video, the talk of putting a human face struck me as more this meaningless political rhetoric. Why are all these human faces those from Canada? Where do we ever see the human faces of the people we’re supposedly helping? How is their humanity ever brought to our attention? The fact that Darren could undermine the agenda of Canada’s national broadcaster with a 20 minute video perhaps suggests just how under-served we are by photo-ops, predictable rhetoric, focus on soldiers, and all the other regular bullshit. My understanding of the situation and of the people involved has been greatly enhanced by Darren’s first-person and personal reporting and the fact that the CBC found him fit only for their hipster-oriented Definitely Not the Opera kind of suggests how little they take his work seriously … something silly for the kids right?
07w04:1: Book Review: Mr. Mee (2000) by Andrew Crumey
I’m beginning special postings for book and other reviews, and starting by reposting previous considerations. This is from GR 07w04:1 – Timothy
Mr. Mee by Andrew Crumey (2000)
The truth is I wanted to publish a review of Mr. Mee in the summer of 2005, and it is a novel I read in the summer of 2004, but obviously didn’t get around to it until now. Mr. Mee is a novel of three story-lines, with two of the major players being Rousseau and Proust; Rousseau as a character, and Proust as an idea. It is set a decade ago, in 1997, during the early years of the internet – which is an important element to the fiction. The eponymous character of Mr. Mee is a retired, naive academic who buys a computer in order to use the nascent World Wide Web to try and track down an obscure book. In a Borgesian allusion, Rosier’s Encyclopaedia has been referenced in the bibliography of a book he brought home from a leisurely afternoon at the used bookstore.
Andrew Crumey shifts the scene to tell us more about the Encyclopaedia by bringing us back to 18th Century Paris, and introducing us to two characters, Ferrand and Minard, two down-on-their-luck copyists who are commissioned to copy a bunch of nutty writings by a Mr. Rosier. F & M are named after two people who Rousseau wrote about in his autobiography, and Crumey’s speculation on their backstory, and its consequences were outstanding. This novel is simply intellectually delightful in that regard. Perhaps they had something to do with Rouseau’s famed paranoia? Maybe they thought Rousseau a murderer? And perhaps their paranoia was fueled by their work fair-copying this work of an 18th Century genius who’d thought up 20th Century quantum physics and binary computers in 18th Century terms? (One of my favorite parts of the book describes Minard’s construction of a digital-binary computer out of string and bits of paper, and he is heard to complain about needing more memory. It seems that even in the 1760s, it was desirable to have more RAM).
In the 1990s, a professor lies in a hospital bed, contemplating his life over the past several months, and the possibility of his death. He had been a professor of Proust, and had come to teach this work of autobiographical literature after an adolescent infatuation with the work of Rousseau. And so, as he writes his memoir, he reflects both on Rousseau and on Proust. This is the tour-de-force of the novel. I found this the most satisfying, and appreciated it’s intricate subtleties. The professor comes across as just another dime-a-dozen mediocre academic who live their quotidian lives a students and commentators of past human achievement. The Proust-bug has not yet bitten me, and it was here I learned of how Proust described his magnum opus as being ‘about an I who isn’t I’. The introduction of this thought in the professor’s memoir raises the question of how much of his text is about an I that isn’t he. The overall impression is that, faced with impending death, Dr. Petrie has at last given it a try, written his work of autobiography about and I who isn’t I, inspired by his mastery of knowledge of these two masters of the art. Dr. Petrie ignores whatever sense of failure that has brought him to this point – the broken heart, his cancer, the sense that it was his attempt to initiate an affair with a student which brought on the illness. Instead of being cowed by a sense of mediocrity in comparison to his literary heroes, he gives it a go and in so doing constructs a literature of the self. The added poignancy comes from the embarrassed recounting of the infatuation which he blames for the illness out of a sort of hubris, and it is perhaps through this honest memory that his work becomes literary and becomes the final accomplishment of his life.
And perhaps here it is worth remembering that a year ago, James Frey was in the news for his book of autobiography, and it should be an embarrassment to anyone who claims to run a book club to not understand the need to embellish, to lie, to cheat the details as (what used to be called in a more literate age) poetic license.
Crumey’s skill is seen in his ability to weave together the tale of naive Mr. Mee, the octogenarian centre of the story, with the dying professor and the story of Rouseau’s Minard and Ferrand, and in the process, imagine 20th Century theoretical physics in 18th Century terms, remind us of what the internet was like a decade ago, muse on human foibles and the nature of autobiographical literature. Perhaps an even more central thesis to the story is that consciousness comes from writing, or at least, from the type of contextualization of memory that can come from writing. If we are not telling the story, than it didn’t really have to happen. Ultimately it ties into the nature of memory in our lives and the nature of identity as a narrated self.
