ÿþ<html> <head> <title>Paradox Zurich Projects | Conceptual Art & Design | Zurich, Berlin, London</title> <meta name="description" content="Conceptual art by Paul Woods & associated artists. Works, installations & sales in Zurich, Berlin, London. From Piano Thrones to Paradox Paul's Time Machine"> <meta name="keywords" content="konzeptuellen, kunst, zürich, conceptual, art, zurich, paradox, paul, berlin, london, gallery, galerie, design, wallywoods, kulturhaus, weissensee, exhibition, events, avand-garde, piano, throne, sales, project, projects"> <!-- All Paradox Zurich Projects & Wallywoods art, images, texts & entertainment copyright Paul Woods & related artists, Zurich, Berlin, London 2011 --> <style type="text/css"> body { color: #FEFEFE; background: #FFC4C4; margin-left: 20px; margin-right: 20px; margin-top: 10px; margin-bottom: 20px; font-family: verdana; font-size: 13px; line-height: 13px; } .red {background-color:#E44949; color:#000000; font-size:10pt; padding:0px; margin:0px;} .pink {background-color:#FFA3A4; color:#000000; font-size:10pt; padding:0px; margin:0px;} .lightgrey {background-color:#A1A1A1; color:#000000; font-size:10pt; padding:0px; margin:0px;} .darkgrey {background-color:#646464; color:#eeeeee; font-size:10pt; padding:0px; margin:0px;} .gold {background-color:#FFA95C; color:#000000; font-size:10pt; padding:0px; margin:0px;} .white {background-color:#eeeeee; color:#000000; font-size:10pt; padding:0px; margin:0px;} .finance {background-color:#eeeeee; color:#F02A2A; font-size:10pt; padding:0px; margin:0px;} .info {color:#dddddd; font-size:8pt; padding:0px; margin:0px;} .sites {color:#c0c0c0; font-size:8pt; padding:0px; margin:0px;} .sales {background-color:#eeeeee; color:red; font-size:8pt; padding:0px; margin:0px;} .play {background-color:#eeeeee; color:666666; font-size:7.5pt; padding:0px; margin:0px;} .titel {color:ffffff; font-size:14pt; padding:0px; margin:0px;} .button:link {color:#FFA95C; text-decoration:none} .button:visited {color:#FFA95C; text-decoration:none} .button:active {color:#FFA95C; text-decoration:none} .button:hover {color:#FFA95C; text-decoration:none} </style> <script type="text/javascript" language="JavaScript"> <!-- function toggleMe(a){ var e=document.getElementById(a); if(!e)return true; if(e.style.display=="none"){ e.style.display="block" } else { e.style.display="none" } return true; } //--> </script> </head> <body bgcolor=FFC4C4 link=FFA95C vlink=FFA95C alink=FFA95C> <center> <div align="center"> <table width="780" height="10" border="0" bgcolor=202020> <tr valign="middle"> <td align="left"> <h1><p class="titel"><b>P<font color="FFA3A4">ARADOX</font> Z<font color="FFA3A4">URICH</font> P<font color="FFA3A4">ROJECTS</font></b></p></h1> <font face="Verdana" color="ffffff" style="letter-spacing: 0; font-size: 9pt">am Idaplatz, Bertastrasse 26, 8003 Zurich, Switzerland<br>Dienstags bis Freitags, 14:00 bis 19:00<br>Fon: 078 783 0114</font><br><br> <div align="right"> <table width="509" height="10" border="0" background="drop down images/tab background.jpg"> <tr> <td align="right"> <h2><font face="Verdana" color="ffffff" style="letter-spacing: 0; font-size: 7.5pt"><br>CONCEPTUAL&nbsp;ART&nbsp;and&nbsp;THE&nbsp;AVANT&#8211GARDE&nbsp;/&nbsp;<i>Theory,&nbsp;Practice&nbsp;and&nbsp;Worlds&nbsp;inbetween...</i></font></h2> </td> </tr> </table> </div> <font style="letter-spacing: 0; font-size: 8pt"><br></font> <!-- <a onclick="return toggleMe('para0010')" class="button" href="javascript:void(0)"><p class="pink"><b>Introduction by Paradox Paul</b></p></a><br> <div id="para0010" style="display:none"><p class="info">(March, 2011)<br><br>"I'm taking a break from building Piano Thrones (see "The 12 Piano Thrones Project" below) to redevelop this website (pretty much done, May 2011) and set up the new art-space in Zurich (now ready, May 2011) together with my wife Maya and whoever wishes to join us. Innovation and productivity are key to headway in an art-world which seems at times, especially to those who stubbornly refuse to comply to mainstream expectations, to be buried beneath self-interest and centuries of carefully presented museum dust. Lots of links and info still to add. All projects listed, past, present & future, are my own unless otherwise clearly stated. Some history of my six year gallery & events project in Berlin, which kept me busy learning the trade and forging healthy alliances worldwide can be found under 'Wallywoods' near the bottom of this page. Supported initiatives will not be solely my own; if it appears so at a glance it is because the concept at this stage, though long considered, is embryonic. I foresee organic growth and supplement of new ideas from imaginative partners, not just in Europe but from places I haven't yet heard of. Though I live now in Zurich, my passion for Berlin, plus fresh connections with old friends in my home-town London, have encouraged me to set up this triangular model of creative exchange based around these three cities. Principally, right now, partners are required in all aspects of setting up an alternative cultural business, whilst never foregoing the basic enjoyment of Art for all concerned. And that is introduction enough I think; please enjoy clicking around - at the risk of losing yourself within, by now over 600 pages of ideas & documentation covering 10 years of this website (formerly known as wallywoods.com); and never be shy to contact myself, M.M. or Mr Flynn with your own original concepts, enquiries and criticisms. Because this new & typically untypical enterprise 'Paradox World' is designed to thrive on all three."<br><br><br></p></div> --> <div align=center> <!-- <img src="drop down images/logo 2.jpg">&nbsp;&nbsp;&nbsp; <p class="pink" align="justify">January 2012<br><br> After eight productive months at the "Paradox Zurich Projects" gallery & studio which has featured exhibitions and performance from local and international artists - solo and group presentations focused on <i>avant-garde, experimental, conceptual</i> philosophies - we are entering 2012 with a further developing concept and no little excitement. Starting at the <i>Idaplatz</i> location(*) we are building a partnership of artists, designers and other "creative heads" based around a clearly defined business plan, a new website (coming soon:- www.design-partners.org), and much past experience in our various fields.<br><br>(*We will require a more suitable space later in the year - feel free to contact us if you know of a possible location.)<br><br>More to follow& <br></p> &nbsp;&nbsp;&nbsp;<img src="drop down images/logo 4.jpg"> --> <font face="Verdana" color="dddddd" style="letter-spacing: 0; font-size: 10pt"> <br><a href="pzp events.htm" target="_blank"><img src="drop down images/Stillstand.jpg" border="0"></a><br><br> <b>VERNISSAGE</b><br> 17 Februar 2012, ab 18 h<br><br> <b>AUSSTELLUNG</b><br> 18 Februar bis 02 März<br> Dienstags bis Freitags, 14-19 h<br><br> <center> <b>"STILLSTAND"</b><br><br> oder eine optische Täuschung der zeitlichen Wahrnehmung<br> Photo- und Videoinstallation<br> Konzeption/Realisation/Ausführung<br> Marianne Mettler<br> Tibor Foeldes<br> <a href="pzp events.htm" target="_blank"><font color=ffffff>Info</a><br><br> </div> <!-- <font color=ffffff style="letter-spacing: 0; font-size: 8pt; background-color:444444"><b><marquee scrollamount=4 scrolldelay=5> NEWS...&nbsp;&nbsp;&nbsp;"PARADOX ZURICH PROJECTS" art studio & gallery, open Tuesdays to Fridays, 2pm to 7pm, Saturdays from 4pm...&nbsp;&nbsp;&nbsp;Saturday evenings hosted by fx-guitarist Sergio Beresovsky...&nbsp;&nbsp;&nbsp;Visit current exhibition or the long-term "Piano Thrones Project" by PP...&nbsp;&nbsp;&nbsp;Discover art in action, discuss event ideas...&nbsp;&nbsp;&nbsp;Get in touch...</marquee></b></font><br><br> --> <p class="pink" align=center><b> <a style="text-decoration: none;" href="#A to Z" class="button"><font color="000000" style="text-decoration:none">A-Z</font></a>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<a style="text-decoration: none;" href="pzp events.htm" target="_blank"><font color="000000" style="text-decoration:none">Exhibitions & Events</font></a>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<a style="text-decoration: none;" href="http://www.facebook.com/pages/Paradox-Zurich-Projects/219533534742068" target="_blank"><font color="000000" style="text-decoration:none">Facebook</font></a>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<a style="text-decoration: none;" href="diaries 2010-2011.htm" target="_blank"><font color="000000" style="text-decoration:none">Blog</font></a>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<a style="text-decoration: none;" href="woods press.htm" target="_blank"><font color="000000" style="text-decoration:none">Press</font></a>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<a style="text-decoration: none;" href="mailto:wallywoods@gmx.net" target="_blank"><font color="000000" style="text-decoration:none">Contact</font></a></b></p> <font style="letter-spacing: 0; font-size: 11pt"> <br> </font> <div align="right"><img src="drop down images/tab background 4.jpg"></div> <div align="right"><font color="000000" face="Verdana" style="letter-spacing: 0; font-size: 8pt; background-color:000000"><b>&nbsp;</b></font></font></div> <a onclick="return toggleMe('para0020')" class="button" href="javascript:void(0)"><p class="pink" align="right"><b>Paul Woods&nbsp;</b></p></a> <div id="para0020" style="display:none"><p class="info" align="right">aka Paradox Paul aka Wally. Self employed curator, conceptual artist, events organiser, graphic designer, writer & avant-garde performer. Former architectural model-maker in London and mount-maker for museums in the United States. Member of the Förderverein Kulturhaus Weissensee in Berlin and leading protestor against local government cuts across culture in that city. Currently interested in setting up a donations pool for private and public arts projects, some of which are listed below.<br><i>wallywoods@gmx.net</i><br><a href="http://www.facebook.com/profile.php?id=551302577" target="_blank">Facebook</a></p></div> <div align=right style="background: #444444"><font color="444444" face="Verdana" style="letter-spacing: 0; font-size: 10pt"><b>&nbsp;</b></font></div> <a onclick="return toggleMe('para0030')" class="button" href="javascript:void(0)"><p class="pink" align="right"><b>Maya Malfatti Woods&nbsp;</b></p></a> <div id="para0030" style="display:none"><p class="info" align="right">Graphic designer, busy curator, lazy artist.<br><i>maya.malfatti@bluewin.ch</i><br><a href="http://www.facebook.com/#!/profile.php?id=1193768672" target="_blank">Facebook</a></p></div> <div align=right style="background: #444444"><font color="444444" face="Verdana" style="letter-spacing: 0; font-size: 10pt"><b>&nbsp;</b></font></div> <a onclick="return toggleMe('para0040')" class="button" href="javascript:void(0)"><p class="pink" align="right"><b>Danny Amos Flynn&nbsp;</b></p></a> <div id="para0040" style="display:none"><p class="info" align="right">(London contact)<br>Print-master, lecturer, poet and lazy curator of Paradox London Projects exhibitions,<br>events and concerts (in exile until PLP finds a home in 2012)<br><i>dannyamosflynn@hotmail.com</i><br><a href="http://www.facebook.com/profile.php?id=656397756&ref=ts" target="_blank">Facebook</a></p></div> </td> </tr> </table> </div> <br><br> <div align="center"> <table width="780" height="10" border="0" bgcolor=000000> <tr valign="middle"> <td align="center"> <object width="386" height="290"><param name="allowfullscreen" value="true" /><param name="movie" value="http://www.facebook.com/v/2102305715920" /><embed src="http://www.facebook.com/v/2102305715920" type="application/x-shockwave-flash" allowfullscreen="true" width="386" height="290"></embed></object><object width="386" height="290"><param name="allowfullscreen" value="true" /><param name="movie" value="http://www.facebook.com/v/2150520201252" /><embed src="http://www.facebook.com/v/2150520201252" type="application/x-shockwave-flash" allowfullscreen="true" width="386" height="290"></embed></object><br> <p class="play">Try playing both films at once. Thanks to Agnieszka, Habib and Chloé for performing, Sergio Beresovsky for guitar and Maya for filming.</p> </td> </tr> </table> </div> <a name="A to Z"><br><br> <div align="center"> <table width="780" height="10" border="0" bgcolor=202020> <tr valign="middle"> <td align="left"> <p align=center style="background: #ffffff"><font face="Verdana" color=E44949 style="letter-spacing: 0; font-size: 13.5pt"><b>A to Z OF PARADOX ZURICH & RELATED PROJECTS</b></font></p> <font style="letter-spacing: 0; font-size: 5pt"> <br> </font> <center> <div align="center"> <table width="774" height="10" border="0"> <tr valign="middle"> <td align="center"> <div align="right"> <table width="524" height="10" border="0" background="drop down images/tab background 3.jpg"> <tr> <td align="right"> <font face="Verdana" color="ffffff" style="letter-spacing: 0; font-size: 8pt">The list is dynamic. Info and links are being up-dated often, roughly in order of priority.<br>Click on a project bar to reveal information, click the bar again to close it and continue.<br><br></font> </td> </tr> </table> </div> <font style="letter-spacing: 0; font-size: 12pt"> <br> </font> <div align="right"><b> <font color=eeeeee style="letter-spacing: 0; font-size: 10pt">KEY:&nbsp;&nbsp;</font><font color=000000 style="letter-spacing: 0; font-size: 10pt; background-color:A1A1A1">&nbsp;PIANO&nbsp;ART&nbsp;</font><font color=000000 style="letter-spacing: 0; font-size: 10pt; background-color:FFA3A4">&nbsp;DIVERSE&nbsp;PROJECTS&nbsp;</font><font color=E44949 style="letter-spacing: 0; font-size: 10pt; background-color:eeeeee">&nbsp;FINANCE&nbsp;</font><font color=000000 style="letter-spacing: 0; font-size: 10pt; background-color:E44949">&nbsp;POLITICS&nbsp;</font><font color=eeeeee style="letter-spacing: 0; font-size: 10pt; background-color:646464">&nbsp;LITERATURE&nbsp;</font><font color=000000 style="letter-spacing: 0; font-size: 10pt; background-color:FFA95C">&nbsp;MUSIC&nbsp;</font><font color=000000 style="letter-spacing: 0; font-size: 10pt; background-color:eeeeee">&nbsp;DOCUMENTATION&nbsp;</font></b></div> </td> </tr> </table> </div> </center> <font style="letter-spacing: 0; font-size: 5pt"><br><br></font> <h3><a onclick="return toggleMe('para0050')" class="button" href="javascript:void(0)"><p class="lightgrey"><b>the 12 Piano Thrones Project</b></p></a></h3> <div id="para0050" style="display:none"> <div align=center> <map name="piano throne thumbs"> <area href="piano throne 1.htm" target="_blank" shape=rect coords="6,6,128,98"> <area href="piano throne 2.htm" target="_blank" shape=rect coords="134,6,256,98"> <area href="piano throne 3.htm" target="_blank" shape=rect coords="262,6,384,98"> <area href="piano throne 4.htm" target="_blank" shape=rect coords="392,6,512,98"> <area href="piano throne 5.htm" target="_blank" shape=rect coords="518,6,640,98"> <area href="piano throne 6.htm" target="_blank" shape=rect coords="648,6,768,98"> </map> <img src="drop down images/piano thrones/piano thrones thumbs.jpg" usemap="#piano throne thumbs" border="0"> </div> <p class="info"><br> It has taken the human race its whole history to work out how to kill efficiently. We, in tow with our governors, have experimented since the very beginning in every possible way. Yet those nations which, here in the twenty-first century, still impose the ultimate penalty, capital punishment, use methods painful, unreliable, slow, archaic, barbaric...<br><br> Opening and pursuing a discussion upon this subject - one ignored or avoided by ALL nations practising capital punishment through history to the present date - is the principle message behind the "12 Piano Thrones Project". One thing must be understood at this point: the theme is "how to IMPROVE EXISTING EXECUTION METHODS whilst demanding new international laws". It is NOT "how to" or "whether or not to" ABOLISH capital punishment completely. For the latter question there is, and probably always will be, fervent dialogue already taking place on this most complicated human dilemma. The artist's position here is precisely this: "as long as capital punishment IS in practice, the METHODS EMPLOYED should be strictly and widely questioned". Which, in the unavoidable fact, they are not. There is more to say on this pivotal theme, but first some paragraphs on the actual "Piano Throne" art-pieces themselves.<br><br> Before the Piano Thrones became equally, and later overwhelmingly, execution contraptions, they were objects adhering to another concept entirely, with its own set of rules, innovations and aesthetic.<br><br> Since December 2009 conceptual artist and former architectural model-maker Paul Woods (Paradox Paul) has been converting upright pianos into a series of what he calls "Piano Thrones". This became possible since the Broken Pianos Orchestra which he founded, comprising twelve pianos decorated by artists in various styles, had to be disbanded when Gallery Wallywoods was evicted from Berlin's Weissensee Culture Center, otherwise known as the Peter Edel Culture Center (see "Wallywoods" and "Peter Edel" below). The pianos had nowhere else to go and P.P. whose primary artistic theme had been 'chairs' for a decade (see "Big Chairs") began to deconstruct the first of them with the intention of building a Big Chair from the hundred year-old deconstructed parts. Part of the thinking was that it should also be easier to transport away when the pending eviction was enforced. So pleasing were both method and apparent result that he quickly embarked upon the task of turning the twelve "Broken Pianos" into the twelve "Piano Thrones". Thus, at project completion there will be twelve Piano Thrones in all, to be exhibited together in a circular arrangement at gallery spaces around Europe and the wider world; locations with ceiling heights of at least three meters, as all the works will stand exactly three meters high.<br><br> Each Piano Throne is made from one complete piano. ALL the separate components are included in a sturdy and usable chair sculpture, i.e. 'Throne', whilst a minimum of new materials are employed in construction. (Mainly brass screws, white wood-glue, 'hot-glue', oils, shoe polish and, for 'touch-up' purposes only, acrylic paint. The heads of necessary new screws will be hidden at the final stage; wood filler is mixed in the traditional method from sawdust coming from the same piano and wood-glue. Incorporated into a Piano Throne along with the major wood and metal pieces may be fabrics and glass, as well as objects discovered during deconstruction, i.e. segments of newspaper, a dead spider, and so on. Nothing is thrown away. In all, the pieces offer endless possibilities to the furniture-maker come model-maker, who with time and imagination is lending at least two Thrones the architectural qualities of a church and a theater.