Tape Extracts - CyNar Pictures

This series is written by Henry Cooke and produced by Garrett D. Tiedemann.Original music and sound design by Garrett D. Tiedemann. Tape Extracts:Four years after Morse’s transmission, in 1848 in New York state, two sisters reported hearing knocking, wrapping, and banging sounds at night that weren’t being made by anyone in the house.In time the Fox sisters started to communicate with the entity making these sounds.On March the 31st, Kate, the youngest, invited it to repeat the snappings of her fingers. She then asked it to knock out her age and that of her sister Margaret and of their older sister Leah who had moved away.12, 15, 17.Over the next few days they devised a code which included yes, no, and letters of the alphabet.Then the Fox family fled the house to nearby Rochester. The tapping spirit followed.Kate and Margaret became famous, demonstrating the first paid public seance in November 1849 and going onto successful careers as spirit mediums until their confession nearly 40 years later in 1888 that it was…

This series is written by Henry Cooke and produced by Garrett D. Tiedemann.Original music and sound design by Garrett D. Tiedemann. Tape Extracts:Once you’ve abstracted communication out to something that can happen instantaneously with no idea of who or what is on the other end of the line; it’s easy to take the abstraction one step further and imagine communication with entities on other planes of existence.

This series is written by Henry Cooke and produced by Garrett D. Tiedemann.Original music and sound design by Garrett D. Tiedemann. Tape Extracts:If we accept that it was indeed a hoax then it was one enabled and accelerated by the communications technologies of the day.Voirrey’s imagination was fed by information that made it to the farmhouse at Cashen's gap.Through books, newspapers, radio.This was one of the things that made Gef more interesting than the usual haunting where the voices tend to bang on about the ethereal mysteries of the…

The Fox sisters were three sisters from New York who played an important role in the creation of Spiritualism: Leah (1814–1890), Margaretta (also called Maggie) (1833–1893) and Catherine (also called Kate ) Fox (1837–1892).[1] The two younger sisters used "rappings" to convince their older sister and others that they were communicating with spirits. Their older sister then took charge of them and managed their careers for some time. They all enjoyed success as mediums for many years.This description was taken from Wikipedia. For more information visit the page.This series is written by Henry Cooke and produced by Garrett D. Tiedemann.Original music and sound design by Garrett D. Tiedemann. Tape Extracts:And people have been communing with voices from other planes of existence with some regularity.1931. Accounts of contact with strange creatures, or spirits, weren’t that uncommon. The spiritualist movement, kickstarted by the accounts of the Sisters Fox, had been running for about 45 years now and people…

Samuel Finley Breese Morse (April 27, 1791 – April 2, 1872) was an American painter and inventor. After having established his reputation as a portrait painter, in his middle age Morse contributed to the invention of a single-wire telegraph system based on European telegraphs. He was a co-developer of Morse code and helped to develop the commercial use of telegraphy.This description was taken from Wikipedia. For more information visit the page.This series is written by Henry Cooke and produced by Garrett D. Tiedemann.Original music and sound design by Garrett D. Tiedemann. Tape Extracts:On May the 24th, 1844, Samuel Morse sent the first long distance telegraph message across America from Washington, D.C. to Baltimore. He sent… from the Bible’s book of numbers.Frames the telegraph as a gift from a higher power.From God to Morse to the rest of us.Morse is merely channeling God’s wi…

Gef (/ˈdʒɛf/ JEF), also referred to as the Talking Mongoose or the Dalby Spook, was the name given to an allegedly talking mongoose which was claimed to inhabit a farmhouse owned by the Irving family. The Irvings' farm was located at Cashen's Gap near the hamlet of Dalby on the Isle of Man. The story was given extensive coverage by the tabloid press in Britain in the early 1930s. The Irvings' claims gained the attention of parapsychologists and ghost hunters, such as Harry Price, Hereward Carrington, and Nandor Fodor. Some investigators of the era as well as contemporary critics have concluded that Voirrey Irving used ventriloquism and family collusion to perpetuate the hoax.This description was taken from Wikipedia. For more information visit the page.This series is written by Henry Cooke and produced by Garrett D. Tiedemann.Original music and sound design by Garrett D. Tiedemann. Tape Extracts:Of course, Gef couldn’t speak at first. He just squealed and thumped inside the walls of the house.However, in time he started to make gurgling noises like a child.And with encouragement from the isolated Irvings, he picked up English. Not least through Jim’s daily reading to him from the newspaper.Gef could also speak the odd phrase of Russian, Spanish, and…

This series is written by Henry Cooke and produced by Garrett D. Tiedemann.Original music and sound design by Garrett D. Tiedemann. Tape Extracts:First up, a word of warning.It turns out this is an ambitious topic to fit into half an hour.I’ll be glossing over a few things, passing by others at speed.I’m assuming that everyone’s clever and has Google to follow things up later.I’ve also published a lot of notes and references online, which, which I’ll be giving out the address of…With that said…

"Real life is a hashtag we’re nostalgic to remember."This piece is audio from a film (soon to be released) and was originally produced for Earlid as part of their 2019 Liminal Sounds exhibit Retreat, Disappearance. It was produced by Lily Sloane and Garrett Tiedemann. Tape Extracts:Welcome.This is IRL.Over the next few minutes we are going to introduce you to ideas of space and time that have become unknown to us. Ideas of sharing that have evolved to no longer require the necessity of proximity and location based concubation, but the ability to traverse long distances in the spheral fabric of code and fabrication.As strange as it may seem, people used to come together physically. They used to share the same space and time to engage in ideas that to us seem trivial and unnecessary. They used to pacify the living with thoughts of progress and the satiation of dreams. Ways of living now primitive to the advanced consciousness we are so endowed with the aid of technology.No longer do we need to come together to live a good life. No longer must we give away our time to another in order to advance our own expectations of achievement. We are one with the wires, one with the universe, the infinite justification of the cosmos.You may be prone to think, based on past lives, that there can be good in the physical. That something better may arise from us returning to each other. I assure you, this is a falsehood. IRL holds nothing that cannot be provided. IRL had no reason for being other than we had not yet devised the tools to avoid it.Joy and sorrow can all be provided within the safety of the infrastructure. You can experience it all without the worry of unknown physicality.We share this with you to warn you. We share this with you because information is total. We share this with you because despite everything, there is no going back. Nothing more than a fabled idealism of nostalgia telling you that there is another way. There is no other way.Let us show you.

This piece was produced, mixed, and scored by Lily Sloane from the podcast A Therapist Walks Into A Bar. Find all her brilliance at http://www.lilymakessound.com/.

Audio from a film. Watch it here: https://vimeo.com/292243431Features new music from John Barner. Stream and buy the record here: https://americanresiduerecords.bandcamp.com/album/darker-places Tape Extracts:I used to dream satisfaction in quiet commerce.Past experiences made new.Wandering the aisles - no one there.Belief a strange buzz - energy left over from all that's typical. I'd rarely buy.Just look. Touch. Comfort.Comfort.

