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        <title>deviantART: by:GraigRussell</title>
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        <copyright>Copyright 2009, deviantART.com</copyright>

        <pubDate>Tue, 15 Dec 2009 22:38:22 PST</pubDate>        
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                <title>Song</title>
                <link>http://GraigRussell.deviantart.com/journal/23320216/</link>
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                <pubDate>Sat, 21 Feb 2009 08:35:14 PST</pubDate>
                
                <description><![CDATA[ Have a song: <a href="http://www.deviantart.com/users/outgoing?http://www.4shared.com/file/88799244/bc681f97/We_Wont_18-46-55.html#">[link]</a><br /><br /><br />Needs re-recording. Vocals are a little weak in places. <br />Also about the soppiest thing I've written, in terms of the music. But there we go.<br /><br /> ]]></description>
                <author>~GraigRussell</author>
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                <title>25 Things</title>
                <link>http://GraigRussell.deviantart.com/journal/22853904/</link>
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                <pubDate>Tue, 27 Jan 2009 21:43:05 PST</pubDate>
                
                <description><![CDATA[ This is actually a Facebook virus that's doing the rounds, but I had fun, so I thought I'd share. <br /><br />Copy pasta'd directly from FB:<br /><br />The rules are: write 25 things, tag 25 friends, you must tag the friend who tagged you.<br /><br />Like those inane questionnaires that come around, but a little more interesting, I hope.<br /><br />GO!<br /><br />1. Sexuality could be conceived of as a collection of actions and preferences (fetishised objects?) in a space. Each sexual identity maps lines between these spheres and systems. The more lines connecting two points, the more likely they are to be perceived as within each others proximity, for example, the act of vaginal sex and the preference for women. However, just aas two stars, from one vantage point appear close, but are in fact unimaginably distant, (and vice-versa, of course), so too can relationships between two sexual points seem obvious, where as, if we could step off our planet, so to speak, they would be exposed as shallow at best.<br /><br />2. The woman across the way from me roles the food around in her mouth in the most extraordinary way (writing in a coffee shop).<br /><br />3. I didn't realise how excellent it was to write with a mechanical pencil.<br /><br />4. Life is less enjoyable when you don't smoke.<br /><br />5. The preceding statement really does have very little to do with withdrawal.<br /><br />6. It is my opinion that we are and have been moving toward a culture that totemises the infantile. Regard changes in attitudes to children.<br /><br />7. Loneliness is much like being in a foreign city without enough money.<br /><br />8. The excretory faculty is taboo because of it's association with mortality. Anal sex, by extension, is akin to death. The 'dominant' partner dominates death. The 'submissive' partner consumes life. Both step into the jaws of death, and re-emerge unscathed.<br /><br />9. Jesus was, therefore, gay.<br /><br />10. The preceding 2 statements are artistic truths, not sociological or historical facts.<br /><br />11. Homophobia results from thanatophobia.<br /><br />12. The fifth basic taste, 'Umami', was discovered by a Japanese scientist.<br /><br />13. The Chinese character for peace is comprised of the characters for grain and mouth.<br /><br />14. Chinese language classes should be mandatory for world leaders.<br /><br />15. Knowing how to manipulate your balance is essential to good acting.<br /><br />16. Knowing how to manipulate your voice is essential to good acting.<br /><br />17. Your balance is a malleable ball you carry in your gut that you can and should take out and play with.<br /><br />18. Your voice is a beam that emanates from any number of points around your body.<br /><br />19. Estimating the height of saplings is much like racing tortoises in Greece.<br /><br />20. My voice is best a few hours after the peek of a hangover.<br /><br />21. Modernism began in Japan around 500-600 years ago.<br /><br />22. The boarder between process and product only exists in secondary environments.<br /><br />23. Primary environments are the direct conditions we inhabit, secondary enviroments are those we create.<br /><br />24. The boundary between primary and secondary environments is difficult to discern.<br /><br />25. Growth and development should not be mistaken for each other.<br /><br /> ]]></description>
                <author>~GraigRussell</author>
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                <title>Journal 1</title>
                <link>http://GraigRussell.deviantart.com/journal/22610292/</link>
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                <pubDate>Fri, 16 Jan 2009 08:16:58 PST</pubDate>
                
                <description><![CDATA[ Welcome to my first journal. Here's an extract from something I'm working on at the moment...<br /><br /><br />2: But there is one final line of inquiry.<br />1: Will it solve the problem?<br />2: ItÂll do more than that! <br />1: Honestly?<br />2: Just you wait! So letÂs take a trip back. LetÂs retrace our steps here. Our last point of presence was Rome. We got there from Mongolia, by horse, and before that, we were in Crete. With me so far?<br />1: I think so, yesÂ<br />3: WeÂll need a good rest after all that.<br />2: Well, there were non-sequiturs and such on the way Â weÂll be all right. Anyway, so here we are in Crete, with a horse and a philosopher, but why? For that, we need to step back out of our imagination, and into the immediate past.<br />3: Exciting stuff.<br />2: ThatÂs thinking for you! So, what on Earth brought us to Crete? No less than an Oak tree at Christmas.<br />1: I remember!<br />2: And what was it about this oak that excited us to such an epic undertaking?<br />1: ItÂs height!<br />2: Quite right man. (Aside) Good to see IÂm not wasting my time. And what had we decided about its height?<br />1: Doubles every 2 months.<br />2: Exactly. You have a profoundly impressive memory. And so, tell me this Â what was its height when it was a seed?<br />1: Probably a few centimetresÂ<br />2: And how about before it was seed?<br />1: ProbablyÂ I have no idea. What was it before it was a seed?<br />2: I see a flicker of what IÂm getting at in there. Keep goingÂ<br />1: I canÂt! Take me there!<br />2: What was it before it was a Âbefore-a-seedÂ, and before that, and before that?<br />1: I canÂtÂ<br />2: Nothing, man! <br />1: Surely not!<br />2: What else! And what is the height of nothing?<br />1: My lordÂ<br />2: Nothing! Nothing is the height of nothing! And what do you get by doubling nothing? Nothing! There is no sapling, no tree, nothing! <br />1: It was allÂ<br />2: Nothing, old man. It was all nothing. This is what comes of all your questions. We should have stopped at the beginning.<br />1: ButÂ Zorba! And what of precious Genghis?<br />2: Leave it, itÂs finished.<br />1: (Staring wildly at space) How terrifying.<br />2: Well, you did ask<br /><br /><br />Despite the fact that it might appear a little epic, it's actually a comedy.<br /><br />This is from section 2 - 'Confusion'. Still to be written are section 1 and 3 - 'Anxiety' and 'Depression', respectively. <br /><br />Sleep tight.<br /><br /> ]]></description>
                <author>~GraigRussell</author>
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