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October 21, 1979 - Image 14

Resource type:
Text
Publication:
The Michigan Daily, 1979-10-21
Note:
This is a tabloid page

Disclaimer: Computer generated plain text may have errors. Read more about this.

Page 2-Sunday, October 21, 1979-The Michigan Daily-,

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The Michigan Daily-Sunday, C
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A CR OS TIC PUZZLE

16 17 T 19 19 E 20 L ?1 X 22
1 43 44 45 B 46 47 S 4R 49
69 7n 71 72 73
r 94 E 95 .9 96 G 97 N 98 U 99 X Im

23 L 24
5fl

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D 124 D 125 R 1 6 41?7u 1P8 T129
G 152 Y 153 154B155A156 C15
A 199 D 190 18 1 192C 193
U 205 Y2060 207 0«208 J X19 210 S 211
B 212 Nx33 x 234

BY
STEPHEN J.
POZSGAI
Copyright 1977
INSTRUCTIONS
Guess the words defined at the
left and write them in over
their numbered dashes. Then,
transfer each letter to the cor-
responding numbered square
in the grid above. The letters
printed in the upper-right-hand
corners of the squares indi-
cate from what clue-word a
particular square's letter
comes from. The grid, when
filled in, should read as a
quotation from a published.
work. The darkened squares
are the spaces between words.
Some words may carry over
to the next line. Meanwhile,
the first letter of each guessed
word at the left, reading down,
forms an acrostic, giving the.
author's name ano the title of
the work from whi h the quote
is extracted. As words and
phrases begin to form in the
grid, you can work back and
forth from clues to grid until
the puzzle is complete.

EE-YOO-TEE-FULL this Uni-
versity is not. I mean, we have
our fair share of courtssculpturesgar-
densbuildingsparks, many with dicey
claims of being receptive to the people
of the University. The problem is, they
don't all work t6gether. Yeah, variety is
great. One can walk along almost any
University block and see something one
likes - say, the facade of a particular
building, or the spray of a certain foun-
tain. But apart from just the bad stuff
one has to wade through, nothing in-
teracts with its surroundings. In Ann
Arbor, it's every work of art for itself,
so we lose out.
It comes down to the aesthetic of the
supermarket vs. the aesthetic of the
rigid planner, I suppose, and with a
community unified only by its lack of
coimon roots, perhaps it is safe to toss
everything out like a handful of pick-up
sticks. And sure, we would be risking
something like the fascistic nature of
the Michigan State University grounds
if we had single-minded planners trying
hard to make so much of the campus
look like so much of the rest of it.
Still, I can't help but think that we'd
be a hell of a lot better off if some big
brains got together, looked around a
bit, and explored different approaches
before they simply plopped an ominous,
troubling building like the graduate
library annex next to a piece of dated
schtick like the "UGLI, all within
whistling distance of such wonderful
buildings as Tappan Hall and the
president's home. -
The question is, how can we improve
our aesthetic environment while
avoiding the uniformity of a Michigan
State-style campus and eliminating
sporadic eyesores like the U.GLI? As
far as I can tell, the answer is to do
things on a gargantuan scale. I mean,
in the same way that only the largest
and fittest of dinosaurs could cut
through the swampy vastness of your
basic pre-Cambrian forest primeval, so
today do we need n'ew dinosaurs to poke
their heads above the common dullness
and sickness; so do we need behemoths
able to level with brute force all that is
mundane and useless.
In order to wipe out the meager-
notably concepts of "subject matter" -
modern art time and time again has
striven for the monumental and
significant (though campus buildings
such as South Quad are large in their
mindless, sprawling way, that's all they
are). Beginning with impressionism,
painting commenced an organized
trend toward larger and larger can-
vases. Monumental sculpture began
gulping space in gigantic bites. And
now, in order to expand its potential to
express, art has reached deeper into
our own lives. Mixed-media events,
Happenings, and movies all have
become creative behemoths.
And thus it must be for us. If we can't
win by getting the right people to clear
out the mind-numbing eclectic
cityscape, we can create new projects,
new works of art which -will have the
appearance of devastating the old.
What we need are new dinosaurs
stalking downtown. Brontosaurs
thrashing all with their tails on State
St.; Tyrannosaurus Rex-es tearing hell
R.J. Smith is co-editor of the
Daily's art phage.

I

out of South Quad. If we can't coerce
the powers that be to cease their
proliferation of petty ideas, we shall in-
stall a few grandiose works which will
expose the common cheapness.
Now, the most dangerous trend of any
revolutionary movement may well be
the tendency of the masses to believe
anyone who talks loudly enough. So --
Whis' liiisaving doesn't mean
an v'thing. Okay? Got it? What follows

B Smith

Today we revel everywhere in that
mystery of the shrouded. Ours' is the
era of objects within boxes, bags,
crates, and cartons, things hidden
behind the facade of signs and wrap-
pers. Our homes and our buildings are
packages, as are our automobiles. On
campus, we have the Board of Regents,
a governing unit supremely represen-
ting the elusiveness of packaging.
Their very building is a nebulous

m

polyuretha
weight whit
As the Red
their very r
ficult puzzl
create a fem
wrapping ti
thus multip
dizzying d
facades no
pearance of
It is hoped
wrap even
buildings c
blocks. The
University g