Erasure is violence. Ever, always, being justified: “The director said she made the changes so as ‘not [to] show them.'”Sun Yung Shin is the voice in the piece. She is a writer and educator living in Minneapolis where she co-directs the community organization Poetry Asylum with poet Su Hwang. When The Beguiled was released in 2017, she was part of a conversation about the whitewashing of its narrative and the violence of erasure that is justified everyday.The 1966 novel had a black female slave as a supporting character, whom director Sofia Coppola removed from the film; and for a biracial character from the novel, she cast white actress Kirsten Dunst.This piece was originally produced for Earlid as part of their 2018 Liminal Sounds exhibit Skin Rubbed Smooth. Tape Extracts:Garrett Tiedemann: Forever there…Sun Yung Shin: What is complicated about it?Archive Tape Adult Man: Let’s see if we can explain it. [Fact of communicating] You an I have a coat of armor that protects our bodies from the outside world. It’s our skin.Archive Tape Young Girl: Who is it?Archive Tape Adult Man 2: Tissue.Archive Tape Adult Man: But, did you know that you really have two skins.Sun Yung Shin: Probably in this…moment. The hatred of women is surging. Certainly the discourse of misogyny seems really prevalent with our new administration unleashing and giving people permission.Archive Tape Young Girl: What?Archive Tape Adult Man 2: Is one of the most deadly and elusive enemies ever faced by man.Archive Tape Adult Man: Body juices flow and withdrawn into the head. Never to be seen or used again.Sun Yung Shin: So I think, you know, Sofia Coppola is at the intersection of all these things that people are interested in. You know, the Coppola cinematic inheretance. Here being a young, wealthy, beautiful woman. Her making films that have been reasonably successful that have women protagonists. And then this film, at a time when we are increasingly or maybe the same as ever divided on whether racism exists or is morally right; for her to take on this civil war, post-civil war film and people it only with white women, make them what’s interesting in their sexual intrigues and competition and whatever else is cooking in this film. But, erasing black women’s bodies, erasing black labor, erasing the cause of the war, erasing what enabled these white women to live as white women - keep their dresses clean and all that - does seem appalling to me, it’s really truly appalling to me and I got very upset about it. Archive Tape Young Boy: Alright!

This piece was produced, mixed, and scored by Lily Sloane from the podcast A Therapist Walks Into A Bar.

end·ingˈendiNG/nounan end or final part of something, especially a period of time                        Morethe furthest part or point of something."a nerve ending" Tape Extracts:Julie, Shapiro: Yeah. I mean it is really for the 28 people that will get this in the mail. The timing and the pace, it doesn't, there's no time you know there's no strict deadline or timeline for this ever. It's really my own making of a structure for how quickly it goes out.I would like to open it back up to people expressing interest so I can send out the signs. I mean I love the fact that it can't be done instantly and someone can't just take a picture or something and send it to me in an e-mail. That's not enough, right? They have to express interest, I'll send it out to them usually pretty quickly. They send it back whenever.And maybe I'll do one or two issues a year depending on who gets in touch and how quickly I get responses back. So, but I think at least one year going forward is a pretty safe bet.Garrett: I suppose I should have said...One. Two. Garrett (on phone): So this is like the end of a little over a year.Julie: It's been a long time. Garrett: And we always finish with the end. And then we will crack up because we will both know that there is no such thing. As the end. Julie: Yeah, definitely. I think I can do that. I'm going to try to print them Monday and then it's just a matter of literally getting or buying enough. I can't steal any more of my dad's envelopes, they are not big enough, so I have to actually go buy some envelopes, that's fine.Garrett: Shoved unconsciously, but systematically in-between a sun visor on the driver's side. I have no idea where most of them lead to. Although they once delivered me. Maybe to your house. If that's the case you can probably expect me again at some point. Julie: I will admit it's been a while since we talked the first time and I had grand visions of putting out the paper version of Anodyne Redux like by the end of the year, by the end of 2016. And lo and behold it's eight or nine, nine. OK. Let's call it, it's nine months into 2017 and I have countless times looked at that folder of signs that have come in through the mail and thought NOW is the time to put these on paper. But, the truth is things got busy. We moved, we bought a place, like life just totally exploded on top of our normal workflow. And so I hadn't really yet gotten around to making the paper version. And you know it was not until you sent me a note to say hey this is coming together. Things are looking like we'll be ready to release you know in a few weeks. That made me realize how much I really wanted to have that paper version done and to follow through on that claim that I was going to do it and the promise I'd made to participants.Garrett: Blue apartment, house upstairs. A funny sculpture. Chair out front. This issue was meant to be read aloud, not necessarily to anyone else. Lets read and find out.Garrett (reading e-mail from Julie): Remember about a year ago when you expressed interest in my 20 years later revived zine; and I sent you an illustration with two kids holding up a sign? You filled in their sign with whatever was on your mind and send it back. Do you remember? Do remember I promised you would one day receive something in the mail for your efforts? That day is quickly approaching, but since it's been so long I thought I should double check.Garrett (on phone): What was it about the...Me getting ready to put out the audio that sort of made that happen do you think? Was it just the sort of that there would be audio saying you were going to do it. Julie: It was partly listening to some of the drafts and hearing myself talk about how much I enjoyed doing it and I was like oh yeah I really enjoyed doing it a lot. And what was cool was I already had already really thought out what I wanted to make. So it was really just a matter of like spreading things out, putting them together and gluing signs onto a piece of paper. And I realized I would totally enjoy doing that.So I just, you know, in one night just mocked up both sides of the poster sized version that, small poster size version that I'm going to make and it felt as great as it always has to like sit there at my kitchen table late at night with my son's glue stick and put this together and think about mailing it out. How would I package it? You know would I look for envelopes that would fit the whole poster or am I gonna fold it and if I fold it should I lay it out according to where the folds would be? And all these things so. I usually choose the path of least resistance and think it's just paper, it can get folded and unfolded as many times as it needs to.And you know, the big question is do I make color copies or stick with the old black and white? So I've not made that decision yet. But yeah I was just like sitting down and doing it and totally enjoying doing it again. Garrett (on phone): Well and I notice on the Tumblr you've added a couple more and then I noticed you changed around the description of it that's sort of highlighting the paper version for real. Julie: Yes, it's seeming more real. Well one thing is I had a couple of signs hanging out in my incoming mail pile that have been there for months so the signs came a while back I just hadn't processed them through the system of putting on Tumblr and then adding them to the pile to be put onto the paper version so, that little kind of...I'm always tinkering too. So no matter. You know every time I look at the tumblr site I want to change it. I actually added more text there because I was trying to balance the line breaks. I didn't have any control over the line breaks and it was bothering me that like it was one long line with two or three other words on the next line so I was just trying to outsmart Tumblr. Garrett: So many seeking direction and insisting we are not. I can sense it in his shoulders as we walk silently to the river. Grooming our hunches separately. Watch it in her wrist as she opens a bottle and hands it to me sighing $2.50. I read it in words that have arrived from the other side of the planet. Words describing temples and vulnerability and filth. My self-seeking. There is panic involved. Carefully placed in the corners of eyes. Their spontaneous, adamant need for reassurance. The right recipe. For direction.Julie: It's funny how it worked out. I was thinking that initially I would put out 30 or 40 at a time per issue because I guess this could be ongoing still. And I had  28 signs so I had 2 gaping holes. So I actually gave a sign to my 6 year old to fill out and I plan to sort of write in the space with the last one so it just worked out perfectly in terms of what I have to work with and what I want to make out of it. Garrett (on phone): And so are you thinking it'll be more like a broadsheet sort of poster or are you going to try to fold it all together into something. Julie:  Yeah, total broadsheet, two sided, differently oriented. And then I'll just sort of fold it in half and send it out I think. But it's funny because it will end up being pretty much the same shape as the zine which is pretty square. Yeah, I think it was pretty square actually. So the packaging will not be that different from when the zines went out. Garrett: How hard is it to exit my head. To listen to my body. To trust my instinct. Immense difficulty in letting direction find me and relinquishing the search.5. I'm not as afraid as I thought I'd be. Crashes in the night, movement in the shadows. It's dark out in the woods. Miles away from the cafes and bookstores. When the moon leans toward fullness, distant flashlight in the icy cold of space. Direction sprawls out in front of me. Warning against the ruts as we troop home. Wine stains on my shirt. Who needs purity in the deep woods? Julie: Um...I don't know, I guess like my...the thing is like, I guess I look back and think it was so easy. I really spent just a couple hours putting the sides of the poster together. So, you know, that could have been done at any time, but I really had to be mentally ready for it in some way, and ready to take it on, and it just hadn't been until this weekend and I realized I was like totally ready and that probably has a lot to do...I mean the way Anodyne has always been a reflection of where I'm at in my life. That just feels like another perfect. It still feels so true. I was so happy to realize it's still something that gives that back to me, that it always has been a sort of companion, in different times for different reasons and it was just it was sort of like Hello old friend, let's sit down and put you together tonight. And it's not a task, it's not an obligation, it's just something I really want to do you now. And I'm really excited to line them all up and put the stamps on, probably with Phine again because he helped me mail out the signs to begin with. And like, I look forward to the process, I look forward to people getting them. And , you know, ultimately look forward to doing the next round. Garrett: The signs, the arrows, the indicators; they're directions, but I still don't know where to go half the time.Garrett (on phone): Are you feeling any different about the process being where you are right now? Or does it feel like you're kind of being put back in time?Julie: Looking at my handwriting is odd, It's just odd to write. You know I actually, I wanted to thank everyone so I wrote their names out that will go along one side of the poster. But, I wrote them out a couple of times to understand how much space that would take. And I used t

