autosafari:

Motohiko Odani, Inferno, 2008-2010. Video installation: comprised of eight screens which waterfall images are projected onto, while the floor and ceiling of the octagonal room are mirrored.

(via ghostof)

"All I want is a house and some money to travel
A simple game putting letters together like scrabble
Sisyphus’s lesson crushing the rock into gravel
Which of us truly trust how they knocking the gavel?
Plus though I be floating around like I’m stocking the ammo
Tucking the Glock in the camo
Fuck it, I’m lost in the channels
Surfing on surfaces, cursing in cursive and shit
Hurdling hurdles and hares
And turtles aware of the circles and squares
To a certain degree
A person you certainly see
Is certainly, certainly me
Or whatever, Kool A.D.,"

Kool AD; “Leverage” by Hot Sugar

"I must remind you that starving a child is violence. Suppressing a culture is violence. Neglecting school children is violence. Punishing a mother and her family is violence. Discrimination against a working man is violence. Ghetto housing is violence. Ignoring medical need is violence. Contempt for poverty is violence."

Coretta Scott King (via samirathejerk)

(via numantinecitizen)

"When activists claim that poor black and brown communities must not defend themselves against racist attacks or confront the state, including using illegal or “violent” means, they typically advocate instead the performance of an image of legitimate victimhood for white middle class consumption. The activities of marginalized groups are barely recognized unless they perform the role of peaceful and quaint ethnics who by nature cannot confront power on their own. Contemporary anti-oppression politics constantly reproduces stereotypes about the passivity and powerlessness of these populations, when in fact it is precisely people from these groups — poor women of color defending their right to land and housing, trans street workers fighting back against murder and violence, black, brown, and Asian American militant struggles against white supremacist attacks — who have waged the most powerful and successfully militant uprisings in American history. We refuse a politics which infantilizes us and people who look like us, and which continually paints nonwhite and/or nonmale demographics as helpless, vulnerable, and incapable of fighting for our own liberation. When activists argue that power “belongs in the hands of the most oppressed,” it is clear that their primary audience for these appeals can only be liberal white activists, and that they understand power as something which is granted or bestowed by the powerful. Appeals to white benevolence to let people of color “lead political struggles” assumes that white activists can somehow relinquish their privilege and legitimacy to oppressed communities and that these communities cannot act and take power for themselves."

sloppy:

shapeandcolour:

This weekend, activists in Uganda - a country where homosexuality is punishable by death - held their first Pride. 

This is the epitome of courage. I have no other words. 

this is making me tear up holy shit

(via euo)

Guy Debord: The Life, Death, and Afterlife of a Brilliant Crank

by Christopher Byrd

"Primarily, Debord longed to see the social order pass. He wanted a life without “dead time,” so he positioned himself as the enemy of the daily grind, a scourge to consensus. The “spectacle” was his name for the network of socio-cultural-economic forces with a vested interest in keeping people ensnared in a set of permissible routines: go to work, go home, watch TV, cheer on your favorite political team and, between those obligations, buy something.

The spectacle was Debord’s conceptual gift to the public, a tool to get people thinking about ideology. He dared his contemporaries to imagine a different life for themselves, one that was not defined by their participation in consumer society or fealty to prosperous, self-serving politicians. Concessions and deference were not his forte. Thus, to pass through his works or those of The S.I. is, at best, to apply a loofah to one’s ideological makeup and, at worst, to feel shoved into a game of ideological jousting waged by nihilists.”

"The Situationists railed against the homogenization of urban landscapes: the partitioning of the city into areas consecrated to specific activities (industry, commerce, residency, etc.). Unitary urbanism was the banner under which the S.I. promoted a vision of life as play: dynamic environments that encouraged spontaneous participatory games. Founding Situationist Constant Anton Nieuwenhuys’s ‘New Babylon Project’ offered architectural models and drawings for what future cities might look like. Imagine gigantic erector sets or playgrounds full of ladders and walkways that encouraged people to engage more with the public space they moved through, rather than dart from home to work. 

Both dérive and psychogeography were meant to thrust this critique out of the theoretical realm through the practice of going outside and placing one foot in front of the other. To dérive was to drift. All it demanded was an appetite for walking and a willingness to pocket away thoughts of schedules and destinations. The idea was to cultivate a purposeful displacement and experience one’s surroundings in ways outside of the usual patterns of everyday existence. To chart the effects of these surroundings upon one’s mood was to practice psychogeography.

