Background Color

An 'if that, then this' problem; or is it an 'if this, then that' problem? Is there any difference? Realized that the major problem with the Historical Photograph show was that we went about it ass-backward. If the criteria was that all shots should be accompanied by artifacts, then we should have matched artifacts to businesses, then selected photos. Kenny wasted a lot of time going in the wrong direction. I would have caught this earlier, but I was hanging the circus show. Rebooted now and off to the races. Everyone headed in the right direction. My job is to run logistics and then install what we end up with. The 'A' Team back together, as hopefully D and I will install Friday and Saturday. The overtime is a donation. I'd do this job for free if I could afford that arrangement, as I seldom know what the next day holds, and that engages me. I'll go to work with every expectation that I'll be framing some pictures, and end up un-crating a very nice painting that no one was expecting; running to the hardware store for a certain something that James needs, to continue the framing that I'm not doing; running to the college to find a piece of music that Barnhart had promised Pegi; finding another diamond earring. This finding jewelry thing has got to stop. I hang it on the wall. Right now (I give things away, so this is not all I've picked up) on the wall is a silver hoop earring (an inch and three-quarters), and hanging from it a lovely flat-linked silver necklace. From the same push-pin hangs a small white gold ring set with tiny diamonds; and above them, stuck directly into the wall, is a gold earring set with very small diamonds. Urban artifacts require a certain eye. I've trained myself to look. Most of the things I find have been run over. I don't mean that as an artist's statement, but I find a lot of things in the road, especially this time of year, with that slanting light. I'm thinking, as reference for the Emily Project, we need Bachelard, Sappho (of course), Gretel Ehrlich, Dorn, and Euell Gibbons. I'll add others. Howe, probably Melville, because of the white. Maybe Emily should be shot in black and white. The writer character, who is now, so color, and his reading and writing is partly, then increasingly, based on trying to understand what Emily is saying. How she says it so clearly. We could show him, reading a page, drumming his fingers, and he would be talking about something that related, maybe only by language, to something She had said. We're going to get into the past pluperfects quickly. We need to talk about tense issues. There could be some problems. I don't think they ever meet, even her appearing in his dreams can just be edited. I'm thinking it needs to be very literate, sharp, almost in contrast to the bibbed janitor writer guy. No compromise, no prisoners, when it comes to the language. If Linda would pick some specific letter/poem combination she liked, I could reference that, set the stage for a reply. I think I could. Or she could respond to me, to something I'd said, and we could hash it out. How complete a script are we after? How much do we leave to chance? Does she ever mention acorns? I've trying to keep a record of which nuts fell from which tree when, and I'm having no luck at all. I can picture the map I'd need, but I can't draw it. I'm challenged, when it comes to doing anything, but I call a good game. Right back there. I might have to start writing in different files, so I can keep things straight, heaven forbid. The initial moment is important here. What started the sequence. Your eyebrows or whatever, your fingernails, whatever, I can't speak for you. I control a very small segment of the knowable world, that silly construct. Mostly what I hope is that everyone gets a good night's sleep.