twaNG/1.a strong ringing sound such as that made by the plucked string of a musical instrument or a released bowstring. make or cause Tape Extracts:Garrett Tiedemann: As iterated previously, there's always more to say. Which is not a unique realization or particularly brilliant one, but a constant that I've finally given up trying to ignore and in doing so have returned to the most familiar conduit for contemplating minutia, filing grievances, attempting to make some sense of things while salvaging a few laughs, even if I am alone in laughing, that I've known ever. I figure now is the link between then and eventually. I prefer to ride into the horizon. Forget the bridge altogether, let alone the toll for safe passage; especially if I am alone in laughing. Recording for Anodyne. Something lives only as long as the last person who remembers it. Be careful they don't see the statues in the house. Julie Shapiro: I've been wondering myself about was what to call it because I didn't know whether to call it Anodyne again. So I settled on redux, which is of course just like speaks to the new version of it and I decided I didn't want to make a whole book with a lot of writing and images of clip art so I didn't want to call it the same thing. But it's certainly inspired by that so I'm trying to tie the two ideas together, but that felt like a hard decision actually. Garrett (on phone): Well that seems to be something you've really carried with you through up till now is like the important conversation of a community of making stuff and so like the participation in making things is in part to facilitate people coming together around stuff. Julie: YeahGarrett (on phone): For lack of a better phrasing. Julie: Yeah. No I think you are. I think you're right on. With all the crazy connect the dots that have gotten me from making the zine to doing what I do know with like a big podcast network that is a through line for sure; that sense of togetherness and community and finding common interests, common values, common missions with other people.Garrett: You are my old friend. A distant flashlight in the icy cold of space. Wandering inspired ramblings, picking their way through.[Intro Break]Garrett: Samples from Anodyne Redux.Paul de Jong: Sometimes old rage, truths that should have been told.  Garrett: It's a transcribed sound sample, from a self-help cassette. Deep letting go. Out of my vast sample library of sound and spoken word. When Julie sent me the Redux request in the mail I was working on editing the transcribed text into poetry.  Angeline Gragásin: So yeah. So I picked one up and then I ended up going to. She gave a presentation. And I ended up going to it. And you know making the connection because she announced it at the end of her presentation by the way you might you know pick up a copy of my zine and yada yada. And that's that's how I found it. Julie: I have been advertising Anodyne by mostly through Twitter, right? And it got, I've had no lack of entries but I did go to one sort of conference in New York a couple of months ago and just put a pile of them out to see if anyone would take them and do anything with it. And I only got one back so far, but it's so good. It's like one of my favorite signs ever. And the excitement of knowing like this stranger, I don't know who it is, picked it up off the table it just said for you - it was like the sign and it just said for you, exclamation point - just to see if anyone would bite. Which is a little bit how it used to be where I would leave piles of these signs and invitations for people to take. And so she might be the only person that plays along. But it was such a great sign to get back in it. You know it was it was excellent, just arrived yesterday in fact.Miyuki Jokiranta: So stop and listen is actually a little project that I did a while ago where I would draw footprints on the pavement where I found a particular beautiful spot for listening that I you know I'd be walking down the street and I'd be arrested physically, sonically, by a space and I would carry chalk with me and I would draw footprints on the ground and then I would write stop and listen. And that would be a little indicator to someone that was walking down that same pathway to do the same. And they might have an experience similar to the one that I did.Garrett: Starting it now, it's obviously in reflection of the last 20 years. So like, how is it different thinking about it now and how also is it different when you're bringing in something like tumbler and like the sort of digital interface and recognizing a desire to have it there while not losing the physical. Julie: Yeah, I know. I really struggled with does it need any digital presence. And then I thought, well that will help me because I'm not trading zines, I'm not listed in other zines so people can find out about mine, like how am I going to keep...Besides my initial Facebook post and tweet that's now pinned to my Twitter whatever feed you know how else can I get the word out so, I don't mind having them all in one place digitally. But, the prize is that everyone who contributes will actually get a paper version.Simone Roche: I wonder if there is a little bit of this that works because it's non-digital because otherwise it's like it's Twitter right? It's just a list of things people write, you know, you may as we'll just have a 140 character limit on a on a long tumbler scroll. So I think putting a little brick in like this is like a tapestry idea you know and it's those blankets or whatever. So I think being part of a digital unit is in many ways it's not worth a curse. It's just like, if she asked me to write this digitally it wouldn't have meant the same, I wouldn't have thought about it the same way. And while I do, you know I had to send an email to a friend who's putting a book together for a friend's 40th birthday and I thought about it and I wrote the email and she's going to print that in the book and that's nice and I thought about it, but I thought about this, this was a different thing you know like you commit something to pen and paper and you send it off in the post. It's a little bit less immediate and it's more purposeful and I think you...I don't know. I love these collections. I mean it's still just a collection of individual's thoughts. I don't know if it's necessarily more than the sum of its parts, they're all...not that they're tied together, but maybe it is when you see the thread that's going through people. I don't know it's hard to tell, but I certainly think the analog idea of it. Brings a different approach out of people and maybe that helps the thing have more resonance. Julie: Incorporating all of them back. And anyone who reads the tumblr will never have, will never hold those in their hands. So I still feel like I'm rewarding the people who participate and care enough to. You know I haven't decided if I'll make extra copies for people who aren't contributing, but I kind of like the idea of the tumblr just being the signs too. And I've also decided I don't think I'm not going to fill up the rest of the zine with other ramblings. I don't actually have the time to do that. So I'm going to try to do more of a broadsheet that has like all of, more of a poster sized thing that has all the signs that get contributed back with a little bit of text to kind of explain what it is. But this one's is way more about what people send me. It's not as much about like what you know my internal musings, angst ridden rants and things. Garrett (on phone): Yeah, so you're a little more of a curator of other people's musings. Julie: Yeah. Which I guess is very consistent with what I've been doing for the last 15 years. Garrett (on phone): Yeah well and it's interesting because when you do, there was something about when you write it down on paper that forces you to at least in my mind you think about the words you're writing down more as if it's more permanent than what you put digitally whereas digitally it's like oh I'll go back and edit my grammar errors if I want to... Julie: ...or I'll just update. You know you can't. This is a one. Like, what's the one status update for this project. You can't you can't update your update.Garrett (on phone): Right. So are you thinking you'll keep sending requests to all the same people or is the idea to try and keep going to people who haven't responded as you build it?Julie: Yeah it's totally, I wouldn't repeat anyone. So it's just like, I think I'm going to wait and see what kind of a lay out I start working with when I get more back but I think I'll go for something symmetrical like 30 or 40 of them  per issue and always have different ones. And then hopefully you know once the first ones out and people see it there is more interest in participating. I just get it's just like it can just like live on its own, it's out there now. I have mostly sent to people who have seen my invitation and responded. But there are a handful of people I've just decided I'd love to reignite a correspondence with so I've sent them signs. Theirs will be surprises in the mail. But they know I did the old one so it won't be completely out of context and what's interesting is when I posted the Facebook thing, kind of impulsively I didn't give it a whole lot of forethought. I mean I had a vague plan in my head, but the people from that time in my life who responded you know is really...some people have pictures of old issues. My sister put up a picture of a T-shirt. You know I was like so cheap that for Hanukkah every year I'd be like here's my zine! Or, here's

