Chapter 2 - Architecture set dressing

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PICKED - CANON the modern school-uniform clothing, footwear, utility poles, power lines, plastic vessels and metal-roofed concrete houses are all gone - barefoot children in wrapped hand-spun cloth carry fodder and gourd and bamboo vessels past ijuk-thatch cones on volcanic-stone rings

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PICKED - CANON both defects the line separates answer at once - the djembe and its seated watching audience are gone, replaced by a row of hanging bronze gongs on a lashed bamboo frame played by villagers at work in the yard, so the staging is labour and not performance - and the roofs are ijuk thatch ridged with

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PICKED - AUTHENTICITY the only cloth that is pure feathered resist banding with no claimed motif language, on ordinary unornamented children with nothing ritualized or endangered in the staging.

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PICKED - CANON at 4x the cord passes through the gong's own lugs and is knotted there in plaited plant fibre - the dark metal snap-hooks this row's line bars are gone. RESIDUAL NAMED FOR THE NEXT READER: two small brass-coloured binding rings sit where the suspension cords cross the bamboo beam, which is not where

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PICKED - CANON the legible Roman capitals and the garbled inscribed text are gone, and the monumental quarried-slab register with them - a small overworked cluster cut below the surface of wet cavern rock at a child's scale

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PICKED - CANON O3 is the only plate that reads shallow and unfinished: hairline striations barely breaking the surface, one arm feathering out and the lower-left terminal fraying to nothing; O1, O2 and O4 all cut a full-depth finished mark that duplicates the complete-valence row.

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PICKED - CANON the manufactured hardware is gone - the three marks are now rough hand-chipped incisions of uneven depth, length and spacing, each a fractured groove bitten into a raw weathered rock face, with no machine-cut slot and no ribbed screw-thread form anywhere, and they sit off the frame centre rather tha

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