ERRATA NEW 2_2006

The following errors appear in the printed version of NEW 2_2006. The editor apologizes to the authors for allowing these mistake to pass through the publication process. A list of these corrections will be published in NEW 3_2007.

Front Cover / Back Cover / The purpose of NEW, p. 3

The last name David Huerta is spelled incorrectly in these three locations: 

Front Cover: Huerta: español --> english

Back Cover: David Huerta (English translation: John Oliver Simon)  

Page 3, 3rd column: The poems of David Huerta are selected and translated by John Oliver Simon.

Invention and art will win, Introduction, p. 6

These citations were omitted from the Introduction:

The letters from Franco Beltrametti to Philip Whalen are from the Philip Whalen Papers, BANC MSS 2003/93 p, Box 16, The Bancroft Library, University of California, Berkeley.

The letter from Philip Whalen to Franco Beltrametti are found in the Franco Beltrametti Archives.

Drawings by Franco Beltrametti that appear as marginalia in these letters, reproduced on p. 15 and p. 18 in this issue, have been redrawn from copies of the original letters. The Carta della Regione del Ginkiakuki drawing on p. 21 is reproduced from a scan of the original work.

A selection of drawings by Philip Whalen included as marginalia in his letters which appear on pp. 7, 8, 9, and 19 in this issue, have been selected and redrawn from photographs of the original letters.  

de PAS A VERACRUZ, Un Journal, p. 29

COMPTE-RENDU, line 1 should read:

Trente-et-un jours dans le mois

Leafless Trees, p. 132

An earlier version of Piotr Kaczmarek's introduction was published in error, the text should read as follows:

Just to show you what I am currently working on, I attached a few samples of photographic collages. Though I am using a digital camera, I am not manipulating the photographs beyond what would be possible applying standard darkroom techniques. The physical structure of the collage also reflects the source material: one photo - one piece of paper. I chose the leafless trees as a subject because I was interested in a clear visual representation of a complex structure; starting from the high level of defined spaces between tree canopies, then the obvious organization of branches, and patterns of twigs. I like the drawing-like line qualities of the subject. What the collages are after is to reveal the fractal nature of these organic shapes. The overlaid sequence of images smoothly zooms in from one level to the next and to the next taking advantage of the consistency of the system repeating similar patterns at different levels. To achieve the effect of the viewer being drawn into a set of distinct spaces, I have to start with sizeable pieces allowing the deepest, smallest, layer of the buildup to be big enough to show recognizable detail.