<br><br> In early 2010 the fast developing blue-print for the whole project was again adjusted dramatically. Looking at the first work as it approached a stage near completion, P.P. realised that the remaining beams of wood and heavy segments of cast-iron, as well as the Throne itself, the thing seemed perfectly suited for adaption into a working guillotine, whilst equally complying to the original specifications of serving as a Throne made from a piano. Some weeks into the new thinking, P.P. accidentally discovered a fact of critical importance... (text in progress - to be continued)<br><br> <center><p class="info">Zurich Workshop: <a href="http://www.facebook.com/album.php?aid=324777&id=551302577&l=6916f5ffdb" target="_blank">Photos</a>&nbsp;&nbsp;Berlin Workshop: <a href="http://www.facebook.com/album.php?aid=189153&id=551302577&l=d19146d66c" target="_blank">Photos 1</a>/<a href="http://www.facebook.com/album.php?aid=224104&id=551302577&l=a92b2d59e6" target="_blank">Photos 2</a>&nbsp;&nbsp;Neukölln Installations: <a href="http://www.facebook.com/album.php?aid=211690&id=551302577&l=8a5ed1d5f8" target="_blank">Event 1</a>/<a href="http://www.facebook.com/album.php?aid=232227&id=551302577&l=f81eebbc8d" target="_blank">Event 2</a>&nbsp;&nbsp;Death Penalty: <a href="http://www.facebook.com/note.php?note_id=378366359557" target="_blank">Manifesto</a><br><br><img src="drop down images/piano thrones.jpg" width="774"></center><br><p class="sales">SALES:&nbsp;&nbsp;A Piano Throne (1 of 12) can be purchased completed or at any stage of development for 100,000 Euros</p></p></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0060')" class="button" href="javascript:void(0)"><p class="pink"><b>the 1001 Projects Project</b></p></a> <div id="para0060" style="display:none"><p class="info">P.P. is at last pleased with this website revamp, at least with the new design, completed mid April 2011. But there is a lot more to do since his latest brainwave. Oh boy. Over the coming months the number of projects listed on this page will increase towards a goal of 1001 in total (including this one, "The 1001 Projects Project", which is the 86th project at the time of its conception on April 13, 2011). As challenging as it sounds, P.P. reckons there is enough material to fill the new quota lying around in attics and cellars in various cities plus a small town on the Isle of Wight, as well as deeper in this labyrinthine website, memoirs treading yet deeper into the conceptual artist's restless mind; and also in the imaginations of project partners not even met yet. Why 1001 exactly? Well, why not. If the mountain is there then climb it. Besides which, in our search for a wonderful new arts space in Zurich founded on as little money possible but great energy, a concept is needed to convince the landlords to let us move in for at least 3 months, or better still, permanently. From a thousand-and-one activity concepts (or as many as there are here now) they must like some of them! What's listed below can therefore be seen as the program which begins, not only virtually, at daily workshops, installations and art evenings when the gallery/studio "Paradox World Projects" opens (or "Paradox Zurich" or "Wallywoods Zurich" or "Gallery Woods Malfatti" or "Zurich Big Chairs" or "The Woods" or whatever it will be called) in P.P.'s now official residence, Zurich. Amen.</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0070')" class="button" href="javascript:void(0)"><p class="darkgrey"><b>1001 Ways to Become a Fashionable Artist</b></p></a> <div id="para0070" style="display:none"><p class="info">'Mixed metaphors on cheap paper.' Outline of a half finished short story. Needs illustrating, perhaps as a comic:<br><br> "At a historically gruesome benefits party thrown up at Culture Castle, a shirtless, ticket-less, legless young Noname is doomed to spurt unto the universe a boggling picture of itself never before imagined - knocked out in cheap oils, signed across its breadth, crammed into a handy frame. On the journey to his great unveiling, the future master of Arty Farty World would make just two allies; one he would meet in a dirty great limo, the other in a dirty great pit. But way back in the beginning, there in his weedy hovel beneath Waterloo Railway Station, Noname's existence was suspected only among his two enormous brothers, Bigbeard Hammer and Littlebeard Sneak. Risen high above the urban bog these towering symbols of Ego and Fame were irresistible to stick-shaped women and bendy, oily, arse-licking men. Both were as mad as the hats they wore..." <a href="lib 1001 ways.htm" target="_blank">More</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0080')" class="button" href="javascript:void(0)"><p class="white"><b>Art</b></p></a> <div id="para0080" style="display:none"><p class="info">General introduction to follow. <a href="archive.htm" target="_blank">Link test</a><br><center><img src="drop down images/art by pp.jpg" width="774"></center></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0090')" class="button" href="javascript:void(0)"><p class="white"><b>Artists</b></p></a> <div id="para0090" style="display:none"><p class="info"><a href="artists.htm" target="_blank">Selection of supported artists</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0100')" class="button" href="javascript:void(0)"><p class="darkgrey"><b>Asphalt Planet</b></p></a> <div id="para0100" style="display:none"><p class="info">This mini epic by P.P. was started in 2010 directly on Facebook and progressed there as a work in progress. Still unfinished, it now has its own home, right here. Open for illustration or animation ideas:<br><br> "In the cities the people thrived. But out in the country, across the hills and plains to the seas, their cousins began to die. Epidemics of new proportions, animal-plagues, polen-flues, viruses knowbody knew how to cure, terrorised the world in ways no nation could withstand. From this beginning to the horrible end, twelve years later, they flocked to the capitals and growing urban slums. Apparently nature rebelled, over-reacted and over produced, and flooded the Earth with fearful ills. Even a flower brought death.<br><br><i>All we could do was bulldoze and build. And build and build...</i><br><br>They built asphalt roads, miles across, and low-story, region-wide blocks of concrete and steel, into which the human family could safely relocate. And they <i>did</i> feel safe. For a while. The plan, if it was a plan, worked remarkably well. The species, extracted from their natural environment, hardly grew sick. Work was abundant, as all resources were were pooled in the communal effort to literally asphalt the planet. There were wars, of course, but they were short lived, or seemed irrelevant, in the frenzied, unprecedented fight to survive.<br><br>The landscape gradually dissappeared. Wildlife was slaughtered, forests were felled, fields were trampled and paved; till one day, all the Earth with all its poisons on every continent, lay buried...<br><br>Under the Asphalt Planet.<br><br> In the eleventh year, the Cause was discovered, the Thing which had so badly attacked Mother Nature that she, with all her integrity, all her might, could react the only way (...) There is something in asphalt..."</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0110')" class="button" href="javascript:void(0)"><p class="pink"><b>the Atheists Show</b></p></a> <div id="para0110" style="display:none"><p class="info">Currently theoretical group event based on the PROBABILITY that what is now called 'atheism' will one day outweigh religion everywhere. Encouraged and presented by P.P. and others who support that peaceful and logical goal. Only possible within an open yet well defined atmosphere of discussion, interaction and above all tolerance. Aim is NOT to attempt to prove that overwhelming influence of organised religion is out-dated and detrimental. Rather, it is to offer a stimulating and POSITIVE insight into the fundamental and legitimate belief in HUMAN BEINGS; i.e. merely ourselves, capable of love, compassion and moral strength independent of a God reference. Such an undertaking may never-the-less be considered 'spiritual' by some, no doubt provocative by others, and even insulting to a few - or many - entrenched 'believers'. But organised in Europe for a start, within the parentheses of established democratic system and free-thinking society, the undertaking should hardly be dangerous...<br><br>No matter how carefully worded, this text remains as unsatisfactory as the subject is flammable. Even the word 'atheist' with its negative - to some, 'infidel' - connotations needs review. But I shall not cease to consider the concept until it is (or I am) mature enough for further steps towards realisation of an exhibition ('one-off' or otherwise). Input welcome. P.P. April 2011.</p><br><center><img src="drop down images/Crucified Tank by PP.jpg"><p class="info"><br>Crucified Tank by Woods (tank by Vinzent), Berlin, 2005</center></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0120')" class="button" href="javascript:void(0)"><p class="darkgrey"><b>Bad Words</b></p></a> <div id="para0120" style="display:none"><p class="info"> When, where and why this was almost written is by now nearly irrelevant. It is a lesson in pen power for would-be writers and other interested people with pens. It is perhaps the anonymous author's least glaring achievement. Besides which Wally, as he was known then, learned to detest poetry slams. Usually because he lost. The others were funnier. Ask Helge der Hinterhofdichter who beat him at Bastard, the bugger. Ignoring that defeat, mild in comparison, P.P. did read this in front of his mentor Mr Bertram Paperfoot, Germany's greatest living writer, and ten other Jedi of the Berlin off-off-poetry scene at Wallywoods in Weissensee earlier this century. What a night. What a nightmare! Here is the poster posthumously to remind us of a potentially majestic event. But Clive the Drunk - yes CLIVE THE DRUNK! - was there to destroy the whole evening before Wally barred him again along with his immortal words as the master readied himself to begin, "Hey Bert, sing some fuckin' rock and roll!". So P.P. missed most of it whilst walking Clive home. By the time P.P. returned to his guests, Bert had left and Clive shortly returned. In short, one of modern literature's stupidest reading evenings. The moral? What a cunt! Below is the original essay, Bad Words, lifted unabashedly from Wally's Log...<br> </p><br><center><img src="drop down images/Poetry Slang at Wallywoods 2007 small.jpg"></center><p class="info"><br> "How many uncountable times have I bogged myself down re-vamping again and again, over and over, the ghost of a text which angrily lurks half living, half gasping into my weeping ears, damp wads of nonsense dragged forth from some dodgy plot beyond the Neverworld? (God! What is it? What is this thing?) Polished off a lifetime ago, tis surely the gut of a pretty book: born, butchered and buried there with the others, in near secrecy, near the summit of my fog-shrouded brain. This awful sleepless thing, writing, is digging in midnight grave-mud and laying out in a lofty, fast-sinking chain any bits and bobs which are randomly spewed from the bowels. And Allah bless the stony-faced angels when a splatter of gold, even fool's gold, is rescued from the churning crud! Obnoxious fairy-tales, druggy rantings, cynical love yarns, benefits forms; these and worthier besides, excruciatingly Frankensteined together out of O'level grammar and wrongish spelled words. Maths, I failed; but I can count seventeen endless pages of a weirdish novel colourfully named 'Ark of Colours' which, if I pull a darkly stained finger out, might miraculously evolve into the sun-set of a pop-up comic-book: a thing to present to myself upon retirement or death. Shall I ever meet, in this life or in the next, my comatose cousins Felix & Phyllis in the palid-pale flesh, at peace of a late bednight upon the mass-produced page? Oh, how I yet miss them. However; nothing much dribbled or spat from my creeking leaking pen ever seems finishable, let alone sellable, let alone readable. Very few bits and bobs from the odds-&-sods bin ever have been, or no doubt will be - will they? Technically, a lot of rubbish pops up. Thankfully, it's not all usable. Just occasionally, a phrase will scream up from the dirt to flatter the memory of my dear, long-departed mother concept. Then where am I left? Knee deep in swell ideas, mostly dead above the neck.<br><br> Agreed then. Much hard shoveling for a few bad words.<br><br> Lo! It is these ideas only I fear, living and hauntingly choreographed as dream sequences in a quaint old horror film, which remain contiguous and precious; pitiably, forever incarcerated within the socky murk, all six feet and so many inches beneath the very peak of my moon-howling mind! Neil looked up one day to say, 'You are not a writer,' then asked once again, proddingly, in the storming rain and more ominous thunder, 'Why don't you stick to painting?' Yet he may be a man of many valid points and barbs, but I write up my sleeve with swelling confidence in his direction, 'Fuck you, man.'<br><br> Alternately, poetry is no absolute waste of time. A fool can write a poem. I hope to fill a book one day - if I ever finish one. Even a skinny one! OK. But a successful poem, even a humorous one, is poor compensation for not having it in the genes, or perhaps the balls, to write something containing better quality meat. Oh, to get something - payment perhaps, in this modernish world, even something at the impoverished level of the spirit - for all those long hours tossed away, spent digging away at this, my most perfectly crafted neck-ache! Exactly thus, I began to carve the merest synopsis out of the vision of my famous unwritten 'Novel of Colours'. I do hope to complete it sometime, perhaps before the manuscript itself arrives, chained-up and conspicuously marvelous, on Terry Gilliam's doorstep with the milk bottles and a witty note of desperation. For no fable born of this day can dazzle the contemporary planet till it is churned into a massive, disappointing film by an over-enthusiastic, badly-dressed, hairy-faced director. As for the synopsis: well, I rapidly got bogged down again in the bog of little details like Felix's fungus collection, the colour of the last-surviving rabbit; and how to justify the second half of a rueful, meandering, possibly unnecessary, over-long sentence - leave well alone (I know the reader will) a single, brooding, poetic, lonely, misinterpreted, failed and desperate paragraph! Which leads me to a reincarnated life; one in which I am blessed with more or less average portions of physical energy and/or financial motivation. In one such shadowless life, I might just turn to directing quaint old horror films as a means of shocking my poor ideas into warmly chuckling existence.<br><br> To expand for a moment; let us bow our heads beyond neck-pain and remember the film Bucket, in which our hero (Neil again) walked the length of Schönhauser Street with his head in a coal bucket. With a bathroom towel wrapped around his head to keep the bucket on, he would fail to hear that fateful crash, as he barged his unforgettable path among the shoppers and those startled weekend dogs. A childish attempt to manufacture a blockbuster, I cannot deny, or even say. But experiment is the main thing, sometimes a jolly thing; though it must be noted that the abrupt end of that scene killed the project, and perhaps a by-stander, who unfortunately ran in front of Bob's astonished camera into the road of an on-coming truck. Shortly thereafter, creeping paranoia sent the whole crew sneaking into a coffee-shop to remove from the scene the bucket and compare wide eye-balls.<br><br> Neil's audition at police headquarters is a better story, but wasn't filmed, nor ever resolved. Not by us, anyhow. In Hollywood, perhaps, one dreadful day. Directing? I had better been off directing traffic!<br><br> But to write! God! To write like a writer! Or like a God! Or even like a rotter like that toe-rag Miller, or some other popularist, unshaven, woman-knowing body. And to spell the words correctly first time around and have them spill out in fairly good order, cascading fluidy through the rainbow of my mouth to end up within spitting distance of the perfect ending, close to the bottom of the very last page! Honestly, I seriously imagines I've a rare and nobbling iq-pissabling pyslexia of some orrible de-scribbling!"<br></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0130')" class="button" href="javascript:void(0)"><p class="pink"><b>Big Chairs</b></p></a> <div id="para0130" style="display:none"><p class="info">Links to be updated: <a href="big chairs.htm" target="_blank">Concept</a> / <a href="posters.htm" target="_blank">Posters</a> / <a href="maxchairs.htm" target="_blank">3D</a> / <a href="more chairs.htm" target="_blank">More Chairs</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0140')" class="button" href="javascript:void(0)"><p class="darkgrey"><b>Blog</b></p></a> <div id="para0140" style="display:none"><p class="info">I stopped writing my online diaries when real life finally caught up with my expectations of it, crushing major reserves of energy and changing priorities - yet again. Also, the HTML programming got bummed out due to the minor differences between various browsers and I simply lost interest in performing another tedious website overhaul. But I've started again now and will fill gaps with various texts stored haphazardly here and there, rabbiting as ever, on and on, into a rosier than rosy future (and an eventful past)... <a href="diaries 2010-2011.htm" target="_blank">Wally's Log</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0143')" class="button" href="javascript:void(0)"><p class="pink"><b>Brain Calming</b></p></a> <div id="para0143" style="display:none"><p class="info">Easy kind of brainstorming. Room for development...</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0150')" class="button" href="javascript:void(0)"><p class="gold"><b>the Broken Pianos Orchestra (RIP)</b></p></a> <div id="para0150" style="display:none"><br> <center> <a href="broken piano 1.htm" target="_blank"><img src="drop down images/broken pianos/Broken Piano 1 thumb.jpg" border="0"></a> <a href="broken piano 2.htm" target="_blank"><img src="drop down images/broken pianos/Broken Piano 2 thumb.jpg" border="0"></a> <a href="broken piano 3.htm" target="_blank"><img src="drop down images/broken pianos/Broken Piano 3 thumb.jpg" border="0"></a> <a href="broken piano 4.htm" target="_blank"><img src="drop down images/broken pianos/Broken Piano 4 thumb.jpg" border="0"></a><br><br><a href="broken piano 5.htm" target="_blank"><img src="drop down images/broken pianos/Broken Piano 5 thumb.jpg" border="0"></a> <a href="broken piano 6.htm" target="_blank"><img src="drop down images/broken pianos/Broken Piano 6 thumb.jpg" border="0"></a> <a href="broken piano 7.htm" target="_blank"><img src="drop down images/broken pianos/Broken Piano 7 thumb.jpg" border="0"></a> <a href="broken piano 8.htm" target="_blank"><img src="drop down images/broken pianos/Broken Piano 8 thumb.jpg" border="0"></a><br><br><a href="broken piano 9.htm" target="_blank"><img src="drop down images/broken pianos/Broken Piano 9 thumb.jpg" border="0"></a> <a href="broken piano 10.htm" target="_blank"><img src="drop down images/broken pianos/Broken Piano 10 thumb.jpg" border="0"></a> <a href="broken piano 11.htm" target="_blank"><img src="drop down images/broken pianos/Broken Piano 11 thumb.jpg" border="0"></a> <a href="broken piano 12.htm" target="_blank"><img src="drop down images/broken pianos/Broken Piano 12 thumb.jpg" border="0"></a></center><br> <p class="info">Info to follow. For now here's an early <a href="drop down images/Kaputte Klaviere Orchester.jpg" target="_blank">Poster</a> and (coming soon) a link to a rare <a href="linktest.htm" target="_blank">Recording</a><br><center></center></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0155')" class="button" href="javascript:void(0)"><p class="pink"><b>Bronze Everything</b></p></a> <div id="para0155" style="display:none"><p class="info">Room for development...</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0160')" class="button" href="javascript:void(0)"><p class="darkgrey"><b>Bucket</b></p></a> <div id="para0160" style="display:none"><p class="info">Bucket is a short story used as the lose script for a surrealistic film, shot in Prenzlauerberg in Berlin in the late nineties. Filming was never completed due to a road accident which occurred in front of the rolling camera, after which the people involved understandably - and very sadly - lost all interest in continuing. Well, they didn't have a license for filming on the street (Schönhauser Allee) and worried that they themselves were indirectly somehow responsible. After all, project actor N.H. was at that moment walking unguided among afternoon shoppers in a black suit with a bucket on his head, causing no little interest. Paranoia among the crew intensified as it was discovered that plain-clothes cops had actually caused the accident whilst chasing a boy of apparently illegal origin across the busy crossing. He was knocked unconscious to slide ten yards or more along the road in front of the truck which hit him full on. On careful enquiry, emergency authorities refused to give us any information to the victim's situation. To this day we don't know if he survived.<br><br>There exists a video cassette of whatever uncut film material was produced before the project was scrapped, but its odd format is a mystery to me and needs copying over onto a more accessible one. (Advice on this would be appreciated.) Meanwhile, the possibility of resurecting and one day completing the movie, in the style and spirit it was then begun, floats on the air like an unfinished ghost:<br><a href="lib bucket.htm" target="_blank">Bucket</a> / <a href="lib bucket germ.htm" target="_blank">auf Deutsch</a><br></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0163')" class="button" href="javascript:void(0)"><p class="pink"><b>Carpet Drawing</b></p></a> <div id="para0163" style="display:none"><p class="info">Images to come. Room for development...