20.Jun.2015 An Index of an Index














Index of an Index
A study in meta-semiology
New Rochelle, NY

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15.May.2015 Prelude to Infinite Semiosis (No. 2)


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Prelude to Infinite Semiosis (No. 2)
Icon, index, and symbol
New Rochelle, NY
Not far from the Sound

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16.Feb.2015 A Stalwart of the New Frontier


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25.Jan.2015 An Outlet Mall Typology

“The term factory outlet refers to stores in which manufacturers sell their goods directly to consumers, thereby saving the costs of distribution and retailing, some portion of which they pass on to consumers in the form of discounted prices.”   Marianne Conroy, Discount Dreams: Factory Outlet Malls, Consumption, and the Performance of Middle-Class Identify, 54 Social Text 63 at 65 (Spring, 1998).  Value Retail News defines an outlet center as “one in which 50% or more of the tenants are manufacturer’s outlets.”  Research Data, Value Retail News (archived 6/9/2008).

I propose that outlet malls can be classified according to the following types: (1) the factory, (2) the strip mall, (3) the cloisters, and (4) the walled city.

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Tanger Outlets, Williamsport IA

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06.Dec.2014 DR Vol. 12: Multimedia Presentation

Wizzerds of Rhyme and yours truly (Gary River) are very proud to present:

Try to find 10 examples of SIGNS that are not signs. #SIGNS.




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28.Nov.2014 Volume 12

SIGNS turned out to be an extraordinarily dense and challenging subject.

Volume 12 is still happening.

Just taking a little longer than expected.


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05.Jul.2014 Some Remarks on Half Lives’ Deep State EP


The Deep State EP by Half Lives (aka artist/musician Steve Wright) is a composition in the truest sense. Sure, the word “composition” is regularly used to describe any number of artistic forms: visual, written, acoustic, gustatory, aromatic. It does not require sustained reflection to realize that every song is a composition, “an aggregate; a composite substance.” Webster’s Collegiate Dictionary 207 (1916). But in the case of Deep State, the word, composition, is particularly appropriate. These songs are aggregates along several different axes. Along the first and most obvious axis, they constitute an exuberant and curated collection of sounds, samples, blips, beeps, and thumping beats. Along the second axis: the sounds are so pushed, pulled, layered, repeated, slowed down, and sped up that second order features start to emerge. But a third axis of aggregation: the revelry encoded in the generation of second axis. And a fourth axis of aggregation: temporal. Whereas in Country Bears and Hazerai, Wright’s guitar is draped over – complimenting perfectly – a hurtling chaotic engine, in Deep State, the structural roles are reversed!  Wright’s guitar parts still hover, but here they are more like the cables of a suspension bridge, the protective netting in a beehat, the nylon in a fish tank scooper. The sonic collection playing the part of the roadway, the beekeeper, the fish. This deeper structure only apparent with the advent of time and context.


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15.Jun.2014 A Strip Mall Semeiotic


The vast parking lot is in front not at the rear, since it is a symbol as well as a convenience.”
Robert Venturi, Denise Scott Brown, and Steven Izenour, Learning from Las Vegas: The Forgotten Symbolism of Architectural Form (1977) at 9.
[DRv12 is in the works].


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17.May.2014 Marc Carver — NOT HERE

As i sat in the town centre square
thinking about another opportunity missed
some students came and sat opposite me
They seemed to be waiting for someone.
Ten minutes later the beggar came down the street
and the students got excited.

Two of them went over to him
and he gave them something
and they gave him something
and then they both went their own ways.
Like magic they were gone.
as simple as that.

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15.May.2014 Volume 12: Signs


The first deadline for Volume 12 (“Signs”) submissions is here.  You know what that means: it is time to start work in earnest.  For my part, I’ve been deep in research.  If you’re interested in contributing, get in touch.  But soon!


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Official Taxonomy