And finally, you might remember last week I noted I was working on a website that I wasn’t yet ready to promote. I now am. After several years of hosting my artistic/narcissistic portfolio first as a subsite of Instant Coffee, and than as a subsite of Goodreads, I now have a dedicated eponymous url: timothycomeau.com.I expect the visitor-stats to be low and the blog comments to continue to be nil, yet perhaps it is a way – or simply my way – to construct something about an I who isn’t I in the 21st Century.
The Mailers in Discussion
Part 1: http://audio.wnyc.org/lopate/lopate030206d.mp3
Part 2: http://tinyurl.com/o785x
// Part 1: March 2nd afternoon on the Leonard Lopate Show; Part 2: March 2nd evening at some lecture hall. Norman Mailer and his son John Buffalo M. talk about their recent collaborative book and Mailer has great things to say about the state of the USA today. Personally, when Norman Mailer dies I’ll consider it a diminishment of humanity.
———————————–
Norman Mailer fighting Rip Torn, 1970s
// this became popular on YouTube last August
Goodreads |2007 week 45 number 3 (Dante’s Heaven and Canadian November)
November in Canada is a season of two contradictory impulses. The first is the Massey Lectures, a series of five one hour lectures delivered on CBC Ideas for a work-week sometime during this month. The Massey Lectures to me represent some of the better characteristics of our species: the desire to not only grow in knowledge, but to communicate it as well. This lecture series invites the so called expert to break down the professional linguistic barriers that too often separates them from a broad audience.
The Massey Lectures used to invite scholars and writers of international habitation, but since the mid-nineties have focused on Canadian speakers, highlighting how much excellent thinking is being done by Canadians. My own excessive fondness for the work of John Ralston Saul stems from his delivery of the 1995 Massey Lectures, and my support of Michael Ignatieff’s quest for the Liberal leadership (and the subsequent eventual likelihood of Prime Ministership) comes from his 2000 Lectures (and in that case, it wasn’t so much the content of his talks, which was on human rights, but the fact that Canada deserves to have a Prime Minster who’s intelligent enough to have delivered the talks in the first place). Other past notables of the Massey Lectures include Charles Taylor (who delivered the 1991 Lectures) and Northrop Frye (in 1962; the series The Educated Imagination I consider to be essential reading).
Prior to the can-con, Noam Chomsky taught us about the media-as-propaganda model in 1988, and Dorris Lessing taught us about ‘the prisons we live inside’ in 1985. Lessing’s lectures were re-published by the House of Anansi Press last year, just in time for this year’s Nobel win to spike sales, and I picked up my copy the other day.
This brings me to the other side of Canadian November, and that’s the poppy. This is the impulse which contradicts our desire for knowledge (that desire to grow as individuals and as a species) and that is the desire for barbaric violence. The poppy sentimentalizes what should be considered simply shameful. How can its motto of ‘lest we forget’ still be said after 90 years of more war after that ‘war to end all wars’? It’s shame should be apparent in this embarrassment.
This year I’ve decided to boycott this emblem of remembrance, because I’m tired of war, I’ve had an ear and eyeful from the news all year and I want nothing to do with it. I don’t support the troops, I think Western governance has gone on a patriarchal war-is-glory bender and whatever threats exist are only exaggerated to promote the real agenda, which is an ancient Roman ideal of glory in death, destruction, and the vanquishing of enemies. Fuck all of that.
