The Newpaper Issue 2

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NEWS

News 6 World News 14 New News 27 Art News 36

Day

About \ News \ Paper \ Artists www.thenewpaper.co.uk

“On Friday, September 1, 2000, I began retyping the day’s NEW YORK TIMES word for word, letter for letter, from the upper left hand corner to the lower right hand corner, page by page.”

With these words, Kenneth Goldsmith embarked upon a project which he termed “uncreative writing”, that is: uncreativity as a constraintbased process; uncreativity as a creative practice.

By typing page upon page, making no distinction between article, editorial and advertisement, disregarding all typographic and graphical treatments, Goldsmith levels the daily newspaper.

DAY is a monument to the ephemeral, comprised of yesterday’s news, a fleeting moment concretized, captured, then reframed into the discourse of literature.

The Newpaper ♣♠♥♦

opment. The change follows events that include test failure, opposition from Russia as well as European allies and a legal dispute over how far the system could proceed before violating an important arms control treaty.

To keep the option of initial development open for Mr Clinton, the Pentagon has requested bids for initial construction of a radar site in Alaska, setting Sept. 7 as a deadline for technical cost proposals form contractors. The first contacts would have to be awarded by December to permit building to begin next spring and to have a working system in place by 2005. Under the schedule the Pentagon has set in light of conditions in Alaska, it has to start the process soon, subject to later presidential approval.

The more politically volatile decision of whether to file the system – and break the Antiballistic Missile treaty of 1972 – would be left to administration, whether that of Al Gore of George W. Bush.

In a sign of this political evolution, senior military officers, including the program’s executive officer, Maj Gen. Willie Nance of the Army, have argued that there is no reason to rush more tests.

Critics of the program have consistently complained that the military operation was on an artificially fast schedule.

“General Nance is not going to conduct a test unless he’s fully confident that everything is fully ready for the test,” said Lt. Col. Rick Lehner, a spokesman for the Ballistic Missile Defense Organization.

Mr Clinton is awaiting a recommendation from Defense Secretary William S. Cohen on the project and Continued on Page A9 Ozier Muhammad / The New York Times Exit Agassi

The top-seeded Andre-Agassi, right, congratulating Arnaud Clément of France yesterday after Clément defeated him, 6-3, 62, 6-4, in the second round of the United

ring of the Line Between Faith and Politics

By Gustav Niebuhr

When Senator Joseph I. Lieberman urged a greater role for religion in public life in campaign speeches this week, he touched of a new round in the sharp but unsettled debate over the role that personal beliefs should play News Analysis In America politics

Some critics of Mr. Lieberman’s remarks, including the Ant-Defamation League, cast the issue in terms of separation of church and state, suggesting that the senator had infringed on that principle.

But another way to look at what Mr. Lieberman, a Connecticut Democrat, said is to ask whether American culture has changed enough of late so that his remarks are more acceptable, socially and politically, than before.

Those who say a change has taken place can cite various reasons – public unease over the political scandals of the late 1990’s, for example, or the longer-term emergence of religious conservatives as a political force or a less tangible but pervasive interest in the personal and political.

“ I think that the Christian Coalition has added to our dialogue on politics and religion,” said Paul Simon, the former Democratic senator from Illinois, referring both to the conservative organization of that name and also the broader political movement of religious conservatives, “Now, some of that is not good, but some of that is good, too.”

Mr. Simon who now directs the Public Policy Institute of Southern Illinois University, said he thought Mr. Lieberman has made his remarks “with great care.” But he also said that some of the religious language used in Continued on Page A23 Bush Approves New Attack Ad Mocking Gore

Day Kenneth Goldsmith The Figures $23.00

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THE NEWPAPER

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IN THE NEWPAPER Who 4 What 8 When 12TODAY Where 16 Why 18

The Newpaper

About \ News \ Paper \ Artists

The Newpaper is a newspaper about artists and writers who make work using the language, visuals or structure of newspapers.

Front cover: ! from the “daily collages” series, Michalis Pichler, August 18.2007

Published by: T\EXT\ART\ London and “greatest hits”, Berlin, ISBN 978-3-86874-103-2

www.thenewpaper.co.uk

(c) Eleanor Vonne Brown

States Open in Queens.

SportsFriday, Page D1.

Lazio Closes In On Mrs. Clinton In Money Race

By CLIFFORD J. LEVY

Representative Rick A. Lazio may be less well known than his opponent in the New York Senate contest (not to mention the Republican who dropped out), but in terms of fundraising, he has already entered her league. Mr Lazio collected $10.7 million in just seven weeks this summer, his aides said yesterday, leaving little doubt that he will have means to battle for the seat despite his late start.

Mr Lazio has taken in a total of $19.2 million since jumping into the Senate race in May, nearly as much as Hilary Rodham Clinton, who has been raising money for more that a year and has collected $21.9 million.

She raised $3.3 million in the seven-week period this summer: July 1 to Aug. 23.

Mr. Lazio’s success with donors suggest that no matter who is on the Republican line – mayor, congressman, school board member – the checks will pour in because of hostility among the county to the Democrat Mrs. Clinton. And Mr. Lazio, a once-obscure congressman from the Suffolk County, has readily harness that sentiment.

“I’m Rick Lazio,” he wrote in an unusually short, onepage fund-raising letter this summer. “It won’t take me six pages to convince you to send me an urgent needed contribution for my United States Senate campaign in New York.

It will take Continued on Page B7 Religion in Hastings

Signs of Shift in attitudes Suggest Blur-

Printed in London by Newsfax International Ltd 40pp tabloid newspaper 380 x 289mm Printed on 52gsm improved newsprint

“All the News that’s Fit to Print” The New York Times Late Edition New York: Today, mostly cloudy, high 83, warm and muggy, low 73. Tomorrow, cloudy with a few showers, high 80. Yesterday, high 83, low 72. Weather map is on Page A20.

VOL. CXLIX....No. 51, 498 Copyright © 2000 The New York Times NEW YORK, FRIDAY, SEPTEMBER 1, 2000 $1 beyond the greater New York metropolitan area 75 CENTS PENTAGON LIKELY TO DELAY NEW TEST FOR MISSILE SHIELD JANUARY DATE EXPECTED

Deployment Decision Would Fall to Next President – Treaty Issue Remains

By ERIC ACHMITT

WA S H I N G TON, Aug, 31 – The Pentagon will probably postpone the next test of a national missile defense system until January, administration officials said yesterday.

Any decision to deploy the antimissile shield now seems certain to pass out of President Clinton’s hands to his successors.

Administration officials had previously said Mr. Clinton would be decided this summer in deploying a $60 billion antimissile system that would be ready by 2005. To meet this schedule, the Pentagon has been under heavy pressure for two years to conduct enough flights to show Mr. Clinton and his advisors whether the systems was technologically feasible.

But now officials are signalling that Mr Clinton merely plans to decide whether to go ahead with the program’s initial devel-

Thank you to all the artists and writers involved for your generous support.

by Kenneth Goldsmith I am the most boring writer that has ever lived. If there were an Olympic sport for extreme boredom, I would get a gold medal.

My books are impossible to read straight through.

In fact, every time I have to proofread them before sending them off to the publisher, I fall asleep repeatedly. You really don’t need to read my books to get the idea of what they’re like; you just need to know the general concept.

Over the past ten years, my practice today has boiled down to simply retyping existing texts. I’ve thought about my practice in relation to Borges’s Pierre Menard, but even Menard was more original than I am: he, independent of any knowledge of Don Quixote, reinvented Cervantes’ masterpiece word for word. By contrast, I don’t invent anything. I just keep rewriting the same book. I sympathize with the protagonist of a cartoon claiming to have transferred x amount of megabytes, physically exhausted after

a day of downloading.

The simple act of moving information from one place to another today constitutes a significant cultural act in and of itself. I think it’s fair to say that most of us spend hours each day shifting content into different containers. Some of us call this writing.

In 1969, the conceptual artist Douglas Huebler wrote, “The world is full of objects, more or less interesting; I do not wish to add any more.” I’ve come to embrace Huebler’s ideas, though it might be retooled as, “The world is full of texts, more or less interesting; I do not wish to add any more.” It seems an appropriate response to a new condition in writing today: faced with an unprecedented amount of available text, the problem is not needing to write more of it; instead, we must learn to negotiate the vast quantity that exists.

I’ve transformed from a writer into an information manager, adept at the skills of replicating, organizing, mirroring, archiving, hoarding, storing, reprinting, bootlegging, plundering, and transferring. I’ve needed to acquire a whole new skill

set: I’ve become a master typist, an exacting cut-andpaster, and an OCR demon.

There’s nothing I love more than transcription; I find few things more satisfying than collation.

John Cage said, “If something is boring after two minutes, try it for four. If still boring, then eight. Then sixteen. Then thirty-two. Eventually one discovers that it is not boring at all.” He’s right: there’s a certain kind of unboring boredom that’s fascinating, engrossing, transcendent, and downright sexy. And then there’s the other kind of boring: let’s call it boring boring. Boring boring is a client meeting; boring boring is having to endure someone’s self-indulgent poetry reading; boring boring is watching a toddler for an afternoon; boring boring is the seder at Aunt Fanny’s. Boring boring is being somewhere we don’t want to be; boring boring is doing something we don’t want to do.

Unboring boring is a voluntary state; boring boring is a forced one. Unboring boring is the sort of boredom that we surrender ourselves to when,

say, we go to see a piece of minimalist music. I recall once having seen a restaging of an early Robert Wilson piece from the 1970s. It took four hours for two people to cross the stage; when they met in the middle, one of them raised their arm and stabbed the other. The actual stabbing itself took a good hour to complete. Because I volunteered to be bored, it was the most exciting thing I’ve ever seen.

the advertising, which feeds subsequent ads, and so on.

