Nine Gross and Conspicuous Errors - Revision history

Dotclub: /* Physical releases */

2024-12-02T01:17:15Z

Physical releases

← Older revision		Revision as of 18:17, 1 December 2024
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	=== Physical releases ===		=== Physical releases ===
	* May 1976: Full page advertisement for sales and rentals in ''[[The Fox No. 3\|The Fox 3]]''		* May 1976: Full page advertisement for sales and rentals in ''[[The Fox No. 3\|The Fox 3]]''
	* October 1994: The Red Krayola sold a small amount of copies on their Japan tour<ref>https://web.archive.org/web/20011123021132/http://homepage1.nifty.com/mure/disco.htm</ref>		* October 1994: The Red Krayola sold a small amount of copies on their [[Shows/1994\|Japan tour]]<ref>https://web.archive.org/web/20011123021132/http://homepage1.nifty.com/mure/disco.htm</ref>
	* 2000: [[Circuit 9\|''Circuit 9'']] DVD magazine: two tracks		* 2000: [[Circuit 9\|''Circuit 9'']] DVD magazine: two tracks
	* 2010: Unreleased DVD		* 2010: Unreleased DVD

Dotclub: /* Screenings */

2023-10-31T20:25:10Z

Screenings

← Older revision		Revision as of 13:25, 31 October 2023
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	* First screened at the "(Provisional) Art & Language" exhibition at John Weber Gallery in New York on June 18 – July 14, 1976		* First screened at the "(Provisional) Art & Language" exhibition at John Weber Gallery in New York on June 18 – July 14, 1976
	* March 5, 1995: Chicago with "[[And Now for Something Completely Different\|~~Four Songs~~]]"<ref>https://chopintheatre.com/event.php?id=1602&pageId=archives</ref><ref>https://www.chicagotribune.com/news/ct-xpm-1995-03-03-9503030153-story.html</ref>		* March 5, 1995: Screened in Chicago with [[And Now for Something Completely Different\|''And Now for Something Completely Different'']]<ref>https://chopintheatre.com/event.php?id=1602&pageId=archives</ref><ref>https://www.chicagotribune.com/news/ct-xpm-1995-03-03-9503030153-story.html</ref>
	* September 17, 2004: Bookworks, London<ref>https://franklinfurnace.org/goings-on-9-21-2004/</ref>		* September 17, 2004: Bookworks, London<ref>https://franklinfurnace.org/goings-on-9-21-2004/</ref>
	* May 18, 2018: Galeria Sztuki Współczesnej w Opolu, Poland<ref>https://www.opole.pl/sites/default/files/field_pdf_version/2019-10/Opole-i-kropka-nr-05-2018.pdf#page=30</ref>		* May 18, 2018: Galeria Sztuki Współczesnej w Opolu, Poland<ref>https://www.opole.pl/sites/default/files/field_pdf_version/2019-10/Opole-i-kropka-nr-05-2018.pdf#page=30</ref>

