<html><head><meta http-equiv="content-type" content="text/html; charset=utf-8"></head><body dir="auto"><div><span></span></div><div><div><span></span></div><div><meta http-equiv="content-type" content="text/html; charset=utf-8"><div><span></span></div><div><div>Good evening and thank you Renate, Ellie and Catherine for all of the input.</div><div><br></div><div>I want to say thank you for this week of dialogue which is just the beginning. I wanted to write a final post to highlight ideas that were addressed throughout the week.</div><div><br></div><div>I would also like to offer any information discussion or guidance in caring for a lievito madre. </div><div><br></div><div>To comment on Ellie's post about the plastic and phytoplankton and how that has entered the food chain: It comes as no surprise that our over reliance on plastic, disposal of said material and the inability to decompose is creating an unwanted ecosystem in our waters. I wonder how often we connect that image with plastic residuals in our body, which if you go to a holistic or an alternative doctor you will hear them talk about plastic exposure in regards to your body. We as a society keep pushing this plastic issue to the side, thinking that it might just somehow evolve into a positive contributor. By now there are many products made from recycled plastic materials and I don't have the information on how these processes fall into a sustainable system nor do I know of the residual contamination in the recycling process? Any thoughts?</div><div><br></div><div>Also in regards to Ellie's post: I really started to think about how weeds are misrepresented along with species boundaries. Native species are in place but migration is a naturally occurring process which leads to integration and evolution, which if you bring this idea back to the human body there is a similar migration pattern that calls for integration and evolution. I will also reread some of Stephen Gould's writings as it seems fitting.</div><div><br></div><div>Moving on to Patricia Reed to point out an interesting correlation between her thoughts and Marc Auge's. I have followed his work for some time because he has written extensively about the non-luogo(non-space) but here I want to point out his book entitled The Future (English title) I link his work to Reed's when she hits on the estrangement-reality and this also ties into the idea of hyperobjects which for me all talk about binary systems: Homophily/Xenophily, Redemption/Process and Reinvent/Control. </div><div><br></div><div>Full circle now to residual contamination in our food supply. Catherine, I think you so eloquently used the word mining to describing agriculture and I am left to think about the title of the document "inhabit", which is exactly what the practices of industrial monoculture do: they inhabit our environment as the trickle down of their contaminative ways touches all species and ecosystems. I have had many irritating discussions with people using this argument of how this type of agriculture is needed in our contemporary society citing food shortage, hunger and land use. This industry is quite literally a colonization. Quite interesting this project World of Matter as they are engaging in shifting the thought from a market driven to a engaged public discourse both on local levels and in the greater whole. I watched an interesting debate about sustainable agriculture with or without pesticides which I would like to share: </div><div><a href="http://www.debatingeurope.eu/2017/10/24/live-debate-sustainable-agriculture-without-pesticides/#.Wgjh9EFWqaM">http://www.debatingeurope.eu/2017/10/24/live-debate-sustainable-agriculture-without-pesticides/#.Wgjh9EFWqaM</a></div><div><br></div><div>Renate I would like to thank you for bringing up the Interventionists exhibition and the views of your friend Ricardo Dominguez in the same context, yet another binary. Ricardo brings up an interesting distinction which I often think about and tend to agree with. He makes a clear distinction between activist-political gesture and what an artist does. These 2 systems, let's call them systems in a broad sense, are different. I think an artist is able to bridge the 2 systems occasionally and effectively. One example that comes to mind is Alicia Grullon <a href="http://www.aliciagrullon.com">www.aliciagrullon.com</a> I admire this ability to bridge, but know that it is quite difficult and for me personally I am happy to be myself when I am advocating something that I am passionate about, such as our food supply and residual contamination and myself as an artist in my artistic practice-I don't believe in separating but I also don't believe in forced groupings or categories. As you said Renate you baked the rum cakes in solidarity for an activist which I thought was a nice metaphor for this. </div><div><br></div><div>In ending, the lievito madre opens the possibilities to cultivate an opposition, a reclaiming of a simple process that is living, breathing, growing and nourishing. It is a meditation on how "other" practices are possible. A reconnection to how long things take and cycles that re-connect us to a vital energy. There are important clues in the process: we need to touch and look closely at the micro to start to intervene in the macro.