But later that night, back in the hotel room, I was channel surfing and came across a 1950s Lawrence Welk rerun.

It was unbearably stupid, wrapping its boredom in the guise of “entertainment” and suddenly it occurred to me that in his day, Jackson was right. A powerful way to combat such crap was to do the opposite of it, to be purposely boring.

The 20th century avant-garde

By the 60s and 70s in art circles this type of boredom -- boring boring -- was often the norm. I’m glad I wasn’t around to have to sit through all of that stuff. Boredom, it seems, became a forced condition, be it in theatre, music, art, or literature. It’s no wonder people bailed out of boredom in the late 70s and early 80s to go into punk rock or expressionistic painting.

After a while, boredom got boring.

liked to embrace boredom as a way of getting around what it considered to be the vapid “excitement” of popular culture. I’ll never forget being at a sound poetry festival with Jackson Mac Low in Miami Beach over a decade ago.

Jackson was railing against popular culture, dance music, anything with a beat, anything that reeked of entertainment.

I really couldn’t understand what he was talking about. For a younger generation, popular culture is very sophisticated.

Everyone in advertising today has a degree in semiotics, setting up a condition whereby artists, seeing the complex ads, go into the studio and make work about

And then, a few decades later, things changed again: excitement became dull and boring started to look good again. So here we are, ready to be bored once more.

But this time, boredom has

changed. We’ve embraced unboring boring, modified boredom, boredom with all the boring parts cut out of it.

Reality TV, for example, is a new kind of boredom. “An American Family,” broadcast in the early 70s -- strutting its ennui -- was the old boredom; “The Osbournes” -- actionpacked boredom -- is the new.

There’s no one more tedious than Ozzy Osbourne, but his television presence is the most engagingly constructed tedium that has ever existed.

We can’t take our eyes off the guy, stumbling through the dullness of his own life.

I do a weekly radio show that, most weeks, is extremely challenging listening, often veering into boring boring territory (I’ve played shows of two men snoring for three hours, to name one example), but I don’t mind doing this because no one’s forcing you to listen straight through. If you don’t like it, you simply get up, turn it off, and put something else on.

In the same vein, as I said before, I don’t expect you to even read my books cover to cover. It’s for that reason I like the idea that you can

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SNOOZE

BEING BORING Kenneth Goldsmith

know each of my books in one sentence. For instance, there’s the book of every word I spoke for a week unedited.

Or the book of every move my body made over the course of a day, a process so dry and tedious that I had to get drunk halfway though the day in order to make it to the end. Or my book, Day, in which I retyped a day’s copy of the New York Times and published it as a 900 page book. Now you know what I do without ever having to have read a word of it.

Let me go into more detail about Day. I would take a page of the newspaper, start at the upper left hand corner and work my way through, following the articles as they were laid out on the page.

If an article, for example, continued on another page, I wouldn’t go there. Instead, I would finish retyping the

page I was on in full before proceeding to the next one.

I allowed myself no creative liberties with the text. The object of the project was to be as uncreative in the process as possible. It was one of the hardest constraints a writer can muster, particularly on a project of this scale; with every keystroke came the temptation to “fudge,” “cutand-paste,” and “skew” the mundane language. But to do so would be to foil my exercise.

Everywhere there was a bit of text in the paper, I grabbed it.

I made no distinction between editorial and advertising, stock quotes or classified ads.

If it could be considered text, I had to have it. Even if there was, say, an ad for a car, I took a magnifying glass and grabbed the text off the license plate. Between retyping and OCR’ing, I finished the book

in a year.

Far from being boring, it was the most fascinating writing process I’ve ever experienced.

It was surprisingly sensual.

I was trained as a sculptor and moving the text from one place to another became as physical, and as sexy as, say, carving stone. It became this wild sort of obsession to peel the text off the page of the newspaper and force it into the fluid medium of the digital.

I felt like I was taking the newspaper, giving it a good shake, and watching as the letters tumbled off the page into a big pile, transforming the static language that was glued to the page into moveable type.

As good as the process was, that’s how good I felt the end result to be. The day I chose to retype, the Friday before Labor Day weekend of 2000,

was a slow news day. Just the regular stuff happened, nothing special. But in spite of that, after it was finished, it became clear that the daily newspaper -- or in this case Day -- is really a great novel, filled with stories of love, jealousy, murder, competition, sex, passion, and so forth. It’s a fantastic thing: the daily newspaper, when translated, amounts to a 900 page book.

Every day. And it’s a book that’s written in every city and in every country, only to be instantly discarded in order to write a brand new one, full of fresh stories the next day.

After reading the newspaper over breakfast for 20 minutes in the morning, we say we’ve read the paper. Believe me, you’ve never really read the paper.

would happen when I applied it to other types of print media. So I went ahead and retyped an issue of Vogue, which yielded fantastically minimal results. Imagine a fashion magazine denuded of its images. What are you left with? In the beginning of a fashion magazine there are dozens of two-page advertising spreads that are all images, containing almost no text. What emerged were exquisite little lines -- almost fashion haikus -- about products, locations, prices, etc. And in the back where there is more text, it was completely different than the New York Times; Vogue is full of juicy gossip and overthe-top language, making for a totally new book. I called that book Month.

There was something so satisfying about this exercise that I wanted to see what

My next idea was to do a weekly -- obviously called Week -- so I chose to retype

an issue of Newsweek, which was, well, as dull as Newsweek itself is. That project definitely fell on the boring side of boring.

I got to wondering if I’m simply masochistic, doing these sorts of projects so I decided to do a reality check and try an boring exercise with my generally-bored students. I gave them the simple instructions to retype five pages of their choice and came in the next week, dreading their response to the most dry, dull, assignment I could give them. But much to my surprise, they were charged -- as charged as I was during my retyping of the Times. Their responses were varied and full of revelations: some found it enlightening to become a machine (without ever having known Warhol’s famous dictum “I want to be a machine”). Others said that it

was the most intense reading experience they ever had, with many actually embodying the characters they were retyping.

Several students became aware that the act of typing or writing is actually an act of performance, involving their whole body in a physically durational act (even down to noticing the cramps in their hands). Some of the students became intensely aware of the text’s formal properties and for the first time in their lives began to think of texts not only as transparent, but opaque objects to be moved around a white space. Others found the task zen-like and amnesia-inducing (without ever having known Satie’s “Memoirs of an Amnesiac” or Duchamp’s desire to live without memory), alternately having the text lose then regain meaning. Out of the class of 18, there was only one girl who didn’t have some sort of a transcendental experience with the mundane act of typing. She was a waitress who took it upon herself to retype her restaurant’s menu in order to learn it better for work. She ended up hating the

task and even hating her job more. It was an object lesson in the difference between voluntary and involuntary boredom. It’s hard to turn the dreary world of work into unboring boredom.

The class learned that it’s hard to be bored when creating a work of art. But what about an audience’s reception to such work? I think that there were a handful of artists in the 20th century who intentionally made boring work, but didn’t expect their audiences to fully engage with it in a durational sense. It’s these artists, I feel, who predicted the sort of unboring boredom that we’re so fond of today.

Andy Warhol, for instance, said of his films that the real action wasn’t on the screen.

He’s right. Nothing happened in the early Warhol films: a static image of the Empire State Building for eight hours, a man sleeping for six. It is nearly impossible to watch them straight through. Warhol often claimed that his films were better thought about than seen. He also said that the

films were catalysts for other types of actions: conversation that took place in the theatre during the screening, the audience walking in and out, and thoughts that happened in the heads of the moviegoers.

Warhol conceived of his films as a staging for a performance, in which the audience were the Superstars, not the actors or objects on the screen.

prescient in predicting our reading habits. John Cage, too, proved to be the avantgarde’s Evelyn Wood, boiling down dense modernist works into deconstructed, remixed Cliff Notes; in his “Writing Through Finnegans Wake” he reduced a 628-page tome to a slim 39 pages, and Ezra Pound’s 824-page Cantos to a mere handful of words.

Gertrude Stein, too, often set up a situation of skimming, knowing that few were going to be reading her epic works straight through. (How many people have linearly read every word of The Making of Americans? Not too many, I suppose.) The scholar Ulla Dydo, in her magnificent compilation of the writings of Gertrude Stein, remarked that much of Stein’s work was never meant to be read closely at all, rather she was deploying visual means of reading. What appeared to be densely unreadable and repetitive was, in fact, designed to be skimmed, and to delight the eye (in a visual sense) while holding the book. Stein, as usual, was

*** I’m getting out of the boredom business, friends.

I recently embarked upon a project, a piece that would completely turn my entire practice on its ear. I wanted to work with extraordinary language, dramatic language; language drenched with emotion. Excitement is what I’m after now. After thinking about what I could do for some months, I hit upon the perfect project. I would redo my New York Times piece, only instead of retyping a “normal” news day, I would retype the issue of the New York Times published on the morning of September 11th, using the exact same method I did for Day.

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I’ve now just finished the first section of the paper and I can tell you that it’s doing everything that I want it to.

I’ve embarked on an epic unboring boring work. It’s been a highly emotional experience retyping this paper, full of events that never happened: sales that were cancelled, listings for events that were indefinitely postponed, stories deemed to be big news one day were swept off the pages of the paper of record forever, stock prices that took a huge dive the next day, and so forth. I think you get the idea. I love the idea of doing something so exciting in the most boring way possible or vice versa.

management in which we all habit today, he couldn’t have been more wrong. Each and every word was “written” by me: sometimes mediated by a machine, sometimes transcribed, and sometimes copied; but without my intervention, slight as it may be, these works would never have found their way into the world. When retyping a book, I often stop and ask myself if what I am doing is really writing. As I sit there, in front of the computer screen, punching keys, the answer is invariably yes.

