File

A brief list of websites that discuss James Acord.

A 6-page transcript of an interview between James Acord and Diana Wilmer, recorded at the Starlight Hotel, 5300 Ballard Avenue NW, Seattle, WA, on 20 August 2002. This is from Tape 78 of *The Promise and the Peril*, starting at 05:00:30.
This concerns: (1) art and science as paths to truth and beauty; (2) the hope for a raised public interest and education in nuclear power and science; (3) art as a path to understanding; (4) the difference in art appreciation between the US and Europe; (5) on working with David Wark, nuclear physicist; (6) an obsession with making sculpture; (7) Acord's favorite artists and scientists; (8) on the "Venus of Wilendorf" [sic]; (9) on the "fourth reliquary"; (10) on his drawings of keys; (11) on neutrons and transmutation; (12) on death and remembrance; (13) on being considered a performance artist; (14) what he will bring to Oxford.

A 4-page transcript of interviews between James Acord and Diana Wilmar, recorded in the Starlight Hotel, 5300 Ballard Avenue NW, Seattle, WA, on 18 July 2002 and 20 August 2002. These are from Tape 77 of *The Promise and the Peril*.
These concern: (1) On "Monstrance for a Gray Horse"; (2) on reliquaries; (3) on the use of transmutation as a material in the "fourth reliquary"; (4) on Heisenberg's Uncertainty Theory; (5) the challenges of using the nuclear facilities at Imperial College, London; (6) the potential of doing transmutation work at a residency at Oxford and Appleton Labs; (7) the Atomica exhibition; (8) on travel; (9) on the pleasure of creating and the anxiety of being in public; (10) on art and science as "two parallel paths to truth and knowledge."

A 4-page transcript of an interview between James Acord, Diana Wilmar, and Tom Putnam, recorded at the Starlight Hotel, 5300 Ballard Avenue NW, Seattle, WA, on 18 July 2002. This is from Tape 76 of *The Promise and the Peril*, starting at 03:00:25.
This concerns: (1) a drawing Acord completed at Tom Putnam's studio; (2) on the "Venus of Wisendorf" [sic, Willendorf] and working out the design for the "fourth reliquary"; (3) on the use of lead in his sculptures; (4) on the "fourth reliquary" design and function; (5) a potential residency at Oxford University and the upcoming Atomica exhibition.

A 5-page transcript of an interview between James Acord and Diana Wilmer, recorded at the Starlight Hotel, 5300 Ballard Avenue NW, Seattle, WA, on 11 July 2002. This is on Tape 75 of *The Promise and the Peril*, at 3:00:51.
This contains: (1) Acord's desire to be a sculptor, and the challenge of learning science; (2) living in poverty and unable to fulfill his artistic dreams; (3) the difference in appreciation for his work in London versus Richland; (4) the demise of his father; (5) how Acord's art was benefitted by an understanding of science; (6) drawings; (7) his final days and experiences in Richland, WA.

A 7-page transcript of an interview between James Acord and Diana Wilmar, taken on 11 July 2002 at the Starlight Hotel, 5300 Ballard Avenue NW, Seattle, WA, from Tape 74 of *The Promise and the Peril*, at 2:00:30.
This interview covers: (1) Acord's project to "design long-lasting, non-language based radioactive warning markers for a contaminated site"; (2) transmutation, alchemical and physical; (3) the danger of making art; (4) the social challenge of working as an artist amongst scientists; (5) the breeder blanket assemblies Acord received from Germany; (6) leaving Richland after Acord's return from London; (7) on betrayal and feeling used by the nuclear community; (8) on depression.

A seven page transcript of an interview with James Acord, as recorded on Tape 73 of *The Promise and the Peril*, between 1:00:30 and 1:30:16. This was recorded on 11 July 2002 at the Starlight Hotel, 5300 Ballard Avenue NW, Seattle, WA. This discusses living at the Starlight Hotel, and also his time in Richland, WA.

This .doc file enumerates the unedited cassettes for the *The Promise and the Peril* documentary, including a coarse overview of content.

This described the organization of the digital collection, and, unlike the .odt variant, contains images. This also expresses Philip Harding's intention for this digital collection.

A verbal description of the organizational structure of the digital collection, and Philip Harding's statement on sharing the material.