</div><div><br></div><div>A big welcome to this weeks hosts and looking forward to the evolution of contamination.</div><div><br><div>Thank you for your time and input,</div></div><div>Marisa </div><div><br></div><div><div><br> </div><div id="AppleMailSignature"><div><br></div></div>Il giorno 12 nov 2017, alle ore 11:40, Catherine Grau <<a href="mailto:catherine.grau@googlemail.com">catherine.grau@googlemail.com</a>> ha scritto:<br><br></div><blockquote type="cite"><div><span>----------empyre- soft-skinned space----------------------</span></div></blockquote><blockquote type="cite"><div><div dir="ltr"><div><span style="font-size:12.8px">Hi all,</span></div><div><span style="font-size:12.8px"><br></span></div><div><span style="font-size:12.8px">Today the new group of contamination thinkers will be introduced, and I look forward to seeing where the conversation goes!!</span></div><div><span style="font-size:12.8px">I want to end this week by sharing a few thoughts... </span></div><div><br></div><div><span style="font-size:12.8px">I heard something interesting yesterday in a documentary about agriculture (called "Inhabit"): If you consider that agriculture is supposed to be "the culture of soil" and we look at how industrial monoculture is practiced today, then it's actually more accurate to think of it in the terms of mining - which means extracting (the life from soil) vs generating / creating soil...more life. </span><span style="font-size:12.8px">This extracting, breaking down components, separating, taking life in order to maximize capital, and disposing the in-organic byproducts, seems to be at the core of industrial contamination. </span><span style="font-size:12.8px">So, mining is a potent metaphor, in terms of the depletion of resources but also the depletion of life. (Which inevitably leads to</span><span style="font-size:12.8px"> engineered life, obviously with GMOs)</span></div><div><span style="font-size:12.8px"><br></span></div><div><span style="font-size:12.8px">These technologies are carried forward upon the great myth that there is not enough food for our growing population, when the more accurate description is </span><span style="font-size:12.8px">that there is no other easy way to control and capitalize on the food supply in the hands of few. One third of the food produced today is wasted, while millions of people are starving. In that sense contamination is also a direct product of colonialism. We cannot battle contamination without battling colonialism.</span></div><div><br></div><div><span style="font-size:12.8px">The other thing I wanted to continue thinking about is engaging with the realm of not knowing...</span></div><div><span style="font-size:12.8px">One example that ties over from the farming as mining metaphor - I have been contemplating on the idea (fact?) that much commercial food produce is resulting to have less and less nutrition, in terms of vitamins, minerals, amino acids etc. Where is that depletion coming from? Is it depleted soils? </span><span style="font-size:12.8px">Do we know enough about the complexity of nutrient production to artificially</span><span style="font-size:12.8px"> reproduce soil functions in current aquaponic practices? </span><span style="font-size:12.8px">Are the residual pesticides like glyphosate making nutrients unavailable for the body to absorb? And again, coming back to our own bodies, how can we know how much residual contamination is accumulating in our bodies? </span><span style="font-size:12.8px">There are over 1000 EPA approved chemicals that are used in pesticides * !! </span></div><div><br></div><div><span style="font-size:12.8px">Many of these questions operate in the realm of what is not visible to us. We can't see, smell it or taste it. And the phenomenon is much much bigger than our individual body in terms of geographic scale and temporarliy (again, the hyperopbject by T.Morton). As Renate says, contamination can be very slow and seeping, resulting far away from its original place of application, distributed globally. </span><span style="font-size:12.8px">And as our exposure has been happening over two generations, for many people it is not possible to do a comparative study of how they feel before and after.