Over the weekend this wonderful poster-ad caught my eye.Several centuries back there was a rococo moment that produced paintings of plants still-lived into human figures. Funny that--with a slight touch of or cognizance of surrealism, I suppose--the full-on broad-stroke quasi-proletarianized figurative advertisement poster art of the American 1930s and 40s gave way occasionally to the kind of poster you see at right here. Tough-guy cooperative fruit growers represented by a happy yet slightly menacing leaf-man whose belly is a fabulously "full" orange. The mix of styles, genres and tones makes one smile and, well, want a try a sip of that fullness. But I would really like to know what these particular madmen were thinking.
"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'" 
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for 