Dotclub: /* Retrospectives */

2023-10-31T20:22:49Z

Retrospectives

← Older revision		Revision as of 13:22, 31 October 2023
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	== Retrospectives ==		== Retrospectives ==
	[[Mel Ramsden]], 2016<ref>https://www.youtube.com/watch?v=uPiuraeCfzM</ref><blockquote>When we made that so-called 'insane' video ''Nine Gross and Conspicuous Errors'', one of the reasons why that took place was that one of the tracks on ''[[Corrected Slogans]]'' was recorded at 112 Greene Street. And at 112 Greene Street — [[Kathryn Bigelow]] was the then-girlfriend of Jeffrey Lew — Kathryn Bigelow, who had also worked for Vito Acconci, knew how to get a video camera. And a video camera was something — 'wow, video camera, that's really cool!' And so we got that, and that was just made up on spot. There was no rehearsal or anything and it was deliberate take off on ''[[Corrected Slogans]]'' to have ''Nine Gross and Conspicuous Errors''. It's almost unwatchable. Its virtues are its extreme embarrassment — to me.</blockquote>[[Mel Ramsden]], 2019<ref>https://soundcloud.com/lissononair/lisson-on-air-art-language-and-the-red-krayola</ref><blockquote>The performative aspects — I know people keep bringing it up now — [[Art & Language]] and performance and drawing and performance. And I'd never thought of the performative aspect of it until we did ''Nine Gross and Conspicuous Errors,'' which was an absurd performance. [...]		[[Mayo Thompson]], 2023<ref>https://www.psychedelicbabymag.com/2023/10/red-krayola-interview-mayo-thompson.html</ref><blockquote>[...] By ’76 the UK/NY [<nowiki/>[[Art & Language]]] conflict was still on, and at an impasse. The UK was looking for a way to break the ice. The NY group were effectively in disarray—factions fighting over practically everything. Through scheming I shall skip over the nuances of here, around that time I got involved in NY too, and got to know [[Mel Ramsden]] and Ian Burn, whom I had met at parties before but never talked with. They were the core of A&L in New York—before it became A&L NY—party to the A&L conversation started in the late ‘60s. We started working together. Music played a role. We made the 9 Gross & Conspicuous Errors video with harangues by Mel, attacking self-image, language management, public-relations life—implicitly, others in A&L NY. Artists were thought the worst of all political allies. Factional conflicts intensified. Before long they came to a head [...]</blockquote>[[Mel Ramsden]], 2016<ref>https://www.youtube.com/watch?v=uPiuraeCfzM</ref><blockquote>When we made that so-called 'insane' video ''Nine Gross and Conspicuous Errors'', one of the reasons why that took place was that one of the tracks on ''[[Corrected Slogans]]'' was recorded at 112 Greene Street. And at 112 Greene Street — [[Kathryn Bigelow]] was the then-girlfriend of Jeffrey Lew — Kathryn Bigelow, who had also worked for Vito Acconci, knew how to get a video camera. And a video camera was something — 'wow, video camera, that's really cool!' And so we got that, and that was just made up on spot. There was no rehearsal or anything and it was deliberate take off on ''[[Corrected Slogans]]'' to have ''Nine Gross and Conspicuous Errors''. It's almost unwatchable. Its virtues are its extreme embarrassment — to me.</blockquote>[[Mel Ramsden]], 2019<ref>https://soundcloud.com/lissononair/lisson-on-air-art-language-and-the-red-krayola</ref><blockquote>The performative aspects — I know people keep bringing it up now — [[Art & Language]] and performance and drawing and performance. And I'd never thought of the performative aspect of it until we did ''Nine Gross and Conspicuous Errors,'' which was an absurd performance. [...]

	No, there was no rehearsal. There was just a bit of a conversation then invited a few people. But [[Mayo Thompson]] had done that already, years and years ago, because the Red Crayola used to have this thing [<nowiki/>[[The Familiar Ugly]]] which were some fans that used to follow them around and then they came up on the stage and disrupted the performance. But that's in the late 60s. [...]		No, there was no rehearsal. There was just a bit of a conversation then invited a few people. But [[Mayo Thompson]] had done that already, years and years ago, because the Red Crayola used to have this thing [<nowiki/>[[The Familiar Ugly]]] which were some fans that used to follow them around and then they came up on the stage and disrupted the performance. But that's in the late 60s. [...]

	Well it was just a preposterous thing to do, to speak those kind of lyrics. But it was called ''Nine Gross and Conspicuous Errors'' because, I believe, in response to [[Corrected Slogans\|''Corrected Slogans'']], in some way, because it was done slightly later even though the record wasn't released. But I'd heard some of the tracks. In fact I performed one of the tracks ~~on ''Corrected Slogans''~~ [<nowiki/>[[Penny Capitalists]]]~~. Brilliantly~~, I must say. [...]</blockquote>		Well it was just a preposterous thing to do, to speak those kind of lyrics. But it was called ''Nine Gross and Conspicuous Errors'' because, I believe, in response to [[Corrected Slogans\|''Corrected Slogans'']], in some way, because it was done slightly later even though the record wasn't released. But I'd heard some of the tracks. In fact I performed one of the tracks [<nowiki/>[[Penny Capitalists]]] on ''Corrected Slogans''—Brilliantly, I must say. [...]</blockquote>