</span></div><div><br></div><div><div><span style="font-size:12.8px">So, c</span>oming back to the sourdough... </div><div>The sourdough bread making is actually a wonderful experience of working with some of these issues on a micro-scale. Growing the living culture and making the dough rise is a process of mutual contamination, working with invisible ingredients, such as bacteria and yeast. Working with time. Testing with touch, smell and taste. And going into the so-called esoteric - experimenting (like so many hand-made food making processes) with how our mood, our patience, presence, love and attention affect the dough. Finally, sharing the bread (in ritual, even if not explicit) and evaluating how the bread makes us feel...</div><div><span style="font-size:12.8px">What I think this process enables, is a reclaiming of visceral ways of knowing. And gathering with other people and reconnecting to / training our feeling and intuition as valuable forms of knowing becomes very powerful, I think. </span><span style="font-size:12.8px">That - in dialogue and paired with a whole lot of independent scientific research!?</span></div><div><br></div><div>This is the very beginning of growing sourdough as an art/activist project... More soon!</div></div><div><br></div><div>Be in touch!</div><div>Catherine</div><div><br></div><div><br></div><div><span style="font-size:12.8px">* full list here: </span><a href="http://scorecard.goodguide.com/chemical-groups/one-list.tcl?short_list_name=pest" target="_blank" style="font-size:12.8px">http://scorecard.goodguide.<wbr>com/chemical-groups/one-list.<wbr>tcl?short_list_name=pest</a><span style="font-size:12.8px"><br></span></div><div><span style="font-size:12.8px">And interesting fact to continue researching: </span><span style="font-size:12.8px">The US EPA is currently (re)assessing 9 of the most contested EPA approved pesticides as part of their endangered species protection program:</span></div><div><span style="font-size:12.8px"><br></span></div><div>Atrazine.<br>Simazine.<br>Propazine.<br>Glyphosate<span style="font-size:12.8px"><br></span></div>Chlorpyrifos<br>Malathion<br>Diazinon<br>Carbaryl<br>Methomyl<div><br></div><div><br></div></div><div class="gmail_extra"><br clear="all"><div><div class="gmail_signature" data-smartmail="gmail_signature"><div dir="ltr"><div><div dir="ltr"><div dir="ltr">Catherine Grau<div>///\\\///\\\///\\\///\\\<br>EPA - <a href="http://environmentalperformanceagency.com" target="_blank">environmentalperformanceagency.com</a><br><a href="http://chancecologies.com" target="_blank">chancecologies.com</a><br><br></div></div></div></div></div></div></div>
<br><div class="gmail_quote">On Sat, Nov 11, 2017 at 12:36 AM, Catherine Grau <span dir="ltr"><<a href="mailto:catherine.grau@googlemail.com" target="_blank">catherine.grau@googlemail.com</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex"><div dir="ltr">Hi Ellie, Marisa, and Renate,<div><br></div><div>So nice to have a chiming of voices in here and reconnect to the de-centering possibilities enabled by multi-species narrative, as well as the question of what artists/activists can do in terms of intervening and bringing decolonizing narratives into a broader awareness!! </div><div><br></div><div>Defending, recovering, dreaming up and living by other narratives is the big underlying project so many of us are engaged in, and the one that most deeply stirs my soul and inspires me. To me the challenge is how those moments of embodying other narratives can seep back into "real life". Personally I am not so much invested in the idea of the artist as a mirror of society... That has value, of course! But there is a whole history of artist-activists and also less explicitly "activist" artists that work in the realm of social engagement and intervention. And I think the underlying drive is the idea of a slow counter-contamination (or detox) that enables new narratives to be imagined by engaging within real life / site / situation. </div><div><br></div><div>Reed's article starts off asking why our collective comprehension / imagination is so dull when it comes to questioning / altering dominant narratives. Of course, as she writes "There are powerful interest investing in sustaining 'what is', ...vs 'what could be'." I find that to be really true (even though it's painfully ironic that 'what is' is actually a total farce). Often when I try to engage conversations about my despair about our modes of production, the argument of "there is no way back" comes up. (And in many ways I agree that there is no way back). But it's interesting that the only even imaginable alternative to Settler-Colonialism-<wbr>Capitalism-Ecocide is "back". Forward is so much harder to imagine.