At a reading I gave recently -- and I do do short readings occasionally -- the other reader came up to me after my reading and said incredulously, “You didn’t write a word of what you read.” I thought for a moment and, sure, in one sense -- the traditional sense -- he was right; but in the expanded field of appropriation, uncreativity, sampling, and language

Alya Karame The idea behind “Il Pleut” (taken from Guillaume’s Apollinaire’s futurist poem) is very simple and involves systematic almost mechanical work; it is a deconstruction of a few pages from The Sun tabloid newspaper whereby the first and last letters of each line are kept and everything else is erased.

Continued on pages 5 and 7

Il Pleut 29.5 x 37 cm

NEWS

where have all the real journalists gone? tomhy2k This is brilliant christian66ca BRAVO MIKA!!!!! where have all the real journalists gone? moroitsubasa Yes! Go Mika! Burn Paris (even if it is only in symbolism).

Arkavus Marked as spam HELL YEAH!!!

Mika is my hero.

jillsr This woman is awesome!

Every news organization should follow her lead!! (And your dumbass coanchors should be fired). billthejerk agreed. the second story was probably about how many kids died in Iraq today and that ahole anchor would rather sniff the paper that mikah crumbled up... those two anchors probably want a gig with jerry

springer while mikah wants to report the news. theshizzler good for her. whatever happened to journalistic integrity? adderx99 that woman needs a raise. 3 cheers for mika. cinshea2 Good for her! But I bet she looses her job because of this.

A man wouldn’t! cquilliam Kudos to Mika for standing up for herself. Maybe a bit overboard with the attempt to burn the story, however, the shredder made up for that.

Glad to see that someone in the american media still has standards. guimonkey awesome. kanatachris + This gal is my hero!

JacKal45 she is mine as well.

Kootsch Finally! Somebody had to start with it! Please, media world, you follow!

jlassh this would be cooler if it wasn’t completely planned to give msnbc a cool youtube clip to make them seem edgy even though everyone should do this bigmacattacks this had better be most viewed and top rated. zykos a REAL newscaster BettyInCT Kudos to Ms. Brzezinski!

Now, if only she’d use that extra time to cover another story: the story of a politician who has won the postPresidential debate polls on MSNBC and Fox News, and yet gets almost no MSM coverage. The story of Ron Paul. Dr. Paul voted against the Iraq War, against the Patriot act, wants to abolish the IRS and is a 10-term Congressman whose *own party*, the Republican Party, has tried to unseat him.

Want to learn more? Please visit ronpaul2008[dot]com WouldBeHasBeen These meek man-media sluts

will regret they had to be the foil for her principled stand. godemperorofhell Integrity, so rare are you in these dark and ignorant days that stupid coanchors don’t recognize you anymore! roxinjay email the other anchors telling them how they showed themselves to completely lack journalistic integrity jackofclubz Good for her. I like Morning Joe 500x better then Imus in the morning.

USFLinfo If she loses her job, I’ll never watch MSNBC again. This starfucking shit by the media has got to stop.

JohnD212 BRAVO BRAVO ... Let this be a wake up call to an ignorant America!!! Wake up before everything is gone and all you have left is Access Hollywood and Extra to hold onto!!!

Shepherdman7 It seems almost set up: The guys were jerks, but probably for ratings. That camera was *very* ready to get a perfect

shot of the shredder. Why does she have a lighter at the desk?

All the same, I hope people will start covering news and stop covering junk. If Mika’s genuine in that, she’s my new favorite news anchor. mepos6639 Mika is my hero. gltskline It looks like they planned this reaction from the beginning why else was a lighter and a paper shredder so convenient?

They probably have received so many complaints that they are trying to look like they really care about the actual news. Actors all of them! dudeee42 Those guys are dogs, what happen to the news?

They really wanna report about Paris instead of the war. who cares if she found God, she going to do the same old shit, she just wants attention, I swear going to prison got her more famous! gowans007 Thank god! Someone who knows what News is!

NEWS

PAPER SCRATCHER Vibeke Tandberg

On 29 September 2004 Vibeke Tandberg picked up a copy of the International Herald Tribune. Once at home, she started a patient slog of dissection, carefully removing every single printed word from the newspaper until what was left was a sequence of caption-less black and white images framed in a thin structure of columnless pages she aptly named Skeleton. The extrapolated words were consequently amassed and divided into 31 different categories that would emphasize their decontextualization. Rather than topical, the new order imposed by Tandberg’s scientific classification would establish entries like ‘Words with a comma’, ‘Weekdays and months’, ‘Headlines’ or ‘Small numbers’. The process eventually generated 46 collages that were exhibited along with ‘Reading the

Newspaper Without Hands’, a film featuring the artist sitting on a chair struggling to read a newspaper due to a series of random but persistent wind blows, at Martin Klosterfelde’s Gallery in Berlin. The title of the show was ‘IHT Sept.

29, 2004’, and it opened on 29 September 2005, exactly one year later after the publication of the issue of the Herald torn apart by Tandberg.

Why would someone bother undertaking such an epicscale enterprise? ‘When I launched this meticulous work, the motivation for me was doing something that seemed impossible to do’ recalled Tandberg a few years later. ‘I ended up having lots of assistants but initially I intended to do everything by myself. It felt like a very natural way to deal with reality’.

Historical references in Tandberg’s ‘IHT Sept. 29, 2004’ are many. They go from Surrealism and early Dada linguistic experiments through 1950s’ Concrete Poetry and Lawrence Weiner’s use of language as sculptural material in the 60s but an attentive look at her work in general reveals an appetite for establishing guidelines and reorganizing things rather than analyzing the power and limits of words. Tandberg is a bit like a mad chemist who has decided to take water and split it back into separate molecules of oxygen and hydrogen for the sake of order. It is an operative mode more reminiscent of Sol LeWitt’s Paragraphs on Conceptual Arts (1967) and their contradiction of establishing an arbitrary set of rules with the goal of eliminating arbitrariness, but when applied to an object

such as a newspaper, ‘IHT Sept. 29, 2004’ leaves the realm of obsession to land on the grounds of statistics.

By employing assistants Tandberg has clearly abandoned a vital part of the project – the one where the artist lives the experience of deconstructing and reconstructing her work from the front line. The magnitude of the project was like a therapeutic process.

The change of plan wasn’t so much dictated by the realization of unforeseen practical problems but rather by a swift of focus, with the final outcome eventually taking over the process.

The different forms of the resulting collages are an essential element to better comprehend their status.

Small numbers for instance are grouped together in a shape resembling a Matrixlike monitor screen; Headline words are piled up in five

prominent columns; place names expand themselves from the central nucleus to form a map in which dimension is the key to establish their position.

To pick up an old newspaper and read yesterday’s news normally means taking a trip down to a lane where recent memories suddenly appear to be remote. Tandberg’s edit of the newspaper somehow reverses this process, bringing upfront a series of incongruence and trivia that alert the interest of her readers. ‘March’ is the most recurrently mentioned month.

‘Angola’ had front-page status along with US. And so on. Tandberg said she wanted to transform information into some kind of ‘controlled nonsense’. Indeed controlled nonsense seems what news is mostly about today.

by Michele Robecchi

and a jewelry store carries models of the twin towers CSA The Council of School Supervisors and Administrators of the City of New York A shrine called Angels of Freedom, above, with the names of the victims of the crash, was erected in a field opposite a line of trees where the planes fell

A PAAllied Pilots Association Troops from America, Britain, and Canada are assigned to bagram Air Base, above, North of Kabul Amy Shapiro put on a flag and a gas mask CUSHMAN & WAKEFIELD In her bedroom, Emily D’Ambrosi keeps an urn with her father’s ashes on a shelf, flanked by her trophies from soccer, basketball and baseball.

Mr. D’Ambrosi, a vice president at Cantor Fitzgerald, was killed on Sept. 11 Ashrine to Hector Tirado Jr. a probationary firefighter, in his uncles Bronx apartment includes relics from the Twin Towers

Legacy.com’s section honouring the Sept. 11 victims from St.Vincent’s Manhattan Hospital on seventh Avenue in Greenwich Village Hundreds of tiles painted with images and messages connected to the Sept. 11 attack are affixed to a fence across the street from St. Vincent’s Manhattan Hospital on seventh Avenue in Greenwich Village.