R 214

;a? ' 3'.

z31

A. American food examble of Clue J
(2 words)
B. Student of mankind
C. Classic Japanese multiple
truth movie
D. View that ethical truths depend on
the individuals or groups
holding them
E. Historical answer to population
pressures
F. Close: seporate from
(2 words)
G. Aztecs' solution to animal protein
deficiency in their diet
H. Proclamations: edicts
1. Mottoes: inscriptions
J. Banned on grounds of morality
or taste

2 45 218 63 73 156 179 193 144

51 10 46 112 118 147 204 155 186 213 96 232
66 220
27 215 16 47 53 157 173 183
49 9 140 180 111 160 28 177 125 228
6 20 76 145 39 89 95 154 165 188 197
12 192 137 151 184 15 212
17 71 56 97 122 207 174 202 152 164 231
4 182 224 25 41 150
79 34 189 123 223 110 30
1 219 209 57 101

N. Poor; sluggish: dull
0. Counterpoise: small candle
(Comp)
P. Monastery: convent
Q. Having normal visual acuity
(Comp)
R. Question (Var.)
S. Denies: renounces
T. Concept that explains altruism in
termsof its effect on genetically
related social partners
(2 words)
U. Yielded: fur'nished
V. Destroyed by the Great Fire
of 1666
W. Imperceptibly: unconsciously
X. Separated: eliminated
Y. Technology and the practices
employed for expanding or
limiting basic subsistence
(3 words)

85 98 229 35 187 233
130 208 55 26 185 38 86 146 226 194
104 33 64 82 52
31 50 11 43 74 91 102 58 120 143 181 203
3 148 7 199 162 214 126
103 48 159 67 61 211 131
18 5 87 121 78 94 116 178 129 133 149 161
166 170 106 196
138 54 124 222 205 42 113 99
90 75 109 40 117 230
59 70 81 93 105 127 88 119 225 141
13 22 198 135 29 72 100 108 168 190 234
134 14 23 19 32 37 84 115 132 169 158 153
172 195 206 216

Daily Pho
'Wrapped Regents'

Answer to last week's puzzle-
Never more than at a
time of extreme social crisis
does the atmosphere
become a determining fac-
tor in the way people
respond to events. For,
hiowever intangible, it is
never abstract o"r distant. It
is what people feel and...
lavc the ground for their ac-
tions.
Ronald Fraser,
Blood of Spain

are ny% ideas about how I would rid the
city of what plagues mn. (Okay? Got
it??) If you dig what I'm saying, fine; if
you have different problems, then you
have different problems - look
somewhere else! What follows, then, is
a trilogy of projects I would like to see
in Ann Arbor. In various ways, they all
involve "bigness," and, it is hoped,
would begin to put an axe to all the
useless brush surrounding us.
"Gustavus Adolphus Skeejanx re-
mained limber in. the sanctum
of his shrouds, cut off, certainly,
but happy. Within the Europium en-
velope, bound by the cords of
plasticene, locked by bolts of Karyotid,
his heart beat. He smiled. They had him
prisoner, they had trashed his craft.
But he was also in a weird way secure,
and strangely, he thought he felt ec-
statically . . . obscure." So wrote
Labrador Samaras in his science fiction
masterwork White Barnacles from a
Pink Sperm Whale. The key to my first
project is precisely that exhilaration of
confinerpent, but more importantly the
joy of disguisement, vagueness.

conundrum - "the Administration
Building," where the power is, we all
presume. But what the hell goes on in
there? And the building is exquisitely
packaged as if it were some high art
soap box, in that ' late-Mondrian
geometry. As for the Regents them-
selves, the questions never end. Who do
they listen to? Why don't they pay at-
tention to students? What could they do,
to us?
The Hungarian-born American artist
Christo provides the grand paradigm
for my first project, "Wrapped Regen-
ts." Christo wraps, with a variety of
cloths, platics, papers, etc., objects
ranging from bottles to ocean beaches.
Like his entpa(w-tages. "Regents" in-
volves real objects wrapped simply, in
this case in two ways.
First, I propose the Board of Regents
to be covered individually head-to-toe
in the sort of soft cloth in which many of
Christo's smaller objects are wrapped.
They would be comfortably constrained
with hemp rope. The second portion of
"Wrapped Regents" is perhaps more
ambitious :-I, would coyer the entire,
Administration Building in translucent

shrouded' U
when, as H
short story '
the Edge of
wrapped An
follows: "F
never night.
antiseptic
autoclave. I
that even t
heart and r
notice. The c
footfalls eci
was a city sA
nal in conce
formed an
exaltation .
2 PR(
m~st C
the tr
above the ci
the project'
is an object
the work of p
Essentiall
would invol
large numbe
e

K. Condition of residing with the fomily -
or tribe of one's wife 8 83 44 171 62

139 69 107 142 201 221 191

217

IL. Repeated: copied

L

M. Reciprocating:substitute

77 24 114 175 167 68 227 21 163 92
65 210 128 36 176 60 200 136 80

OIL-

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