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	<id>https://daap.bannerrepeater.org/w/index.php?action=history&amp;feed=atom&amp;title=Description%3AQ1772</id>
	<title>Description:Q1772 - Revision history</title>
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	<updated>2026-05-03T21:26:39Z</updated>
	<subtitle>Revision history for this page on the wiki</subtitle>
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	<entry>
		<id>https://daap.bannerrepeater.org/w/index.php?title=Description:Q1772&amp;diff=11590&amp;oldid=prev</id>
		<title>Loz.ross at 11:45, 10 December 2020</title>
		<link rel="alternate" type="text/html" href="https://daap.bannerrepeater.org/w/index.php?title=Description:Q1772&amp;diff=11590&amp;oldid=prev"/>
		<updated>2020-12-10T11:45:27Z</updated>

		<summary type="html">&lt;p&gt;&lt;/p&gt;
&lt;table style=&quot;background-color: #fff; color: #202122;&quot; data-mw=&quot;interface&quot;&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 11:45, 10 December 2020&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l1&quot;&gt;Line 1:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 1:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&amp;quot;Booklet published to coincide with exhibition at Camberwell Space. &amp;quot;&amp;quot;The genre of nonsense raises philosophical problems from the first. There is a confrontation between meaning and non-meaning in the production of nonsense. The absurd is also born from this conflict. The absurd is of course not the ridiculous, and nonsense is not no sense.  &lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&amp;quot;Booklet published to coincide with exhibition at Camberwell Space. &amp;quot;&amp;quot;The genre of nonsense raises philosophical problems from the first. There is a confrontation between meaning and non-meaning in the production of nonsense. The absurd is also born from this conflict. The absurd is of course not the ridiculous, and nonsense is not no sense.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt; &lt;/del&gt;In An Absolut World True Taste Comes Naturally focuses specifically on intentional forms of nonsense within the visual arts—artists who mean not to mean. Tracing a tenuous vein from the aggressive poetics and ‘anti-sense’ of Dada to the dissolution and multiplication of meaning in contemporary works, this artist-curated show places an attention on nonsense as a strategy of obfuscation and interrogation of meaning.  &lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt; &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt; &lt;/del&gt;What do we consider nonsense today? To what ends is it used? Under what conditions is it recognizable? The artists in this show test our relationships to nonsense and meaning in different ways: some work in the phonetic snarl, some generate nonsense via the removal of context or rearrangement of syntax, some play in the continual unfolding and deferral of meaning. &amp;quot;&amp;quot;&amp;quot;&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;In An Absolut World True Taste Comes Naturally focuses specifically on intentional forms of nonsense within the visual arts—artists who mean not to mean. Tracing a tenuous vein from the aggressive poetics and ‘anti-sense’ of Dada to the dissolution and multiplication of meaning in contemporary works, this artist-curated show places an attention on nonsense as a strategy of obfuscation and interrogation of meaning.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt; &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;What do we consider nonsense today? To what ends is it used? Under what conditions is it recognizable? The artists in this show test our relationships to nonsense and meaning in different ways: some work in the phonetic snarl, some generate nonsense via the removal of context or rearrangement of syntax, some play in the continual unfolding and deferral of meaning. &amp;quot;&amp;quot;&amp;quot;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Loz.ross</name></author>
	</entry>
	<entry>
		<id>https://daap.bannerrepeater.org/w/index.php?title=Description:Q1772&amp;diff=8262&amp;oldid=prev</id>
		<title>Arielfinch: Created page with &quot;&quot;Booklet published to coincide with exhibition at Camberwell Space. &quot;&quot;The genre of nonsense raises philosophical problems from the first. There is a confrontation between mean...&quot;</title>
		<link rel="alternate" type="text/html" href="https://daap.bannerrepeater.org/w/index.php?title=Description:Q1772&amp;diff=8262&amp;oldid=prev"/>
		<updated>2020-09-25T22:08:14Z</updated>

		<summary type="html">&lt;p&gt;Created page with &amp;quot;&amp;quot;Booklet published to coincide with exhibition at Camberwell Space. &amp;quot;&amp;quot;The genre of nonsense raises philosophical problems from the first. There is a confrontation between mean...&amp;quot;&lt;/p&gt;
&lt;p&gt;&lt;b&gt;New page&lt;/b&gt;&lt;/p&gt;&lt;div&gt;&amp;quot;Booklet published to coincide with exhibition at Camberwell Space. &amp;quot;&amp;quot;The genre of nonsense raises philosophical problems from the first. There is a confrontation between meaning and non-meaning in the production of nonsense. The absurd is also born from this conflict. The absurd is of course not the ridiculous, and nonsense is not no sense. &lt;br /&gt;
 In An Absolut World True Taste Comes Naturally focuses specifically on intentional forms of nonsense within the visual arts—artists who mean not to mean. Tracing a tenuous vein from the aggressive poetics and ‘anti-sense’ of Dada to the dissolution and multiplication of meaning in contemporary works, this artist-curated show places an attention on nonsense as a strategy of obfuscation and interrogation of meaning. &lt;br /&gt;
 What do we consider nonsense today? To what ends is it used? Under what conditions is it recognizable? The artists in this show test our relationships to nonsense and meaning in different ways: some work in the phonetic snarl, some generate nonsense via the removal of context or rearrangement of syntax, some play in the continual unfolding and deferral of meaning. &amp;quot;&amp;quot;&amp;quot;&lt;/div&gt;</summary>
		<author><name>Arielfinch</name></author>
	</entry>
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