</div><div><br></div><div>I think, the hardest part -- but also the most exciting part -- is that we have to engage a very large field of <u>not knowing</u>! </div><div><br></div><div>And I think engaging that not knowing from within the painful place of man-made contamination; the physical realities of pollution, species extinction, sea level rise, environmental disasters, cancer and other diseases... is where there maybe is the potential to start imagining new narratives.</div><div><br class="m_3524647048584726102gmail-Apple-interchange-newline">In the two most recent project's I have co-initiated (Chance Ecologies and EPA - Environmental Performance Agency), artists invite the "audience" into direct encounter with contaminated landfills / post-industrial sites, and the struggling but also surviving and adapting ecosystems and the diversity of species that thrive there. Together with the collaborating artists we reject the narrative of "invasive / native", we celebrate the narrative of "weeds" as resilient resistors of the monoculture, and we advocate for spaces that are not designed for human-centric use... sometimes just as acts of listening, and sometimes in the form of interventions.<br></div><div><br></div><div>I want to share this link to a really great art + media project, that is doing this work on the realm of mineral resources, and equally speaks to contamination:</div><div><a href="http://www.worldofmatter.net/" target="_blank">http://www.worldofmatter.net/</a><br></div><div><br></div><div>And the book I referenced in my first post was Timothy Morton's "Hyperobjects", 2013,</div><div><br></div><div><br></div><div>Feeling excited to dig deeper together!!</div><div>xo</div><div>Catherine</div><div><br></div><div><br></div></div><div class="gmail_extra"><span class=""><br clear="all"><div><div class="m_3524647048584726102gmail_signature" data-smartmail="gmail_signature"><div dir="ltr"><div><div dir="ltr"><div dir="ltr">Catherine Grau<div>///\\\///\\\///\\\///\\\<br>EPA - <a href="http://environmentalperformanceagency.com" target="_blank">environmentalperformanceagen<wbr>cy.com</a><br><a href="http://chancecologies.com" target="_blank">chancecologies.com</a><br><br></div></div></div></div></div></div></div>
<br></span><div class="gmail_quote"><span class="">On Fri, Nov 10, 2017 at 11:04 PM, Renate Terese Ferro <span dir="ltr"><<a href="mailto:rferro@cornell.edu" target="_blank">rferro@cornell.edu</a>></span> wrote:<br></span><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br>
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<p class="MsoNormal">Dear Ellie, Marisa, Catherine and all, <u></u><u></u></p>
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<p class="MsoNormal">What a web of information In your posts. There are so many points that I want to pick up on and now that it is the weekend I’ll have a bit more time to chime in. For now I will begin here.
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<p class="MsoNormal">Ellie thanks for all of these references. I am going to begin a bibliography as our guests mention readings. See below and I hope you will all add as the month proceeds.
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<p class="MsoNormal">I have always been interested in the contamination and slow seepage of bad things into our bodies and our environment but like you all these interests have intermittently manifested themselves into my art practice. Over the next few weeks
we will have both artists, theorists and creative writers and performers who want to consider the topic so it will be interesting to see this evolve. I am so happy that you mentioned the notion of the intervention in relationship to remediation. For me an
intervention comes from a covert place and potentially intervenes by affecting a change. The Interventionists exhibition as Mass MOCA curated by Nato Thompson included a number of artists whose work attempted to intervene to create social change or justice.
I have added the reference below in the bibliography. </p>
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<p class="MsoNormal">I wanted to interject here that our friend and colleague Ricardo Dominguez who will be a guest in a couple of weeks makes a clear distinction between activist gestures in the political and social realm and what the artist does. From Ricardo’s
point of view artists can critically reflect and compose but activists engage and protest. There is a clear distinction for him between the artist and the activist and they have very different purposes.