THE NATIONALGUARD 23 journalistic articles 18 commercial advertisements

G9 0.0185 37 G9 0.0062 4 G9 0.0062 4 G9 0.0062 4 G9 0.0062 4 G9 0.0062 4 G9 0.0123 18 G9 0.0123 18 G9 0.0123 18 G9 0.0123 18 G9 0.0123 18 G9 1 0.2993 109 article G18 1 47.0054 142 advertisement G21 32 0.0957 87 article G21 0.0710 83 G21 0.0679 80 G21 0.0679 80 G21 0.0679 80 G21 0.0617 74 G21 0.0617 74 G21 0.0617 74 G21 0.0617 74 G21 0.0586 70 G21 0.0586 70 G21 0.0586 70 G21 0.0586 70 G21 0.0278 43 G21 0.0123 18 G21 0.0555 64 G21 0.0555 64 G21 0.0555 64 G21 0.0555 64 G21 0.0555 64 G21 0.0525 58 G21 0.0525 58 G21 0.0525 58 G21 0.0494 52 G21 0.0494 52 G21 0.0494 52 G21 0.0494 52 G21 0.0463 50 G21 0.0370 46 G21 0.0309 45 G21 0.0216 40 G21 0.0216 40 G22 1 0.4320 118 advertisement G31 1 0.5029 120 article G35 1 0.6017 122 article G36 1 252.3586 146 advertisement G37 3 7.6244 139 article

G37 3.1534 134 G37 1.0491 127 G38 5 3.6410 135 article G38 0.9380 126 G38 0.1142 90 G38 0.0833 85 G38 0.0710 83 G39 2 0.1913 102 article G39 0.0864 86 G40 18 0.5091 121 article

G40 0.4289 117 G40 0.3826 115 G40 0.3178 112 G40 0.2592 106 G40 0.3240 114 G40 0.2530 105 G40 0.2746 107 G40 0.3209 113 G40 0.1358 95 G40 0.1111 89 G40 0.1173 91 G40 0.1203 93 G40 0.1481 97 G40 0.1666 100 G40 0.1450 96 G40 0.1296 94 G40 0.0617 74 G48 1 0.7776 124 advertisement

41 pics 146 flags 824.8347

(c) michalis pichler www.buypichler.com/nytimes.html

page # flags sq in size ranking category

A1 1 17.6000 140 article A2 1 25.9650 141 advertisem ent A3 1 0.1173 91 article A3 1 4.5111 137 advertisement A4 1 1.5891 130 advertisement A4 1 0.2376 104 advertisement A7 1 1.7927 132 advertisement A8 1 87.0282 143 advertisement A9 1 123.8173 144 advertisement A18 1 5.5077 138 article A21 1 0.6171 123 article A21 1 0.0987 88 article A22 1 0.0154 30 article A25 1 1.0553 128 advertisement A27 11 0.0278 43 advertisement A27 0.0370 46 A27 0.0463 50 A27 0.0494 52 A27 0.0555 64 A27 0.0154 30 A27 0.0154 30 A27 0.0123 18 A27 0.3024 110 A27 0.2160 103 A27 0.1481 97 A28 1 1.0645 129 article B5 2 0.2900 108 article B5 0.1666 100 B7 1 0.3857 116 article C1 1 0.0123 18 article C3 1 0.0617 74 article C5 1 1.7773 131 advertisement D1 1 0.8670 125 article E6 14 0.0370 46 article E6 0.0494 52 E6 0.0525 58 E6 0.0525 58 E6 0.0525 58 E6 0.0370 46 E6 0.0216 40 E6 0.0093 14 E6 0.0093 14 E6 0.0062 4 E6 0.0093 14 E6 0.0093 14 E6 0.0123 18 E6 0.0062 4 F8 1 216.2082 145 advertisement G2 2 0.4412 119 article G2 0.1635 99 G2 3 4.0390 136 advertisement G2 2.7184 133 G2 0.3055 111 G9 26 0.0031 1 article

G9 0.0031 1 G9 0.0031 1 G9 0.0062 4 G9 0.0062 4 G9 0.0062 4 G9 0.0123 18 G9 0.0123 18 G9 0.0123 18 G9 0.0154 30 G9 0.0154 30 G9 0.0154 30 G9 0.0154 30 G9 0.0185 37 G9 0.0185 37

company / journalistic title

INDEX

with the nation on high state alert, secret service officers watched over the White House yesterday from the old executive building Tourneau A woman with corn meal donated from the US Saks Fifth Avenue STEUBEN HUGO BOSS TARGET THE PORT AUTHORITYOF NEWYORK & NEW JERSEY MACY’S A funeral was held yesterday, almost a year after he died, for Firefighter Peter Bielfeld of Ladder Comany 42. He was one of 343 firemen killed. His parents are right front.

Joe M. Allbough in his office at Federal Emergency Management Agency representative Porter M. Gross, the House Intelligence Commitee leader, is gaining attention in seeking to learn what went wrong on 9/11 A New York police officer patrolled the area around the United Nations yesterday after a heightened nationwide state of alert was announced THE NATIONALGUARD www.KUWAIT THANKS AMERICA.org

Representative John E. Sununy voted Yesterday in Bedford, NH Early morning, Sept 15 2001 a candlelight vigil continued in Union Square

Democrats regain Edge in Nassau The Strains are showing in Air Struggle Any deal involving China in the Purchase of the American Stock Exchange is expected to come under close regulatory scrutiny THE BOARD OF GOVERNORS OF THE REALESTATE BOARD OF NEWYORK Ken Eichele was trying to qualify at the Bedford Golf in Westchester for last years United States Mid-Amateur championship when he learned about the terrorist attacks Last year Audrey Harden, 7, helped to keep candles lighted for the Sept 11 victims in Union Square Park’

THE FOOD EMPORIUM A FLIGHT OF HEROES’ abc NEWS

These fathers, most of them firefighters, united to find their children. Left to right, with the names of their lost children listed in parentheses: Albert Petrocelli (Mark Petrocelli); Dennis O’Berg (Dennis O’Berg); John T.Vigiano (John Vigiano and Joseph Vigiano); Bill Butler (Thomas Butler), Jack Lynch (Michael F. Lynch); George Reilly (Kevin Owen Reilly), Paul Geidel (Gary P. Geidel); and Lee Ielpi (Johnathan L. Ielpi)

INDEX

page

# flags

sq inch size ranking

category

company / journalistic title

p. 14 2 0.0957 8 article FLAG – WAVING AT ST. PAUL’S CHAPEL, ACROSS FROM GROUND ZERO p. 14 0.2654 15 p. 17 2 0.0370 1 advertisement CANAL FURNITURE p. 17 0.0987 9 p. 23 4 0.2468 14 advertisement DIGITAL OUTLET p. 23 0.2777 16 p. 29 1 1.2188 19 article ORDERING TAKEOUT: WHADDYA MEAN, I CAN’T GET SADDAM’S HEAD ON A PLATTER? p. 35 1 0.1296 11 article / cartoon AT THIS MOMENT, WHAT I SEE IS A PHOTOGRAPHER TAKING MY PICTURE ABOARD AIR FORCE ONE. – MONTH

FROM NOW, THAT PHOTO WILL BE USED TO RAISE MONEY FOR THE REPUBLICAN PARTY. GOD BLESS AMERICA. p. 46 1 24.1106 21 article VIRTUALLY HELPLESS p. 55 1 0.2283 13 advertisement LEFSTEIN – SUCHOFF & YORK, INC. TAX & ACCOUNTING SERVICES p. 87 1 0.0463 6 advertisement HOGS & HEIFERS SALOON . NYC p. 92 3 0.0679 7 advertisement THE TOWN HALL p. 92 0.1481 12 p. 92 2.7029 20 p. 129 1 0.0401 3 advertisement call owner 718-638-8776 p. 130 1 0.0401 3 advertisement ULA’S R.E. 718-389-4515 p. 130 1 0.0401 3 advertisement ULA’S R.E. 718-389-4515 p. 144 1 0.7560 17 advertisement X Dreams II p. 155 2 0.0370 1 advertisement THE HOT SPOT 212-644-2219 . 212-644-1919 p. 155 0.0987 9 p. 158 1 0.8022 18 advertisement American Playmates 1 –800-414-7808 www.dialadancer.com

15 pics 23 31.4880 3 journalistic articles

1 article/cartoon

11 commercial advertisements

(c) michalis pichler www.buypichler.com/profiles.html

INDEX

page # flags sq inch size ranking category company / journalistic title

BC 1 225.872184 32 article [no text, just a flag covering a full double page, meant to be hang up] 2 1 0.01851335 4 article THOUGHTFUL MOMENT: President Bush speaks outside the Afhgan Embassy in Washington yesterday.

3 2 0.20981802 17 article ON THE LOOKOUT: Armed Emergency Service Unit cops patrol Times Square

0.03702671 5 4 5.22076602 28 article PLACE TO HEAL: The cross of beams from the Twin Towers stands at Ground Zero for today’s ceremony.

0.31781259 21

0.04628339 11

0.03085559 9 9 1 2.21234589 24 article ON A MISSION: Engine 236 spreads toward the burning Twin Towers (inset), where Hugh Mulligan, Tony Palmentieri and Brian

Harvey (from left, above) rescued a Staten Island man who was trapped at the end of a 300-foot tunnel for eight hours.

11 1 0.25918697 19 article The Salt Lake City Olympic Organizing Committee unveiled a $5 red, white and blue Olympic pin with the words, “United we Stand,”

On Sept. 17. By the next day, 60,000 orders had been received ... Homeless children at the Thomas J. Pappas Elementary School in

Phoenix raised $2,000 by making and selling paper flags. The money went to new York City ... Broadway shows grossed $9.6

million for the week ending Sept. 9 2001. For the week ending Sept. 16, the gross was $3.5 million and attendance dropped

by more than 100,000, to 65,155.

11 1 0.22833137 18 article Wal-Mart sold 116,000 flags on Sept. 11, 2001, an increase of 100,000 compared with Sept. 11, 2000. All flags were made in

America ... The fires at Ground Zero burned for 99 days, until Dec. 19 ... some pentagon employees have returned to their offices

in the damaged outer ring 61 years after ground was broken – on Sept. 11, 1941.

13 1 2.59495522 26 article SALUTE TO A HERO: The coffin of fire hero peter Bielfeld is carried into St. Anselm’s church in the Bronx yesterday.

17 1 0.29621368 20 article Mystical Madonna 21 1 65.870516 31 advertisement THE PORT AUTHORITY OF NEW YORK & NEW JERSEY 27 1 8.47294533 29 advertisement P.C. RICHARD & SON 30 1 0.66030965 22 advertisement GRISTEDE’S 31 2 0.08948121 14 article HEROES THEN – AND STILL

0.05554006 12 33 1 12.8729526 30 article From a memorial service on Staten Island, Sept. 23.

