Concerning the works of Room 13: Osseous,

All artwork and words are original to
Hannah Carpenter Pitkin unless noted otherwise.


in a room,
he drinks gin
on the rocks
like me
but no,
it's bourbon.


a robe to sleep in

a jacket for the road




evicted dens


I slice every blister.
Not one swells
Not one aches.

Odilon Redon: Cactus Man


smashing motherfucking pumpkins

First (1st) Boil

something i never knew as well as i knew today

the drawn lilies
gave me a potbelly

wealth in lilies.


karma's gonna get you

you like to play games, don't you

Orchids: The Wretched Things

Their flesh is too much like the flesh of men,
Their perfume has the rotten sweetness of corruption.

The Big Sleep 1946


there was an escape.

cellmate 1139
was very interested
in the shrunken heads
of the Shuar.


'The Essentials of Method,'

'The important thing is that thinking is the method of an educative experience. The essentials of method are therefore identical with the essentials of reflection. They are first that the pupil have a genuine situation of experience - that there be a continuous activity in which he is interested for its own sake; secondly that a genuine problem develop within this situation as a stimulus to thought; third that he possess the information and make the observations needed to deal with it; fourth that suggested solutions occur to him which he shall be responsible for developing in an orderly way; fifth that he have opportunity and occasion to test his ideas by application, to make their meaning clear and to discover for himself their validity."

John Dewey, Democracy and Education, 1916

Two Sisters [The Dreadful Wind And The Rain]

The Child Ballads No. 10 : The Twa Sisters



Inline image 1
Kiki Smith, Born

Inline image 2
film still from Antichrist, Lars Von Trier

8th St. Plasticity

'The new painting made me desirous of a sound world more direct, more immediate, more physical than anything that had existed heretofore, said Feldman about the musical ideas to which he was inspired by his first meeting with the new work of artists like Robert Rauschenberg, Mark Rothko, and Philip Guston around 1950. The utopian ideal not to "compose" but to project sounds into time led Feldman - even before Cage and Earle Brown - to experiment with graphic notation.'
- Peter Niklas Wilson, excerpt In Search of Plasticity of Sound

'Projection II for flute, trumpet, violin and cello - one of the first graph pieces - was my first experience with this new thought. My desire here was not to 'compose,' but to project sounds into time, free from a compositional rhetoric that had no place here. In order not to involve the performer (i.e. myself) in memory (relationships), and because the sounds no longer had an inherent symbolic shape, I allowed for indeterminacies in regard to the pitch.'
- Morton Feldman, excerpt Give My Regards To Eighth Street

Ed Pien

and she swung from the high,
toes sweat with blight
from the clay between them,
carrying the water
to the dirt outside
the empty bucket returns.


Dear Hannah,
Quit beating a dick about it.

With heaping piles of fussy love,
Dan & Sim


Dear Dan,

4-1 actually means you're losing. But your effort affords you slack.