In her first lecture twenty-two years ago, Lessing brought up the unspoken facet of violence and war which she had witnessed in her lifetime, and that was that war was for many people fun. She opens her talks with a tale of a farmer who’s expensively imported bull had killed the boy who took care of it, and that this farmer decided to kill the bull because in his mind it had done wrong. She also tells of the post-WW II symbolic trial and ‘execution’ of a tree that had been associated with General Petain. Lessing points out that the farmer’s actions, and the villagers who destroyed a tree, were irrational, acting out of symbolism but not sense. As she says, ‘I often think about these incidents: they represent those happenings that seem to give up more meaning as time goes on. Whenever things seem to be going along quite smoothly – and I am talking about human affairs in general – then it is as if suddenly some awful primitivism surges up and people revert to barbaric behavior.’ Later, she writes:
To return to the farmer and his bull. It may be argued that the farmer’s sudden regression to primitivism affected no one but himself and his family, and was a very small incident on the stage of human affairs. But exactly the same can be seen in large events, affecting hundreds or even millions of people. For instance, when British and Italian soccer fans recently rioted in Brussels, they became, as onlookers and commentators continually reiterated, nothing but animals. The British louts, it seems, were urinating on the corpses of people they had killed. To use the word ‘animal’ here seems to me unhelpful. This may be animal behavior, I don’t know, but it is certainly human behavior, when humans allow themselves to revert to barbarism. […] In times of war, as everyone knows who has lived through one, or talked to soldiers when they are allowing themselves to remember the truth, and not the sentimentalities with which we all shield ourselves from the horrors of which we are capable … in times of war we revert, as a species, to the past, and are permitted to be brutal and cruel. It is for this reason, and of course there are others, that a great many people enjoy war. But this is one of the facts about war that I think is not often talked about. (p.15-16)
It is my sense, as noted above, that the Western world has not grown out of the immaturity of its violent, Imperial and Roman past. It used to be the comparison between the United States and Rome was a metaphor, and it has now become an analogy. It can be argued that since the Renaissance the Western project has been the resurrection of the Roman political state.
There is a reason why Roman dramas are part of our televisiual schedules, and that the actors speak with English accents, and that reason is simply that to a contemporary audience at mid-20th Century, when these dramas began to be made, the English accent was associated with Empire, but we still have not shifted to Roman dramas of American accents. Perhaps that wouldn’t be ‘exotic’ enough. Perhaps because American Empire is Robert Duval saying he loves the smell of napalm in the morning, or a cowboy falling on a nuclear weapon, or Nicholson telling us we can’t handle the truth. A Roman drama with American accents wouldn’t work because we associate American Empire with a vulgar New World technological advantage and Ancient Rome still sounds better in an Old World voice.
Cue Dante. This is written as an introduction to the link below, a discussion on Dante’s Paradiso, a recent translation of which has just been published. I’ve tried to read the Paradiso more than once over the past few years and always find it extremely boring, and that’s part of my point. There is a reason why the dark, violent, Hell-Vision of Dante is more often translated, more often talked about, more often borrowed for a cinematic vision. Because we are still barbarians. Resurrecting Rome while still caught in a Dark Ages mind-set that likes all this violent shit. (Beowulf anyone?).
And yet, seven hundred years ago, in the midst of that Middle Age between the light of Empires, a man imagined Heaven. It has been said that this alone should be heralded, as a supreme accomplishment of the human imagination. And that is why I’ve tried to read and appreciate it. Because it represents something other than violence and darkness, and if we find it boring, it’s because we still allow ourselves to be thrilled by cruelty and brutality. We still pay money to see digital humans ripped apart by monsters, fake blood flying everywhere. The Romans had least had the balls to do it for real, they didn’t try to hide behind our ‘special effects’ which somehow is supposed to do two things: maintain a moral vision of human worth (which is continually contradicted by the cruelties in the news) and prevent us from seeing the dubious morality of being entertained by violence.
And so, a conversation on Dante during the season of Ideas and poppies. – Timothy
Dante’s Paradiso | CBC Tapestry http://podcast.cbc.ca/mp3/tapestry_20071106_3787.mp3
From CBC’s Tapestry website: “We’ll explore the vision of heaven in Dante’s Paradiso, the third and final part of The Divine Comedy with Dante scholars Robert Hollander and Jean Hollander. Their new translation of Paradiso is published by Doubleday.”