52 1 4.42160621 27 advertisement POLICE DEPARTMENT CITY OF NEW YORK 61 2 0.01851335 4 article *- Denotes day-night doubleheader. The second game will be at 7:00 on MSG; + - if

0.01851335 4 64 1 0.0154278 3 article BYE-BYE, KEITH: Kenyon Martin, who blasted unnamed teammates during NBA Finals for uninspired play, says it’s not

his fault that Keith Van Horn was traded to 76ers.

71 1 2.53324403 25 article Fans at Yankee Stadium, pictured here on Sept. 25 last year, will honor victims of 9/11 tonight during pregame tribute in

Bronx.

71 5 1.66311636 23 article Yankees pay tribute

0.12650792 16

0.02159891 7

0.01234224 2

0.00617112 1 73 1 0.02777003 8 article Magic Number 76 1 0.07405342 13 advertisement Spiegel & Utrera, P.A., P.C. 80 1 0.10799457 15 article ANDY, YANKS BREEZE BY BIRDS

22 pics 32 334.412897 16 journalistic articles

5 commercial advertisments

1 poster

(c) michalis pichler www.buypichler.com/profiles.html

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14

NEWS

News, paper, scissors Around 1920, the artistic principles of collage and montage animated literature, painting photography, and film equally.

Their lifeline extends into medical culture (in the discussion of prostheses, for example) and technical and industrial arenas as well. Whereas “collage” means “to glue” and implies handiwork, “montage” has a much more industrial background; since the Encyclopedié, it has been defined as a process by which one assembles the parts of a mechanism. A montage needs a mechanic; it involves fitting together ready-made parts to form a machine or product. It was during the First World War that the term “montage” came to be used with arts. To understand the use of newspaper clippings and its meaning, to understand why and when the cutting-andpasting practices of scissors, paper, and scrapbooks became so important, one has to take into account the principle of montage. This principle has in turn to be understood against the background of the conveyor belt and the division of labour: the first conveyor belt was installed in 1913 in Henry Ford’s factory, at approximately the same time as film and its cutting techniques were developed. The common principle here is the creation of a product out of ready-made parts.

The newspaper was a medium in which montage techniques had always been used (crossreading), but now, in addition, parts of newspapers were being inserted into the papier colleges of the Cubists, the collages of the Futurists, and the montages of the Dadaists. Newspapers were used in these contexts because of their material capacities and their typography. For Dadaists, newspaper fragments became irreplaceable. In 1916, Tristian Tzara wrote the following instructions for making a Dadaist poem.

Take a newspaper.

Take scissors.

Select from this newspaper an

article of the same length as you plan to give your poem.

Cut out the article.

Cut out carefully every word of this article and put them into a bag.

Shake lightly.

Take out one snippet after another.

Copy down conscientiously in the order in which they came out of the bag.

This poem will be similar to you.

And therewith you will be an infinitely original author with a charming sensibility not however comprehensible to the people.

Because the newspaper represented even in its uncut form a kind of bound together fragment of reality, Tzara took this as his method and produced out of ready-mades parts new poems

Like Dada poets, their colleagues, visual artists, worked in that manner. For George Grosz (1893 -1959) clipping newspapers and magazines provided a realistic picture of social and political conditions at the time. Like Tzara in his instructions for making a Dada poem, they were convinced that everyone could take a newspaper and scissors and make a collage. Everyone could be an artist because reality and its material fragments are available everywhere and can be reassembled as in a factory. The purpose of the imperative ‘Take a newspaper, take scissors” is to inspire a certain automatism that would lead to a portrayal or even a copy of reality opposed to typical bourgeois moral and aesthetic ideas. Art and reality were not two distinct spheres but mechanically, and thus intrinsically, combined in the works of the artists.

by Anke te Heesen Extract from the chapter ‘News, Paper, Scissors: Clipping in the Sciences and Arts Around 1920.’

Things That Talk: Object Lessons from Art and Science Published by Zone Books

♣

NEWS James Prez

15 Surveillance photos, published daily, in the NY Post column called The Daily Blotter.

James Prez Back East Press, New York

16

♣

NEWS

18

♣

NEWS Newspapers, along with photographs reproduced in them, are dried out slices of time; recent history mass produced. These are the facts. Someone has already laid out a composition on a newspaper page, a sub-editor who placed a headline here, a photograph there, and fitted text into boxes and columns. Tony Swain disregards most of this.

Newspapers are throwaway, destined to become rubbish. Here, reading is meant to be easy, logical, rational. Tony paints away the words, and yet he does this sitting down, leaning over a page that is flat on a desk, not upright on an easel or attached to a wall. Traditionally this is the posture of reading, not painting. It is in this way, however that a scrap of something owned by everyone, valued by noone, alive for one day only becomes a unique and precious object; an uncharitable mysterious picture.

A painting by Tony Swain on the wall, from a distance, first appears as an overallness – an intact scene. Whether a landscape or an abstract, it is, like much traditional painting, a window onto another world.

With closeness, however, comes physical effect; rippling of the newspaper and an uneven frame.

It does not lie consistently flat. Then there is the picking apart of what is painted and what is collaged, what was already printed on the newspaper page, and how much is now left.

Extract from the essay ‘This is a Ticket’ by Karla Black published in: Tony Swain / Paintings Published by Dumont ISBN 978-3-8321-9040(Left) Tony Swain Untitled 2006 Acrylic on newspaper 52.7x29.8 cm (Right) Tony Swain Continued Unnoticed 2005 Acrylic and newspaper on newspaper 36.5x58 cm

♣

26

NEWS

Continued from pages 24 & 25

Continued from pages 20 & 21

Continued from page 23

Continued from pages 16 & 17

Jochem Hendricks This newspaper has already been read. The movements of the eyes while reading were recorded, digitized and printed out. Something of the otherwise invisible process of reading is made visible, and a trace of the absorbtion of information remains. The result being a read newspaper, a finished paper so to speak, an entire «Frankfurter Allgemeine». The printing of the paper was done along with the usual daily issue of the «Frankfurter Allgemeine», in an identical printing process on rotating presses.

Matt Bryans Matt Bryans’ drawings are produced by erasing images printed on pieces of newspaper recovered from the streets of London, Bryans does not so much remove what is on the newspaper page as edit it. He retains some things from the original images, eliminates others altogether, and allows still others to remain as smeared, ghostly traces. Untitled, 2005, a large-scale, ziggurat-shaped wall assemblage of rectangular pieces of newspaper, consists of photographs of faces from which virtually all traces of individuality have been erased except the eyes. These peer out from eerie, mask like visages, occasionally accompanied by hints of a nose or mouth.

The work’s palette is a greyish brown reminiscent of Analytical Cubism, as is its space, which is broken up into facets by the clippings’ edges. Using a simple pencil eraser Bryans converts the world’s news into a collage and speaks more pictorially of shifts in tone and colour, than of famine or murder or sporting victory. Bryans is interested in the media’s tendency to flatten an individual’s experience, and in turn figurative representation may be loosened, creating a suggestive atmosphere.

Matt Bryans has an upcoming solo show at Kate MacGarry gallery, London 17 October - 16 November His book ‘Matt Bryans’ is published by Kate MacGarry and Veenman 2006 ISBN 9086900291 £25 www.katemacgarry.com

Advert Break JOB CUTS! Removed from the jobs pages of The Guardian newspaper

Eleanor Vonne Brown Alan Johnston is a British journalist working for the BBC. He has been the BBC’s correspondent in Uzbekistan, Afghanistan and the Gaza Strip.

Johnston was kidnapped by a group of Palestinian militants on 12 March 2007, and released nearly four months later on 4 July, after Hamas’ military occupation of Gaza. Thousands of colleagues around the world

Doretha Strauss Perhaps you could describe briefly how the eye drawings are actually made.

Jochem Hendricks The technical process is as follows. In order to draw I don a special helmet which is equipped with two infra-red sensors, which in turn are linked to two small video cameras. Via the reflexes of the retina the infra-red sensors follow the movements of my left hand and right eyes simultaneously and this input is recorded separately by the video cameras. These recordings can be digitalized, for each point on which the eyes rest for at least a hundredth of a second can be located in terms of coordinates on the X and Y axes. These coordinates can be then evaluated by a computer – in my case, by all points being plotted in terms of the temporal sequence in which they arose and then connected by an unbroken line, whereby the left and right eyes are treated separately.

Newspaper 1994 Rotary print 35 x 29 x 0.2 cm Edition of 5,000

(Right) Untitled, 2006 Erased newspaper cuttings 61.1 x 72.5 cm Centre pages Untitled, 2005 Erased newspaper cuttings 35.7 x 74.5 cm

Jobs Page / The Guardian Newsprint 2008 32 x 47 cm

observed a vigil to mark 100 days since he was kidnapped in Gaza. This newspaper is made using The Times from that day, 20 June 2007, spelling out in ransom note style ‘100 days since Gaza correspondent kidnapped.’

100 Days 40pp pages Published by Art after Parties 2008

27

NEWS Michalis Pichler

Front page sensationalism and patriotism for the sake of consumerism. Pichler exposes the impulses that grace nearly every page

by Savannah Gorton The American flag has always been an ubiquitous symbol close to our hearts, literally.

I grew up reciting the pledge of allegiance to the flag every morning in grade school with my hand held firmly on my heart. I never questioned that daily practice, but in fact felt proud that I could recite the pledge so diligently. I used to try to imagine what a StarSpangled Banner really was, but ultimately I just liked the poetic sound of the word combination.

