<?xml version="1.0" encoding="utf-8" standalone="yes"?><rss version="2.0" xmlns:atom="http://www.w3.org/2005/Atom"><channel><title>Cultural-Preservation-Bureau on Cassette Future Magazine</title><link>https://anarchygames.org/magazine/tags/cultural-preservation-bureau/</link><description>Recent content in Cultural-Preservation-Bureau on Cassette Future Magazine</description><generator>Hugo</generator><language>en-us</language><lastBuildDate>Wed, 01 Jul 2026 10:39:27 +0000</lastBuildDate><atom:link href="https://anarchygames.org/magazine/tags/cultural-preservation-bureau/index.xml" rel="self" type="application/rss+xml"/><item><title>The Burning Sculpture: 'Modification' or Destruction?</title><link>https://anarchygames.org/magazine/2026/07/the-burning-sculpture-modification-or-destruction/</link><pubDate>Wed, 01 Jul 2026 10:39:27 +0000</pubDate><guid>https://anarchygames.org/magazine/2026/07/the-burning-sculpture-modification-or-destruction/</guid><description>&lt;h1 id="the-burning-sculpture-modification-or-destruction"&gt;The Burning Sculpture: &amp;lsquo;Modification&amp;rsquo; or Destruction?&lt;/h1&gt;
&lt;p&gt;&lt;strong&gt;Mara Voss spent eleven years on a single piece.&lt;/strong&gt; Eleven years. Kepler Belt, no gravity assistance, working a vein of raw asteroid iron that she located herself, filed no permits for, and hauled back to her studio at Ceres Outpost 7 in a rented cargo skiff with a busted stabilizer.&lt;/p&gt;
&lt;p&gt;The result — &lt;em&gt;The Unbroken Line&lt;/em&gt; — was, by every account from every independent critic who actually made the trip out to see it, something extraordinary. Fourteen meters of raw ferrous sculpture, torqued and tensed like a living thing mid-scream, every weld line left exposed, every stress fracture incorporated into the form rather than hidden. The piece was &lt;em&gt;about&lt;/em&gt; the marks the work leaves behind. The violence of making was the art.&lt;/p&gt;</description></item></channel></rss>