	== Reviews ==		== Reviews ==

Dotclub: /* Exhibitions */

2023-09-24T00:24:30Z

Exhibitions

← Older revision		Revision as of 17:24, 23 September 2023
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	=== Exhibitions ===		=== Exhibitions ===
			* 1976: Galerie Eric Fabre, Paris. Exhibited with "Singing Man" posters
	* 2007: "Sympathy for the Devil: Art and Rock and Roll Since 1967" Museum of Contemporary Art Chicago September 29, 2007 to January 6, 2008<ref>https://www.markharrisstudio.com/wp-content/uploads/2013/01/Art-Monthly-Sympathy-for-the-Devil-November-2007.pdf#page=2</ref>: "There is also rare footage of Art & Language's theory-driven jam with Mayo Thompson and Red Krayola in ''Nine Gross and Conspicuous Errors'', 1976, one of their many interactions with contemporary musicians that are outlined in the catalogue."		* 2007: "Sympathy for the Devil: Art and Rock and Roll Since 1967" Museum of Contemporary Art Chicago September 29, 2007 to January 6, 2008<ref>https://www.markharrisstudio.com/wp-content/uploads/2013/01/Art-Monthly-Sympathy-for-the-Devil-November-2007.pdf#page=2</ref>: "There is also rare footage of Art & Language's theory-driven jam with Mayo Thompson and Red Krayola in ''Nine Gross and Conspicuous Errors'', 1976, one of their many interactions with contemporary musicians that are outlined in the catalogue."
	* 2014: MACBA		* 2014: MACBA

Dotclub: /* Screenings */

2023-09-24T00:10:00Z

Screenings

← Older revision		Revision as of 17:10, 23 September 2023
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	* First screened at the "(Provisional) Art & Language" exhibition at John Weber Gallery in New York on June 18 – July 14, 1976		* First screened at the "(Provisional) Art & Language" exhibition at John Weber Gallery in New York on June 18 – July 14, 1976
	* March 5, 1995: Chicago with "[[And Now for Something Completely Different\|Four Songs]]"<ref>https://chopintheatre.com/event.php?id=1602&pageId=archives</ref><ref>https://www.chicagotribune.com/news/ct-xpm-1995-03-03-9503030153-story.html</ref>		* March 5, 1995: Chicago with "[[And Now for Something Completely Different\|Four Songs]]"<ref>https://chopintheatre.com/event.php?id=1602&pageId=archives</ref><ref>https://www.chicagotribune.com/news/ct-xpm-1995-03-03-9503030153-story.html</ref>
			* September 17, 2004: Bookworks, London<ref>https://franklinfurnace.org/goings-on-9-21-2004/</ref>
	* May 18, 2018: Galeria Sztuki Współczesnej w Opolu, Poland<ref>https://www.opole.pl/sites/default/files/field_pdf_version/2019-10/Opole-i-kropka-nr-05-2018.pdf#page=30</ref>		* May 18, 2018: Galeria Sztuki Współczesnej w Opolu, Poland<ref>https://www.opole.pl/sites/default/files/field_pdf_version/2019-10/Opole-i-kropka-nr-05-2018.pdf#page=30</ref>
	<gallery mode="packed">		<gallery mode="packed">

Dotclub: /* Exhibitions */

2023-09-24T00:01:39Z

Exhibitions

← Older revision		Revision as of 17:01, 23 September 2023
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	Description in [[The Fox No. 3\|''The Fox 3'']], May 1976<blockquote>Songs on video-tape have all sorts of anomalies. These nine video-taped 'errors' are all songs of going-on. Separate technology reinforces and is an instantiation of capitalist taxonomy. Leaving the music business to 'professionals' adds up to the same thing: the reproduction of capitalist formalisms and control mechanisms. Video-taped songs are not offered to those who can 'necessarily' afford access (though we do want them to go to schools) — we have something to say and a bunch of nobodies to say it to. But history 'frees' us to adapt ... there are real people out there (here) penetrating separate technology with class activism.</blockquote>		Description in [[The Fox No. 3\|''The Fox 3'']], May 1976<blockquote>Songs on video-tape have all sorts of anomalies. These nine video-taped 'errors' are all songs of going-on. Separate technology reinforces and is an instantiation of capitalist taxonomy. Leaving the music business to 'professionals' adds up to the same thing: the reproduction of capitalist formalisms and control mechanisms. Video-taped songs are not offered to those who can 'necessarily' afford access (though we do want them to go to schools) — we have something to say and a bunch of nobodies to say it to. But history 'frees' us to adapt ... there are real people out there (here) penetrating separate technology with class activism.</blockquote>