op·ticsˈäptiks/properties of transmission and deflection.2.the way in which an event or course of action is perceived by the public."the issue itself is secondary" Tape Extracts:Garrett Tiedemann: The last Avid Consultant came a year ago. I trust in the lapse of time solidifies. This one is her reliance. The last traces of recumbent hesitance. The directions in this issue of Avid Consultant have been gathering in my car, in my mind, for an unknown amount of time.Garrett (on phone): The sensations influence aesthetic choices and creativity. They all, at least for me, they all elicit an idea. Whether it be audio or visual that starts to frame your understanding of the moment that is much more nostalgic and poetic than maybe it actually was. But, it doesn't negate what it actually was. It's just that it's there's so many things constructed into the recollection. Tania Ketenjian: To why did I want to be part of it was because I thought OK. I mean, I've told Julie this story several times. One day I was actually for Weekend America, way back when like 12 years ago, I was gathering vox in front of this cafe here in San Francisco. And I I start talking to someone and they were like oh do you know do you know do you know Julie, she's in radio? And I was like, yeah I do. He said, YOU KNOW HERE? OH MY GOD SHE'S AMAZING. I LOVE HERE. And he was just crazy about her. And I remember, and he's this guy named Chicken John and he wanted to be a mayor of San Francisco, he's a real character. And it made me realize wow, I mean like the circle that Julie runs in like the various circles that she runs and are fascinating. And I want to be part of that. And I think you know I think that sometimes we, you know we do all these different things to befriend or even deepen a friendship or even any sort of connection that's there. And you know, Julie I may not talk at all unless we see each other at a conference. We may not know about each other's lives necessarily, but we are connected in a way and I value that connection and an opportunity to deepen that, even if it's just by sending in a Shel Silverstein poem is exciting to me. Garrett: The dictionary at my elbow, a different sort of weapon consulted regularly, confirms the suspicion regarding a slow leak in spelling skills, which has led to a fascination with words misspelled versus words miss typed versus words misbolded.Biding time.Is atrophy audible? Let's try that again. Miyuki Jokiranta: I'm apparently in a soundproof booth Garrett, but there are people outside and I fear you might get some bleed so. I'm sorry if that's the case. OK.Julie Shapiro: I think I would sit down and kind of you know start very very in the moment and spiral out from there when I was writing so I can imagine things like well it's 2:00 a.m. in the morning I'm trying to finish this up and so this you know excuse this intro for whatever reasons. And that might just have been an anchor anchoring me into a mindset for writing more about things. I mean a lot of those early issues are also, that's all handwritten. So, it might have just been stream of conscious in the moment you know not really pre-written and edited and reshaped and reformatted just a total brain dump in the moment and that's probably when I would be most susceptible to describing what I was doing and where I was and why. Why the circumstances,if I was on the road like the New Zealand. Now switching to Avid Consultant, the New Zealand issue was really circumstantial. It was, to a play on words would be, it was it was quite the Anodyne to my situation, which was I had developed a stress fracture while backpacking around New Zealand and needed a project to keep me occupied and so I did an issue of Avid Consultant. You know that sort of got it started while I was laid up on somebody's couch in Dunedin and then you know sort of brought that process as closely as I could to my New Zealand experience, which involved being in the Wellington public library. I remember that the kind of trope for that whole issue was washing, putting clothes out on a clothes line and  washing things because I found a kind of funny manual on that that visually was you know kind of stimulated some ideas about, to play with I guess. But yes, that was very circumstantial and I think you get a lot of that like what was going on and the mechanics of how that one came together actually in the text.Garrett (on phone): Yeah, I'm holding that edition. Garrett: Two pieces of advice. Never make any big life decisions in your 20s that concern another person. You can't hold the baby too much.Garrett (on phone): Is there a gap between Anodyne and Avid Consultant or did you just kind of change gears? Julie: They overlap and I think I just, you know after 10 or 11 issues I was ready for something a little different. [Intro Break]Garrett: Samples from Avid Consultant. Do you know how to find your way? Six. So the search continues. Direction is always sought even as we stand still, content. How to get there, the destination itself is barely relevant. A travel partner must want to play travel games and like to hear women singing the blues and Sonic Youth.Angeline Gragásin: I mean I think what. What was engaging was the fact that it's a game and I have you know I haven't played a game like this since I was a kid. I haven't done a chain letter or I mean I barely send things through the mail anymore. Well, actually I think I started sending postcards again maybe around the time that I...I think that's true. I think that may be true. Garrett (on phone): That's interesting.Angeline: Yeah, because I was like oh that's pretty easy. That was pretty easy I could just buy a whole box of postcards. Yeah, I actually I think, you know what, I think that might have been what inspired me to start doing that. Yeah. Garrett (on phone): And then are you keeping them strictly like, what's done of the postcard gets mailed and you're not taking an image to remember it or post it anywhere? Is it really sort of kept to the material thing?Angeline: Yeah. I'm not documenting it and I'm not, there's no project dimension. It's not a project it's actually just thank you letters to friends.Allyson McCabe: But, I think that's probably a generational perspective to some extent to feel that anything that's physical feels a little bit more real a little less ephemeral. Julie: And I felt like that Avid Consultant was going to be more of a writing project and I wanted to simplify actually. I remember thinking like this one will be simpler, it won't rely on other people's input because you know I'd always have to wait for these signs to come back. Which wasn't a bad thing, it just created its own rhythm, that I was dependent on other people to finish an issue and get it out with Anodyne. And Avid Consultant was just just my stuff. Possibly to a problematic extent, but who knows.In reading back through I sort of had this horrifying conclusion like oh my god I was kind of writing poetry and it's really...horrifying is the wrong word. But I never thought of it as like, you know, a poetry project at all, but I could see that I was grasping to have some formality and metaphor and rhythm in a way that wasn't just like you know a journal spill. It was like a very distilled sense of what the journal spill would have been in a much more, presented in a much more sort of fake, casual, formal sense to some degree. Allyson: But, you know, zines in general they were meant to be ephemeral. Now we have zine libraries, there's many different archives for zines. Some are online but some of them are physical, attached to libraries like for example Washington D.C. has a whole the whole punk archive to itself as part of the Washington DC library. Others are attached to universities like Barnard has one. I believe University of Maryland has one. I'm sure there are many many others, but they weren't intended to be kept forever. They ended up being kept forever because people started to see the value in them. I think more than maybe some of the makers did at the time when they were first distributed. Unknown Woman (archive tape): Those of us interested in innovated forms of zine archiving must find a way around the limited to digitize or not to digitize argument that to me seems to dominate many conversations of digital zine preservation. We need interactive ways to display interface with zines that offer new engagements with their multiple materialities and contested histories. Fortunately sub-cultural archival practices already exist that can tell us what zinesters want for and from their archives. Practices that in theory can also benefit the zine researchers and librarians who are interested in the thriving social worlds that cluster around these vibrant, queer little booklets and this notion of a perverse materiality that was brought up is really interesting there. So to take advantage of such culturally saturated technologies., however, we need to are fully reckon with why zines matter and the particular ways that they do. Garrett: Agitate. Briar patch.While slipping into a nap the other day it occurred to me that this experience has wandered into a prickly layer of grammatical metaphor. Just at dusk. Can't shake the notion now and I'm suffering from constant realizations confirming the theory. The initial diagnosis was an army of commas, forcing an inescapable pause in travel, announcing contingency from every angle commencing the duel between patients and restlessness. Julie: And that also reminds me about sticker packs; for a while I was making these sticker packs and sending those a