</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0166')" class="button" href="javascript:void(0)"><p class="pink"><b>Carry On Filming</b></p></a> <div id="para0166" style="display:none"><p class="info">Room for development...</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0170')" class="button" href="javascript:void(0)"><p class="white"><b>Catalogues & Calendars</b></p></a> <div id="para0170" style="display:none"><p class="info">Information to follow.</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0180')" class="button" href="javascript:void(0)"><p class="pink"><b>CD Cover Design</b></p></a> <div id="para0180" style="display:none"><p class="info">Old page, needs updating: <a href="cd.htm" target="_blank">CD Cover Design</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0190')" class="button" href="javascript:void(0)"><p class="pink"><b>Church</b></p></a> <div id="para0190" style="display:none"><p class="info">Would someone some day please donate to me a church, chapel or similarly revered building. Anywhere at all. Meanwhile, a less hallowed dream of mine has long been (at least) the organisation of an interactive installation in a church, chapel or similarly revered building. Thank you in advance. P.P. March 2011.</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0200')" class="button" href="javascript:void(0)"><p class="pink"><b>Club & Cafe Design & Deco Advice & Service</b></p></a> <div id="para0200" style="display:none"><p class="info">See also "Decoration" / <a href="mailto:wallywoods@gmx.net" target="_blank">Contact</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0202')" class="button" href="javascript:void(0)"><p class="pink"><b>Consultancy Service</b></p></a> <div id="para0202" style="display:none"><p class="info">If you need consulting on any topic then get in touch. 24 hour service. Reasonable costs. Confidentuality ensured. Satisfaction guaranteed. Send your requirements to: <a href="mailto:wallywoods@gmx.net" target="_blank">wallywoods@gmx.net</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0204')" class="button" href="javascript:void(0)"><p class="red"><b>Crossing Borders</b></p></a> <div id="para0204" style="display:none"><p class="info">"I've always detested crossing borders. I mean, at check-points between so-called nations." (P.P. 21st century.) Developing idea...</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0206')" class="button" href="javascript:void(0)"><p class="white"><b>D.A.F.</b></p></a> <div id="para0206" style="display:none"><p class="info">Danny Amos Flynn. Your 'Paradox World Projects' London correspondent. (See top of page.) Awaiting photo...</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0210')" class="button" href="javascript:void(0)"><p class="pink"><b>Dali</b></p></a> <div id="para0210" style="display:none"><p class="info">My primary influence as an 'odd' boy growing up in some kind of self-made solitary confinement in central London was Salvador Dali. Later I understood the unpleasantness of the man himself and have by now almost completely lost interest in the perusal of his works. In my twenties, a visit to the Dali Museum at Figueres rekindled for a while earlier passions. The genius cannot be denied and a certain fascination always remains. Later, my most successful half-endeavour to half-generate money in the former East Berlin was mural painting (see "Decoration" below) and one of the earliest jobs, for the healthy sum of 150 Deutsche Marks and some beers, was this wall in the "Fünf Ziegen" bar (the "<a href="http://www.5ziegen.de/" target="_blank">Five Goats</a>" which I believe still exists). Below too is a jacket painted for Dali friend Stefan around the same time. Now publicising for decoration & design jobs in Zurich and elsewhere, I am by no means too old or too proud to reproduce whatever Dali image a potential client may want - for at least ten times the earlier price. <a href="mailto:wallywoods@gmx.net" target="_blank">Contact</a><br><center><img src="drop down images/Dali wall in The Five Goats bar Berlin.jpg" width="774"><br><img src="drop down images/Dali jacket by PP.jpg" width="774"></center></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0220')" class="button" href="javascript:void(0)"><p class="lightgrey"><b>Deconstruction</b></p></a> <div id="para0220" style="display:none"><p class="info">Text to follow. <a href="http://www.facebook.com/album.php?aid=223947&id=551302577&l=19aea574e8" target="_blank">Facebook</a><br><center><img src="drop down images/deconstructing the broken pianos orchestra.jpg" width="774"></center></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0230')" class="button" href="javascript:void(0)"><p class="pink"><b>Decoration</b></p></a> <div id="para0230" style="display:none"><p class="info">As an artist in a fast changing Berlin of the 1990's I earned my way with interior decorating, specialising in mural painting ("Wandmalerei") covering a wide range of styles from antique to graffiti... (more to follow) / <a href="walls2.htm" target="_blank">Murals</a> / <a href="walls.htm" target="_blank">Bars and restaurants</a><br><center><img src="drop down images/PP decorates Goa bar in Berlin.jpg" width="774"></center></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0240')" class="button" href="javascript:void(0)"><p class="red"><b>Demonstration</b></p></a> <div id="para0240" style="display:none"><p class="info">Text to follow. <a href="http://www.facebook.com/album.php?aid=168985&id=551302577&l=ec46356c77" target="_blank">Photos 1</a> / <a href="http://www.facebook.com/album.php?aid=168948&id=551302577&l=b317234f52" target="_blank">Photos 2</a> / Interviews: <a href="http://www.youtube.com/watch?v=MlnqiflEt2U" target="_blank">01.03.10</a> / <a href="http://www.youtube.com/watch?v=2Jsho7fUGZo" target="_blank">27.11.09</a> / <a href="http://www.youtube.com/watch?v=QeeyHPUaZ30" target="_blank">05.11.09</a> / <a href="http://www.youtube.com/watch?v=2cturRZEonI" target="_blank">03.11.09</a> / <a href="http://www.youtube.com/watch?v=oDDiOF3pKWo" target="_blank">28.10.09</a></p><br> <center> <object width="774" height="470"><param name="movie" value="http://www.youtube.com/v/OdnFFl_UKgg&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/OdnFFl_UKgg&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="774" height="470"></embed></object> <br><p class="info">Wallywoods Demo: we marched from the Weissensee Culture Center ("KH Peter Edel") to the Weissensee Town Hall, Berlin, 01.12.09<br><br></center></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0250')" class="button" href="javascript:void(0)"><p class="red"><b>Do Not Touch</b></p></a> <div id="para0250" style="display:none"><p class="info">Text to follow. <a href="kick me.htm" target="_blank">Exhibition</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0260')" class="button" href="javascript:void(0)"><p class="darkgrey"><b>English language reading events in Zurich</b></p></a> <div id="para0260" style="display:none"><p class="info">As far as I can see there aren't any. Shame! P.P. (bored spoken word performer) Zurich, April 2011</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0280')" class="button" href="javascript:void(0)"><p class="lightgrey"><b>Execution Machines</b></p></a> <div id="para0280" style="display:none"><p class="info">See "The 12 Piano Thrones Project"</p></div> <P ALIGN=LEFT></P> <a href="pzp events.htm" target="_blank"><p class="pink"><b>Exhibitions & Events</b></p></a> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0290')" class="button" href="javascript:void(0)"><p class="pink"><b>Fear</b></p></a> <div id="para0290" style="display:none"><p class="info">Even before we were married I had the idea with Maya to make someday a small exhibition entitled "Love" (link further down). Later, whilst assembling this list of project ideas, I wanted to balance the concept with a partner exhibit or event, a larger group show or very compact, and name it for now just "Fear" - the opposite emotion in my opinion to Love... (Input welcome.)</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0300')" class="button" href="javascript:void(0)"><p class="pink"><b>Film Doubles</b></p></a> <div id="para0300" style="display:none"><p class="info">Showing two films at the same time. Room for development...</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0310')" class="button" href="javascript:void(0)"><p class="finance"><b>Finance</b></p></a> <div id="para0310" style="display:none"><p class="info">Priority is establishing a gallery-office in Zurich. Funds will then be generated through the sale of works by featured artists, contributions from said artists according to how long they show and what they can afford, participation in external exhibitions, competitions & art-fairs, rental of artworks (for example to offices), exhibition & interior design consultancy, revenue from occasional events, classes (life-drawing, etc), and private donations (see below).<br><br> Whilst my wife Maya has the security of a regular occupation, I myself intend to get a bank loan primarily to cover the first three months rental of the location we are actively looking for now. From the opening, the gallery ("Gallery Woods", as it may be called) will exhibit 5 to 10 international artists of the highest contemporary standard, complementing installations and workshops from my own initiative, the Piano Thrones Project.<br><br> Meanwhile, if you wish to support, or invest in, the creation and development of our Zurich gallery (and thereby Paradox World Projects generally), or simply need more information, do not hesitate to get in touch. For more substantial contributions, I am happy to exchange ideas on the subject of a temporary or longer-term personal loan. Paul Woods, March 2011.<br><br> 0041 (0)78 783 0114<br> <a href="mailto:wallywoods@gmx.net" target="_blank">wallywoods@gmx.net</a><font color=eeeeee style="letter-spacing: 0; font-size: 10pt"><br><br> For a donation, you can use the following German bank account. We can provide a receipt as required:<br><br> Paul Woods<br> Berliner Volksbank<br> Account: 7232052001<br> BLZ: 10090000<br> IBAN: DE66100900007232052001<br> BIC: BEVODEBB<br> Subject: gallery donation<br></font></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0320')" class="button" href="javascript:void(0)"><p class="pink"><b>First Art in Orbit</b></p></a> <div id="para0320" style="display:none"><p class="info">Sponsor required for a workable idea: <a href="mailto:wallywoods@gmx.net" target="_blank">Contact</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0325')" class="button" href="javascript:void(0)"><p class="pink"><b>Fortunate Misfortune</b></p></a> <div id="para0325" style="display:none"><p class="info">Room for development...</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0228')" class="button" href="javascript:void(0)"><p class="darkgrey"><b>Freezing the Unemployed</b></p></a> <div id="para0228" style="display:none"><p class="info">I just found this. I think its from an idea Alex Tornado and P.P. had sitting around Another Bookshop in Berlin a couple of years ago. Kind of a sit-com. It's not finished:<br><br> FREEZING THE UNEMPLOYED<br><br> Comrade Long Term Unemployed Pratt goes to the job centre.<br><br> In the office of Chief-Employment-Engineer-and-Long-Term-Unemployed-Pratt-Therapist, Comrade Henkel, Pratt is greeted with accustomed patience and good will.<br><br> "Ah, Comrade Pratt. So glad you are feeling better. And so glad we could help with the hospital bills. They treated you well at the Spa?"<br><br> "Thank you, Comrade Henkel, yes. Did me the world of good, it did indeed. For a while I could face the world again..."<br><br> Comrade Henkel studies some paperwork.<br><br> "Yes, yes. Well done. Ah, here we are! Comrade Pratt. Have we found you a job yet?"<br><br> "Er, I been to a couple of interviews, yes. Quite excited, I was. Yes. But I didn't get 'em, No."<br><br> "No, you didn't, did you Comrade Pratt."<br><br> "Er, no I didn't, Comrade Henkel. No."<br><br> "And that's exactly what it says here, Comrade Pratt."<br><br> "Well, if it says it there, Comrade Henkel..."<br><br> "That's exactly what it says, Comrade Pratt."<br><br> "So we're all up to date, Comrade Henkel? Then I'll let you get back to your work! (standing up) "Always glad to help." (reaching the door) "Oh, can you send my monthly to my old Heights address. I'm lookin' after my old mum again..."<br><br> "Comrade Pratt."<br><br> "You got it there in your records..."<br><br> "Comrade Pratt."<br><br> "Comrade Henkel?"<br><br> "Would you sit down for a moment longer."<br><br> Comrade Pratt hesitantly sits.<br><br> "Listen Tom"<br><br> "Beg your pardon?"<br><br> "Tom, do call me Doctor."<br><br> "Dr?"<br><br> "They've come up with a new plan, Tom."<br><br> "New Plan... Dr?"<br><br> "Yes. You know, the fellows on the Board."<br><br> "The Board?"<br><br> "Yes, you know, the chaps on the Board."<br><br> "What Board?"<br><br> "Come on now Pratt!"<br><br> "You mean.. them on the Board, Comrade?"<br><br> "Doctor."<br><br> "Er.. Are you on the Board, Doctor?"<br><br> "In this case, Pratt, by which I mean, in your particular case, Pratt; I AM the Board."<br><br> "I see."<br><br> "However. Let's not get side-tracked Pratt. It seems they've come up with a new plan." Pause. "Care for a cigarette?"<br><br> "Erm..."<br><br> "Quite right. Let's leave that. Anyway, it's no smoking in here, you know that by now. Harmful to your own health, dangerous to others'. Long-since proven. Can't imagine why they still produce the nasty things. Happily, though, science has a cure for all evils."<br><br> "Science, Dr?"<br><br> "How is your health, Pratt?"<br><br> "Health, Dr? Er, nothing to grumble about. Fit as a fiddle, usually..."<br><br> Doctor Henkel is back in his paperwork:<br><br> "Good. Good. Good to hear it. Still. No luck in the job finding quarters. I suppose, especially in your case, what with the current situation, gloomy world market, threats from abroad, plague, league division disasters, all that... Well, poor fella, you know more than most how absolutely aweful things appear to be. Out there, I mean. All very gloomy."<br><br> Pratt follows Doctor Henkels gaze across the sun-drenched room, out through the open window. The greens and blues framed by the window belong to the best of Summer. A warm breeze disturbs the curtain, and they listen to the birds and the insects.<br><br> "They say, Pratt, that in twenty years time, it will be easier. A bucket-full of easier. What do you think about that? We're in for a boom, 'they' reckon. And they're not to be doubted. A whopper of a boom. Forget probabliltiies. All comes down to science, and gettin your fractions right."<br><br> The Dr pauses, examines Pratt for the first time intently. Returning to himself, Pratt feels he is required to speak.<br><br> "Science was my favorite at school..."<br><br> "Well, there's Eutopia for you; twenty years off. May as well be two-hundred. As for the moment, Pratt, times are rough and ruthless. Fuckin rough and fuckin ruthless." (Pratt is astonished but silent.) "Figures up 16 percent here, down 60 percent there, plungin all over the fucking shop everywhere. Decisive measures are called for. Do you get my drift, Pratt?"<br><br> Silence.<br><br> "Let me put it another way: Do you understand what I am saying, Pratt?"<br><br> "Er... decisive measures called for, Doctor. I get it."<br><br> Else, how should we pay your allowance?"<br><br> Pause.<br><br> "Is there a problem with my monthly, Dr?"<br><br> "Rough and ruthless, Pratt."<br><br> "But... But..."<br><br> "You're very next employer will pay your allowance, of course, Pratt. And that's what WE are here for. Soon as you get that job! Which, as you rightly suggest, brings us bang up-to-date."<br><br> Dr Henkel reaches into a bottom draw to pull out a four inch thick folder of closely typed forms and contracts. He paruses the first page, but seems reluctant to continue.<br><br> "Pratt........ I want to retire."<br><br> Silence.<br><br> "How would you like to sit over here, and... take over?"<br><br> Silence.<br><br> "Take over what, Dr.?"<br><br> "I said I want to retire, Pratt. I'll be moving on some day anyway, and this old seat of mine will be empty... Hard for you to grasp? What about it - theoretically?"<br><br> "Er, I see Doctor. Well... theoretically, I believe, er... I would never have the gusto."<br><br> Pratt is studied sympathetiacally by the Doctor, who has clearly reached the end of his test.<br><br> "All right Pratt, lets get on. You're living at your Mothers now."<br><br> "Yes, Dr."<br><br> "Hm. No spouse, no family."<br><br> "Just my mother. Not on her best legs these days..."<br><br> "Eighty-four last month. Impressive."<br><br> "Right you are."<br><br> (the Doctor to himself): "Right I am." Then, "No other family."<br><br> "Not..."<br><br> "And no job."<br><br> "..."<br><br> "Right then!" the Doctor, half rising, pushes the folder across the tables and begins flitting through the pages:<br><br> "Sign here... here.... here.. here.. here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here..."<br><br> END OF SCENE I<br><br> SCENE II<br><br> In an adjoining room, decorated only with a desk and two chairs, through a curtain in a doorway, the discussion is overheard:<br><br> "...here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, and here. Read through them later, Pratt. Plenty of time. I'm on lunch in five minutes."<br><br> The curtain is drawn aside by the Doctor.<br><br> "...Fascinating reading, take my word for it. Now, while I get on, step this way and allow Comrade Cribbles to check you out a bit. Make sure everything's ship-shape."<br><br> Hardly hiding the panic upon his face, Pratt peers through the doorway.<br><br> "Erm, will it take long, Doctor? My old mother's doin chops and parsley."<br><br> "Compared to the hours we've sat here together, Pratt, it'll take a jiffy. A fraction of a jiffy."<br><br> "And then, there'll be no problem with the monthly, Doctor?"<br><br> "Never again, Pratt. Oh, by the way, if you call Comrade Cribbles 'Sister Cribbles' you'll get in her good books a lot quicker.'"<br><br> "Sister Cribbles?"<br><br> The Doctor dissapears into his office and Pratt takes a chair at a desk. He listens to the birds and the insects through the bright window in one wall. On this side of the doorway he has just come through, he vaguely observes a metal door on rollers - which Sister Cribbles now slides shut. She has a pleasant voice:<br><br> "Comrade Pratt."<br><br> "Oh, ah, hello," says Pratt without rising. She is a buxom woman and his eye is pleased.<br><br> "Take off your shirt."<br><br> "Um?"<br><br> "Won't take a jiffy. Lunch in five minutes. Come on."<br><br> Pratt is unwilling.<br><br> "Comrade Pratt."<br><br> He removes his shirt.<br><br> "Lovely," says Sister Cribbles. Now say "aahhh."<br><br> She looks into his mouth while he says "aahhh."<br><br> "Lovely."<br><br> She sits at the desk and begins quietly filling in forms.<br><br> Long pause.<br><br> "Er, Sister Cribbles?"<br><br> Silence. Pratt looks out the window and listens to the birds and the insects. A town clock rings out and she passes various forms across the table.<br><br> "Here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here and here, please."<br><br> "Will this mean... will there be... no problem with my monthly, Sister?"<br><br> "Don't fret about it Tommy. Your problems are over."<br><br> "Sorry?"<br><br> "Look dear," she walks around the desk. "I can't do this for you, you know. Or would you prefer we change places? We've got openings all over the department right now. I could get you a form..."<br><br> Comrade Pratt looks equally worried.<br><br> "Thought not. Look, sign here and here, then we can all get on. And here and here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here and here."<br><br> "Righto," says Pratt, and he does...<br><br> (to be continued)</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0330')" class="button" href="javascript:void(0)"><p class="pink"><b>the Frozen Sperm Vibrator</b></p></a> <div id="para0330" style="display:none"><p class="info">The beauty of being a conceptual artist who's brain never ceases spawning grotesque as well as fabulous ideas, is that occasionally a work may consist of no more than a title; a mere juxtaposition of ideas. An advantage here as I myself do not need to see any development of such an object. It is, in a way, already redundant. Again a paradox, perhaps, considering my interest in, for instance, one day realising "Gunter von Hagen's Chair" (scroll down) even if that were to involve my bending the man's bones personally.