copyright notice and credits
Copyright © Peter Jerrim 2023
The moral right of the author has been asserted.
Except for content detailed or attributed below, this website is copyright Peter Jerrim. Apart from any fair dealing for the purposes of study and research, criticism, review, or as otherwise permitted under the Copyright Act (Australia), no part may be reproduced in any manner without first gaining permission from the author.
Except for clearly identified quotes or references, all the words on this website are written by Peter. He has created all the images (including images of words) mostly from his own photos but he has also incorporated and mashed works by other people.
Thank you, amazing artists, for creating your work and putting it out in the world. Peter’s photos, along with your visual works, form the raw material from which the images in this site are created. Peter hopes your work is honoured here.
Acknowledgements and attributions for quotations and other text content
- BLUE DOG Australian Poetry Vol 4 No 8 November 2005 for the first publication of ‘adept at it’ and ‘well look who’s here’
- Frances Crick for the phrase ‘every accident is frozen’ in ‘on the origin of’ which is expanded from the original ‘frozen accident’ in Frances Crick ‘The Origin of the Genetic Code’ Journal of Molecular Biology Volume 38, Issue 3, 28 December 1968, Pages 367–379
- Alan Ginsburg for the title of ‘boxcars boxcars’ derived from the longer phrase ‘boxcars boxcars boxcars’ in Allen Ginsberg Howl, and other poems introduction by William Carlos Williams, City Lights Books, 1959
- Anne Kellas for her notes on ‘The Invisible Poem’ (2023) that prompted me to write ‘all of us, bees’.
- Olivier Messiaen for surtitles from ‘Vingt Regards sur l’Enfant-Jesus’ (after personal discussion with the composer in 1988) as in the sequence ‘kim’s game’
- John Milton for the setting from the first scene of his masque Comus (1634) which precedes the content of the poem ‘message in a bottle’
- The Mozzie vol. 12 no. 4 May 2004 for the first publication of ‘once was pink’
- Elias Owen for the title of the poem ‘on the origin of old stone crosses of the Vale of Clwyd’ derived from his Old Stone Crosses of the Vale of Clwyd and Neighbouring Parishes London, Bernard Quaritch 1886; also the last stanza of the poem is quoted entire from page 216
- Don Paterson for the phrase ‘warm box’ used as ‘warm dry box’ in ‘Antares 2’, being part of his analogy of the ‘flimsy conceit’ of a home in Don Paterson The Poem: Lyric, sign, metre Faber & Faber, 2018
- the unknown author of Reich Autumn for page 239 of their book being reproduced in its entirety in unrepentant Führer (This is the only page of the book I have seen. I saw it lying on vacant land in about 2010 and photographed it. I didn’t touch it, so I haven’t seen page 240.)
Special thanks for images to:
- Sue Anderson from The Wisdom of the Ring: ‘Diatom ring’ (probably Ornithocercus steinii) in dark chapel, graphite on paper (inverted), with thanks to the artist’s estate and held in the Fine Art Collection, University of Tasmania
- Elizabeth Barsham of Tasmanian Gothic art for the image component of two girls in a forest in the edge
- Alastair Bett for the bio photo of Peter Jerrim.
- Anthony Jennings for this detail of a photograph he took in India.
- Andrew Jerrim for a photograph of fungi edited and used as a background here.
- Danae Jerrim for a beautiful photograph.
- Larissa Jerrim for the image ‘So this is where you invent yourself,’.
- Maria Badasian for photographs of this young man here and here on Unsplash downloaded 23 August 2019.
- For original images from which the background was created for this poem, thanks to Antoine Rouleau who many years ago gave me permission to use his ‘egg face’ – also to Bjork (sampled from video clip – permission not requested).
- Jared Sluyter for the use of this image in several ways throughout the site, including the contact page.
- Annie Spratt for two photos downloaded from Unsplash on 23 September 2020. They’re blended and edited to make the image in quite quilt and its accompanying thumbnail here. Also a detail of another photo by Annie Spratt (downloaded 29 January 2021) is used as the floral component here.
- The unknown video and installation artist (sorry, I didn't record your name) whose work was displayed in the National Gallery of Victoria (I think) perhaps in the late nineties, from which I photographed a still reproduced in sharp. Please let me know who you are if you ever come across this.
- Wikimedia Commons for Landschaft mit Sturz des Ikarus (Landscape with the Fall of Icarus) by Pieter Brueghel the Elder – blistar2. GalleriX, Public Domain, edited directly here and in other more modified forms elsewhere.