post·scriptˈpōs(t)ˌskript/nounan additional remark at the end of a letter, after the signature and introduced by “P.S.”.“Leaving tomorrow.”  Tape Extracts:Garrett Tiedemann: The kid with sign thing. High explosive bombs. So where did this whole thing start? I don't really remember. Suddenly though in the middle of my busiest and evilest school semester ever I found myself wanting to do this project. Never thought of a name for it beside the obvious kids with sign game.I must apologize for the shrinkage and lack of color in the reproductions of all the replies. Also a warning I decided to print all addresses of those who responded and I encourage you to communicate with anyone if you are particularly angered, delighted, offended, intrigued, turned on, or otherwise stimulated by any specific entry.I have been asked why too much.Honestly I launched this whole project for the sake of doing it. It's really the only reason. At one point I realized that it was pretty interesting to see where everyone was at in their own heads, but from the beginning it was spontaneous. If anything, my insomnia coupled with the proximity of Kinko's to my house contributed the most to the creation of the entire thing. It's a little sad how many didn't understand the absence of a motive. Anyway, I hope the kids with sign game is as entertaining and confusing for you as it has been for me. If not, well, I'm sorry you're missing out. And of course thank you to all replied because see, it would have been impossible without you. Simon Roche: So this was another thing to do and I wanted it. No, I want to make some time for that and have a think about it and I didn't, so when it eventually came, Look I better just send this back, I'm just going to write something, no one is going to see it anyway. I just wrote that down and I kind of wrote it going. I've written Julie a couple of letters, and I've never met her, so we have a nice little rapport in letters that is kind of nearly a little, it's almost confessional, certainly for me anyway, and I just found it really nice that you could just write to somebody you haven't met but you feel like you know them in letters and it's a bit easier than saying it to them. So, I think it just poured out of me and I went yeah, yeah great. And Julie reads it and maybe she puts it on a web site, but like 10 people might see it and they're not going to read mine. So, you know, in a way it was nice to not worry about it that much but now it's out there I guess. Garrett: I like to imagine it redone as the pool table. Contents. Watch yourself. The invitation should be worded.Unidentified Child: Wouldn't it be silly if we lived in a light bulb? It would be as hot as a desert. Angeline Gragásin: You know, I realize that what I had sent in was a statement. And I meant it earnestly, but and then seeing the images I realize that I could have taken a more playful approach. If in my head the to do item was draw a picture, I would have taken a completely different approach to composing an image than I would have to writing a statement.Charles Bukowski (archive tape): Do I know you?Tania Ketenjian: If you look at something, a contribution within the context of other contributions, it's inevitable that you're going to be like, hmm maybe I should have put in something else or. I mean how often do you say oh my god that was the perfect i did such a great job, that was the perfect contribution. Allyson McCabe: So when you're thinking about the difference between how you construct a persona on social media versus how you construct a zine persona, they're really different. In a number of respects. But, one of the aspects in which they're different is the idea that in a social media situation you're looking to sanitize your image, present a kind of constructed self that's always happy, successful, smiling, or has just posted something important, you know whatever that may be. Whereas in the zine there's much more of an emphasis on the idea that you're you're creating kind of aesthetic, a kind of sub-community or cultural community statement, you kind of recede a little bit behind that. And I think that's a space that a lot of people feel more comfortable in. I would say a lot of radio producers feel more comfortable in.[Intro Break]Garrett: Samples from Anodyn. Anything that's not a mystery is just guess work.Julie: I think my entree into the radio world had a lot to do with my zine because I had, you know, it was all I had really. I didn't have a portfolio of any clips or radio stories that I'd ever produced because I had no media training. But when I applied for an internship, when I started applying for internships, and got an interview at WUNC, the News Director asked me, in a very kind of dramatic way he pulled my zine out from under the desk and was like how do we turn this into radio. And in that moment I was like, oh god I have no idea but I'm interested. So it was something that he identified as like well this was kind of becoming, radio was becoming a more creative playground for narrative storytelling. And he saw a connection there that I wasn't necessarily making at the time, I was just like well this something I made my own stick it in there so people think I have initiative. But, I think about that a lot because I think a lot of what I've been drawn to and the culture that we've created through Third Coast and now what Radiotopia is all about, and even like the spirit of PRX; everything I've been involved with has, makes sense that there's some DNA from the zine, that zine kind of, the drive to make that has driven me to do everything else I've done since then.Miyuki Jokiranta: I didn't really know what I would write and I didn't really know what other people were writing. I hadn't really seen anything posted yet. And I loved this idea that if I didn't peak, then potentially I would be revealed amongst a whole bunch of ideas and thoughts and images at the same time. And that that revelation could potentially say something, suggest something, present something. Allyson: I was excited about it, you know. As soon as I saw the posting she asked people to send their physical addresses if they wanted to get the prompt and then they would get the zine. So that was step one. Being excited about that. And then step two was when it actually came and I saw what the prompt was, there's that moment of excitement, and again I think probably because I'm older, but there was this sort of moment where I was like oh what you know what can I come up with as opposed to just maybe, earlier in life I would just put in any little snarky statement and see if it would fly. I think also your name is on it. You know that's something that's really different.Garrett: Before. I left there and somehow ended up here. There were no directions back then, there was no intention beyond investigation. We followed signs and arrows and indicators lazily which led us into different directions, ultimately. After. Solo then, but not solo. The original not from concentrate. Shake well then mitigate.Julie: So then the counter's, you know, like you could just whack your counter a few times and it would go back to zero. You wouldn't have to pay anything. So, anyway there are all these tricks of the trade. And that, the process for me has always been a huge part of it.I just remember this garish, very bright white lighting. Not that conducive to intimate, poetic, expressive. I mean I wouldn't write there. I guess that's where the assembly took place. Unknown Male (archive tape): Printing is essential to all education. All the other arts rely on it. Religious Movements depend on it. Business could not function without it. Nor could government. Because of the need for printed matter in practically all of man's activities, printing now ranks fourth among the nation's great industries. Julie: I don't even remember the writing of it all that well, I mean I would have,, I think some of the first episode, episodes there I go again. Some of the first issues were typed out on like a word processor. Before I even had a PC and I can remember. Yeah I remember I had this amazing word processor that I always kept calling a food processor, that was like a weird semantic glitch for me. And it had five fonts. I remember it was so cool to switch between these five font choices on the word processor and I did a lot of writing on that. I remember it being kind of trusty friend in those times. Garrett (on phone): OK. Did the ability to do that and that sort of fun-ness inform some of the design layout and everything because you incorporate a whole lot of different sort of textural things with the fonts and layouts and stuff written, or not really? Julie: Yeah, I remember I always wanted, I always incorporated a lot of handwriting alongside these kind of barely formatted chunks of text with borders and there were so much cut and paste, it was really collagey, montagey, chaotic layout often and that was a way to also include recurring theme throughout each issue. I do remember I would have a sort of a visual theme per issue and so being able to just cut and paste little bits of that theme and variations on that theme throughout the issue till it was kind of very full so every page has a lot of you know sort of major content and then a lot of decoration and some minor commentary along the visual lines and a lot of just random stuff that appealed to me for this reason or thatGarrett (on phone): Yeah, I mean, Anodyne feels very much like, in the sort of most beautiful way of it, someone figuring out the world. Like someone sort of c