Goodreads |2007 week 45 number 2 (Barack Obama, or this week’s most popular article on the net)
Goodbye to All That | Andrew Sullivan http://www.theatlantic.com/doc/200712/obama
“Given this quiet, evolving consensus on policy, how do we account for the bitter, brutal tone of American politics? The answer lies mainly with the biggest and most influential generation in America: the Baby Boomers. The divide is still—amazingly—between those who fought in Vietnam and those who didn’t, and between those who fought and dissented and those who fought but never dissented at all. By defining the contours of the Boomer generation, it lasted decades. And with time came a strange intensity. The professionalization of the battle, and the emergence of an array of well-funded interest groups dedicated to continuing it, can be traced most proximately to the bitter confirmation fights over Robert Bork and Clarence Thomas, in 1987 and 1991 respectively. The presidency of Bill Clinton, who was elected with only 43 percent of the vote in 1992, crystallized the new reality. As soon as the Baby Boomers hit the commanding heights, the Vietnam power struggle rebooted. The facts mattered little in the face of such a divide. While Clinton was substantively a moderate conservative in policy, his countercultural origins led to the drama, ultimately, of religious warfare and even impeachment. Clinton clearly tried to bridge the Boomer split. But he was trapped on one side of it—and his personal foibles only reignited his generation’s agonies over sex and love and marriage. Even the failed impeachment didn’t bring the two sides to their senses, and the election of 2000 only made matters worse: Gore and Bush were almost designed to reflect the Boomers’ and the country’s divide, which deepened further. The trauma of 9/11 has tended to obscure the memory of that unprecedentedly bitter election, and its nail- biting aftermath, which verged on a constitutional crisis. But its legacy is very much still with us, made far worse by President Bush’s approach to dealing with it. Despite losing the popular vote, Bush governed as if he had won Reagan’s 49 states. Instead of cementing a coalition of the center-right, Bush and Rove set out to ensure that the new evangelical base of the Republicans would turn out more reliably in 2004. Instead of seeing the post-’60s divide as a wound to be healed, they poured acid on it.”
Goodreads |2007 week 45 number 1 (Charles Taylor on the Secular)
Charles Taylor recently published another magnum opus, A Secular Age. It is currently being discussed at a blog which launched last month, The Immanent Frame. Taylor himself responds to some of the critiques of the book in the posting linked below.
Problems around the secular | Charles Taylor http://goodreads.timothycomeau.com/shorty/ssrc/taylor/
“One great problem is that the term “secular” is a western term, and corresponds to a very old distinction within Christendom. Then it goes through a series of changes in order to surface in such neologisms as ‘secularization,’ and ‘secularism.’ But even so, some of the original meanings carry over. These terms are then applied unreflectingly to what are seen as analogous processes and ideas elsewhere, and the result can be great confusion. (Example: discussion of Indian ‘secularism’, whether or not the BJP is ‘secular’, etc.) My way of dealing with this has been a prudent (or cowardly) approach of trying to examine the processes we call secularization primarily in the Western context. This however is not a clean and simple solution either, because a) the religious life of other cultures has impacted on the developments in the West (as Peter van der Veer has pointed out), and also one of the facets of contemporary religious life in the West is the borrowing of forms of devotion, meditation and worship from other parts of the world; and b) there has also been borrowing in the other direction, that is by non-Western societies from the West (hence the fact that certain arrangements of the Indian constitution are captured under the cover name “secularism”).”
‘Now he teaches English,’ Sheila Heti writes in her intro to the interview with David Hickey, and this instantly reminds me of Richard Rorty, who I’ve been reading lately. (His Contingency book is so fantastic). Rorty, who was sometimes called the greatest American philosopher, ended his days teaching philosophy to literature students, having walked away from the academy’s philosophy departments. It seems that the literature department is the contemporary haven for independent thinkers. – Timothy
DH: They want touting. In twenty years we’ve gone from a totally academicized art world to a totally commercialized art world, and in neither case is criticism a function. We’re all supposed to be positive about art. Nobody plays defense! I mean, my job, to a certain extent, is to be in the net. My job is to mow stuff down.
[…]
SH: I suppose the schools have something to do with the change—the craziness that you have to get an MFA to be an artist.
DH: Thirty-five thousand MFAs a semester, 90 percent of whom never make another work of art.
SH: And do you think that that kind of system produces—
DH: Almost no one. Idiots with low-grade depression. When I opened my gallery in the late ’60s, Peter Plagens—who’s now the critic for Newsweek and still shows his paintings—was the only artist I represented who had been to graduate school. The MFA thing is an invention of the ’70s. Its raison d’être is evaporating.
SH: Which is?
DH: Training sissies for teaching jobs. Well, the official raison d’être was to create an intellectual and pedagogical justification for the most frivolous activity in Western culture, so you go back and read things from the past. It’s the traditional Renaissance desire that artists should be taken seriously, and that art not be a practical but a liberal art. But I tend to think it’s a practice, like law or like medicine.
SH: Right, and nobody wants to be a clown! No artists want to be clowns. That’s a shame.”
There’s a good chance I’ll be moving Goodreads to a new server at the end of this week, or early next. I hope to do this with minimal interruption. But if you find GR isn’t resolving near this projected time, you’ll know why.
On second thought, probably not. I was doing research into this today and figured I’m probably safe where I am for now. The main thing is that I need to eliminate some of the mp3 files I’ve been offering. Look for less selection in the future, perhaps approaching nil over the long term.