</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0340')" class="button" href="javascript:void(0)"><p class="darkgrey"><b>GAF</b></p></a> <div id="para0340" style="display:none"><p class="info">Ilia Kitup's illustrated Dada magazine in German, English and Russian. Link to follow.</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0350')" class="button" href="javascript:void(0)"><p class="white"><b>Gallery</b></p></a> <div id="para0350" style="display:none"><p class="info"> Current headquarters:<br><br> <b>PARADOX ZURICH PROJECTS<br> "Studio for Conceptual Art & Design" / "Atelier für konzeptuelle Kunst & Design"<br> am Idaplatz<br> Bertastrasse 26<br> 8003 Zürich, Switzerland<br><br> Hours: Mon - Sat: 14:00 - 19:00<br> Phone: 0041 78 783 0114</b><br><br> Unique in Zurich, 'PZP' is a joint venture by M.M. & P.P.<br> Drop in afternoons, 2pm-7pm, for coffee, chat, conceptual art...<br><br> Jeden zweiten Samstagabend offen für Performances, Musik, Kunst-auktion...<br><br> Open every second Saturday evening for performances, music, art auction...<br><br> Get in touch if you have an exhibition or event idea.<br><br> 'Guest Exhibition Room' to hire for interesting art, projects, workshops etc., in weekly blocks.<br><br> Regular workshop concepts also welcome (still life, nude, drawing, painting, photography, ceramics, meditation, kids, film, therapy, poetry, accoustic music etc). Organisers & co-organisers required.<br><br> Latest: PERFORMER-AUCTIONEER(S) URGENTLY REQUIRED!<br><br> For events programme see "Events & Exhibitions" above.<br><br> Auctions<br> "Art et Fakt" Auktion für Kunst und Besonderheiten:<br><br> Bringt eure eigenen Werke / interessanten Objekte unter der Woche zur Begutachtung bei PZP vorbei, oder schickt Fotos und Informationen dazu. Ansonsten komm einfach vorbei zum Mitbieten und Ersteigern von Kunstwerken und Besonderheiten...<br><br> "Art & Artifacts Auction" (every second Saturday). Bring your work/interesting artifact during the preceeding week to the Zurich studio to be evaluated/accepted or send a photo & details. Or just come along and bid on the evening for quality oddities...<br><br> ***<br><br> Documentation / the search for a Zurich location:<br><br> Zürich, 28.03.2011<br><br> Sehr geehrte Damen und Herren<br><br> Wir sind auf der Suche nach geeigneten Räumlichkeiten für unser internationales Galerie-Projekt "Paradox World Projects". Nebst Berlin und London soll in Zürich als dritter und Haupt-Eckpunkt die Galerie "Paradox Zürich" entstehen.<br><br> Die Galerie<br> Dies beinhaltet in erster Linie das Präsentieren von lokalen und internationalen Künstlern, in festen sowie temporären Ausstellungen. Lesungen, kleinere musikalische Darbietungen ev. bei Vernissagen und Performances sollen das Projekt ergänzen. Auch soll der Raum als Begegnungs- und Austauschstätte Kulturschaffender jeder Richtung und aller drei Städte fungieren.<br><br> Die Galerie soll täglich (ausser Sonntags) zu bestimmten Zeiten geöffnet sein, um der Kundschaft die Möglichkeit der Auseinandersetzung und Besichtigung der künstlerischen Verkaufsobjekten zu bieten.<br><br> Wir finanzieren uns durch den Verkauf, der von uns präsentierten Objekten und durch die Einnahmen der Teilnahme an europaweiten Kunstmessen und Ausstellungen.<br><br> Es ist unser Anliegen, einen inspirierenden und offenen Ort für Zürich zu schaffen, dessen vielfältigen kulturellem Angebot unseres Erachtens aber genau ein solcher Raum noch fehlt. Eine Zwischennutzung wäre für uns auch willkommen, wir würden aber eine langfristige Mietmöglichkeit bevorzugen.<br><br> Es wäre uns eine Freude, Sie fänden Interesse und sähen eine Möglichkeit, diesem einzigartigen Projekt eine Chance in Ihren Räumlichkeiten zu geben.<br><br> Sehr gerne stellen wir uns persönlich bei Ihn vor und verbleiben derweil mit liebem Grusse,<br><br> Maya Malfatti Woods<br> Paul Woods<br><br> Über uns:-<br><br> Paul Woods<br> *1964, lebt seit anfang 2011 in Zürich<br> Selbständiger Modellbauer, Künstler und Galerist aus London, GB<br> Hat langjährige Erfahrungen als Galerist und Veranstalter sammeln können in seiner Galerie "Wallywoods", welche er von 2004 bis Oktober 2010 in Berlin geführt hat.<br> Wir verfügen somit über eine lange Liste von international tätigen Künstlern, mit welchen wir schon haben zusammenarbeiten können und weiterhin arbeiten werden.<br><br> Maya Malfatti Woods<br> *1974, aufgewachsen in Zürich<br> Grafikerin und Bildhauerin, teilzeitangestellt als Polygrafin<br> Nach siebenjährigem Aufenthalt in Berlin, wieder wohnhaft in Zürich seit 2006<br><br> <a href="mailto:wallywoods@gmx.net" target="_blank">Contact</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0360')" class="button" href="javascript:void(0)"><p class="pink"><b>Grandfather Clocks</b></p></a> <div id="para0360" style="display:none"><p class="info">Now collecting Grandfather clocks to turn into fine-art display cases for various works in various styles. Can collect. <a href="mailto:wallywoods@gmx.net" target="_blank">Contact</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0370')" class="button" href="javascript:void(0)"><p class="pink"><b>Gravestones & Grabmale</b></p></a> <div id="para0370" style="display:none"><p class="info">Original & professional design service for gravestones & memorials. From any materials to all requirements. Can deliver & install. <a href="mailto:wallywoods@gmx.net" target="_blank">Contact</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0380')" class="button" href="javascript:void(0)"><p class="pink"><b>Gunter von Hagen's Chair</b></p></a> <div id="para0380" style="display:none"><p class="info">Dear Sir. My name is Paradox Paul. They know me in Berlin perhaps as Mr Wallywoods, although I'm from London, where nobody knows me. Why should they. I invented a functioning Time Machine, an economy for artists, and now build guillotines, thrones and electric chairs out of pianos. I want to patent an idea; I want to patent Mr Body World himself, the guy with the hat. I want his dead body. Unpickled, unadulterated in any way. I want to build from his consenting remains an artwork in the form of a chair. (Chairs have been my thing for a decade. No particular reason). I wish to bend your body, Mr Hat, so it seats one person comfortably. Your very own Self, preserved as tidily as a fellow artist can arrange you. Bent, forever to a new duty...<br>And you know why you shall one day agree to my terms, don't you Mr Hat..?</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0390')" class="button" href="javascript:void(0)"><p class="white"><b>Half a Million Little Chairs</b></p></a> <div id="para0390" style="display:none"><p class="info"><a href="http://www.youtube.com/watch?v=v0gMkMxCdyg" target="_blank">Film 2</a> / <a href="http://www.youtube.com/watch?v=a-NC-9Bvyls" target="_blank">Film 3</a><br><center> <iframe title="YouTube video player" width="774" height="470" src="http://www.youtube.com/embed/EoIq4hGl_q8" frameborder="0" allowfullscreen></iframe></center></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0400')" class="button" href="javascript:void(0)"><p class="pink"><b>Hasstika</b></p></a> <div id="para0400" style="display:none"><p class="info">To set up a group exhibition featuring exclusively the Swastika (in German 'Hakenkreuz') will be no easy feat. So it simmers with P.P. on a distant back-burner.</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0410')" class="button" href="javascript:void(0)"><p class="darkgrey"><b>He Said She Said</b></p></a> <div id="para0410" style="display:none"><p class="info">A very short stage piece by P.P. for two actors and a narrator. They move around an absurd living-room indepently adjusting things, multi-tasking, side-tracked with every newly begun trivial activity. Are they clearing up or packing, beginning the day or ending it, conversing with one another or mumbling to themselves? The narrator is busy too. He enjoys full performance freedom to under or over play emotion and physical dynamics. Only his own though, the actors are not aware of him:<br><br> <b>"HE SAID SHE SAID"<br><br>HE SAID<br><br>EVERYTHING I SAY HAS ALREADY BEEN SAID<br>THE ECHOES FILL MY EARS BEFORE I OPEN MY MOUTH<br><br>SHE SAID<br><br>THEN SAY NOTHING<br>BUT LISTEN TO MY QUESTION<br><br>HE SAID<br><br>BUT THERE IS SO MUCH I NEED TO EXPLAIN TO YOU<br><br>SHE SAID<br><br>EXPLAIN TO ME ONLY ONE THING<br><br>HE SAID<br><br>ALL RIGHT<br>I FEEL EVERYTHING YOU FEEL<br><br>SHE SAID<br><br>I HAVE FELT NOTHING SINCE WE MET<br>NOW ANSWER MY QUESTION<br><br>HE SAID<br><br>BUT ALL THE OTHERS<br>YOU TOLD ME YOU FEEL ALL THE OTHERS<br><br>SHE SAID<br><br>THAT HAS NOTHING TO DO WITH YOU<br>YOU MUST TELL ME SOMETHING ELSE<br><br>HE SAID<br><br>I FEEL EVERYTHING EVERYBODY ELSE FEELS<br><br>SHE SAID<br><br>THAT IS TOO INTERESTING TO BEAR<br><br>HE SAID<br><br>AND STILL YOU LAUGH AT ME<br><br>SHE SAID<br><br>I FEEL NO URGE TO LAUGH<br><br>HE SAID<br><br>OF YOUR URGES I KNOW NOTHING<br><br>SHE SAID<br><br>YOU KNOW AT LEAST I NEED TO BE WITH YOU<br><br>HE SAID<br><br>I KNOW YOU DO NOT<br><br>SHE SAID<br><br>I DO<br>ONCE A WEEK<br><br>HE LAUGHED AND SAID<br><br>YOU EXAGGERATE<br><br>SHE SAID<br><br>BUT WHEN I AM WITH YOU<br>I FEEL I NEED TO BE ALONE<br><br>HE SAID<br><br>THAT IS TOO INTERESTING TO BEAR<br><br>AND THEN SHE SAID<br><br>I NEED TO BE ALONE NOW<br><br>HE SAID<br><br>BUT YOU ARE ALONE NOW<br>DO YOU THINK I DO NOT SEE THAT?<br>DO YOU THINK ME A FOOL?<br><br>SHE SAID<br><br>HOW COULD I EVER THINK YOU A FOOL?<br><br>AND THEN SHE SAID IT<br><br>I THINK YOU DO NOT EXIST<br><br>HE SAID NOTHING<br><br>SHE SAID<br><br>NOW ANSWER MY QUESTION<br>- AM I CRUEL?<br><br>HE SAID<br><br>I AM DEAD<br><br>SHE SAID<br><br>BUT AM I CRUEL?<br><br>HE SAID<br><br>WHAT MUST A DEAD MAN SAY?<br><br>SHE SAID<br><br>I DO NOT MEAN TO BE CRUEL<br><br>HE SAID<br><br>HOW COULD I EVER THINK YOU CRUEL?<br><br>SHE SAID<br><br>WHEN YOU SPEAK I HEAR SO MANY DIFFERENT WORDS<br><br>HE SAID<br><br>MY TONGUE GREW FORKED WHEN IT MARRIED YOURS<br><br>SHE SAID<br><br>THE CLOSER YOU COME THE MORE YOU INSULT US BOTH<br><br>HE SAID<br><br>I HAVE BEEN CLOSE TO NO-ONE SINCE I MET YOU<br><br>SHE SAID<br><br>BEFORE ONE OF US WEEPS I WISH TO LEAVE<br><br>HE SAID<br><br>YOU ALWAYS KNOW WHAT IS BEST FOR US BOTH<br><br>AND HE RAPIDLY ROSE BUT LINGERED TO TOY WITH HER EAR</b><br></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0420')" class="button" href="javascript:void(0)"><p class="pink"><b>Holy Playroom</b></p></a> <div id="para0420" style="display:none"><p class="info">Written years ago for a funding competition in Berlin. Refused without explanation. In fact ALL attempts at further communication, even the vaguest advice, between P.P. and any of the 'judges' was strictly refused. The reasoning is simple. In those days he knew no-one. Either way, it stands as quite a fun kiddies exhibition idea: <a href="holy playroom.htm" target="_blank">Concept</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0430')" class="button" href="javascript:void(0)"><p class="white"><b>Idiots of the Month</b></p></a> <div id="para0430" style="display:none"><p class="info">The whole damned Japanese Government. Dangerous Idiots. Refusers of international advice and assistance. Damn them and their cowardice and their sickening policies of secrecy. Criminals, they are. International laws must be changed. (Actually that was last month's. Still studying the headlines for May's most idiotic...)</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0433')" class="button" href="javascript:void(0)"><p class="pink"><b>Immortality is a series of Brain Transplants</b></p></a> <div id="para0433" style="display:none"><p class="info">An <i>endless</i> series, which is hardly conceivable. And assuming they work, of course. But as long as human-kind is around, and as long as it <i>positively</i> develops in at least one secure area of the planet, it is perhaps conceivable after all that one or more lucky (for want of a better word) members of this crazy human club could witness everything we have in store until the very end. Which, examining our undying tendency to play with fire, or nuclear energy, or Black Holes, may be a lot sooner than anyone yet can imagine. We may not even reach that first transplant. Proving that immortality is impossible after all. Indeed, not even our sun is immortal, nor the greatest Sun or Black Hole in the universe, nor even the Universe itself, apparently, and therefore nor even gods, ghosts or far-sighted gallery projects. But the brain transplants thing... why <i>not</i> indeed. Well worth the try... I'm up for it! (P.P. 2011)</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0435')" class="button" href="javascript:void(0)"><p class="pink"><b>Inspire Yourself</b></p></a> <div id="para0435" style="display:none"><p class="info">Room for development...</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0440')" class="button" href="javascript:void(0)"><p class="gold"><b>Jason</b></p></a> <div id="para0440" style="display:none"><p class="info"><center><img src="drop down images/Jason at Wallywoods.jpg" width="774"></center></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0445')" class="button" href="javascript:void(0)"><p class="darkgrey"><b>Jokers</b></p></a> <div id="para0445" style="display:none"><p class="info">Have you heard the one about the Englishman, the Scotsman, the Irishman, the Welshman, the Russian, the Turk, the Spaniard, the Egyptian, the South African, the Pole... (and so on... until all nations and creeds are represented. Then we'll think of a punchline.) (P.P.)<br><br> Is it a bird? Is it a plane? Yes its a plane. (M.M.)<br><br> Once upon a time lived a giraffe called Elizabeth Hitler in a hut in a forest. She loved porridge and lived happily ever after. (P.P.) </p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0450')" class="button" href="javascript:void(0)"><p class="gold"><b>Kaputte Klaviere Orchester (RIP)</b></p></a> <div id="para0450" style="display:none"><br><center> <a href="broken piano 1.htm" target="_blank"><img src="drop down images/broken pianos/Broken Piano 1 thumb.jpg" border="0"></a> <a href="broken piano 2.htm" target="_blank"><img src="drop down images/broken pianos/Broken Piano 2 thumb.jpg" border="0"></a> <a href="broken piano 3.htm" target="_blank"><img src="drop down images/broken pianos/Broken Piano 3 thumb.jpg" border="0"></a> <a href="broken piano 4.htm" target="_blank"><img src="drop down images/broken pianos/Broken Piano 4 thumb.jpg" border="0"></a><br><br><a href="broken piano 5.htm" target="_blank"><img src="drop down images/broken pianos/Broken Piano 5 thumb.jpg" border="0"></a> <a href="broken piano 6.htm" target="_blank"><img src="drop down images/broken pianos/Broken Piano 6 thumb.jpg" border="0"></a> <a href="broken piano 7.htm" target="_blank"><img src="drop down images/broken pianos/Broken Piano 7 thumb.jpg" border="0"></a> <a href="broken piano 8.htm" target="_blank"><img src="drop down images/broken pianos/Broken Piano 8 thumb.jpg" border="0"></a><br><br><a href="broken piano 9.htm" target="_blank"><img src="drop down images/broken pianos/Broken Piano 9 thumb.jpg" border="0"></a> <a href="broken piano 10.htm" target="_blank"><img src="drop down images/broken pianos/Broken Piano 10 thumb.jpg" border="0"></a> <a href="broken piano 11.htm" target="_blank"><img src="drop down images/broken pianos/Broken Piano 11 thumb.jpg" border="0"></a> <a href="broken piano 12.htm" target="_blank"><img src="drop down images/broken pianos/Broken Piano 12 thumb.jpg" border="0"></a></center><br> <p class="info">Info to follow. For now here's an early <a href="drop down images/Kaputte Klaviere Orchester.jpg" target="_blank">Poster</a> and (coming soon) a link to a rare <a href="linktest.htm" target="_blank">Recording</a><br><center></center></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0460')" class="button" href="javascript:void(0)"><p class="red"><b>Kulturhaus Weissensee (RIP)</b></p></a> <div id="para0460" style="display:none"><p class="info">See "Peter Edel"</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0470')" class="button" href="javascript:void(0)"><p class="white"><b>Kunstfleisch</b></p></a> <div id="para0470" style="display:none"><p class="info"><a href="kunstfleisch-index.htm" target="_blank">Kunstfleisch events</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0480')" class="button" href="javascript:void(0)"><p class="pink"><b>Last Supper</b></p></a> <div id="para0480" style="display:none"><p class="info">This took place one Christmas in Berlin. Lovely it was too. We should do it every year. Here are some photos at <a href="http://www.facebook.com/album.php?aid=78210&id=551302577" target="_blank">Facebook</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0485')" class="button" href="javascript:void(0)"><p class="darkgrey"><b>Lateral Thinking</b></p></a> <div id="para0485" style="display:none"><p class="info">Room for further development... For now here is an upright description at <a href="http://en.wikipedia.org/wiki/Lateral_thinking" target="_blank">Wikipedia</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0490')" class="button" href="javascript:void(0)"><p class="darkgrey"><b>Letterpress on the Underground</b></p></a> <div id="para0490" style="display:none"><p class="info">Project by D.A.F. and associates in London</p> <center><font style="letter-spacing: 0; font-size: 8pt"></font> <br> <a href="daf 1.htm" target="_blank"><img src="drop down images/daf/1 thumb.jpg" border="0"></a>&nbsp;&nbsp;&nbsp;<a href="daf 2.htm" target="_blank"><img src="drop down images/daf/2 thumb.jpg" border="0"></a>&nbsp;&nbsp;&nbsp;<a href="daf 3.htm" target="_blank"><img src="drop down images/daf/3 thumb.jpg" border="0"></a>&nbsp;&nbsp;&nbsp;<a href="daf 4.htm" target="_blank"><img src="drop down images/daf/4 thumb.jpg" border="0"></a><br><br><a href="daf 5.htm" target="_blank"><img src="drop down images/daf/5 thumb.jpg" border="0"></a>&nbsp;&nbsp;&nbsp;<a href="daf 6.htm" target="_blank"><img src="drop down images/daf/6 thumb.jpg" border="0"></a>&nbsp;&nbsp;&nbsp;<a href="daf 7.htm" target="_blank"><img src="drop down images/daf/7 thumb.jpg" border="0"></a>&nbsp;&nbsp;&nbsp;<a href="daf 8.htm" target="_blank"><img src="drop down images/daf/8 thumb.jpg" border="0"></a><br><br> <a href="daf 9.htm" target="_blank"><img src="drop down images/daf/9 thumb.jpg" border="0"></a>&nbsp;&nbsp;&nbsp;<a href="daf 10.htm" target="_blank"><img src="drop down images/daf/10 thumb.jpg" border="0"></a>&nbsp;&nbsp;&nbsp;<a href="daf 11.htm" target="_blank"><img src="drop down images/daf/11 thumb.jpg" border="0"></a>&nbsp;&nbsp;&nbsp;<a href="daf 12.htm" target="_blank"><img src="drop down images/daf/17 thumb.jpg" border="0"></a><br><br><a href="daf 14.htm" target="_blank"><img src="drop down images/daf/14 thumb.jpg" border="0"></a>&nbsp;&nbsp;&nbsp;<a href="daf 15.htm" target="_blank"><img src="drop down images/daf/15 thumb.jpg" border="0"></a>&nbsp;&nbsp;&nbsp;<a href="daf 16.htm" target="_blank"><img src="drop down images/daf/12 thumb.jpg" border="0"></a>&nbsp;&nbsp;&nbsp;<a href="daf 17.htm" target="_blank"><img src="drop down images/daf/16 thumb.jpg" border="0"></a></center> <br> </font> <p class="info">"Begun in 1999, the title  Letterpress on the Underground parodies the official  Poetry on the Underground and likewise have been produced for slotting into the advertisement frames which run along the top of the inside of the carriages above the seats on the London Underground network of tube lines.<br><br> These spurious advertisements, if they can be called as such, mainly consist of simple one or two line suggestions and edicts such as the good advice:  Make Time For Stress and perhaps the more menacing proclamation:  Ah Pook Was Here .  Ah Pook being the Mayan God of Death and that particular print was dedicated to William S. Burroughs after I read that he was caught by the New York Subway Police as he spray painted the words:  Ah Pook Is Here on a wall of the New York subway.  Shame on you! A man of your age! was apparently the reprimand that Burroughs received at the time.