hōp/1.a feeling. archaic  "he looked through her belongings" on, want; More Tape Extracts:Julie Shapiro: Anodyne was like a soundtrack for me as well. I was always listening to music that was a lot about something to do while I listened to music.  Simon Roche: I'll read it, it says: we don't have to get over everything traumatic we can live with ghosts. Allyson McCabe: I do think that as somebody who is old enough to have been around sort of in the 90s wave of zines, and even before that, you know most people my age you know they have kids now. And so that's something that kind of comes up is the idea of I think I had said something like, 'I'm telling mom' why does it still work despite generations of evidence to the contrary and just sort of struck me as a sort of truism that would make sense as a zine statement, but also a statement for people who have kids and know exactly what I'm talking about. Julie: I think it's funny when you're watching bad TV and something profound comes out of a character's mouth that speaks directly to your life situation and you're like no, this can't be happening that the answer is coming from this terrible TV show, NO.Garrett Tiedemann: I urge you to take advantage of the following offer. If you send me a blank cassette, and some money for shipping and handling, I'll gladly tape for you Connie Francis Sings Jewish Favorites. Julie: I mean you have to couple this with being in college, being up at all hours, having friends working at Kinko's, that was a huge part of the equation for all zine makers back in the day who would just make your copies for free. I had my friend John who had the overnight shift. You know, my theory was like every Kinko's in America had an overnight shifter wearing Converse high tops. And you would find the person wearing Converse high tops, you would make friends with them, and they would help you make your zine for free. So I could do color copies.Kinko's had this temporary thing you could do everything in a mono color so you could have green, just like instead of black and white it would be green and white or red and white or blue and white. Miyuki Jokiranta: And she then promised I think, I think she'd already had the idea that she'd started up again. So I did know that she'd done this in the past, but I think when I first saw the Anodyne, the first image of it online, it didn't calibrate with the picture that I had had in my mind. So, I was pretty curious to see in the flesh. [Intro Break]Garrett: Samples from Anodyne. Smile, obey rules, good manners pay.When a massive star dies leaves behind the small, dense, remnant core. Allyson: Back in the day, when I would read people's physical zines, papers zines; you know you read it a few times, you get a sense of what the aesthetic is, you know maybe sometimes if it's political what the politics are, musical taste, etc. and you're able to figure out OK you know do I make sense in the context of what I know about this publication. In this case, I wasn't familiar with the paper iteration that existed before so I had only the idea of the prompt. Tania Ketenjian: It's very empowering I think, in many ways, it's like you don't have to go with the establishment or the established ways of getting something published, you can just do it this way. Julie: It was really open, total experimentation. I did one, one essay on glow in the dark, things that glow in the dark. And then I had like glow in the dark, I found like glow in the dark stick...make your own stickers. So, like put some of those into all of them. I was very into process I was very into like inserting something into every one. And I loved the folding, I loved the packaging, and the kind of making the stack of things to address, stamps to put on, you know kind of compulsively so that way. Miyuki: I decided to participate, one because she invited me and that's a very generous gesture. And you can't really turn that down, but two because blank space to me is absolutely terrifying. I just find it just totally paralyzing. And have. For years and will for years to come. And so, of course I had to say yes because there's no other way to deal with paralyzing blank space than staring at it.Tania: Yeah, I mean I grew up in San Francisco and I I went to a college called Bard and I think that although...and I actually even, I mean, I kind of made a zine when I was in high school. It was called, what was it called, Perusa. which means inquiry I think in like Sanskrit or something. But, then also it was a play on words with perusal like you could just peruse it. So, yeah I was familiar with zines and I actually love sort of the punk nature of zines and the political nature of zines and all that they represent and the countercultureness of it. It's kind of like Pirate RadioGarrett: White space, two lines, each like a train track. Travel through space. The opposite of what is familiar. Negative descending, the positive, an arrow on which familiarity travels without limits. Familiarity and human likeness.Julie: For a sort of literary styles. I mean I was really highly influenced by just the general mail art culture for sure. And that was like the Wild West of design and creativity and innovation. And I had a real love for the Fluxus movement. I know like a lot of that, those two kind of artful historical entities really were on my mind a lot during these years and they were communities that I tapped into, other fans of those things and the Fluxus and the mail art were very heavily connected as well so that was kind of a logical bridge.Interviewer (archive tape): Well George, let's skip back a little bit. How did Fluxus get its start? George Maciunas (archive tape):  First plan was to publish a magazine Fluxus. And that's how the name came about. And we just, like the dictionary meaning, kind of several meanings, which anybody can look up. It was influenced directly by the school of John Cage that he had in the New School where people like George Brecht, Dick Higgins, Jackson Mac Low were taking in 1958 to 59 I think. They were taking a class and all those people later were associated with, well the magazine never came out in time, it  came like five or four years after. We started to plan it and we just found it was too costly to do. The concepts was easy to do. Like Ben Vautier, who has a lot of theater shock pieces as he calls. There would be, for instance, a play going on and on announced all people would come for that play, but the door is locked. Meanwhile the play starts and goes on. And they just, you know, they hear all the noises, but they cannot get in. There's another audience piece like that, similar, where at the end of the concept we would tell that well the last piece has to be performed in a secret place and we have to take one row at a time to that place.So the usher will take the first row of people, they would follow him and he will just take them down the back exit into the street. Meanwhile the rest, you know, they all sort of drinking in anticipation, what's that next piece? And they'll never know except when they actually go through it. Julie: There were a few others, zinesters, zine makers at the time that I definitely was close with and some of the formats, you know, shared certain aesthetic qualities. The cut up, the black and white Kinkos, you know, like sort of Kinko's style. But, of course the content was pretty different one to the next.Charles Bukowski (archive tape): Style. Style is the answer to everything. A fresh way to approach a dull or dangerous thing. To do a dull thing with style is preferable to doing a dangerous thing without it.Garrett: My performance of childhood; a kind of dark traffic. Men in uniform were posted all along its length. Some had cameras, some had guns. To slip down it's invisible curtains like sheets.Garrett (on phone): Well, that seems to be something you've really carried with it through, up til now is, like, the important conversation of a community of making stuff. And so the participation in making things is in part to facilitate people coming together.Garrett: Curtains like sheets tied together and hung out hotel window. Toward itself.Garrett (on phone): You were saying that the way of mapping this out was sort of a collage effect. So, would that be mostly gluing things down or taping them, I know eventually they reach the copy machine.Julie: Glue sticks, it was always glue sticks. The, with the format of Anodyne being the, you know, every other page or every few pages for signs, that to me provides kind of the backbone of each issue. And then  a kind of mess of montage and collage could spiral out from that center through line. And so there was some order, but also with a sense of almost improvisation and experimentation around that very direct and consistent part of putting the signs in each issue.Garrett: Tattoos and teeth. Several cases presented on morning hospital rounds led to the observation that there might be a relationship between the number of teeth and the number of tattoos a person possesses. We tallied data and plotted the number of natural teeth both intact and broken against the number of tattoos both professional and amateur. Examined  all patients who were seen by the anesthesiologist service who had at least one tattoo. We set no lower limit for the number teeth. Results? The quantities of teeth and tattoos are inversely related, if a patient has tattoos he or she is likely to be missing teeth. For adults more tattoos equal fewer teeth. The teeth tattoo relationship is linear. See figure. We are continuing to collect and refine our

