It seems to me I am trying to tell you a dream—making a vain attempt, because no relation of a dream can convey the dream-sensation, that commingling of absurdity, surprise, and bewilderment in a tremor of struggling revolt, that notion of being captured by the incredible which is of the very essence of dreams…No, it is impossible; it is impossible to convey the life-sensation of any given epoch of one’s existence—that which makes its truth, its meaning—its subtle and penetrating essence. It is impossible. We live, as we dream-alone.
—  Joseph Conrad, Heart of Darkness

Commingled Human Skeletal Assemblages: Integrative Techniques in Determination
of the MNI/MNE-

Anna J. Osterholtz, Kathryn M. Baustian, Debra L. Martin, and Daniel T. Potts

Determining the MNI for the large number of commingled human remains from Tell Abraq in the UAE (ca. 2000 bc) required recording of both individual bones and bone features. This provided data on what elements were represented as well as those that were underrepresented. For example, the MNI for adults is 274 based on the right talus but 150 based on the distal left humerus. Variation in element representation can reveal cultural practices (secondary burial practices) and taphonomic variables (differential preservation). This method of analysis demonstrates the utility of using bone features when there are a large number of fragmentary remains.

Read it here:


New Music: What Kind of Man by Florence + the Machine

Today at 7:30pm GMT, Florence’s newest single premiered on Zane Lowe’s BBC Radio show, which was prefaced earlier this week with “How Big, How Blue, How Beautiful,” the album’s eponymous comeback short. “What Kind of Man” feature’s Florence’s departure from the choir hymns of Ceremonials and the return to the rock and roll influences of the band’s earlier days. Florence belts her vocals with a rough angry voice, while more brassy instruments commingle with the guitar riffs. We dig it.

How Big, How Blue, How Beautiful is set to release June 1st.

Translation is a symbiotic act. Between writer and translator, of course, but also between languages. In becoming its vessel, you carry over something of yourself but also something of the original language, because that is the way that language works. It is a communal heritage, but is also something entirely individual, entirely your own. And that is what gives it its transformative possibility: this inevitable commingling of self and other, of self and culture, of personal history and collective history. Language gives the individual the power and strength of the collective. And writing, speaking, telling stories—wielding language in narrative form—has the ability to transform the collective through the individual experience. To cross over from that which is felt, experienced, to that which is voiced—for the purpose of witness and being witnessed—is each and every time the declaration of a singular understanding of what it means to be alive in the world. This opens up new spaces, new imagined possibilities, and those, through language, become part of the collective heritage.

It is the best form of resistance I can imagine for a world scarred with forbidding, categorical borders. Between the self and other, between where you come from and where you end up, between the personal narrative and collective history, between genders and cultures and languages and countries and the similar calls for dignity and recognition contained in stories. The only way to make borders meaningless is to keep insisting on crossing them: like a refugee, without papers, without waiting to be given permission, without regard for what might be waiting on the other side. For when you cross a border, you are not only affirming its permeability, but also changing the landscape on both sides. You cross carrying what you can carry, you cross bearing your witness, you cross knowing that you are damageable, that you are mortal and finite, but that language is memory, and memory lives on.

People who try to make Meaningful Deep Morbid Points about how solitary the grave is sure do have a limited understanding of the breadth of human mortuary practices.

Support your local anthropologist: be buried with a friend.  Or twelve! 

Hell throw some domesticated animals and random leftover bits from last night’s dinner in there, too, that shit’s always fun.


Boxeo Clasico by Christaan Felber

“These are striking photographs that communicate, in the very stillness of their images, the commingled anticipation, apprehension, loneliness, and almost unbearable yearning that is the essence of boxing. Though the boxer works with others in a brightly lighted space, amid a general level of noise, he is really alone - he must face his opponent in the ring alone - and his is a curiously private and meditative art, as these phototgraphs by Christaan Felber so vividly remind us. Here is a portfolio of brilliantly realized "boxing pictures” - memorable faces that already hint at the battering to come; cryptic and heraldic tattoos that suggest the young boxer’s kinship with ancient, anonymous ancestors; the wrapped - (bandaged?) - hands and wrists of a young boxer, suggesting both the premeditated violence and the physical peril of the gladiatorial life; moody studies of isolation in cramped quarters that manage to convey the surreal beneath the banal - as if our great American classicist Edward Hopper had extended the range of his painterly subjects to a culture as resolutely non-Caucasion-middle-class as boxing. It’s significant that Christaan Felber has chosen not to photograph boxers in the ring, together - as if, in the intensity of preparation for this dangerous yet endlessly fascinating “sport,” the boxer is most himself, and most like us.“ -Joyce Carol Oates

But it on Amazon

Discussed in Episode 2.4


The passion of a baker: Green Tea Opera cake, layered with joconde biscuit, green tea buttercream and dark chocolate ganache [More Dessert]

When my mother was looking through these pictures on her computer, she lamented using a gold card cake-holder for the top picture, because it made her cake look thicker. “But don’t you want your cake to look like it has more layers?” I asked with all the innocence of someone who only eats cakes. And the baker of the cakes looked at me and said, “No, what differentiates my opera cakes from others’ is that my layers are painfully thin." 

Cutting through the flawless, delicatey thin chocolate, I do see the point of the effort put into making it this way. In one tiny bite, there’s a commingling of flavors where the fragrance of green tea is at the confluence of the softness of joconde biscuit and the bittersweet darkness of the chocolate glaze and ganache. Truly an opera cake to be marvelled at. 