- Wikimedia Commons for Titian’s ‘Mars, Venus and Amor’ edited and used as a background image for lighter than heir.
Works used in visual mashups are not specifically acknowledged or attributed if they are used so minutely or if they are so heavily modified that they are no long recognisable. In this case, parts of the original work are used more as raw material (like paint, found objects or collage content) than quoted with distinctive features.
To the best of Peter’s knowledge this website and its contents obey and conform to common practice and all relevant copyright laws and in particular he believes no moral rights are infringed.
Enough of the legalese.
If you see an image of an art work or anything else that originates with you – or a photo of yourself – and you want it acknowledged or removed, please contact Peter.
Further attributions and thanks
This website is based on a responsive template called ‘Slate’ by Pixelarity.
Many generic images and parts of them used in whole, in part or in mashups since 2020 are edited from images downloaded for free from Unsplash. A big thank you to these past and present contributing photographers for content created before 2023:
- Гоар Авдалян for the highly edited image of the young woman used here – and in one or two other places on the site.
- Matthew Henry for the edited image of the young woman used here
- Hisu Lee for the image of a man’s face edited and used in the centre here.
- Anastasia Maksimova for the image highly edited and used here.
- Johannes Plenio for the image highly edited and used here (the original was beautiful).
- Vladimir Tsokalo for the image highly edited and used here.
From 2023, if otherwise supplied, most other images on this site are mashed or edited images downloaded for free from Unsplash, Pexels, Wikimedia Commons and the like. A big thank you to the following contributing artists, photographers and videographers.
Because of the increasing complexity of this site and how it sometimes rapidly changes, it is no longer easy to indicate where the original resources have been placed in their edited or mashed forms. But if you’re a content creator and would like to see where your work has been used I will do the best I can to locate it for you. And I will acknowledge it on this page if you like. Thanks.
- Mohammad Alizade. This image was used.
- Ameen Fahmy. This image was used.
- Camila Quintero Franco. This image was used. Here it is in context.
- Miguel Gonzalez. This image was used. Here it is in context and also here.
- Anton Holzner (Tasmanian painter, b.1935) some tiny details of whose astonishing brushwork are reproduced or modified to form parts of a few highly mashed images, e.g. here
- Camilo Jimenez. This image was used.
- Tom Morbey. This image was used. Here it is in context.
- Kelly Sikkema. This image was used.
- Dynamic Wang. This image was used. And this one. Here they are, in context, at the bottom of the home page, blended together.
Attributions for content related to the Anthropocene emergency
- rain: mashed content from… transparent human: Camilo Jimenez (original image); Frances Malcomson The Memory Vessels 2022 (from a photograph of the base of one of the vessels, taken from the inside), translucent paper; total and mammal biomass: The Guardian: The biodiversity crisis in numbers – a visual guide (accessed 9 December 2022) Guardian graphic. Source: Yinon M Bar-On et al, 2018. The biomass distribution on Earth. (accessed 9 December 2022)
- walk my walk: lightly edited detail from Deep Surface by India Kenning as modified by visitors interacting with the work on or before 25 March 2023 at the Moonah Arts Centre, lutruwita/Tasmania.
- they come to pass: heavily edited details from Styx Lament (video on rescued timber) by artists Julia Adzuki, Patrick Dallard and Tomas Björkdal (all at Symbiolab) in collaboration with Amy Barrows, Tresa Briscoe-hough, Luke John Campbell, Pema Choo, Rodrigo Diaz-Icasuriaga, Lisa Flack, Warwick Lloyd Mauger ‘daynu’, Amalia Patourakis, Clare Pitt, Raku Pitt, Katrina Schlunke, Sara Wright, Sue Stack and Anna Wylie as photographed on 25 March 2023 at the Moonah Arts Centre, lutruwita/Tasmania. You can view the performance ritual Styx Lament here on Vimeo.
Attributions for highly mashed content where, in some cases, I have not been able to identify the creator
Thanks to the creators and copyright owners of these works which have been downloaded and edited (mashed) to the point where some elements remain recognisable but I have not sought permission because the elements have been significantly transmuted.
If you are the creator or copyright owner of one of these referenced works and wish to be specifically acknowledged – or if you want your content removed from this site – please contact me.
Some contents attributed to creators on this page might no longer be present in this site. I wish to acknowledge all contributions both past and present. Thank you again.