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<p class="MsoNormal">Fascinating to hear Marissa that you made cakes. I conceived of The Rum Cake Brigade a few years ago in solidarity with the activist Mary Anne Grady. The Rum Cake Brigade was conceived to provide solidarity and support for anti-drone
activist, peace activist, and culinary extraordinaire, Mary Anne Grady Flores. My mission was also to cultivate a grass-roots network to raise awareness of military drone activity but also to help Mary Anne who was facing charges stemming from her protests.
This small food intervention was a way to raise community awareness and support Mary Anne the activist. Perhaps in response to Catherine and Marisa, the sour dough becomes a tool to think through conceptually the links between body and the environment and
the slow residual contamination that has evidenced itself in both. Both the sour dough bread and the rum cakes can be thought of as Duchamp did of his ‘readymades’ in that the ordinary object became elevated to critically engage the viewer.
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<p class="MsoNormal">More tomorrow. I will be introducing our Week 2 guests on Sunday. </p>
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<p class="MsoNormal">Catherine you mentioned one of Timothy Morton’s articles earlier? Can you add the reference?
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<p class="MsoNormal">Feel free to add to this bibliography: </p>
<p class="MsoNormal">Bibliography on Contamination</p>
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<p class="MsoNormal">Patricia Reed’s recent article "Xenophily and Computational Denaturalization <<a href="http://www.e-flux.com/architecture/artificial-labor/140674/xenophily-and-computational-denaturalization/" target="_blank">http://www.e-flux.com/archite<wbr>cture/artificial-labor/140674/<wbr>xenophily-and-computational-de<wbr>naturalization/</a>></p>
<p class="MsoNormal">Stephen J. Gould’s “An Evolutionary Perspective on Strengths, Fallacies, and Confusions in the Concept of Native Plants” (Arnoldia, Spring 1998)</p>
<p class="MsoNormal">Anna Tsing "Arts of Living on a Damaged Planet":<a href="http://edgeeffects.net/anna-tsing/" target="_blank">http://edgeeffects.net<wbr>/anna-tsing/</a></p>
<p class="MsoNormal">Edited by <a href="https://mitpress.mit.edu/authors/nato-thompson" target="_blank"><span style="color:windowtext;text-decoration:none">Nato Thompson</span></a> and <a href="https://mitpress.mit.edu/authors/gregory-sholette" target="_blank"><span style="color:windowtext;text-decoration:none">Gregory
Sholette</span></a>, “The <b>Interventionists </b>Users' Manual for the Creative Disruption of Everyday Life (MIT Press, 2004<b><u></u><u></u></b></p><span class="">
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<p class="MsoNormal"><span style="font-size:10.5pt;font-family:"Arial",sans-serif;color:black">Renate Ferro<u></u><u></u></span></p>
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<p class="MsoNormal"><span style="font-size:10.5pt;font-family:"Arial",sans-serif;color:black">Visiting Associate Professor<u></u><u></u></span></p>
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<p class="MsoNormal"><span style="font-size:10.5pt;font-family:"Arial",sans-serif;color:black">Tjaden Hall 306<u></u><u></u></span></p>
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<p class="MsoNormal"><a href="mailto:rferro@cornell.edu" target="_blank"><span style="font-size:10.5pt;font-family:"Arial",sans-serif">rferro@cornell.edu</span></a><u></u><u></u></p>
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<p class="MsoNormal"><b><span style="font-size:12.0pt;color:black">From: </span></b><span style="font-size:12.0pt;color:black"><<a href="mailto:empyre-bounces@lists.artdesign.unsw.edu.au" target="_blank">empyre-bounces@lists.artdesig<wbr>n.unsw.edu.au</a>> on behalf of Ellie Irons <<a href="mailto:ellieirons@gmail.com" target="_blank">ellieirons@gmail.com</a>><br>
<b>Reply-To: </b>soft_skinned_space <<a href="mailto:empyre@lists.artdesign.unsw.edu.au" target="_blank">empyre@lists.artdesign.unsw.e<wbr>du.au</a>><br>
<b>Date: </b>Friday, November 10, 2017 at 4:59 PM<br>
<b>To: </b>soft_skinned_space <<a href="mailto:empyre@lists.artdesign.unsw.edu.au" target="_blank">empyre@lists.artdesign.unsw.e<wbr>du.au</a>><br>
<b>Subject: </b>Re: [-empyre-] Residual Contamination<br>
<b>Resent-From: </b>Renate Ferro <<a href="mailto:rferro@cornell.edu" target="_blank">rferro@cornell.edu</a>><u></u><u></u></span></p>