<br><br> Their illegitimacy is apparent and whether they are simply removed and disposed of by London transport officials or taken by members of the public is no concern, however the idea that a commuter just might be sat there looking up at one and recognize it to be produced by a specialist time consuming method of printing known as letterpress, now obsolete, is too intriguing a thought to disregard. And should they by chance also notice that there is an additional element of traditional hand gold tooling on them then that would only add more to the perverse pleasure in undertaking the anonymous and thankless venture in such an extravagant manner. It s an exercise that has been undertaken many times before. Very effective parodies produced by photocopy and computer print out have appeared in the past and stickers are often seen obscuring or interacting with some part of the existing advertisements, although not quite to the extravagant extent that these have gone to. It is a completely uncool form of gorilla graffiti. It couldn t be further away from that of the nib or spray can.<br><br> Each of the prints have been letterpress printed using individual hand set metal and wood type onto 280gsm acid free card. The prints produced are somewhere between 10 and 25 each, enough to adorn a couple of carriages over the course of a week or two."<br></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0500')" class="button" href="javascript:void(0)"><p class="darkgrey"><b>the Library of Bad Ideas</b></p></a> <div id="para0500" style="display:none"><p class="info"><a href="library.htm" target="_blank">Library of Bad Ideas</a> / <a href="library german.htm" target="_blank">Deutsche Übersetzungen</a> / <a href="http://paradoxpaul.podomatic.com/" target="_blank">Paradox Paul live</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0510')" class="button" href="javascript:void(0)"><p class="darkgrey"><b>Little Giant</b></p></a> <div id="para0510" style="display:none"><p class="info">This children's story has no copyright. Not completely finished, I will work on the text now and again until it is, here online. Anyway, it is offered into the public domain with no reservations. Theatrical adaption would be lovely. There are four parts, as well as village onlookers and perhaps more giants at the beginning, and the story-teller who begins:<br><br> LITTLE GIANT<br /> by Paradox Paul<br /><br /><br> Once upon a time there lived a little giant called Little Giant. He was so little that when he met the other giants they beat him and laughed, calling him Little Git, among other unpleasant names. Not only that, but every day they stole his food, so he always went to bed hungry. No wonder Little Giant was little!<br /> <br /> Little Giant enjoyed rubbing his face in pastures of wet flowers, so wonderful were they to him. But the other giants called him Dim Dum and broke his nose for doing it. They broke his nose so many times in fact, that he could no longer smell the pretty flowers, nor anything else come to that, no matter how he secretly tried.<br /> <br /> One day, at the end of his tether, Little Giant abandoned his horrible home and set off for faraway Human Town, in search of Love. He had heard that in Human Town the houses were filled with Love, the streets ran free with Love, and for miles around the air was thick with the sickly-sweet scent of Love.<br /> <br /> After a lonesome, perilous, dinnerless journey of one year to the day, he at last arrived at the little city wall which encircled Human Town. But when he stepped over it, rather than welcome him beneath banners and bouquets of Love, all the humans screamed and fled for the surrounding hills. All, that is, except for three of them.<br /> <br /> A handsome young soldier met the giant crashing down Big Street and opened fire with his musket, hitting him in the big toe. But the musket back-fired and the young soldier was killed on the spot.<br /> <br /> A crooked old woman saw through her basement window, the giant&#039;s blood-spurting big toe, as it whooshed passed her crooked old cottage. She immediately dropped dead in surprise.<br /> <br /> In the centre of town, the Mayor awaited the monster&#039;s arrival at the Town Hall, on the ceremonial balcony below the ticking clock. The Mayor&#039;s elbows and knees shook so badly beneath his robes that he had to fetch a Big Chair from the Big Hall upon which to sit and assume, to the best of his many abilities, an atmosphere of unchallengeable calm.<br /> <br /> When Little Giant literally stumbled upon Human Town&#039;s seat of power, he was weeping buckets. Not only had the single little fellow he had come across injured him painfully in the toe, but he felt more alone than ever before. Not noticing the Mayor sitting stock-still and wide-eyed in his chair upon the balcony, Little Giant plonked himself down among the tile-clad turrets of this rather comfortable old building. He folded his face in his arms and wept, and wept, and wept. He wept so hard and for so long, that the sun that evening sank beneath a flooded city.<br /> <br /> Built as it was upon a small steep hill, the Town Hall was the last place of refuge to succumb to the tide. As the waters reached the Mayor&#039;s chattering knees, Little Giant noticed the soothing cool upon his toe, and slowly ceased his weeping. He rubbed his eyes with house-sized fists, then looked far and wide about him.<br /> <br /> He saw in the distance that all the town&#039;s people had hushed and gathered to stare, from the surrounding foothills, at their giant new lake, and in awe at the giant himself, illegally squatting in the middle of it.<br /> <br /> &quot;&#039;As it been raaainin&#039;?&quot; Little Giant asked himself.<br /> <br /> &quot;Yes it bloody &#039;as!&quot; answered a little voice from one of the turrets.<br /> <br /> &quot;Oooh,&quot; the giant remarked, more to himself than to anyone. &quot;I wonders if dat&#039;s why dey&#039;s up and left?&quot;<br /> <br /> &quot;No that&#039;s not why theys bloody up and left!&quot; came again the voice from the turret.<br /> <br /> &quot;I knowwws it!&quot; admitted the giant. &quot;They&#039;s left cossa me. I knowwws it!&quot;<br /> <br /> &quot;Yes they bloody did!&quot; chirped again the voice, and this time Little Giant looked closer about himself, to see where it had come from. When he spotted the miniscule, brightly clothed figure on the balcony of the largest little turret, he knotted his great big brow and bent closer to look. Just at that moment, the roof of the Big Hall upon which he had half been sitting, creaked and collapsed into the Big Hall itself, and three of the oldest turrets crumbled with it.<br /> <br /> &quot;Did you &#039;ave to do that?!&quot; squawked the Mayor from his perch, so loudly this time one might think he addressed all the surrounding towns people.<br /> <br /> &quot;&#039;Owww&#039;d you get to be so little?&quot; asked the giant, forgetting the question entirely.<br /> <br /> &quot;&#039;Ow&#039;d you get to be so bloody &#039;orrible?&quot; retorted the Mayor, bold as his lungs would permit.<br /> <br /> &quot;&#039;Ooo told you I was &#039;orrible?&quot; the giant demanded to know.<br /> <br /> &quot;There&#039;s &#039;orrible to be told about, and there&#039;s &#039;orrible plain for the eyes to see!&quot; sniped the Mayor from his cubby-hole, his little red face in a huff.<br /> <br /> &quot;I reckons&quot;, snorted the giant in a grumbly voice, &quot;yous don&#039;t knows wot impolite means!&quot;<br /> <br /> &quot;And I reckons,&quot; daringly reckoned the Mayor with a raised finger which shook back and forth, quite of its own accord, &quot;You oughts to up an&#039; offs out of it, before I up an&#039; offs you out of it, for you!&quot;<br /> <br /> Little Giant, growing fairly cross himself by this time, shifted on his enormous bottom to get a squarer look at this weeny, unlovable fellow. At that moment the chapel roof collapsed into the chapel, the Mayoress&#039;s wing collapsed into the dungeon, and three more turrets collapsed into heaps of soot and treasure. That left the biggest turret, and the hysterical little chap in it, the only prominents yet clear above water. Little Giant, now crouched on all fours, placed his big nose on the weakening balcony for a sniff of this nasty midget; but could smell neither fish nor foul, so he set about roasting the Mayor with his eyes.<br /> <br /> &quot;Yooous truly de most rudist little fella I&#039;s ever clowped me eyes upon. I&#039;s could well &#039;ave &#039;urts meself jus&#039; den! &#039;An yooous all goin&#039; on about meees a-bein&#039; &#039;orrible!&quot;<br /> <br /> Feeling the big stones in the big walls creaking beneath his reluctant chair, the Mayor, educated and worldly sharp as everyone knew he was, considered changing strategy. But he could only think of one other strategy, and that was to ceremonially or otherwise, run as far away as his sparrowy legs would carry him. Which, of course, would not be far away enough.<br /> <br /> Unable to endure the suspense sitting down, he jumped to his stockinged feet.<br /> <br /> &quot;What do you want?!&quot; he pleaded. &quot;What do you bloody well want?!&quot;<br /> <br /> There followed a dramatic silence, the likes of which is impossible to describe in words, not-with-standing the many who have since tried.<br /> <br /> &quot;LOOOVE!!!&quot; boomed the giant.<br /> <br /> There followed a further dramatic silence, again quite impossible to describe in words, nor even songs, nor even Hollywood movies, not-with-standing the very many who have since tried. <br /> <br /> &quot;Love..?&quot; mumbled the Mayor.<br /> <br /> &quot;LOOOVE! LOOOVE!! LOOOVE!!!&quot; re-boomed the giant.<br /> <br /> &quot;And you... you reckoned... to find such a thing here?&quot;<br /> <br /> &quot;YES! YES!! YES!!!&quot; erupted the giant, and his big tears began again to waterfall out of his big eyes.<br /> <br /> &quot;STOP! STOP!! STOP THAT!!!&quot; exclaimed the Mayor, convincingly at the last, hopping up and down on his disintegrating platform. &quot;Hold your tears at once, and tell me: What within the wide wide World made you think Love was here?&quot;<br /> <br /> Little Giant snivelled a bit, then blew his nose and scratched his chin.<br /> <br /> &quot;Ain&#039;t it truuue den? Ain&#039;t dere no Love, a-runnin&#039; in dese streets, a-fillin&#039; up dese &#039;auses, a-smellin&#039; up dis Human Town air?&quot;<br /> <br /> &quot;Who told you there was?&quot; the Mayor wished to know, astonished.<br /> <br /> &quot;Why... Evryone knooows it. Even the Dim Dums knooows it. AN&#039; I AIN&#039;T NO DIM DUM!&quot;<br /> <br /> &quot;You ain&#039;t?&quot; ventured the Mayor, his honesty damping his wits.<br /> <br /> &quot;I ain&#039;ts! So where is it!? I wants it! I wants it!! I WANTS IT!!!&quot; screamed Little Giant, and he too jumped up, and crashed down, and jumped up, and crashed down, again and again in a frenzy, in his home-made, waist-deep lake.<br /> For the very first time in his lengthy career in political bossing about, the most powerful human in Human Town could see no solution, clever, quick nor otherwise. As the monster sploshed about peevishly wailing all Doom and all Woe, the Mayor muttered something beneath the din, as much to himself as to anyone:<br /> <br /> &quot;If its Love you wants, matey, I&#039;ll loves you all right, if you drowns yourself!&quot;<br /> <br /> &quot;WOT did you says?&quot; snarled the giant, who, as the Mayor now fearfully noted, wore fearfully big and, by all accounts, superbly functioning ears. Returning to the rude little turret, Little Giant flexed his muscles and clenched his fists and beat the skies and waters, causing some waves and not a little wind.<br /> <br /> &quot;Er...&quot; explained the Mayor. &quot;I said...&quot; explained the Mayor. &quot;I mean... by which I mean... &quot;<br /> <br /> &quot;Yooou said, &#039;If its Love I wants...&#039;&quot; quoth the giant, &quot;&#039;an den you said... sumfink else!&quot;<br /> <br /> &quot;Er...&quot; explained the Mayor, &quot;I said...&quot; explained the Mayor; and he might have explained something more just then, but he was loudly interrupted:<br /> <br /> &quot;Wot did you tell me&#039;s to do?&quot; bellowed the giant, and the breath of his fury shook the turret and loosed all the slates in the roof, which fell off all at once, almost relieving the Mayor of his head, which he possibly wouldn&#039;t have minded, convinced he was losing it anyway.<br /> <br /> The giant shrieked, raised both arms high, and higher still both fists, as want to dash this silly cuckoo-clock and the silly cuckoo in it, into soggy bits of history:<br /> <br /> &quot;WOT DID YOU TELL ME&#039;S TO DO!!??&quot;<br /> <br /> &quot;DROWNS YERSELF!&quot; cried the Mayor at his end, and he sank in a shuddering pile into the deepest recess of his magnificent chair, awaiting nothing beyond the heavens to end his dread....<br /> (pause)<br /> <br /> Little Giant stopped dead in his wake to consider these words. Forgetting his tantrum he dropped to his sides his great fore-arms, and asked, in all genuine curiosity, &quot;Drooowns meself? Why den?&quot;<br /> <br /> The Mayor, half-dead with shock, the other half all but given up to it, conceded and blurted aloud as loud, <br /> <br /> &quot;IF ITS LOVE YOU WANTS, I&#039;LL LOVES YOU WHEN YOU DROWNS YOURSELF! There, it&#039;s said! Take it or don&#039;t! And then, for all the Love in my lovely wretched city, leave us in peace forever!&quot;<br /> <br /> &quot;&#039;You&#039;ll loves me... when I dran&#039;s meself...&quot; repeated the giant, as much to himself as to anyone.<br /> <br /> &quot;For all the Love in the World!&quot; blubbered the Mayor.<br /> <br /> Once more, Little Giant looked far and near about him, an amazing expression taking shape on his big features, reflecting the amazing idea taking shape in his little brain. He gazed at the faraway folks in the hills, who did nothing but humbly gaze back at him. Some held wincey babes in their arms, whilst youngsters played at the water&#039;s edge, for the tide had now spilled over the city walls. His big ears caught a bird-like voice there, as it beckoned to another, &quot;Do come on in, the water&#039;s Lovely!&quot; He regarded the lake, now soothing and clear, which had so magically appeared to refresh him in his darkest hour; and then again, the wonky little turret and its wonky little master, mysterious and brightly robed - teetering on the edge of existence.<br /> <br /> &quot;All rights, me tricksy little chum!&quot; he surmised with a wink, &quot;I&#039;s told yous, I ain&#039;t dumb,&quot; and he thumbed a big thumb at the water. &quot;Dat&#039;s where your secret lies, an&#039; I&#039;s discovered it! Right &#039;ere, in dis luvely liquid!&quot; Upon which, under the sceptical gaze of uncountable witnesses, Little Giant suddenly, yet casually, yet even gracefully, strolled away - this time to the deepest part of the lake he could find, where he chanted three words, as much to himself as to anyone. But all for miles around did hear them well:<br /> <br /> &quot;LOOOVE! LOOOVE!! LOOOVE!!!&quot; he announced to the heavens and all, and there in the deep, clearly convinced that his quest had been right, he threw himself under.<br /> <br /> Unfortunately for the Mayor, still quivering in his electoral chair, the giant&#039;s unexpected submersion caused a bit of a tidal wave. Only a bit of a one, but a big enough one to topple that turret and topple it&#039;s Master with it.<br /> <br /> All through the night bubbles rose from the deep, some from the royal ruins, and some from the monster&#039;s last dunk. And the townsfolk held their breaths till next morning, when the sun rose very prettily indeed, and the flood began to diminish.<br /> <br /> It took a full fortnight before all and sundry returned to their homes, and when all and sundry did, they learned an agreeable fact. With thrills and sobs of relief, they found that all the mice in Human Town were drowned and gone forever - And, OH, there had been many mice in Human Town! For, as history and legend will show it, that Human Town had long been cursed; by a witch who dabbled in plague. Cursed with hordes of unnatural mice, thieving and biting and cruel, which filled the houses, ran wild in the streets, and stank up the air for miles around!<br /> <br /> And as it turned out, that hideous culprit, the cursing witch herself, was dead too. Discovered in her dreaded nook, that basement filled with toxins. Rumour abounded that she had developed the ultimate concoction, to birth the ultimate rodent, nasty and BIG as the World has seen. Like the one she thought she saw through her window that day, its giant big toe at any rate; which hexed even she into death.<br /> <br /> The Mayor was drowned, too. But, Lord, had he been unpopular! Tyrant dictator, king without soul, etc, etc. And his son, spiteful widget, dead too! Chief of all the army, hardly out of school. Handsome in the eyes of simple girls; but arrogant, rich and deadly. Now arrogant, rich and dead!<br /> <br /> &quot;Not nevermore missed by no-one&quot; the plaque to the both of them read, before it sank in the mud.<br /> <br /> &quot;But what of our giant?&quot; the humans perplexed. &quot;Where did he go?&quot; &quot;Is he dead?&quot;<br /> <br /> Till an apple-man found him in an apple-field, face down in a crater of sludge. &quot;He&#039;s here!&quot; &quot;He&#039;s drowned!&quot; &quot;He&#039;s dead!&quot; they said, and they set about to eat him. Yes, eat him. For, hungry had they been! Taxed into rags and robbed out of meat, by the Mayor and his brat, whom they would have eaten too, had they found them, which they never did.<br /> <br /> Before the supper, they flipped him over, their giant, for a very last glimpse of his face; which they quietly washed, amid prayers and culinary charms. Till there he lay, in that pasture they filled with flowers and veg, his face in a beam of tea-time light, which appeared to radiate outwards.<br /> <br /> After the feast, merry with schnapps, a group of the Town&#039;s finest craftsmen gathered about and pledged to build a statue. &quot;A big one!&quot; &quot;Enormous!&quot; &quot;Large as the fellow himself!&quot; they announced, amidst cheers and more schnapps. Indeed, they cast it to perfection, out of perfect front-to-back moulds, shaped from those imprints he&#039;d left in the pasture floor.<br /> <br /> One year later they raised him aloft, big as he was, now immortal. They stood him on a plinth, atop of Townhall Hill, and inscribed thereupon, in glorious, golden, man-high script:<br /> <br /> &quot;LOOOVE! LOOOVE!! LOOOVE!!!&quot;<br /> Our Beloved Giant<br /></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0520')" class="button" href="javascript:void(0)"><p class="white"><b>Locations</b></p></a> <div id="para0520" style="display:none"><p class="info">For now see "Gallery"</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0530')" class="button" href="javascript:void(0)"><p class="pink"><b>Love</b></p></a> <div id="para0530" style="display:none"><p class="info">A joint exhibition at planning stage by P.P. & M.M.</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0540')" class="button" href="javascript:void(0)"><p class="red"><b>Low Resolution Conflict Resolution</b></p></a> <div id="para0540" style="display:none"><p class="info">Room for development...</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0550')" class="button" href="javascript:void(0)"><p class="pink"><b>Marionettes</b></p></a> <div id="para0550" style="display:none"><p class="info">This is the only photo I can find showing marionettes I was making in the mid-nineties to sell at art and flea-markets in Berlin. They were too weird ("unheimlich") for most people and didn't sell like hot-cakes. Often I failed even to make the return on weekend rental of the table. But they helped me develop the constitution of producing items from ones one imagination after many years producing architectural models and wot-nots for wealthy strangers back in mainstream London, from which I had at last escaped. More fun than standing in the freezing cold with holes in my shoes for days at a time was a workshop I did with dozens of plaster and paint-splashed kids at the play-center "Spielmobil" in the then alternative Prenzlauerberg district. Here's an old page with more text: <a href="ex-puppet.htm" target="_blank">Marionettes</a><br><center><img src="drop down images/Marionettes by PP (mid 90s).jpg" width="774"></center></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0560')" class="button" href="javascript:void(0)"><p class="white"><b>M.M.