Mini Plum & Pistachio Crostata with Lemon Verbena Whipped Cream.

I think of flavor as a 360-degree experience—obvious to those of you familiar with the K&C tagline (food for all five senses), but perhaps less obvious in tangible practice than in theory. What does it mean to feed all of our senses, to drench the palate and the nose and the eyes and the tactile and aural perceptors, too? (I JUST SAID PERCEPTORS. WHAT IS HAPPENING.)

Let’s start with the utterly tangible: This lush plum and pistachio crostata, laced with vanilla bean in the pastry and served with lemon verbena-infused whipped cream.

I’m not exactly a synesthete, but I feel synesthetically about preparing food: Let it be a wild celebration of the senses commingling, or let it be nothing.

Read more and get the recipe here!

A photograph of yours truly working on a mass grave of commingled human remains. Two mass graves were unearthed within Hargeisa, the capital city of Somaliland, during the fall of 2012 as the beginning of an ongoing effort by the Peruvian Forensic Anthropology Investigation Team (EPAF) to train international and local students in forensic anthropology methodology and develop localized teams within the community to support ongoing investigations. It’s thought that between 60,000 to 200,000 individuals were disappeared, displaced or murdered during the Somalia genocide. 

I was the teaching assistant and took a majority of the site photographs so it’s rare that I appear in any photos. This one in particular is a harrowing, yet clear, example of what communities across Somalia and Somaliland face on a day to day basis in knowing that loved ones are buried beneath their streets, beside their houses and eroding from the river banks.

Photo credit: zomganthro

More info on the program that is starting next week:

Every time…..our eager bodies… communion
another thin…..barrier…..unlocks it’s doors
beckons us…..enter
Hand in hand…..we dive…..headfirst
commingled…..we embrace…..each others unknown
With each…..beautifully curious…..thrust
we know…..with certain…..perception
that we…..can’t get any…..closer

Our eyes lock… deepest…..penetration
to light…..the darkest…..corners
of…..each others…..souls
We take…..hungry…..bites
of our…..disparate…..pasts
Insatiable, we feast…..on our resonant…..feeling
lapping up…..each new…..revelation
on our…..lifelong…
to get…..just a little bit…..closer

Every single…..molecule…..and nerve
screams… pulsing…..fascination
to know… more…..completely
We have… much… learn
There is…..not time…..enough
to take… all…
We embrace…..our future…..knowing
we will pull…..each other…..closer


Max Mundan, Closer

© David Rutter 2014

DISCO DONS :: DJ Harvey x Danny Tenaglia Interview

DANNY TENAGLIA and DJ HARVEY hold a special summit on their intertwined clubbing histories

Having surveyed the sea change of dance music since the ’70s, Danny Tenaglia and DJ Harvey hold a rare vantage point. Harvey was a key spinner during London’s acid-house surge before relocating to SoCal over a decade ago, fabled for his willingness to go in any musical direction. Tenaglia discovered dance-floor nirvana at the legendary Paradise Garage before exporting New York’s disco, deep house, and garage sounds to Miami. He later returned to NYC, where he found fame commingling those styles with harder, darker tribal and techno.

We spoke with them together about some of the places they’ve played in common—including Coachella.

Keep reading


Back in 2006, when I had fewer plastic bricks in my closet (and far more time on my hands), I did up a silly Lego parody of Lynn Flewelling’s Nightrunner series (which, at the time, was only three books). I posted it on the LJ Nightrunner Community, where Ms. Flewelling saw it and commented to say how much she enjoyed it (to my commingled horror and delight).

The pictures have been broken on the LJ post for years due to our site overhaul, so I thought for old time’s sake I’d slap the narration & dialog text on them and post them here. Sorry if it’s a little rough looking; it’s old, and the dialog was designed to go under the pictures, not on them. Also sorry if things in the series have changed drastically when I wasn’t looking, since I haven’t read any of the later books, being somewhat tied up in writing my own.

And if someone does a parody of those in Lego, the circle will be complete.

Best enjoyed with a mug of sangria.

arms entwined
legs wrapped
around backs
sweat mixing with
sweat, blood commingling
with blood
and saliva
and love
and loathing

for you
for me

obliterate my borders
in the kingdom of you

hit me, kiss me, hit me
slap my tear stained face
make me scream with
bitterness and bliss and rage

crack my skull
against your knee
snap my fingers
in your teeth

punch me




so that I can’t feel
the pain


Max Mundan, Black and Blue Mass

© David Rutter 2015

Purchase my book, “JUNKIES DIE ALONE” on Amazon or iTunes.


Headband with Heads of Gazelles and a Stag Between Stars or Flowers (Egypt, ca. 1648–1540 B.C.E.)

During the late twelfth and then the thirteenth dynasty, late in the Middle Kingdom, people from western Asia established themselves among the Egyptian inhabitants of the eastern Nile Delta, especially at a place later called Avaris (now Tell el-Dab'a). A multicultural mix was thus established that culminated during Dynasty 15 in the rule of a line of kings now known as the Hyksos (from the Egyptian phrase “rulers of foreign lands”) who resided at Avaris but dominated a good part of northern and middle Egypt, while the south remained under the indigenous Dynasty 17 of Thebes. The northern “Hyksos” culture combined Egyptian and Middle Bronze Age Levantine traditions. This diadem, with animal heads alternating with flowers, has Near Eastern affinities and is typical of the commingling of artistic styles.