▞▚▛ ▞▞▞▖ ▙▜▗▖▞▚▛ ▞▞▞▖
▗▞ ▖▗▞▚▗▚ ▜▞▗▘▖ ▚▗▙▜▗▗ ▖▜▞▛▚▗ ▖▙▘▟▜▛ ▝▜▘▞▝▖ ▘▟▚▟▞▛ ▜▝▞▞▘▙ ▝▞▝▞▜▜ ▘▙▞▘▟ ▞▝▜▛▟▛ ▖▛▚▝▝▚ ▛▖▛▟▘▙ ▛▘▖▞▚▛ ▞▞▞▖ ▙▜▗▖▖▞ ▖▖▝▞▗▚ ▟▙▟▜▝▙ ▙▙▗▜ ▞▞▞▖ ▞▞▞▖▛ ▘▞▞▙▚ ▛▟▞▙▟▗ ▟▜▝▗ ▞▞▞▖ ▞▞▞▖▝ ▞▛▞▜▚▚ ▜▘▜▝▚▛▖▞▚▛ ▞▞▞▖ ▙▜▗▖▖▞ ▖▖▖▖▞ ▖▖▖▞ ▖▖ ▖
▟▙ ▙▞▖▝ ▚▛▚▘ ▛▞▟▟ ▘▙▞▞ ▜▗▟▙ ▜▖▜▟▚▘ ▛▞▟▟ ▘▙▞▞ ▜▗▟▙ ▜▖▜▟
▘ ▛▞▟▟ ▘▙▞▘ ▛▞▟▟ ▘▙▞▘ ▛▞▟▟ ▘▙▞▟▟ ▘▙▞▘ ▛▞▟▟ ▘▙▞▘ ▛▞▟▟ ▘▙▞▟▟ ▘▙▞▘ ▛▞▟▟ ▘▙▞▘ ▛▞▟▟ ▘▙▞
right: a "4koma"-styled comic, set within ▖▞▟▜▚ a comedic and commercialized ▛▙▜ ▗▟▟▚ vision of ▙▜▟▟▚▗ ▛ commodity, commoditized attention.
...with more and more on the way?
features...
▞ ▚▝▞▘▛▛▞ ▜▘▞ ▚▝▞▞▛▛▞ ▜▘▞▛▛▛
exciting new ▚▝▞ ▞ ▚▝▞▘ classic entries
no more ▘▞ ▚▝▞▘▞ ▚▝▞ and a new ▞▞ ▛▛
▚▞▙▛▞ ▜▘▞▚▞▙▛▞▛▞ ▜▘▞▛▛▛▞ ▜▞▛▞ ▜▘▞▛▛▛▞ ▜▞ ▜▘▞▚▞▙▛▞ ▜▘▞
▚▞▙▘▞▛▛▛ ▞▛▛▛ ▙▜▚▝▚ ▞▛▜▖▗ ▝▞▛▞ ▜▘▞▛▛▛▞ ▜▘▞▛ ▚▞▙▛▞ ▜▘▞▛ ▚▞▙▜▝ ▚▟▘▜ ▛▜▖▗ ▝▞▛▞ ▜▘▞▛ ▚▞▙▘ ▙▜▚
▖▞▟▘▞▜▞▝▘▙ ▗▞▚▞ ▘▞▛ ▚▝▞▚▞▞▚▞▘▞ ▚▝▞ ▙▜▗▖
Companies fought each other at the butcher-lines. In bidding wars for odd arrangements of ▜▝▖ ▟▙▜▜ substrates, and a subsequent registration of the cross-sectional lymbactic fluids.
▘▘ ▚▙▙ ▚▙▙ screens and projections, a museum for ▘▘ ▚▘▘ with the sense of desperation, finality. The emptiness of spaces but ▚▚▘▘ ▚ both unfinished, and falling apart; loose building materials and unfinished walls, but old wallpaper and wood floors, old trash, graffiti that is more like children's scribbles and lines.