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<p class="MsoNormal"><span style="font-size:10.0pt">Hi Catherine, Marisa, Renate, and the rest of you out there,<u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt"><u></u> <u></u></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt">Thanks for these thoughts and meditations- I’m enjoying the way you are weaving in the positive side of contamination alongside its horrors. The contamination narrative is omnipresent as toxicity (I just came
from a workshop involving Hawaii-based artists and ocean plastics- the amount of plastic being ingested by phytoplankton and entering the food chain is truly harrowing) BUT, as you suggest, it's important to work on reclaiming the contamination metaphor in
the sense of eschewing the search for/heralding of purity- Tsing gets at this nicely in her work (I’ll need to listen to the edge effects interview!) As Catherine knows from our work at the Environmental Performance Agency, working with weedy plant species
we come up against the narrative of “bad contamination” a lot- the idea that species boundaries and geographies should be immutable, and “pure” native genomes are more desirable, leading to a denial of the flexibility and fluidity of the way plants share genetic
material, hybridize, evolve even in short periods of time (this ready ability to be “contaminated” is a feature, not a fault, in a rapidly changing and unpredictable climate). I find that looking back at Stephen J. Gould’s “An Evolutionary Perspective on Strengths,Fallacies,
and Confusions in the Concept of Native Plants” (Arnoldia, Spring 1998) is helpful in laying out common misconceptions around nativeness, fitness, and genetic superiority. I should probably read it again ;)<u></u><u></u></span></p>
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<p class="MsoNormal"><span style="font-size:10.0pt">Also in terms of eschewing purity, and connecting back to last month’s multispecies conversations, I find passages in Patricia Reed’s recent article "Xenophily and Computational Denaturalization <<a href="http://www.e-flux.com/architecture/artificial-labor/140674/xenophily-and-computational-denaturalization/" target="_blank">http://www.e-flux.com/archite<wbr>cture/artificial-labor/140674/<wbr>xenophily-and-computational-de<wbr>naturalization/</a>>”
to be spot on- she reminds us that it’s not a zero-sum game. It’s so common when contemplating the bettering of one thing to assume it means the deterioration of something else- a kind of binary purity that is in dire need of contamination. She puts it this
way (referencing Haraway’s concept of “staying with the trouble”, also relevant here):<u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt">"To stay with the trouble means there is no easy way out, forcing us to navigate through it…not with an “anything goes” attitude, but with careful attention paid to how the “trouble” informs the way we fashion
distinctions in the world…a clear, fundamental distinction must be drawn between decentering and dehumanization. The decentering of the human does not equal dehumanization; rather, it can simply enable something other. That said, this process will not just
“naturally” occur, so to care for and nurture this important non-equation requires a corresponding perspectival recalibration; plotting where we are, in the generic, and provoking a reframing of the human in view of its humiliation.”<u></u><u></u></span></p>
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<p class="MsoNormal"><span style="font-size:10.0pt">Looking forward to the rest of the month!<u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt"><u></u> <u></u></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt">Best wishes,<u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt"><u></u> <u></u></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt">-Ellie Irons<u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt"><a href="http://ellieirons.com" target="_blank">ellieirons.com</a><u></u><u></u></span></p>
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</div></blockquote><blockquote type="cite"><div><span>_______________________________________________</span><br><span>empyre forum</span><br><span><a href="mailto:empyre@lists.artdesign.unsw.edu.au">empyre@lists.artdesign.unsw.edu.au</a></span><br><span><a href="http://empyre.library.cornell.edu">http://empyre.library.cornell.edu</a></span></div></blockquote></div></div></div></body></html>