or·i·ginˈôrəjən/noun1.the point or place where something begins, arises, or is derived. Text Extracts:Garrett Tiedemann: The thing with beginnings is that once you've started, it sometimes becomes clear that you're already in the middle. That you started a million and a half times already and you're actually drawing conclusions that you must be in the proximity of some other ending. Garrett (on phone): Were there any sort of huge influences on how you approached the method? Either within zine [mispronounced] writers or outside in literature, audio, that sort of thing. Julie Shapiro: I have to say I find it so interesting that you call them zines and not zines [like magazine]. Is this like a...maybe it's a divide of like who did it when?Garrett: Well, so, I did not learn of these things until sort of after the fact. So things like the pronunciations are not part of my cultural upbringing. Julie: It doesn't look like zine, it looks like zine. Sure. Garrett:  So, this is partly also like, in a selfish way, this is me learning through you a particular version of this development in the late 90s. Things like that. Julie: Yeah. Well think of, I mean it was zine because they were like kind of like magazines. I mean that's how I always thought of it. Allyson McCabe: You know there's a way in which your personal experience has a broader public point. You know that's why people, that's why there can be sites where people digitize these mix tapes and share them and even if I don't know either party, the party who made it or the party who it was made for, I can still relate to the emotions. And I feel that that carries over to the idea of a zine. You know a zine could have one, it could have an audience of one. It could have an audience of many more than one. But, the sweet spot I think is the idea where it feels a little bit exclusive, a little bit underground, a little bit like not everybody knows about this thing and that's what makes it kind of fun. Julie: I mean I always have done this, well to state the obvious not by myself because it's completely about other people, but I've never collaborated with someone in making it, beyond the signs you know, so it's funny because I was thinking, you know I had decided not to go into audio with it at all like firmly, I'm not interested in that for this. I wanted something outside of that part of my life through this. But that ,I was actually really intrigued by the idea of someone else doing it. So, it was really interesting when you reached out with this idea of could you, you know, could you sonifi some of these ideas and some of the signs that come back beyond just reading them and you know what's the sonic interpretation of the message people are sending. Messages people are sending. [Intro Break]Garrett: Samples from Anodyne. Don't let the fascists tell you what to do.Julie: Anodyne had a lot. It had like, was like...Allyson: There's this great quote from Virginia Woolf and she says partially in writing a letter to someone you're trying to give back a reflection of them. I mean that's kind of a paraphrase, but... In writing a letter you want to give a reflection back to that person of who they are. I mean, I think that's an amazing thing.Julie: The centerfold was always like a woman hero. One was like Harriet the Spy in the cover of that book. One was Connie Francis because I kept finding Connie Francis records at the thrift store. One was like this amazing postcard. It was like a chainsaw advertisement and had this like 50s woman sitting on a like bright red chainsaw with like a beautiful display of colorful chainsaws behind her, sort of menacing, but except it was actually just an advertisement. Strong, strong woman wielding wielding a chainsaw. But, yeah, I think I'm just trying to remember like as the riot grrrl stuff came and my sense of feminism was growing as well. You know how that was expressed through a more cultural lens and a sort of fun and sometimes ironic lens as well.People are drawn to a community vibe and then feel more welcome and then become part and then pull others in. Garrett: When nothing is done, nothing is left undone. Last night I dreamed I was in hell and now I'm having trouble making a list of things to blow up. I didn't realize I was in hell until I got out of bed, Julie the sixties glasses wanted to be hear about it. Instead I gave her another piece of metal I found inside a dumpster in an alley.Orson Welles (archive tape): It's true. It's a good story though.Miyuki Jokiranta: Ah, how did you first become aware of Julie's zine?Tania Ketenjian: I didn't know that she had done the zine in the past and so...You know it doesn't surprise me that she has. But, yeah, I didn't know and I thought Gosh how does she find the time to do it. Allyson: Really only vaguely. I think it was described in a social media post as a redux of the zine. You know, so I kind of worked my way back and then I found out more about what she was doing before and making those connections. Simon Roche: She sent me a letter, I guess some time a year ago maybe, and in it was one of these little cards with the little kids on it, holding up their blank card, and I was like OK and she just said will you fill this in I've got a collection of them that I keep online.Whitney Henry-Lester: Probably. I think she had a pin pinned tweet on Twitter that said something, I'm resurrecting my zine and I didn't know about the original zine, but it sounded like something that Julie would do.Angeline Gragásin: I encountered her zine at an event at Kickstarter last October. I saw the zine before I knew who Julie was. She had already distributed several copies. They were kind of strewn about the space like amongst the snacks.Julie: Is actually the origin story, so I came upon this image of these two kids holding up the sign in like a 1950s health book and so I whited out what was in their sign, it was like tips for good health, and I just, it was blank, and I thought like well here's a blank canvas to just invite people to you know speak up about what they're thinking about. So, it was very like of the time, of the DIY, of the like give people a voice you know kind of, I think of it a little bit like pre-status updates. You know it was kind of the analogue version of just speaking your mind and sharing it with the public. Allyson: You want to make it as organic as possible. It's not like you're taking your brand new pair of jeans and deciding to you know drive over it 100 times in your driveways so they look distressed. You actually want it to be distressed. I think that there is a kind of sincerity even in that construction when you're putting these things together.Julie: So, I was actually, I was in college in Colorado in Boulder and I actually started getting into mail art, like postal mail art, M-A-I-L, and this was right also around the time I was working in a record store and I was really getting into the kind of riot grrrl music movement. [brief riot grrrl interlude] Julie: Just a lot of DIY energy around. And I started morphing my kind of mail art, which was basically just make stuff and send it out to people who would make stuff and send it back.Garrett: Join us, we're donating our bodies to automobile crash tests.Stop the slogan. X-ray-o-matic. Allyson: You know that feel real. You know that the flaws are what make them human. I think there's something about listening to some podcasts you know and some looking at some zines; any kind of homemade media that people realize that there is a person behind this and their trace is part of what's happening and that's kind of what makes it appealing. I don't have to necessarily look at zine and go oh you know who's is this or be able to tell you know that looks like a so and so. But, what I can get out of is the idea that some human person or group of people made this and they took the time to put this all together and it feels to me a lot more satisfying than a glossy magazine that maybe you know has recycled the same stories over and over again or is just chasing what's happening right now. Julie: There was a really thriving underground of mail art; international actually. So, there were probably five or six dozen people who I would occasionally trade mail art with, but then because it was happening at a time where a lot of young girls were kind of speaking up and supporting each other. That became something I wanted to do more of and have more of an editorial kind of narrative input on I think although I'm sure I wasn't thinking of it in those terms so I'm putting that back on it now. I also was really into like a lot of kitsch and I was a thrifter and I collected things and that kind of old school clip art.Garrett: Anodyne 1. Failure to read may result in injuries or death. Anodyne came to English via Latin from Greek and it has been used as both an adjective and a noun since the 16th century. It has sometimes been used of things that dull or lull the senses and render painful experiences less so. Now, in addition to describing things that dull pain, Anodyne can also refer to that which doesn't cause discomfort in the first place. Julie: So, that's how it started, and I called it Anodyne because I loved what that meant. It wasn't a word that was on a record album cover yet or... It also became the name of a publication in the northwest but, I think Wilco put out a record called Anodyne. But, before that I decided to call the zine Anodyne and then I had copped this little warning from a instruction manual. So the cover was just like the sign with the kids and it would say Anodyne. And the