</b></p></a> <div id="para0560" style="display:none"><p class="info"> Born next door to Paddington Station, London. Grew up a happy "pumerlich" child in Switzerland, attending something in Zurich called "Waldorf"; a rather special school for rather special thinkers. Did pretty well for a kid. Prepared for art school but opted on a career in graphics instead. Diploma in hand, left Zurich due to claustrophobia for Berlin and the promise of a colourful and mundane life. Continued in graphics until study of arts at the FAKB ("Freie Akademie für Kunst Berlin"). Met downstairs the curator of something called Wallywoods and jobbed at a comic shop ("Grober Unfug"). Abandoned the dry and soon bankrupt FAKB for employ at a sculpture studio ("Simon P. Schrieber") in Berlin's up-and-coming Neukölln. Returned to Zurich after seven years absence. Odd jobs included standing at an airport news-stand wearing firm shirts, selling tickets from a tiny over-heated van at a circus ("Africa Africa") and selling books in down town Zurich. Worked again as a graphic designer ("Raffinierie", "Saloon" and "Swisscontent Corp") before landing a secure position in prepress at a local envelope factory. Finally revisited Berlin, rediscovered Wally, and wed back in Zurich three days before Christmas 2010. Currently involved in the quest to co-found an art gallery with the aforementioned and whoever wishes to join in, somewhere in Zurich.<br><center><img src="drop down images/MM.jpg" width="774"></center></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0570')" class="button" href="javascript:void(0)"><p class="white"><b>Model-maker Wally</b></p></a> <div id="para0570" style="display:none"><p class="info">Once upon a time in New London Town there was an architectural model-maker, nicknamed by the guys, Wally. Maggie Thatcher was the Queen in those days and the guys, aka "Presentation Unit" of Glass Hill Street, Southwark, built possibly the finest and most expensive models in England for her mate, Pete Palumbo, as he was known then. Wally remembers using his toilet next door to Wren's little church, which they also made models off (they made models of every building in the City of London around about then); and finding there on the wall at which he tidily stared, two or three tiny Dali originals, which impressed him hugely, himself the hugest Dali fan he knew. (Online memoir, to be continued...)</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0575')" class="button" href="javascript:void(0)"><p class="finance"><b>Money for the Poor</b></p></a> <div id="para0575" style="display:none"><p class="info">"Throughout my history of the unpaid endorsement and production of cultural initiatives and happenings across Europe, stubborn non-profit art-making and lowest of the low-paid decoration of pent-houses, restaurants, stairwells and toilets across Berlin, and enthusiastic support of the art-making of creative people from colleagues to interested strangers everywhere over the twenty years since I left England and professional security for a life of adventure and fulfilling occupation as a versatile, innovative and above all penniless conceptual artist, this tiny project is, right now as you read it, ignore it and move on to Google something you found intriguing in a Columbo episode last night, by far the most vital endeavour I have conceived and attempted to drag into reality before I soon enough throw in the towel to join my truest friend in an atheist's after-life, George the accommodating earth-worm... (etc). Please ignore between-the-lines frustration and peruse a little further to the point, which you have possibly guessed by now. Some people, even some artists, are good at making money. I have always been rubbish at it. Too busy making art. The full title of this deceptively honest mini-project is actually 'Money for the Poor Artist'. Below are my details. Thank you in advance." P.P. April 2011<br><br></p> <font color=eeeeee style="letter-spacing: 0; font-size: 10pt"> Paul Woods<br> Berliner Volksbank<br> Account: 7232052001<br> BLZ: 10090000<br> IBAN: DE66100900007232052001<br> BIC: BEVODEBB<br> Subject: survival donation<br><br> <p class="info">0041 (0)78 783 0114<br> <a href="mailto:wallywoods@gmx.net" target="_blank">wallywoods@gmx.net</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0580')" class="button" href="javascript:void(0)"><p class="pink"><b>Monument</b></p></a> <div id="para0580" style="display:none"><p class="info">A competition with no rules. Send a picture of your original MONUMENT design and it will be posted here for a while. Whether it gets built one day, big as you like, is not up to me.</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0590')" class="button" href="javascript:void(0)"><p class="white"><b>the Napoleon Photograph</b></p></a> <div id="para0590" style="display:none"><p class="info">The original camera obscura portrait has been moved from Berlin's abandoned Kulturhaus Weissensee, where it was discovered and secured by P.W. in 2008, to a Swiss location. It seems to have been taken post-mortem at Napoleon's death-bed on Saint Helena in 1821. Handwritten texts on the reverse side indicate the pioneer photographer was an army officer.</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0600')" class="button" href="javascript:void(0)"><p class="gold"><b>the Nikki Sudden Recordings</b></p></a> <div id="para0600" style="display:none"><p class="info">Or, what to do with five concerts informally (but not at all badly) recorded at the Kreuzberg Gallery Wallywoods? Suggestions welcome.<br><center><img src="drop down images/Nikki at Wallywoods.jpg" width="774"></center></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0610')" class="button" href="javascript:void(0)"><p class="darkgrey"><b>NUTS</b></p></a> <div id="para0610" style="display:none"><p class="info">Events magazine "New Underground Trends" (released once in Berlin / awaiting PDF). Could be revived...</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0615')" class="button" href="javascript:void(0)"><p class="darkgrey"><b>Original Thought</b></p></a> <div id="para0615" style="display:none"><p class="info">"There is no such thing as unoriginal thought." (P.P. April 2011)</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0620')" class="button" href="javascript:void(0)"><p class="pink"><b>Owe God!</b></p></a> <div id="para0620" style="display:none"><p class="info">Room for development...</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0630')" class="button" href="javascript:void(0)"><p class="pink"><b>Paintings</b></p></a> <div id="para0630" style="display:none"><p class="info">Text to follow plus links to Cliff Falls, mini oils, Lutta-Woods, Three Chairs for Europe, etc. For now here are some <a href="which etern probs.htm" target="_blank">Acrylic paintings</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0640')" class="button" href="javascript:void(0)"><p class="gold"><b>Pandora's Box</b></p></a> <div id="para0640" style="display:none"><p class="info">Pandora's Box by P.P. featuring K.B. <a href="mp3s/Pandoras Box by Paradox Paul.mp3" target="_blank">Listen</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0650')" class="button" href="javascript:void(0)"><p class="red"><b>Peace is Power</b></p></a> <div id="para0650" style="display:none"><p class="info">Room for development...</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0660')" class="button" href="javascript:void(0)"><p class="red"><b>Peter Edel (RIP)</b></p></a> <div id="para0660" style="display:none"><p class="info"><b>A long story. It began (for me) with this e-mail early in 2007:</b><br><br> "Hallo Paul,<br><br> ich habe gute Nachrichten für Dich. Das Peter-Edel in der Berliner Allee soll momentan privatisiert werden. Bis zum Juni läuft noch der alte Betrieb, dann soll eventuell der Förderverein, der noch gar nicht existiert, Träger werden. In dem Gebäude gibt es einen großen Raum (vielleicht 300 qm), der seit Jahren nicht genutzt wird, weil der letzte Gastronom sämtlich Einrichtungsgegenstände mitgenommen hat. Jetzt wurde eine Zwischennutzung angedacht, im Verbunde mit dem Förderverein, somit auch mit Unterstützung ideeller oder sonstiger Art. Du müsstest ja eigentlich prompt in der Lage sein, dein Programm zu starten. Kannst Du Dein Konzept darstellen? Hast Du Bildmaterialien, die Du nächste Woche am Dienstag um 20.30 Uhr zum nächsten Fördervereinstreffen mitbringen kannst? Du müsstest halt etwas charming und bürgernah sein. Mit Deiner Hilfe, wollen Sie sich natürlich einen Namen machen und als Förderverein glaubwürdig werden. Da hängt der Bürgermeister, der Stadtrat, und die ganze Verwaltung hinter, Du wärst halt auf dem Präsentierteller, aber du hast ja auch gute kulturelle Arbeit vorzuweisen und ein beachtliches Netzwerk. Meld' dich doch bitte und lass verlauten, was Du davon hälst?<br><br> Liebe Grüße"<br> Kathrin H.<br> (ehem. Leerstandsinitiative Weissensee)<br><br> <b>and ended like this (Facebook post, 21.11.10):</b><br><br> "The lady magistrate was friendly on Friday and the case went mostly our way (costs to pay are a fraction of that demanded by the silly Besirksamt Pankow). But we should wait a week for the dust to settle before celebrating a small but important victory against bureaucracy and bent politics. Thought for the moment: the whole damn thing was worth it. The magistrate started things well by saying that Zwischennutzung is a good thing for empty buildings in Berlin and that the Bezirksamt generally supports this policy. Indeed she mentioned this twice, and the lawyer for the prosecution actually had to agree, twice, with slow but unambiguous nodding of his bird-like head."<br><br> "Die Amtsrichterin bei der Verhandlung vergangenen Freitag war sehr freundlich und das Verfahren ist hauptsächlich zu unseren Gunsten ausgegangen (die zu bezahlenden Kosten sind nur ein Bruchteil der vom BA Pankow ursprünglich verlangten). Dennoch sollten wir noch kommende Woche abwarten, bevor wir einen kleinen aber wichtigen Sieg gegen die Bürokratie und verbogene Politik feiern. Fazit: das ganze verdammte Ding war's wert! Zum Auftakt des Verfahrens äusserte die Richterin ganz richtig, dass eine Zwischennutzung doch gut sei für leerstehende Gebäude in Berlin und das Bezirksamt eigentlich diese Methode unterstütze. Sie erwähnte dies sogar zwei mal, und der Anwalt der Kläger musste dies (zwei mal) mit widerwilligem aber unmissverständlichem Nicken seines vogelähnlichen Kopfes bestätigen."<br><br> <b>Facebook post, 26.11.10:</b><br><br> "The ruling was not challenged and now stands."<br><br> "Der Vergleich wurde nicht widerrufen und gilt."<br><br> <b>Here's some political <a href="http://www.facebook.com/profile.php?id=100001778901933#!/note.php?note_id=270796859557" target="_blank">Background</a> & <a href="press.htm" target="_blank">Press</a> and a <a href="http://www.kwei.de/shww/" target="_blank">Short History</a> of Wallywoods at the Peter Edel Culture Center (Kulturhaus Weissensee). For film interviews see "Demonstration" near top of list.</b></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0665')" class="button" href="javascript:void(0)"><p class="darkgrey"><b>Philosophical Philosophy</b></p></a> <div id="para0665" style="display:none"><p class="info">Room for development...</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0670')" class="button" href="javascript:void(0)"><p class="lightgrey"><b>Piano Sculptures</b></p></a> <div id="para0670" style="display:none"><p class="info">An automobile, a flying machine and a boat, all somehow functioning, made from two pianos each. After the twelve Piano Thrones are completed. (Or parallel if a team can be assembled somewhere...)</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0680')" class="button" href="javascript:void(0)"><p class="darkgrey"><b>Poetry Night</b></p></a> <div id="para0680" style="display:none"><p class="info"><a href="ten poems.htm" target="_blank">Poems by P.P.</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0690')" class="button" href="javascript:void(0)"><p class="pink"><b>Poetry Party</b></p></a> <div id="para0690" style="display:none"><p class="info">Poetry Parties can take place anywhere, any time. You don't even need a poet. Just bring something to read or choose something from the table. Here's an example: <a href="http://www.facebook.com/album.php?aid=38835&id=551302577&l=042599bbd3" target="_blank">Event</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0700')" class="button" href="javascript:void(0)"><p class="pink"><b>Posters</b></p></a> <div id="para0700" style="display:none"><p class="info">I used to design posters for fun. Before everything grew into Big Chairs. Actually I was serious. Even tried to sell them online: <a href="showroom.htm" target="_blank">Posters</a><br><center><img src="drop down images/Paradox World Projects poster 8.jpg" width="774"></center></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0710')" class="button" href="javascript:void(0)"><p class="white"><b>P.P.</b></p></a> <div id="para0710" style="display:none"><p class="info">This is what it currently says at P.P.'s <a href="http://www.saatchionline.com/wallywoods" target="_blank">Saatchi Online</a> profile page: "Paul Woods aka Paradox Paul. Born London 1964. Didn't like school. Conceptual artist, founder & curator of Wallywoods Berlin, creator of Berlin Big Chairs, leader of the 12 piece Broken Pianos Orchestra, published poet, writer of Wally's Log, inventor of Paradox Paul's functioning Time Machine (yes, it functions; wealthy sponsor required), father of the 'Million Minus Euros' alternative financial system for artists, discoverer of the Napoleon Photograph (photography expert & writer required), squatter for one year of the Weissensee Culture Center in Berlin, sketcher of half-a-million chairs on said culture-center walls & ceilings, constructor of the Flying Guillotine Piano Throne - one of 12 Piano Thrones, each made from a complete piano, all equally execution contraptions (gunsmith & sword-maker required), for which a London exhibition in the not distant future would almost finally satisfy this excitingly undiscovered conceptual artist & art show organiser." Blah blah. Blap blap. Toi toi toi...<br><center><img src="drop down images/PP.jpg" width="774"></center></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0720')" class="button" href="javascript:void(0)"><p class="darkgrey"><b>the Principles of Wallyism</b></p></a> <div id="para0720" style="display:none"><p class="info">Written by and for the fine artist. Sometimes useful in wider applications: <a href="the principles of wallyism.htm" target="_blank">The Principles of Wallyism</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0725')" class="button" href="javascript:void(0)"><p class="pink"><b>Problem Solving Service</b></p></a> <div id="para0725" style="display:none"><p class="info">If you have a problem we will solve it for you. 24 hour service. Competitive costs. Confidentuality ensured. Satisfaction guaranteed. Send your problem to: <a href="mailto:wallywoods@gmx.net" target="_blank">wallywoods@gmx.net</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0728')" class="button" href="javascript:void(0)"><p class="pink"><b>Quantum Knickers</b></p></a> <div id="para0728" style="display:none"><p class="info">Sponsor required: <a href="mailto:wallywoods@gmx.net" target="_blank">wallywoods@gmx.net</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0730')" class="button" href="javascript:void(0)"><p class="darkgrey"><b>Quantum Thinking</b></p></a> <div id="para0730" style="display:none"><p class="info">My own introduction to this minefield of marvelous new possibilities, lay theorists like myself, and armies of band-wagon cash-focused motivation-gurus will follow before too long. I really wish to understand a bit more of the original scientific phenomena first. In one way or another it may help market Paradox Paul's Functioning Time Machine (see "Time Machine") and perhaps clarify probability regarding the Napoleon Photograph (see "Napoleon Photograph"). Either way, as far as I now can envision (and in Quantum Thinking that is the first step towards accomplishment) telepathy is soon a distinct probability, if not already a certainty. Not to mention teleportation... Meanwhile, here is some random "Quantum Thinking" stuff unashamedly beamed in from the Multidimensional Universe Wide Web<br>(P.P. April 2011):<br><br> WEB STUFF 1<br><br> "The differences between archaic, classical and quantum thinking focus on beliefs and assumptions about reality. Archaic perspectives assume that reality is governed by spirits, demons and gods. Classical perspectives assume that reality is governed by natural laws. Quantum perspectives assume that reality is not governed, rather reality behaves as an emerging complex system. People using archaic thinking, try to control reality by appeals to esoteric agencies. People using classic thinking try to control reality by applying natural laws. Using quantum thinking, reality is ultimately unpredictable, yet can be influenced by applying systemic rules.<br><br> Research in quantum physics indicates that much of our visible reality is illusory. Our cosmos seems to be composed of invisible and paradoxical energies. At a macroscopic (classical) level, we can predict how accumulations of energy (matter) behave over time. But at a quantum level we cannot predict the behavior of a single electron for a single moment.<br><br> Quantum thinking does not replace archaic or classic thinking. Archaic thinking is useful for making decisions about esoteric principles. Classic thinking is useful for making simple decisions in controllable environments. Quantum thinking is useful for making complex decisions in situations with relationship pressures and ambiguous objectives in changing environments..."<br><br> WEB STUFF 2<br><br> "Quantum physics defines the Universe as a Unified Field where all points are connected to all other points. Or, from another perspective, that all points have a relationship with every other point even without being in direct contact. Or, from yet another perspective, that we (any point) can influence and change another point simply by redefining our relationship.<br><br> If this makes your head hurt, you are not alone. Changing how you think about the Universe means that various assumptions we have held must be reconsidered and new points of view must be explored. Sure, you know that you can have different opinions from other people. But you can both be thinking in the same way just with different "ingredients" or language or logic or biases. Same WAY of thinking but different rhetoric about the content.<br><br> Learning about the various ways of thinking is helpful because it enables you to observe the shifts in your own thought and the effects that those shifts have on what you see is real, present and possible. Learning the ways in which others think enables you to understand what will be needed for their thinking to shift or how you can shift your thinking to meet theirs. This is tremendously helpful in relationships, negotiations and conflict resolution.<br><br> Quantum Thinking offers additional benefits for problem solving, developing new inventions, planning for the unknown, bridging mathematical and conceptual fields like parallel or multiple universes, and just about anything that is or could be imagined. And if something can be imagined in a Quantum Universe, by definition, it is real. This is why the language of physics dealing with Quantum phenomena is similar to mysticism, magic and metaphysics. Thoughts are things. When you change your thinking, you change the reality you experience. Or perhaps you enter another reality. Or perhaps you have altered the reality you are in.<br><br> Using Quantum Thinking, you can connect to the answer to any question. You can even connect to multiple right answers and pick what appeals to you. This does not violate the laws of the Universe. Rather, it moves us from a flat earth perspective to a multidimensional universe where the shortest distance between two points may be non-linear. It may be based on how we think rather than what we think.<br><br> *Joan McKenna is a research scientist and a metaphysician, an artist and a healer. She specializes in physiological thermodynamics and healing of mind and body with a systems approach that integrates the body, the mind and the spirit..."<br><br> WEB STUFF 3<br><br> "Quantum-thinking is the ability of the mind to function at a higher level of creativity and innovation. This level of thinking allows one to accurately envision the next generation products, services, and modes of operation. It involves a shift from linear thinking to higher-order holistic thinking. Quantum-thinking is achieved by the systematic development of six critical skills:<br><br> 1. Personal Mastery the ability to explore higher-order thinking (futuristic ideas) beyond one s present reality.