			=== Screenings ===

			* First screened at the "(Provisional) Art & Language" exhibition at John Weber Gallery in New York on June 18 – July 14, 1976
			* March 5, 1995: Chicago with "[[And Now for Something Completely Different\|Four Songs]]"<ref>https://chopintheatre.com/event.php?id=1602&pageId=archives</ref><ref>https://www.chicagotribune.com/news/ct-xpm-1995-03-03-9503030153-story.html</ref>
			* May 18, 2018: Galeria Sztuki Współczesnej w Opolu, Poland<ref>https://www.opole.pl/sites/default/files/field_pdf_version/2019-10/Opole-i-kropka-nr-05-2018.pdf#page=30</ref>
			<gallery mode="packed">
			File:Provisional-AL-Weber-postcard-front.jpeg\|Postcard for John Weber exhibition, 1976
			</gallery>

	=== Exhibitions ===		=== Exhibitions ===

	* First exhibited at the "(Provisional) Art & Language" exhibition at John Weber Gallery in New York on June 18 – July 14, 1976
	* 1995: Screened in Chicago with "[[And Now for Something Completely Different\|Four Songs]]"<ref>https://www.chicagotribune.com/news/ct-xpm-1995-03-03-9503030153-story.html</ref>
	* 2007: "Sympathy for the Devil: Art and Rock and Roll Since 1967" Museum of Contemporary Art Chicago September 29, 2007 to January 6, 2008<ref>https://www.markharrisstudio.com/wp-content/uploads/2013/01/Art-Monthly-Sympathy-for-the-Devil-November-2007.pdf#page=2</ref>: "There is also rare footage of Art & Language's theory-driven jam with Mayo Thompson and Red Krayola in ''Nine Gross and Conspicuous Errors'', 1976, one of their many interactions with contemporary musicians that are outlined in the catalogue."		* 2007: "Sympathy for the Devil: Art and Rock and Roll Since 1967" Museum of Contemporary Art Chicago September 29, 2007 to January 6, 2008<ref>https://www.markharrisstudio.com/wp-content/uploads/2013/01/Art-Monthly-Sympathy-for-the-Devil-November-2007.pdf#page=2</ref>: "There is also rare footage of Art & Language's theory-driven jam with Mayo Thompson and Red Krayola in ''Nine Gross and Conspicuous Errors'', 1976, one of their many interactions with contemporary musicians that are outlined in the catalogue."
	* 2014: MACBA		* 2014: MACBA
	* June 7 – July 15, 2017: Rob Tufnell, Cologne		* June 7 – July 15, 2017: Rob Tufnell, Cologne
	<gallery mode="packed">		<gallery mode="packed">
	~~File:Provisional-AL-Weber-postcard-front.jpeg\|Postcard for John Weber exhibition, 1976~~
	File:Nine-Gross-and-Conspicuous-Errors-display1.jpg\|2014		File:Nine-Gross-and-Conspicuous-Errors-display1.jpg\|2014
	File:Nine-Gross-and-Conspicuous-Errors-display2.jpg\|2017<ref>https://www.contemporaryartlibrary.org/project/art-language-at-rob-tufnell-cologne-10473</ref>		File:Nine-Gross-and-Conspicuous-Errors-display2.jpg\|2017<ref>https://www.contemporaryartlibrary.org/project/art-language-at-rob-tufnell-cologne-10473</ref>
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	=== Digital releases ===		=== Digital releases ===

	*June 2011: Full video appeared on UbuWeb (along with [[Stephen Prina]]'s ''[[Vinyl II]]'')		*June 2011: Full video appeared on UbuWeb (along with [[Stephen Prina]]'s ''[[Vinyl II]]'')
	* 2014: A portion of the video was uploaded to YouTube.<ref>https://www.youtube.com/watch?v=gbKdEvTN-PY</ref> The upload was titled "VTS 01 1" meaning it was sourced from a DVD		* 2014: A portion of the video was uploaded to YouTube.<ref>https://www.youtube.com/watch?v=gbKdEvTN-PY</ref> The upload was titled "VTS 01 1" meaning it was sourced from a DVD