In school, we felt excitement to learn that another star was added to the flag when Hawaii gained statehood in 1950 and that the design could continually change as more stars appeared. We were told the blue background was for courage and the red and white stripes were for blood shed on the battlefield, and the flag itself must never be allowed to touch the ground. I remember in the early 80s when it was still a state and federal offense to burn the flag; Vietnam Veterans and punk rock flagburners could be sent to jail for dousing the flag in kerosene and setting it alit.

Nowadays, when confronted with images of the flag, I can’t help but think of the flagdraped coffins of soldiers who relinquished their lives to the current wars in Afghanistan and Iraq. These are forbidden images, censored at every turn, lest we be aware of the toll in human terms for the folly of our foreign wars. Our candidates for President are criticized if they do not wear a tiny flag pin on their lapel, or do not proclaim their undying love for our country at every public opportunity. Flags have become ever more prevalent on the windows of recent immigrant’s small storefront businesses, on SUV bumper stickers, on coffee cups and plastic bags.

Patriotic fervor as expressed by the concept of “Stars and Stripes Forever” has been linked to our national pursuit of material consumption as well. The American psyche is so saturated with flags that appear in advertising that we nearly do not register them anymore, they are just a given.

As citizens, we are compelled to buy, buy, buy, and support our country. Even better, buy American-made goods (with that new interest-free credit card!) And despite “Made in

China” sounds unpatriotic, there is the cheapness factor of their WTO most favored nation trade status, along with the indisputable fact that we need them more than they need us.

The current convergence of the flag with both warinduced patriotism as well as consumerism has never been more intensely prevalent than in the post 9/11 climate in which we live. A continual blurring of the ideologies surrounding the flag has accelerated as each successive anniversary of 9/11 reinforces this process of nationalistic activity on a grand scale. It’s as if history is solely seen through the lens of the events of 9/11 and the now.

In particular, the ritualistic use of the flag as it appears in media serves to both stimulate commercial interests as well as remind us that we are at war.

German artist Michalis Pichler interrupts the narrative of pride that has become an endless parade of flags and Americana as depicted in the daily newspaper. Doubtlessly influenced by his own country’s nationalistic history, he is aware of the American counterpart’s proclivity for the same fervid passions. Pichler’s Newsday Index September

11, 2002, is a project in which the artist undertook the task of assembling a meticulous index of data recording each and every American flag that appeared in the anniversary issue of Newsday, a New York tabloid newspaper. Newsday panders to those interested in daily national and local news as well as popular culture, shopping, and tawdry scandal.

With the 10th largest circulation in the United States, Newsday is read by construction workers and white-collar commuters alike over a cup of coffee in the morning.

As part of a larger project working with newspapers, the artist became interested in the phenomenon of the flags in papers, noting that there was a massive occurrence on that particular date. Like the 19th century amateur collector of insects, Pichler’s enumeration of flags appears in a removed, calculated manner, with a list of characteristics for each individual image of a flag.

These include such facts as the page number on which it appears, the weight once the flag has been cut out from the paper page, the number of flags per page, the dimensional measurements, and whether the flag appears in an advertisement

or in the composition of a photograph accompanying an article.

signifier, taking the physical form of a sign, but without clear meaning.

Advertisements for banks, insurance companies, stores selling electronics and mattresses, and civic organizations display flags as well as heart-rending human-interest articles about rescues and survivors from the 9/11 attacks. Flags in full-page Macy’s and JC Penny advertisements appear alongside flags in photographs for articles about Bush’s announcement on how to “deal” with Iraq, the flickering candles at a makeshift 9/11 memorial, and the reopening of the NY Stock Exchange.

Just as a newspaper represents one day in history, the artwork represents a snapshot of one day in a tabloid publication’s presentation of the American flag, in all its manifestations.

These marks are referred to by the artist as “excitements”, and the newspaper itself is now refiltered for pure visual impact, subverting the traditional mode of communicative reception.

The original story has dissipated, and the underlying intent of the newspaper is revealed as a huge collective gasp, a big empty urgent “pay attention to me, now!” Pichler shows the rapid disappearance of the front page headlines, their ephemeral message gone with the blink of an eye, as the next day’s news looms closer, hour-by-hour.

The artist’s practice of the collection and filtration of newspaper media also extends to the creation of numerous daily hand-made collages from the front pages of German newspapers such as the German tabloid newspaper Bild. The best-selling newspaper in Europe, the name itself means “picture”, and, originally conceived as a paper for those with less educational background, it tends to be image-heavy and light on text. Often using sensational headlines to increase readership, it is known to have a conservative and nationalistic bent. Like Newsday, it focuses on a mix of political issues, national and international news, celebrity gossip, and consumerism.

Pichler’s recent collage is created from the cover and first page of Bild. Less academic, more playful, this work takes a single day’s news and creates a new message, albeit cryptic.

The emphasis on the original content is rendered null as the artist removes shapes of enlarged exclamation marks made up of fragmented text, re-pasting them as collages on a blank newsprint background.

Sometimes referred to in the publishing industry as “screamers” this oversized punctuation remains confounding, and at this point becomes an abstraction of the

But what is the eventual status of the artist’s collective works?

Is the flag index an exercise in cultural anthropology, a collection of images and raw data to be compared and contrasted for variations, or is it both a methodological archive and a self-reflexive art project? Pichler is well aware that whether for advertising or photographs that accompany articles, the flags serve as a signifier. This objective examination of the flag as represented in media reveals the American flag itself is an abstraction of competing ideas of freedom, consumption, patriotism, aggression, and even resistance. Through a gradual “filtration” of the flag imagery devoid of the noise or distraction of the surrounding printed words, Pichler exposes the impulses that grace nearly every page.

In nearly full reversal, the collage of the day’s front-page news is distilled by the artist as a series of large grammatical marks that bring emphasis and command our attention. The work offers up distraction as central, revealed by Pichler to be the primary purpose of the newspaper, rather than to impart information about actual events. Front-page sensationalism for the sake of consumerism and the feigned surprise of the spectacle all flavored with a bit of quick humor on the part of the artist.

For once, Pichler seems to ask the print media to be honest in its presentation.

Continued from page 13 & 28 Sue Tompkins Sheets of newsprint play host to Sue Tompkins’ tiny, fragile concrete poems, which cling and cascade their way across the surface; the scale and detail of the text necessitates that the audience reads as well as looks at these works. Some works give a sense of their structure being created by the artist’s free association; others suggest a loose narrative through their arrangement and the linking and repetition of words and text.

Untitled Typed text on newsprint 2008 35 x 50 cm

Continued on pages 9,10,13, 31 & 32 Vibeke Tandberg Skeleton 16 “and” + “&” Words with a comma Weekdays and months Places Financial Times Wednesday, March 14, 2007 70 x 100 cm 44 collages, collage on card

“Tandberg said she wanted to transform information into some kind of ‘controlled nonsense’. Indeed controlled nonsense seems what news is mostly about today.”

♣

34

NEWS THE FATHER OF NEWSPAPER DESIGN John E. Allen traditional typographic manner, commenced experimentation with modern layout techniques and headline dresses.”

Every field has its pioneering personalities who help bring the field to attention and begin to create its philosophies and practices. Newspaper design is no different. However, the leading pioneer in newspaper design is unknown to most of today’s practitioners.

John E. Allen was dedicated to the proposition that improving the appearance of newspapers would improve the overall quality of newspapers. He used The Linotype News, of which he served as editor for 25 years, as a means to spread this word and was the first man to write and talk about newspaper design

as a true art. More significantly he wrote books that proved seminal works in the field and that further spread the word about the importance of design to newspapers.

If any one man can be called the father of newspaper design, it is Allen. Beginning in the latter part of the 1920s, he turned The Linotype News, the promotional newspaper of the Mergenthaler Linotype Co., which was sent to its customers and potential customers, into “the nation’s typographic laboratory,” as he called it. “As early as September, 1928, the News, which had been issued since 1922 in the

In addition to writing a regular column about typography and design in the News, Allen turned the entire paper into a visual primer for his theories of news presentation. He showed readers what he was writing about by changing the total appearance of each issue. Allen demonstrated new ways to handle headlines, to set text type, to put all the elements together on a page. The Linotype News had such a wide circulation among newspaper people that thousands of people were exposed to Allen’s messages. This brought wider attention to newspaper design than ever before, leading more newspaper people to think about design and spurring many to action.

“To make a favourable first impression, a newspaper must be attractive physically. For the dress of a paper its physical makeup is seen, and liked or disliked, before its contents can be appreciated.”

Allen used many arguments to back his contention that newspapers should pay more attention to their appearance.

He appealed to newspaper people’s logic, emotions, and pocketbooks. Allen used a number of analogies to make his points: “How would an office building look, a house, a church, a school, if designed by several people with only a superficial knowledge of architecture, and particularly if the plan agreed on and carried out incorporated several different and unrelated sets of ideas?”

Though Allen mainly pushed for improved visual appearance in newspapers, he also advocated improvements in content, organization, reporting and writing techniques, and other recommendations for overall improvement of newspapers.

While his thrust in The Linotype

News was better overall design of newspapers, he concentrated much of his attack on improving the appearance of headlines in newspapers. Allen thought the use of multiple decks of headlines, set rigidly in staggered or pyramid arrangements, often in all-capitals using extremely condensed typefaces that were difficult to read, was an archaic practice that should be completely “Two features on the page were all important, both of which had been previously used, but never in combination; these were the sans serif face and the flush arrangement. As simple as the statement is, it was the development of that face and that arrangement which was to make the modern newspaper.”