<br> 2. Intuition the ability to  spontaneously receive higher-order concepts and ideas.<br> 3. Mastery of Context the ability to envision future paradigms with the least amount of data or information.<br> 4. Context Integration the ability to integrate information from different paradigms into one compatible higher-order paradigm.<br> 5. Creative Synthesis the ability to synthesize (transform) information into new knowledge.<br> 6. Hyper-accelerated Information Processing the ability to process (learn) data and information at hyper-accelerated speeds.<br><br> Value Proposition of Quantum-Thinking<br><br> This program provides the following value for you and your organization with respect to quantum-thinking. Quantum-thinking:<br><br> 1. Will become an integral part of your day-to-day problem solving, creativity, and future-oriented brainstorming.<br> 2. Will be the source of ingenious solutions to complex situations and opportunities that cannot be effectively resolved by ordinary creative problem solving.<br> 3. Will generate an environment where significantly expanded synergism in teamwork will occur.<br> 4. Is the short- and long-term necessity for the continued existence of any organization particularly in the present millennium.<br> 5. Is the key to generating new, leading-edge products, services, and modes of operation..."<br><br> WEB STUFF 4<br><br> "The well-known motivational theorist, Abraham Maslow, once commented: "If the only tool you have is a hammer, you will see every problem as a nail." Today many people are attempting to create organizational transformation using a hammer and nail mentality. They diligently hammer away at issues with logical, linear action plans, attempting to create major change with minimal chaos. Consequently, the results of their new initiatives are often merely incremental and sometimes only cosmetic. If we are to re-create our organizations for the twenty-first century, we must release our outdated beliefs about the way the world works and we must replace our time-worn hammers with a radically new tool kit. Such a kit would contain new skills-skills that are congruent with the new paradigm view of organizations as unpredictable, interactive, living systems, rather than stable, clock-like machines.<br><br> ?Since the business tools of planning, organizing, directing, and controlling are derivatives of classical Newtonian physics, perhaps we can look to quantum physics for an updated skill set. Though many new paradigm writers prefer to use a biological metaphor, the basic principles of quantum mechanics provide radical insights into a world that is both objective and subjective, logical and irrational, linear and nonlinear, orderly and chaotic; a world in which human observation somehow affects that which is observed. In short, the principles of quantum mechanics challenge us to turn our view of reality upside down and acknowledge that there is much more to life than meets the eye.<br><br> These quirky quantum concepts can be translated into a highly practical skill set. I call these skills Quantum Skills because they are premised on the assumption that the quantum realm of energy is primary or causal and the material world is secondary..."<br><br> WEB STUFF 5<br><br> "Coming from a background in philosophy I have pretty good idea what quantum thinking could mean in this context.<br><br> To start with a little background. It all relates to the brain and the mind and how they interact or relate to each other. The most immediate thought that comes to my mind when looking at this question of the relationship to intelligence comes from a book by Roger Penrose called the 'Emperors new mind'. Here the author examines the idea that the concept of how mind is related to quantum mechanics.<br><br> In particular one of the chapters looks at how the human mind can do certain mathematical tilings patterns. The idea here is that a computer , as designed today, can't quite do these sorts of things because there is 'something going on in the brain' that is quantum mechanical that can solve certain kinds of problems.<br> Checking a review of his book on the internet revealed the following good evidence for this.<br><br> "Penrose doesn't believe that computers constructed according to presently known physical principles can be intelligent and conjectures that modifying quantum mechanics may be needed to explain intelligence."<br><br> There is not very much on the web that reviews this work but it all relates to the idea that some principles of quantum mechanics are needed to help explain certain levels of intelligence, especially mathematical problem solving..."<br><br> WEB STUFF 6<br><br> ""Law of Attraction and Neuroplasticity"<br><br> Recent findings in neuroscience has taken a quantum leap in understanding how the brain works. It is now certain that we are making new brain cells and neural connections in every minute which is very much in line to the thought vibrations approach discussed in the area of the Law of Attraction. Before the introduction of real time brain scans, it was believed that a process of cell division creates brain cells, called neurogenesis, which begins to slow down in early life and stops when we reach adolescence. The result, according to scientists, is that as we get older we simply base or behaviours on the way we were taught to think in early childhood to the point that our brains become hardwired based on early life sense impressions. However, the discovery of neuroplasticity changes all this thinking to a much more hopeful view of life. We are creating new brain cells and creating new neural connections all the time. So this goes beyond the findings of neurogenesis that says we stop brain cell production in our teens and that we actually create brain cells and neural connections all the time. No matter what your age, your brain is perfectly capable of creating new neural pathways which means that every time you have a new thought or experience, your brain is making new neural connections. It would seem that the neural connections form stronger pathways when you have bursts of inspiration. Inspiration is usually a thought mixed with an emotion which is the basis of how the Law of Attraction can be used to create new results and new experiences faster. If you want to find out more about this fascinating subject, John Assaraf has written about this in his latest book The Anwser which cover aspects in neuro science, Law of Attraction and how to apply this information in building a business.<br><br> "Law of Attraction and faith"<br><br> The Law of Attraction is a natural law and the information from many sources over the last 20 years has shown scientifically it is a Law just like gravity. Quantum physics points very clearly that our observation mixed with emotion of certainty brings about a non local probability into a local, physical existence as long as we observe and give attention, energy and focus long enough. For example if I really want a change of career and really believe that the change is possible: give it energy, focus and attention as well as action then in time things will start to change in the favour of my dominant thoughts. I have researched and applied Law of Attraction for many years and from my view I see it as a framework to work with the power of faith. It all comes down to faith! To work with the Law, faith is definitely required. If faith is applied, amazing things start happening in our lives. I am not a bible follower, however, I do resonate with the following statements which I consider anchient yet still very plausaible way of understanding the power behind the Law of Attraction..<br><br>  Whatsoever things ye desire, when ye pray, believe that ye receive them and ye shall have them <br><br> Note the word  Whatsoever mean you have infinite choice and the only barrier is that of your limited thinking. And as for Faith, it is& .  the substance of things hoped for, the evidence of things not seen Faith is a substance, it is real when we really put our energy and attention in that direction. Also faith requires and needs action  Faith without action is dead So if you are into the Law of Attraction know that you are working with an invisible substance which is faith that has real power to deliver to you anything you want through right thinking and right action.<br><br> "How thoughts affect your genes"<br><br> Recently I have been reading some amazing information about the developments in genetics and how our thoughts affect our genes and cells. Biology and medicine has been very much influenced by the Newtonian model of reductionism. That is break everything down and find the problem. From this we have been educated to think that our genes control us. My father who died of cancer and that event made me think that I may have genes that are prone to getting cancer. Well this is not the case with recent findings from a body of work known as epigenetics and the findings in this study relate very much to the Quantum Physics model of the world. The word epi means above. Epigenetics means above the genes. In other words it is our perceptions that have the major affect on our genes. Genes are blueprints and do not control anything. We control them by our perceptions and environment. If we perceive lots of stress in our lives then over time we could attract cancer. However, if we change our perceptions and vision of life then a change of your biology happens in that moment. So change your environment and perception, you change your gene read out. Also our beliefs will have a direct affect on our genetic make up. If I believe subconciously I am going to get an illness then my genes get  switched on to this vibration emanating from my thoughts and beliefs. This underlines the important work that we need to get to the sub conscious level and clean out old beliefs and thoughts we either learned or inherited if we want to affect our beings positively at the gene and cell level. It is so important to get a handle on our fears as perception elicits emotion. I prefer to install emotions of joy and laughter. We either buy into the story we were told that our genes control us and so we are victims or we start creating another story by changing our thoughts and belief systems to ones of support, nourishment, love and personal empowerment. It is always your choice in the end and no one else can make that choice for you. If you resonate with this new information then I recommend you check out Dawson Church who wrote Genie in your Genes and Bruce Lipton´s book Biology of Belief. Thoughts are powerful enablers for change. Be careful how you use them.<br><br> "Money and Law of Resonance"<br><br> Quantum Physics is now seen as a coherent model for understanding the world and how we can work with energy to bring into our lives the things we desire. For many of us the first things we want more of is money. The Law of Resonance is a deeper layer of the Law of Attraction in that everything and everyone has a resonance field. The resonance field works on a subconscious level in the realm of emotions and beliefs. In each moment we are feeding emotions into beliefs we own and in that process we set up a resonance field say for example around money. All this happens at a sub concious level and so becomes part of our being at a cellular level. In other words our habitual thinking and beliefs around the money create the reality and this is how our resonance field is defined. If we are not aware of this we end up believing that life just happens to us. Becoming aware of our limited beliefs and emotions say around money is the first step in changing the resonance fields we have set up. The trick is to unistall the old beliefs and re install new supporting beliefs. In doing so our resonance fields begin to shift and we draw to ourselves people and opportunities who resonate a more abundant energy. The whole process starts with you investigating your emotions and beliefs around money. Making more money should not be the end in itself, instead if you want to attract more money and wealth into your life, think about the  feelings that it will give you  more peace, feeling more creative, more confidence and so on. If you are setting a goal to create more money then look at the feeling it will give you to have that money and focus on and bring into your being that feeling on a constant basis. In addition write down all the limited feelings, emotions and beliefs you have around money. Bring them fully into your concious awareness which is the first step to release old energy making way for new beliefs. Money and the Law of Resonance all comes down to how you resonate.<br><br> "Intention and emotional intensity test"<br><br> We can set intentions and some of these come to fruition while others just fizzle out. Why is that? My research and experience around this shows that intentions need enough emotional charge to keep them alive and more importantly enough charge so that the intentions become a reality..."<br><br> more of this last one at:<br> http://jameskilgarriff.wordpress.com/category/quantum-physicsquantum-thinking/</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0740')" class="button" href="javascript:void(0)"><p class="white"><b>Questions Asked Frequently</b></p></a> <div id="para0740" style="display:none"><p class="info">Send them in: <a href="mailto:wallywoods@gmx.net" target="_blank">wallywoods@gmx.net</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0750')" class="button" href="javascript:void(0)"><p class="white"><b>Reichstag (RIP)</b></p></a> <div id="para0750" style="display:none"><p class="info"><a href="kunst embassy.htm" target="_blank">Concept</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0760')" class="button" href="javascript:void(0)"><p class="red"><b>Revolution Revolution</b></p></a> <div id="para0760" style="display:none"><p class="info">"Bloody revolutions are a thing of the past." Room for development...</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0763')" class="button" href="javascript:void(0)"><p class="pink"><b>Richard Branson</b></p></a> <div id="para0763" style="display:none"><p class="info">Set up a meeting...</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0765')" class="button" href="javascript:void(0)"><p class="finance"><b>Sales & Service</b></p></a> <div id="para0765" style="display:none"><p class="info">For all your sales and service requirements. Promptly and personally attended to: <a href="mailto:wallywoods@gmx.net" target="_blank">wallywoods@gmx.net</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0768')" class="button" href="javascript:void(0)"><p class="pink"><b>Satisfaction Guaranteed</b></p></a> <div id="para0768" style="display:none"><p class="info">Your satisfaction is guaranteed. 24 hour service: <a href="mailto:wallywoods@gmx.net" target="_blank">wallywoods@gmx.net</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0770')" class="button" href="javascript:void(0)"><p class="pink"><b>Schweineohren Party / Pigs Ears Party</b></p></a> <div id="para0770" style="display:none"><p class="info">Why not indeed. Just need enough pigs ears to go around. You can buy a 1 kilo bag of them at a Zurich Co-op for 23.50 francs for the enjoyment of your dog (though it says "FOR YOU" on the packet, which we can take as encouraging). But there are a small number of conditions to the frivolities. In fact, let's call them the Pigs Ears Party Rules. For instance, ANYONE REMOVING THEIR EARS EVEN FOR A MOMENT IS DISGRACED AND DISQUALIFIED AND WILL BE ESCORTED TO THE EXIT BY DESIGNATED PIGS EARS RULES ENFORCERS...</p><br> <center><img src="drop down images/pigs ears.jpg"></center></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0775')" class="button" href="javascript:void(0)"><p class="pink"><b>Sculpt City</b></p></a> <div id="para0775" style="display:none"><p class="info">Room for development...</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0780')" class="button" href="javascript:void(0)"><p class="gold"><b>Singer Songwriters Symphony</b></p></a> <div id="para0780" style="display:none"><p class="info">Something Wally always wanted to do but never got around to at Wallywoods. It's simple. Held in a large room - perhaps during an intallation or art opening - invite as many singer-songwriters as may be available and position them equally spaced around the walls. Either all set up for accoustic performance only, or each equipped with small sound systems set at relatively equal values to the rest. The audience gathers to begin with at the room's center (they can shortly move around, approaching whichever singers they fancy). And then let the performers begin. ALL AT THE SAME TIME...</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0790')" class="button" href="javascript:void(0)"><p class="pink"><b>Skinny Person in Fat Person's Skin</b></p></a> <div id="para0790" style="display:none"><p class="info">Horrible idea. But do-able. 'Large' person required to donate a complete suit of skin. P.P. March 31, 2011.</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0800')" class="button" href="javascript:void(0)"><p class="pink"><b>Small Sculptures</b></p></a> <div id="para0800" style="display:none"><p class="info">I'm now collecting recently produced handle-able sculptures and objects, fine-art or funky, for display & sale in Zurich (see "Gallery" above).</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0810')" class="button" href="javascript:void(0)"><p class="pink"><b>Sounds of Softness</b></p></a> <div id="para0810" style="display:none"><p class="info">Avant-garde specialist Mary Ocher's mysterious film project. Among others, possibly featuring P.P. <a href="http://www.facebook.com/pages/Sounds-of-Softness/219723154709537" target="_blank">Facebook link</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0820')" class="button" href="javascript:void(0)"><p class="gold"><b>Spanish Dog Song</b></p></a> <div id="para0820" style="display:none"><p class="info">A very short opera for many shouting voices: <a href="lib spanish dog.htm" target="_blank">Song text</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0830')" class="button" href="javascript:void(0)"><p class="red"><b>Squat</b></p></a> <div id="para0830" style="display:none"><p class="info">Whilst looking for a stable gallery &/or events location to rent in Zurich, we are also willing to check out new squats. In fact P.P. would be happy to start one up, working with like-minded people... <a href="Paradox Berlin Manifesto.htm" target="_blank">Manifesto</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0840')" class="button" href="javascript:void(0)"><p class="red"><b>Temporary Tenancy Politics</b></p></a> <div id="para0840" style="display:none"><p class="info"><a href="Paradox Berlin Manifesto.htm" target="_blank">Manifesto</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0850')" class="button" href="javascript:void(0)"><p class="pink"><b>the Time Machine</b></p></a> <div id="para0850" style="display:none"><p class="info">It works. Wealthy sponsor required. Information through P.P. directly.</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0860')" class="button" href="javascript:void(0)"><p class="pink"><b>Toenails Ice Cream</b></p></a> <div id="para0860" style="display:none"><p class="info">Art-food idea conceived whilst sitting at an ice cream stall in the Museums Quartier in Vienna picking my toenails in the pleasant Spring sun of April 2011. Google has proved this unoriginal (see "Original Thought"). A blogger named Ryan Turner mentions the subject. But as far as we are aware he never actually produced the stuff. THEREIN lies the difference!</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0870')" class="button" href="javascript:void(0)"><p class="pink"><b>Trafalgar Square Plinth</b></p></a> <div id="para0870" style="display:none"><p class="info">Picture taken from the Times article "Room at the Top", montaged and re-named "Room at the Bottom" for Quay Arts exhibition (IOW, UK, Feb 2004). Chairs on golden plaque proposal (undelivered): P.P. 2004<br><center><img src="chairs/trafalgar-square.jpg" width="510"></center></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0880')" class="button" href="javascript:void(0)"><p class="pink"><b>Twins</b></p></a> <div id="para0880" style="display:none"><p class="info">A project by M.M. & P.P.<br>M.M. writes, "vielleicht der einfachheit halber: too lazy to bonk twice. twins! they come in a pair, like shoes. connected, exceptionally comparative, mirrors to each and others." P.P. writes, "M.M. had to explain that to me. I believe the lady is contemplating the subject of twins. (Doing my best to keep up.)"