Dotclub: /* Exhibitions */

2023-09-23T23:51:14Z

Exhibitions

← Older revision		Revision as of 16:51, 23 September 2023
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	* First exhibited at the "(Provisional) Art & Language" exhibition at John Weber Gallery in New York on June 18 – July 14, 1976		* First exhibited at the "(Provisional) Art & Language" exhibition at John Weber Gallery in New York on June 18 – July 14, 1976
	* Screened in Chicago ~~in 1995~~ with "[[And Now for Something Completely Different\|Four Songs]]"<ref>https://www.chicagotribune.com/news/ct-xpm-1995-03-03-9503030153-story.html</ref>		* 1995: Screened in Chicago with "[[And Now for Something Completely Different\|Four Songs]]"<ref>https://www.chicagotribune.com/news/ct-xpm-1995-03-03-9503030153-story.html</ref>
			* 2007: "Sympathy for the Devil: Art and Rock and Roll Since 1967" Museum of Contemporary Art Chicago September 29, 2007 to January 6, 2008<ref>https://www.markharrisstudio.com/wp-content/uploads/2013/01/Art-Monthly-Sympathy-for-the-Devil-November-2007.pdf#page=2</ref>: "There is also rare footage of Art & Language's theory-driven jam with Mayo Thompson and Red Krayola in ''Nine Gross and Conspicuous Errors'', 1976, one of their many interactions with contemporary musicians that are outlined in the catalogue."
	* 2014: MACBA		* 2014: MACBA
	* June 7 – July 15, 2017: Rob Tufnell, Cologne		* June 7 – July 15, 2017: Rob Tufnell, Cologne

Dotclub: /* Art and the Public Sphere */

2023-09-23T23:46:19Z

Art and the Public Sphere

← Older revision		Revision as of 16:46, 23 September 2023
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	=== Art and the Public Sphere ===		=== Art and the Public Sphere ===
	2016<ref>https://oro.open.ac.uk/73532/2/Failure%2C%20Revolution%2C%20Institutional%20Critique_kcharnley.pdf#page=6</ref><blockquote>[...] A work undertaken in New York during the period of ''[[The Fox]]'', under the moniker Music-Language (a collaboration between [[Art & Language]] and the musician [[Mayo Thompson]] of the band The Red Krayola), illustrates how the group developed this strategy of failure. The performance, created and videotaped at the John Weber gallery, was called ''Nine Gross and Conspicuous Errors''. It consisted of nine ‘songs’ written by [[Mel Ramsden]], performed by the members of the group, and accompanied by the improvised guitar and drums of Mayo Thompson and [[Jesse Chamberlain]]. The ‘lyrics’ express a form of Marxist militancy, sung in a variety of amateurish ways. In one of the songs, for example, the camera lurches towards Ramsden, who gesticulates like an evangelical preacher, accompanied at the microphone by Ian Burn’s chirpy whistling. Ramsden intones,		2016<ref>https://oro.open.ac.uk/73532/2/Failure%2C%20Revolution%2C%20Institutional%20Critique_kcharnley.pdf#page=6</ref>

			Kim Charnley<blockquote>[...] A work undertaken in New York during the period of ''[[The Fox]]'', under the moniker Music-Language (a collaboration between [[Art & Language]] and the musician [[Mayo Thompson]] of the band The Red Krayola), illustrates how the group developed this strategy of failure. The performance, created and videotaped at the John Weber gallery, was called ''Nine Gross and Conspicuous Errors''. It consisted of nine ‘songs’ written by [[Mel Ramsden]], performed by the members of the group, and accompanied by the improvised guitar and drums of Mayo Thompson and [[Jesse Chamberlain]]. The ‘lyrics’ express a form of Marxist militancy, sung in a variety of amateurish ways. In one of the songs, for example, the camera lurches towards Ramsden, who gesticulates like an evangelical preacher, accompanied at the microphone by Ian Burn’s chirpy whistling. Ramsden intones,

	"[…] transfixed by the law of contradiction, P or not P, you ''or'' me not you and me, can be struggled against by first seeing mind-self as a social institution and historic process, component of historic reality […] not on the G and C E of aggrandizing and individuating self but of developing significant organizational forms."		"[…] transfixed by the law of contradiction, P or not P, you ''or'' me not you and me, can be struggled against by first seeing mind-self as a social institution and historic process, component of historic reality […] not on the G and C E of aggrandizing and individuating self but of developing significant organizational forms."