During this period, the late 1920s and early 1930s, changes were appearing everywhere in the world of design. The great thrust was to make things look “modern” or “streamlined” to fit in with the general postWorld War I mood of progress, moving away from the past, both in style and substance. The Bauhaus movement in Germany and the deStijl movement in Holland set the pace for pushing for a cleaner, more functional appearance to modern design in every field: architecture, product design, industrial design, typography and printing. This spilled over into newspaper design, though most, including Allen, did not acknowledge the origin.

Functionalism is the key word in that description. The philosophy of these movements is best summed up in the oftquoted axiom: “Form follows function.” Design was not decoration, these philosophies argued. Rather it was an expression of the function of the piece being designed and should not get in the way of that function in any way.

This applied in printing and typography as well where the Bauhaus leaders espoused simplified layout, use of sans

elasticity, variety and a fresh approach to the materials of printing, a language whose logic depends on the appropriate application of the processes of printing.”

This call for clarity and simplicity echoed, and preceded, Allen’s campaign for the same things in American newspaper design.

Allen said it this way: “The big idea is to present the story as clearly as possible; to strip it of typographic affectations and superfluities; to free it from physical devices that may intrude on the consciousness of the reader that may get between him and the story itself.”

serif type because it was more functional, and abandonment of stilted, symmetrically balanced layout in favour of the more informal, dynamic forms of asymmetrical balance. Space was no longer to be divided down the middle of a page with a vertical line and equal numbers of elements placed on both sides. Instead, elements of different weights and sizes were arranged in various locations on the page, balancing one another not by equal division of space but by dynamic tension. The

basic philosophy of the Bauhaus toward typography was stated

by Lazlo Moholy-Nagy, one of the movement’s leading teachers and practitioners: “Clarity must be especially stressed for clarity is the essence of modern printing in contrast to ancient picture writing.”

“Communication ought not to labour under preconceived aesthetic notions.

Letters should never be squeezed into an arbitrary shape like a square.

A new typographic language must be created, combining

Allen’s main contention was that “the basic principle of modern newspaper makeup, typographically, is simplicity.”

The campaign for simplified headlines began in The Linotype News in 1929 with a series of examples of how the two-deck headline system could work effectively for any newspaper.

Allen used a variety of typefaces to demonstrate that his system could work with any face. A publisher didn’t have to change typefaces if he didn’t want but could still produce better looking, easier to read heads by limiting the number of decks.

His suggestion that newspapers use only a single type family for headlines, rather than using three or four unrelated faces, now is accepted almost universally, as

is the suggestion that a bold and

Letters should never be squeezed into an arbitrary shape like a square lightweight of the same face be used to provide visual contrast on the page. His emphasis on increased white space on the page can be seen everywhere.

Allen’s advocacy of larger point sizes for body type now is a given in newspaper design, as is his recommendation for better leading between lines of text type.

In addition to his writings on newspaper makeup and typography, Allen wrote numerous feature articles for magazines and newspapers. A number of those were collected in book form in 1925 under the title “Tales of the Print Shop.”

He also wrote a book of newspaper verse, “Bulldogs and Morning Glories,” published in 1946.

by Jan Anthony University of North Carolina

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NEWS 300 words on Ignasi Aballi 100 words Calendario 2003 (Diario) [Calender 2003 (Daily)] is a set of twelve panels featuring the pictures that were published on the front page of the major Spanish newspaper El País which was read by the artist every day in the year 2003. The pictures depict events around the world (public time) in a year, from the most global aspects to very local ones too.

In the panels, each one of which corresponds to one month of the year, the pictures have been arranged chronologically as in a calendar, the days of the month being substituted by the “Picture of the day”.

200 words Un año [A year ], relates to the previous work Errores, in which Aballi depicted balls of crumpled-up newspaper the outcome of the errors made by him during the creative process. Un año depicts 365 balls of crumpled-up paper of each of the 365 pages of a calendar. All that remains discernable in these balls are a few fragments of incomplete texts, evoking the day of the week, a month... In this manner, Aballí offers the image of a year, the daily ritual of tearing off, crumpling-up and throwing away a piece of time that already belongs to the past.

300 words Listados, has a similar basic structure, employing newspaper clippings, but this time the cuttings are taken from news features that mention a span of time and are extracted from several different papers. Every span of time possible in a year (from twelve months to a second) appears. These time spans that relate to real situations are taken out of context (the news) and transformed into simple and neutral temporal intervals. Aballi has also created other Listados by collecting, classifying and arranging news clippings that printed different figures: amounts of people, victims, injured, losses, percentages, money, time and violence.

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NEWS

(U)L.S are the initials for (Un) Limited Store, an exhibition, diffusion and production of artists’ multiples and books structure, located in Marseille, France (U)L.S gives artists a carte blanche, to make a newspaper of 12 pages that will be printed between 5000 to 10000 copies in tabloid format in black and white.

This medium and its appropriation is keeping in the lineage of “free papers”, a medium of impression and diffusion concerning any artistic offer, where no critical text appears, and closely connected to the artist book, materialized as a free newspaper.

(U)L.S offers the artists a paper to be appropriated, misappropriated, to create, to invent.

We are interested in newspapers as a space for an artistic project to be seen outside of exhibitions or art events. It is an autonomous work for an autonomous distribution. In this trajectory, the newspaper is going to disappear little by little until lost.

Unlimited store is a structure that wonders about the distribution of an artistic proposition. Always in search of new means of non- traditional distribution we try to reinvent for every issue different distribution methods.

Most of the artists that we have invited are involved in an editorial process.

We try to contact artists with practices that could be interesting to translate into a newspaper.

For the first issue in February 2008, (U)L.S gave carte blanche to the work of Céline Duval. Céline Duval makes archives in an iconographic base of personal amateur photographs, press pictures and postcards. The classification of this documentation is the source of numerous publications.

For her newspaper she diverts the sports newspaper to create an amateur’s

magazine by confronting photos of people in situation of balance.

For the next (U)L.S issues we invited Michalis Pichler and Peter Downsbrough.

Michalis Pichler proposed a photographic selection of umbrellas abandoned in the space of the city over four days during found on unpredictable urban routes. Peter Downsbrough related the reflection on the distance between the newspaper and the reader, between a page and the one who follows. Each newspaper is a new adventure and a new meeting.

For the (U)L.S n°3 out in October 2008 we have asked Nathalie Amaé to curate the newspaper. We will put it into his hands and discover the final project just before the impression!

We have the planned publications until April 2009 and will continue after that. We have a lot of (U)L.S to diffuse! Here is the past and upcoming numbers: (U)L.S past numbers: (U)L.S n°0 | Les Trophées | documentation céline duval | february 2008 (U)L.S n°1 | SOME FALLEN UMBRELLAS AND SOMETHING ELSE | Michalis Pichler | april 2008 (U)L.S n°2 | ECART | Peter Downsbrough | june 2008 Upcoming numbers: (U)L.S n° 3, Curator Nathalie Amaé, October 2008 (U)L.S n° 4, Claude Closky, January 2009 (U)L.S n° 5, Pierre-Olivier Arnaud, April 2009 Amélie Fauvet is the director of (U)L.S http://unlimitedstore.free.fr/

(U)L.S n°0 | Les Trophées | Documentation Céline Duval | February 2008

The ink-stink of the printing press I had decided I wanted to be a newspaperman at school, so when I left college I went and worked unpaid at a newly launched Turkish weekly with high ambitions.

The idea was that the papers would be delivered every Thursday to the dozens of Turkish grocers that were in almost every inner-city area of London. However, infighting between the company directors, and the classic clash of high production values with barely any advertising meant the newspaper was set to crumble and disappear.

On my first day I’d decided to cycle to the office, going from the outskirts of east London to the outskirts of the north. It was a cold, cloudy day, and the journey was much further than I thought it would be. After close to an hour of traversing grey potholed streets and hundreds of aggressively driven cars, I was disappointed to find the office was not what I expected. The newspaper was in the upstairs of a white, run-down Victorian building, on the corner of a main road, not the spacious, mod-

ern premises I’d imagined.

When I got to the front door and glanced up the narrow staircase from the side entrance, the surly editor told me that there was nowhere sensible I could put my bike - so I ended up storing in the bath for the day. I decided to drive after that.

Things were no less surreal over the next few months I was there. I met a photographer who said he was one of a group of photographers who had put the first images on the internet. I ate lots of gingerbread men with rocksolid Smarties for buttons, drank black tea, translated stories from national newspapers into Turkish and went to supermarket openings. At its most exciting I shadowed the editor while he investigated a rumoured bomb threat. A venue was set to hold a politically inflammatory night of some kind and had been told to call it off.

We skulked around its car park to try and find some clues, before calling our search off and heading back to the office.

However, despite the unusual experiences and the eccentric people the newspaper brought together, one

of my strongest memories was the long trip we would take to the industrial estates of Dagenham where the printing press would fire off thousands of copies of our week’s work. I would drive an anxious designer, who would be stroking his balding head, tapping on the dashboard, desperate for a cigarette, going over all the pages in his head, worried about the Quark files having something vital missing.

I would follow him up to the printing press’ design office, where a laid-back guy would use his fancy computers and machinery to create a negative - turning the text back to front, the whites black and blacks white - ready for the gigantic machine downstairs to work its magic. It was fun to be up there, but when I got downstairs to production line there was one thing I wasn’t ready for - the smell. The sharp, sickly odour of ink made me feel queasy. In the end, after I’d seen how the whole operation worked, I couldn’t wait to leave.

by Metin Alsanjak

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NEWS Hugh Mendes book ‘An existential itch’ catalogues the work of the artists’ painting practice over the last 7 years. Mendes considers his depictions of torn newspaper ‘still lifes’ in that they depict an object in space – a scrap of newspaper. This object, however throwaway, is also a window into a small, specific episode in history, creating a strange combination of still life and history painting.