"Blank slate" redirects here.For other uses, (disambiguation).Part of a seriesTabula rasa (/ˈtæbjələ ˈrɑːsə, -zə, ˈreɪ-/) In Locke's philosophy, tabula rasa was the theory that at birth the (human) mind is a "blank slate" without rules for processing data, and that data is added and rules for processing are formed solely by one's sensory experiences.  Tape Extracts:Julie Shapiro: It's funny how it was like a part of my life then, but really was like a foundation for everything that's come since. Building of a community of readers, by involving people as participants, was part of the plan a little bit. Angeline Gragásin: I'm happy to support Julie and her work in any way I can. Tania Ketenjian: Whatever Julie is involved with, immediately my ears perk up.Allyson McCabe: I know that she has a sort of zine name, which was Julie Atomic, and I was always sort of curious where it came from.Whitney Henry-Lester: Pretty much anything  that Julie does I am happy to participate in.Simon Roche: Someone said, I know this girl you should send her one of those. And, I did and then she was like Oh, my god, I love the printed word.Garrett Tiedemann: Samples from Anodyne. 

re·vealrəˈvēl/verbpast tense: revealed; past participle: revealedmake (previously unknowncause or allow (something)  seen. literaryuncloak   Tape Extracts:Miyuki Jokiranta: I didn't really know what I would write and I didn't really know what other people were writing. I hadn't really seen anything posted yet. And I loved this idea that if I didn't peak, then potentially I would be revealed amongst a whole bunch of ideas and thoughts and images at the same time. And that that revelation could potentially say something, suggest something, present something.