Dotclub: /* Reviews */

2023-09-23T23:45:55Z

Reviews

← Older revision		Revision as of 16:45, 23 September 2023
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	Robert Bailey		Robert Bailey

			=== Art and the Public Sphere ===
			2016<ref>https://oro.open.ac.uk/73532/2/Failure%2C%20Revolution%2C%20Institutional%20Critique_kcharnley.pdf#page=6</ref><blockquote>[...] A work undertaken in New York during the period of ''[[The Fox]]'', under the moniker Music-Language (a collaboration between [[Art & Language]] and the musician [[Mayo Thompson]] of the band The Red Krayola), illustrates how the group developed this strategy of failure. The performance, created and videotaped at the John Weber gallery, was called ''Nine Gross and Conspicuous Errors''. It consisted of nine ‘songs’ written by [[Mel Ramsden]], performed by the members of the group, and accompanied by the improvised guitar and drums of Mayo Thompson and [[Jesse Chamberlain]]. The ‘lyrics’ express a form of Marxist militancy, sung in a variety of amateurish ways. In one of the songs, for example, the camera lurches towards Ramsden, who gesticulates like an evangelical preacher, accompanied at the microphone by Ian Burn’s chirpy whistling. Ramsden intones,

			"[…] transfixed by the law of contradiction, P or not P, you ''or'' me not you and me, can be struggled against by first seeing mind-self as a social institution and historic process, component of historic reality […] not on the G and C E of aggrandizing and individuating self but of developing significant organizational forms."

			At another point, Terry Smith, Nigel Lendon and Ramsden sing a round accompanied by manic Hammond organ and laconic drumming. Ramsden claps enthusiastically and all three bob to the rhythm:

			"We must ferociously attack so called institutionalized egalitarianism (egalitarianism – egalitarianism!) It is a liberal smokescreen […] which attempts to replace activist content (activist content!) with liberal structure […] (structure […] structure […] structure) we must ferociously attack our social base here in New York […] it is deeply-rooted deformed by self-images and corresponding temptations of public-relations life."

			The performances are ridiculous, inexpert, even light-hearted. The lyrics emphasize the reification of individuality under capitalism, and the concomitant foreclosure of meaningful forms of collective action. The haphazard delivery was not intended to undermine this message, but to anticipate and display a problem: that the critique was made from within the sanctuary of art. The songs are ‘errors’ but they are also trying to avoid the errors enforced by art’s usual decorum. Ramsden, in discussing the performance, has explained his attitude to it in this way:

			"I meant everything and was absolutely literal-minded about the ‘lyrics’. In performance they were supposed to be ‘errors’ – something not made correctly. […] The fact that the performances were absurd – if that’s the word – and exposed these performers to sniggering and embarrassment was the point. How the lyrics and meaning of the lyrics fared under this exposure was also the point."

			The meaning of these errors is connected to the group’s identification with revolutionary Marxism. The performance was intended, in part, to point to subjectively internalised barriers to participation in a revolutionary process, but also satirically to attack the ideological function of art from a revolutionary perspective. This was sometimes understood at the time as an attempt to interrupt a subjective involvement in ‘art bureaucracy’. Bureaucracy and ‘artistic freedom’, Ramsden suggests, are interconnected in a space where ‘the ruling market forms the standard of intelligibility’. Freedom is, in fact, an internalized alienation: ‘the market isn’t just contingently there […] we don’t just create freely and then afterwards get bulldozed by the market […] we now practice with the market in mind (and I’m not loftily excepting my own writing here)’.</blockquote>

	== References ==		== References ==

Dotclub: /* Digital releases */

2023-09-23T23:31:14Z

Digital releases

← Older revision		Revision as of 16:31, 23 September 2023
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	=== Digital releases ===		=== Digital releases ===

	*2011: Full~~(?)~~ video appeared on UbuWeb		*June 2011: Full video appeared on UbuWeb (along with [[Stephen Prina]]'s ''[[Vinyl II]]'')
	* 2014: A portion of the video was uploaded to YouTube.<ref>https://www.youtube.com/watch?v=gbKdEvTN-PY</ref> The upload was titled "VTS 01 1" meaning it was sourced from a DVD		* 2014: A portion of the video was uploaded to YouTube.<ref>https://www.youtube.com/watch?v=gbKdEvTN-PY</ref> The upload was titled "VTS 01 1" meaning it was sourced from a DVD