Although the grand history painting has, traditionally, been the goal of ambitious artists (think of enormous nineteenth-century salon paintings), the still life has achieved a kind of quiet grandeur in the twentieth century. This began in the seventeenth century, when Dutch artists made still life a genre capable of philosophical ambition.

Their chief tool was the vanitas, a depiction of time – deploying metaphors such as the watch, a bubble or

skull – that served to remind Holland’s newly minted middle class of death’s ineluctability.

Cubism changed art history forever with their vertiginous depictions of bottles, instruments and – tellingly – newspapers. A daily paper marks time, is stamped with a date, but it has a lifespan of a few hours; history obliterates its significance.

Mendes’s studio is littered with scraps of newspapers, a whole gallery of readymade vanitas. Pictures of murderers, models and nobodies are taped to the walls, a yellowing mosaic of everyday vanity and history that steams ahead, non-stop, like some crazed factory, with its relentless stream of stories emerging like little widgets of indifference. For Mendes, the daily newspaper is a non-stop exhumation of Adam’s skull, revealing everyday death beneath a grand narrative. This is history shorn of any

redemptive fiction.

For Mendes, the newspaper allowed him to find his voice. He was painting history at least three times removed from its source – a reproduction of a reproduction of a reproduction. And yet the pictures have a playful intensity. Thus came the strange collision of personal history, still life and current events that combines to create the Mendes genre.

Mendes started to collect scraps of paper. Some he would buy, some find, some lift here and there from cafes, or wherever. All about him lay raw material: snippets of history, with images attached, to paint. He started making work for his graduation show, which was scheduled for 9 September, 2001. On one occasion, while walking along Brick Lane, he found a section of an Arabic newspaper that featured a picture of a guy, turbaned and wrapped

in cloth, pointing a gun at some unseen target. He painted this anonymous, menacing figure, then juxtaposed this with a portrait of George Bush along with the headline, ‘So Gore did really win Florida’. For Mendes, the juxtaposition meant that, by winning the election, however fraudulently, his prize was the ominous figure on the other panel of the diptych. The two faced each other, opponents in some unknown battle. Then came the events of the 9/11 and all at once this picture, which to Mendes had no specific, historical meaning, became ubiquitous. In the aftermath of the events, it became clear that the guntoting man was Osama Bin Laden.

by Craig Burnett Hugh Mendes an exisential itch 2001 -2008 Published by Fishmarket Publications ISBN 978 0 9555706 1 2

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NEWS

News 6 World News 14 New News 27 Art News 36

Day

About \ News \ Paper \ Artists www.thenewpaper.co.uk

“On Friday, September 1, 2000, I began retyping the day’s NEW YORK TIMES word for word, letter for letter, from the upper left hand corner to the lower right hand corner, page by page.”

With these words, Kenneth Goldsmith embarked upon a project which he termed “uncreative writing”, that is: uncreativity as a constraintbased process; uncreativity as a creative practice.

By typing page upon page, making no distinction between article, editorial and advertisement, disregarding all typographic and graphical treatments, Goldsmith levels the daily newspaper.

DAY is a monument to the ephemeral, comprised of yesterday’s news, a fleeting moment concretized, captured, then reframed into the discourse of literature.

The Newpaper ♣♠♥♦

opment. The change follows events that include test failure, opposition from Russia as well as European allies and a legal dispute over how far the system could proceed before violating an important arms control treaty.

To keep the option of initial development open for Mr Clinton, the Pentagon has requested bids for initial construction of a radar site in Alaska, setting Sept. 7 as a deadline for technical cost proposals form contractors. The first contacts would have to be awarded by December to permit building to begin next spring and to have a working system in place by 2005. Under the schedule the Pentagon has set in light of conditions in Alaska, it has to start the process soon, subject to later presidential approval.

The more politically volatile decision of whether to file the system – and break the Antiballistic Missile treaty of 1972 – would be left to administration, whether that of Al Gore of George W. Bush.

In a sign of this political evolution, senior military officers, including the program’s executive officer, Maj Gen. Willie Nance of the Army, have argued that there is no reason to rush more tests.

Critics of the program have consistently complained that the military operation was on an artificially fast schedule.

“General Nance is not going to conduct a test unless he’s fully confident that everything is fully ready for the test,” said Lt. Col. Rick Lehner, a spokesman for the Ballistic Missile Defense Organization.

Mr Clinton is awaiting a recommendation from Defense Secretary William S. Cohen on the project and Continued on Page A9 Ozier Muhammad / The New York Times Exit Agassi

The top-seeded Andre-Agassi, right, congratulating Arnaud Clément of France yesterday after Clément defeated him, 6-3, 62, 6-4, in the second round of the United

ring of the Line Between Faith and Politics

By Gustav Niebuhr

When Senator Joseph I. Lieberman urged a greater role for religion in public life in campaign speeches this week, he touched of a new round in the sharp but unsettled debate over the role that personal beliefs should play News Analysis In America politics

Some critics of Mr. Lieberman’s remarks, including the Ant-Defamation League, cast the issue in terms of separation of church and state, suggesting that the senator had infringed on that principle.

But another way to look at what Mr. Lieberman, a Connecticut Democrat, said is to ask whether American culture has changed enough of late so that his remarks are more acceptable, socially and politically, than before.

Those who say a change has taken place can cite various reasons – public unease over the political scandals of the late 1990’s, for example, or the longer-term emergence of religious conservatives as a political force or a less tangible but pervasive interest in the personal and political.

“ I think that the Christian Coalition has added to our dialogue on politics and religion,” said Paul Simon, the former Democratic senator from Illinois, referring both to the conservative organization of that name and also the broader political movement of religious conservatives, “Now, some of that is not good, but some of that is good, too.”

Mr. Simon who now directs the Public Policy Institute of Southern Illinois University, said he thought Mr. Lieberman has made his remarks “with great care.” But he also said that some of the religious language used in Continued on Page A23 Bush Approves New Attack Ad Mocking Gore

Day Kenneth Goldsmith The Figures $23.00

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39 THE NEWPAPER

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IN THE NEWPAPER Who 4 What 8 When 12TODAY Where 16 Why 18

The Newpaper

About \ News \ Paper \ Artists

The Newpaper is a newspaper about artists and writers who make work using the language, visuals or structure of newspapers.

Front cover: ! from the “daily collages” series, Michalis Pichler, August 18.2007

Published by: T\EXT\ART\ London and “greatest hits”, Berlin, ISBN 978-3-86874-103-2

www.thenewpaper.co.uk

(c) Eleanor Vonne Brown

States Open in Queens.

SportsFriday, Page D1.

Lazio Closes In On Mrs. Clinton In Money Race

By CLIFFORD J. LEVY

Representative Rick A. Lazio may be less well known than his opponent in the New York Senate contest (not to mention the Republican who dropped out), but in terms of fundraising, he has already entered her league. Mr Lazio collected $10.7 million in just seven weeks this summer, his aides said yesterday, leaving little doubt that he will have means to battle for the seat despite his late start.

Mr Lazio has taken in a total of $19.2 million since jumping into the Senate race in May, nearly as much as Hilary Rodham Clinton, who has been raising money for more that a year and has collected $21.9 million.

She raised $3.3 million in the seven-week period this summer: July 1 to Aug. 23.

Mr. Lazio’s success with donors suggest that no matter who is on the Republican line – mayor, congressman, school board member – the checks will pour in because of hostility among the county to the Democrat Mrs. Clinton. And Mr. Lazio, a once-obscure congressman from the Suffolk County, has readily harness that sentiment.

“I’m Rick Lazio,” he wrote in an unusually short, onepage fund-raising letter this summer. “It won’t take me six pages to convince you to send me an urgent needed contribution for my United States Senate campaign in New York.

It will take Continued on Page B7 Religion in Hastings

Signs of Shift in attitudes Suggest Blur-

Printed in London by Newsfax International Ltd 40pp tabloid newspaper 380 x 289mm Printed on 52gsm improved newsprint

“All the News that’s Fit to Print” The New York Times Late Edition New York: Today, mostly cloudy, high 83, warm and muggy, low 73. Tomorrow, cloudy with a few showers, high 80. Yesterday, high 83, low 72. Weather map is on Page A20.

VOL. CXLIX....No. 51, 498 Copyright © 2000 The New York Times NEW YORK, FRIDAY, SEPTEMBER 1, 2000 $1 beyond the greater New York metropolitan area 75 CENTS PENTAGON LIKELY TO DELAY NEW TEST FOR MISSILE SHIELD JANUARY DATE EXPECTED

Deployment Decision Would Fall to Next President – Treaty Issue Remains

By ERIC ACHMITT

WA S H I N G TON, Aug, 31 – The Pentagon will probably postpone the next test of a national missile defense system until January, administration officials said yesterday.

Any decision to deploy the antimissile shield now seems certain to pass out of President Clinton’s hands to his successors.

Administration officials had previously said Mr. Clinton would be decided this summer in deploying a $60 billion antimissile system that would be ready by 2005. To meet this schedule, the Pentagon has been under heavy pressure for two years to conduct enough flights to show Mr. Clinton and his advisors whether the systems was technologically feasible.

But now officials are signalling that Mr Clinton merely plans to decide whether to go ahead with the program’s initial devel-

Thank you to all the artists and writers involved for your generous support.