</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0890')" class="button" href="javascript:void(0)"><p class="white"><b>Transport</b></p></a> <div id="para0890" style="display:none"><p class="info">Always looking to share transport possibilities and costs, especially between Berlin and Zurich. Get in touch: <a href="mailto:wallywoods@gmx.net" target="_blank">wallywoods@gmx.net</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0900')" class="button" href="javascript:void(0)"><p class="gold"><b>the Ugly Americans</b></p></a> <div id="para0900" style="display:none"><p class="info"><center><img src="drop down images/The Ugly Americans CD.jpg" width="774"></center></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0910')" class="button" href="javascript:void(0)"><p class="pink"><b>Unbreakable Animals</b></p></a> <div id="para0910" style="display:none"><p class="info">Early sculptures by P.P. <a href="animal_pain.htm" target="_blank">Ceramic animals</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0920')" class="button" href="javascript:void(0)"><p class="darkgrey"><b>Unfinished Manuscript</b></p></a> <div id="para0920" style="display:none"><p class="info">Co-writer required for <a href="citadel2.htm" target="_blank">Ark of Colours</a> There is a whole bunch more material, much of it hand-typed in pre-computer days, sitting next to the tv in our living room, awaiting the careful removal of nearly two decades of dust. I pulled it out of a box recently and keep meaning to dive into it; but that would leave no time for anything else at all.</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0930')" class="button" href="javascript:void(0)"><p class="darkgrey"><b>Unfinished Poem</b></p></a> <div id="para0930" style="display:none"><p class="info">One of P.P.'s very first poems written at his Wimbledon home a year or three before moving to Berlin. Once it seemed complete, but on preparing it for inclusion in the <a href="library.htm" target="_blank">Library of Bad Ideas</a> it clearly was not. Try as he may, so depressing was the task of finishing the thing, he pretty well gave up. One day, however, a snot and tear-soaked school kid may fill in the gaps... <a href="lib poem.htm" target="_blank">Unfinished Poem</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0940')" class="button" href="javascript:void(0)"><p class="white"><b>Van</b></p></a> <div id="para0940" style="display:none"><p class="info">I want a van! Until then, always looking to share transport possibilities and costs, especially between Berlin and Zurich: <a href="mailto:wallywoods@gmx.net" target="_blank">wallywoods@gmx.net</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0950')" class="button" href="javascript:void(0)"><p class="pink"><b>the Walking Zoo Dress</b></p></a> <div id="para0950" style="display:none"><p class="info">Will P.P. take part this Summer in the Miss U-Bahn fashion competition in Berlin with the disputed 'Walking Zoo dress'; "a cage-costume made from piano-strings incorporating living animals"? Stay tuned. <a href="walking zoo dress.htm" target="_blank">Background</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0955')" class="button" href="javascript:void(0)"><p class="white"><b>Wallywoods (RIP)</b></p></a> <div id="para0955" style="display:none"><p class="info">1 November 2004 until 31 December 2009. Too eventful to be adequately described here or elsewhere. <a href="http://www.paradoxberlin.com/archive.htm" target="_blank">Photos archive</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0960')" class="button" href="javascript:void(0)"><p class="white"><b>Wallywoods Art Pub (RIP)</b></p></a> <div id="para0960" style="display:none"><p class="info"><a href="art pub.htm" target="_blank">Last web-page</a> / <a href="http://www.facebook.com/album.php?aid=88860&id=551302577&l=ec20ea0cb0" target="_blank">Facebook photos</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0965')" class="button" href="javascript:void(0)"><p class="white"><b>Wallywoods on the Road (RIP)</b></p></a> <div id="para0965" style="display:none"><p class="info">Details to follow regarding Wallywoods events at: Arcanoa, Ceili House, Kaffee Burger, Kindel Brewery, King Kong Klub, White Trash...<br><a href="http://www.paradoxberlin.com/archive.htm" target="_blank">Photos archive</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0970')" class="button" href="javascript:void(0)"><p class="white"><b>Wallywoods & the International Noise Conference 2009</b></p></a> <div id="para0970" style="display:none"><p class="info">Memorable evening indeed. Legendary noise specialist DIENSTbar presented the International Noise Conference Berlin 2009 (April 14); an evening of "No drone, No laptop, Max 15 mins each performance" featuring over 20 dedicated acts from just about everywhere...<br> <a href="http://www.facebook.com/album.php?aid=105486&id=551302577&l=8afcae6e22" target="_blank">Photos 1</a> / <a href="http://www.facebook.com/album.php?aid=105489&id=551302577&l=4c04ec6782" target="_blank">Photos 2</a> / <a href="http://www.facebook.com/album.php?aid=103026&id=551302577#!/photo.php?fbid=84055617577&set=a.84044782577.103026.551302577&theate" target="_blank">Flier</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0973')" class="button" href="javascript:void(0)"><p class="white"><b>Wallywoods & the International Roaming Biennial of Tehran 2008</b></p></a> <div id="para0973" style="display:none"><p class="info">The 1st International Roaming Biennial of Tehran (subtitled "Urban Jealousy"), curated and organised by Amirali Ghasemi & Serhat Koksal, chose Istanbul as its first station, then came to Berlin in November 2008. As well as Gallery Wallywoods (exhibition opening: 22.11.08) the Berlin venues included Bethanien, Ich Orya, General Public and the club West Germany. The idea behind this independent, low-budget traveling show sprang from the international 'biennialization' and 'gentrification' processes. It featured works by artists from countries all around the world, selected from an open submission call which enjoyed overwhelming response. The atmosphere of cooperation and professionalism between the dozens of artists and performers was remarkable. Much was improvised - and all the better for it - and lasting friendships were made. Mainstream media coverage of the Berlin chapter was typically negligible, as 'low budget' rarely hits headlines, especially whilst taking place at 'underground' locations.<br> <a href="http://www.facebook.com/album.php?aid=73080&id=551302577&l=34508c010a" target="_blank">Photos 1</a> / <a href="http://www.facebook.com/album.php?aid=75161&id=551302577&l=c074443729" target="_blank">Photos 2</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0975')" class="button" href="javascript:void(0)"><p class="gold"><b>Wallywoods Compilation CDs</b></p></a> <div id="para0975" style="display:none"><p class="info"><br><br><center><img src="drop down images/wallywoods-compilation-cd-1.jpg">&nbsp;<img src="drop down images/wallywoods-compilation-cd-2.jpg"></center></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0978')" class="button" href="javascript:void(0)"><p class="white"><b>Wallywoods Film Archive</b></p></a> <div id="para0978" style="display:none"><p class="info">Gallery Wallywoods (re-named "Paradox Berlin" in Jan 2010) film archives:&nbsp;&nbsp;<a href="film archive.htm" target="_blank">2005 - 2008</a> / <a href="film archive2.htm" target="_blank">Jan 2009 - April 2009</a> / <a href="film archive1.htm" target="_blank">May 2009 - Nov 2010</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0980')" class="button" href="javascript:void(0)"><p class="pink"><b>Wank Bank</b></p></a> <div id="para0980" style="display:none"><p class="info">Alternative finance system for artists, galleries, clubs etc. The unveiling took place on 1 November 2008 at the Wallywoods 4th anniversary celebration. A worthy incentive to help local economy in hard-hit times, but didn't quite catch on. A little too off the wall, perhaps. Awaits resurrection never-the-less. <a href="http://www.facebook.com/album.php?aid=67895&id=551302577&l=aedd645f80" target="_blank">Photos</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0981')" class="button" href="javascript:void(0)"><p class="red"><b>War</b></p></a> <div id="para0981" style="display:none"><p class="info">Or rather, how to outlaw it. Room for development...</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0982')" class="button" href="javascript:void(0)"><p class="pink"><b>Waterloo</b></p></a> <div id="para0982" style="display:none"><p class="info">Alternative Berlin art club of Wallywoodsian relation / "Berlin's face-house. On the water. In a former loo." / <a href="http://www.facebook.com/album.php?aid=223947&id=551302577#!/waterlooufer" target="_blank">Facebook</a><br><center><img src="drop down images/waterloo berlin.jpg" width="774"></center></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0984')" class="button" href="javascript:void(0)"><p class="white"><b>Website History</b></p></a> <div id="para0984" style="display:none"><p class="info">I have just rediscovered this text suggesting wallywoods.com (re-named paradoxberlin.com in 2010) was officially released on 1 November 2001. Something of a coincidence, as the first Gallery Wallywoods which was later to completely take over the website, opened on 1 November 2004. Most pleasing, as I do enjoy round dates. This also means we are headed for a 10 years online anniversary... P.P. April 2011<br><br> "In the early days of Wallywoods.com, I thought it a fabulous idea to exhibit the website (i.e. my computer) as if it were a lump of art in a little Prenzlauerberg gallery called, roughly translated: THE WORLD'S END EXPERIMENT LABORATORY. The computer I set on an altar within an amphitheatre of chairs, but the walls seemed too bare, so I decided to hang (the above) painting, as it was already featured on this page on the site. It went up nicely on a pink wall behind the piano next to the kitchen. The other walls then seemed very dull and were soon covered with old BIG CHAIR sketches, including one I had fleshed out mosaic-style with colourful Hitler-head postage stamps (I wonder what became of it? If you know it, and know what happened to it, please let me know!). When the guests arrived the LABORATORY's atmosphere was one of mild curiosity tipping into utter bewilderment. The exhibition was called PORTRAIT OF A WEBSITE. The following text was designed to accompany and enlighten. Only in English, it was distributed among a small but desirable German public desperate to get served at the tiny little bar:<br><br> End of Summer, 2001<br><br> Ceased painting again in further endeavours to broaden horizons and earn a few bucks. Task this time: to replace the maze-like and problematic paintings website (paul-woods.com) with an up-to-date, easy to access projects website. Courted by convenient, non-sensual but somehow sexy allure of modern household computer imaging. Bought a computer. Ultimately arrested by this pretty new secretary/mistress, this time of my own construction: 'wallywoods.com'.<br> - Her loyal, sanitary categorisation of so many unsorted piles of past enterprises.<br> - Her hints at financial improvement (!)<br> So, no new works to show off at the 'World's End' exhibition, November 2001. Decided instead to hang one painting for cross-examination (acrylic on canvas, 1.2 x 2.4m)..." (<a href="the serb.htm" target="_blank">original page</a>)<br><br> Some previous title pages (use explorer): <a href="index old2.htm" target="_blank">1</a> / <a href="indexold.htm" target="_blank">2</a> / <a href="index old.htm" target="_blank">3</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0986')" class="button" href="javascript:void(0)"><p class="white"><b>Website Future</b></p></a> <div id="para0986" style="display:none"><p class="info">There's a bug in this HTML page programming that is driving me nutty. In some browsers the first link "Introduction.." doesn't work like the others, especially after refreshing the page. All tips welcome! Apart from that, I want to broadcast live video streaming of some events around Europe; and am considering an interactive "comments" facility, like Facebook or whatever (in which case the comments, unlike at Facebook, will remain relevant to their topics). But first I need A LOT MORE CLICKS... (Input welcome, especially from programmers!)</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0988')" class="button" href="javascript:void(0)"><p class="red"><b>die Weissenseer Putzfrauen</b></p></a> <div id="para0988" style="display:none"><p class="info">Info folgt... Oder schreiben SIE etwas drüber. Besser noch; unternehme 'wat. Das Projekt ist noch realisierbar. Es handelt sich (u.a.) um Weissensees kaputten Kulturhaus. Die Fenster sind schmutzig...</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0989')" class="button" href="javascript:void(0)"><p class="pink"><b>Who's Jack?</b></p></a> <div id="para0989" style="display:none"><p class="info">A possible book, documentary or mockumentary. Anecdotes and opinions collected to celebrate one of the most intriguing people Wally ever met. First thought for a title was "Where's Jack?" since he vanished, as apparently he sometimes does. He lived at Wallywoods in the culture center for a couple of years as Wally's right-hand man, with no interest in an external occupation, zero income or benefits, and no history previous to his disputed term at the Art Pub, where we all met him. At occasional literary events he read his native German extremely well. Give him a text, no matter what it was or whether he understood it a jot, and he breathed cultivated life into it. He was a versatile musician, self-taught, experimental, minutely focused; as was his sketching and building of endless quirkey novelties assembled from rubbish. All the while he lived off gallery tit-bits, eating like a small child or a monk - indeed there was something of the Buddhist in him - smoking buts left in ashtrays, collecting matchsticks, wrappers, left-overs; and pinching bits and pieces from visitors. Towards the end, as much as he liked him (some hated him, others loved him) Wally insisted he finally leave, which he quietly did; to drop off the planet, never seen again in those circles. Glimpses of him in Mauer Park filtered back, whilst anecdotes and opinions kept his ghost alive. It turned out he wasn't even gay. Jack wasn't his real name (as we all suspected but gave up asking: he NEVER talked about himself in ANY regard) and no-one knew his surname until Thomas Heger secretly discovered it during Jack's weirdest period at the Art Pub, which he claimed for a while as his own. In the extensive and eery culture center rooms, Wally was grateful for the companionship as much as the twenty-four hour assistance. He never complained. Sound man, repair man, host in Wally's absence, jam session standard, key holder, ever-willing runner, Wally and Cecile referred to him as their butler - and a perfect butler he was. Accepting minor perversions and a dangerous tendency to abuse too much responsibility. On consideration, he seemed on some level grateful for the removal of it. As if he didn't even trust himself. Wally's biggest dilemma was not whether to trust him, but <i>how far</i> to trust him. After all, this charming, ageless, sexless fellow with no past could have been anybody, capable of anything. <i>Where</i> he is now is not the relevant question. The uniquely creative urban survivor, he certainly found himself a new nest, moving on to other nests, lining them with decorative necessities like a strange bird; new friends, new mentors... who would sooner or later ask themselves, "who on earth <i>IS</i> Jack?"</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0990')" class="button" href="javascript:void(0)"><p class="white"><b>Wikipedia</b></p></a> <div id="para0990" style="display:none"><p class="info">Paradox World Projects and/or Paradox Paul need an entry in Wikipedia. "I'm damned if I write it myself." P.P. April 2011.</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0992')" class="button" href="javascript:void(0)"><p class="darkgrey"><b>the World Changed Overnight</b></p></a> <div id="para0992" style="display:none"><p class="info">Hopelessly hopeful mini epic by P.P. (Berlin, 2010). This one IS finished:<br><br> The World Changed Overnight<br><br> The World changed overnight. From one day to the next all disputes were reconciled. All wars ceased, all prisons opened, corrupt businesses closed with the banks and settled their accounts, debts were payed or canceled, wealth was distributed into society and soil, and famines like other disasters were thence on attended to fully and immediately by the new global solidarity. Fighters returned to their families, criminals turned new leaves, officials removed their ties, governments removed most of themselves. God lost His relevance and religions dissolved. Every worker knew equality and freedom, colour of skins blurred into one, and all schools closed whilst parents and elders creatively taught and were listened to. Poverty was abolished, diseases were cured or brought into tolerance; and every single Human Being died  eventually  as peacefully as he or she now slept.<br><br> On the eve of the Night the World Changed, three of Mankind's inherent dilemmas were addressed and successfully overcome. Those three thorns-in-his-side ought here be taken into consideration - for nothing close to Utopia could have been salvaged from the collective dream without the removal of these fundamental, pre-eternal, unavoidable obstacles:<br><br> 1.<br><br> 2.<br><br> 3.<br></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0994')" class="button" href="javascript:void(0)"><p class="pink"><b>X-ray Machine</b></p></a> <div id="para0994" style="display:none"><p class="info">Would someone some day please donate to me personally an x-ray machine. Thank you in advance. P.P. March 2011.</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0996')" class="button" href="javascript:void(0)"><p class="pink"><b>YOU</b></p></a> <div id="para0996" style="display:none"><p class="info">You are cordially invited to participate positively in any of the hereby listed Paradox World Projects: <a href="mailto:wallywoods@gmx.net" target="_blank">Contact</a></p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0997')" class="button" href="javascript:void(0)"><p class="pink"><b>Zebra</b></p></a> <div id="para0997" style="display:none"><p class="info">Would someone some day please donate to me personally a zebra. Thank you in advance. P.P. March 2011.</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0998')" class="button" href="javascript:void(0)"><p class="red"><b>Zoos</b></p></a> <div id="para0998" style="display:none"><p class="info">I don't like zoos. I am considering the subject. Others do to. P.P. April 2011.</p></div> <P ALIGN=LEFT></P> <a onclick="return toggleMe('para0999')" class="button" href="javascript:void(0)"><p class="red"><b>Zwischennutzung Politik</b></p></a> <div id="para0999" style="display:none"><p class="info"><b><a href="Paradox Berlin Manifesto.htm" target="_blank">Manifesto</a></p></div> <div align=left><p class="sites"><br></b>http://<a href="http://www.paradoxberlin.com">www.paradoxberlin.com</a><br> http://<a href="http://www.facebook.com/pages/Paradox-Zurich-Projects/219533534742068" target="_blank">www.facebook.com/pages/Paradox-Zurich-Projects/219533534742068</a><br> http://<a href="http://www.saatchionline.com/wallywoods" target="_blank">www.saatchionline.com/wallywoods</a><br> http://<a href="http://twitter.com/#!/ParadoxPaul" target="_blank">twitter.com/#!/ParadoxPaul</a><br></p></div> <br><div align=right><font face="Verdana" color="C3C3C3" style="letter-spacing: 0; font-size: 8pt"></b>© copyright 2012 Paul Woods & Maya Malfatti Woods / wallywoods@gmx.net</font></div> </td> </tr> </table> </div> <br> <div align="center"> <!-- Start of StatCounter Code --> <script type="text/javascript" language="javascript"> <!-- usr="wallywoods"; //--> </script> <script type="text/javascript" language="javascript" src="http://www.statcounter.com/counter/counter.js"> </script> <noscript> <a href="http://www.statcounter.com" target="_top"><img src="http://www.statcounter.com/counter.php?usr=wallywoods&java=0" alt="StatCounter - Free Web Tracker and Counter" border="0"/></a> </noscript> <!-- End of StatCounter Code --> </div> </body> </html>