Everybody's Knife Bible (3rd Edition) by Don Paul

By Don Paul

The number 1 outside knife-use booklet on this planet! formerly an outside existence ebook membership choice. Use your knife to degree woods heights (cliffs for rappelling) go a river, inform time and many extra! hundreds and hundreds of illustrations aid you make traps, creature comforts and open air instruments together with your knife. contact your knifepoint for your thumbnail for instant instructions.

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Additional resources for Everybody's Knife Bible (3rd Edition)

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Empire’: Skyscrapers, Surveillance, and Spectacle The ‘grim coincidence’ that supposedly marred Staehle’s exhibition linked Empire 24/7 and subsequent works not only to Warhol’s Empire of 1964 but also, if inadvertently, to Warhol’s disaster series, screen prints such as White Burning Car (1963) and Ambulance Disaster (1963). What this aberration makes evident is that Warhol’s silent films are the formal compliment of the disasters: the freeze-frame punctuality of the disaster-the tragic instant rendered over and over-becomes the absent, yet anticipated moment in the monotonous silent films.

When in the days after September 11 our gaze was transfixed by the images of the plane hitting one of the WTC towers, we were all forced to experience what the ‘compulsion to repeat’ and jouissance beyond the pleasure principle are: we wanted to see it again and again; the same shots were repeated ad nauseam, and the uncanny satisfaction we got from it was jouissance at its purest. It was when we watched the two WTC towers collapsing on the TV screen that it became possible to experience the falsity of ‘reality TV’ shows.

The roaming eye in Sleep becomes a watchful eye in Empire, providing a kind of surveillance image long before live video became the standard of the surveillance industry. Though, unlike contemporary surveillance images, Warhol’s Empire seems to occupy a kind of dream world, shrouded in its 16mm haziness. Empire 24/7, Wolfgang Staehle’s more recent ‘live’ version of the original film, situates the building in a kind of eternal present, in contrast with Warhol’s earlier version. Real time has an inextricable relationship with the present, rendering it as a kind of threshold.

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