Behind all of these activities lay the concept of détournement, or appropriation. One could detour one’s environment by introducing into it a new activity—say, hold a potlatch in the lobby of a bank or replace the soundtrack of an action movie with one full of revolutionary chatter, like René Viénet did in Can Dialectics Break Bricks (1973). The success of a détournement can be reckoned by how well it works to short-circuit processes of societal conditioning (the reverence for intellectual property rights, for example).”

[read the rest here]

Jackson Pollock’s Renaissance Connection

by Joseph Nechvatal

"The city of Florence is paying homage to Jackson Pollock, well-known for his all-over syncretistic paintings, by connecting his work to that of Michelangelo’s. This unusual pairing was conceived and curated by Sergio Risaliti and Francesca Campana Comparini…"

"The exhibition’s title, The Figure of the Fury, refers to Pollock in the act of painting as he moved around his canvases, while simultaneously alluding to the expression, “fury of the figure” by the 16th-century art theorist and painter Giovanni Paolo Lomazzo (1584). Lomazzo pointed out that what bestowed furious qualities to a figure is a sensed motion similar to that of a flame; the same swirling motion that Michelangelo gave to his figures that is here assigned to Pollock. (Even though Pollock only become acquainted with Michelangelo through book reproductions during his studies under Thomas Hart Benton.)"

"Pollock sought to create a spatial continuousness that no longer distinguished between the pictorial space and the area in which the viewer stood. As such, Pollock’s imposing paintings demand that the observer relinquish intellectual control (as the beholder is now torn free of unyielding, Renaissance perspective) and dive into the energetic color/movement (through the eye being drawn into the excessive aspect of the painting) and therein dissolve into the dazzling chaos of the individual lines which are also, at the same time, creating a uniformly structured whole-field."

"Taking this ‘wallpaper […] repeated indefinitely around the wall’ aspect seriously, the architect Peter Blake, in planning the architectural strategy for what was proposed to be the Jackson Pollock Museum, had the idea (with Pollock) to extend the paintings indefinitely around the space. In an article concerned with the project named ‘Unframed Space: A Museum for Jackson Pollock’s Paintings’ in Interiors magazine, Arthur Drexler wrote that Pollock’s paintings ‘seem as though they might very well be extended indefinitely, and it is precisely this quality that has been emphasized in the central unit of the plan.’ About the continuous rhythms of Pollock’s paintings, Drexler goes on to describe how, in the model of the museum, ‘a painting 17 feet long constitutes an entire wall. It is terminated on both ends not by a frame or a solid partition, but by mirrors. The painting is thus extended into miles of reflected space, and leaves no doubt in the observer’s mind as to this particular aspect of Pollock’s work.’"

"This immersive Pollock effect is here radically reversed — as we encounter his modest-in-scale work after a lengthy, massively engulfing walk through the Palazzo Vecchio itself, with its extravagant connected room after room of Mannerist Grotesque murals, ceiling paintings and stucco. Most notably here was the Room of Lorenzo the Magnificent, covered, as it is, in immersive stucco murals (1556–1558) by Leonardo Ricciarelli, Giovanni Boscoli and Mariotto di Francesco based, supposedly, on drawings by the architect Bartolomeo Ammannati."

[read the entirety here]

Photographs taken only in moonlight by Alejandro Chaskielberg

The Buenos Aires-born photographer has fully replaced lighting equipment with the natural environment by taking images by the light of the full moon. His technique comes as a breath of fresh air to those familiar with photographic projects which aim to muster sympathy for subjects living in underprivileged areas; this is something else else entirely.

Alejandro spent two years photographing the locals living and working in the Paraná River Delta in Argentina, using his acquired method to take photographs which are ethereal and otherworldly, but maintain a kind of strength. It takes courage, a steady hand and a knowing eye to make long exposures work effectively, but Alejandro manages it with an admirable authenticity.

[x]

"That a society is decentralized, that it uses solar or wind energy, that it is farmed organically, or that it reduces pollution - none of these measures by itself or even in limited combination with others makes an ecological society. Nor do piecemeal steps, however well-intended, even partially resolve problems that have reached a universal, global and catastrophic character. If anything, partial “solutions” serve merely as cosmetics to conceal the deep-seated nature of the ecological crisis. They thereby deflect public attention and theoretical insight from an adequate understanding of the depth and scope of the necessary changes."

Murray Bookchin, The Ecology of Freedom p. 67

(Source: probablyasocialecologist, via probablyasocialecologist)

"At 24, he already has the warm-hearted, resolute perspective of someone who has experienced the pain that life has to offer and knows, gloriously, that it goes on regardless. See channel ORANGE’s “Pilot Jones,” a love song (about a drug dealer) whose beginning, middle, and end is expressed in a single, melancholy couplet: “I know what I was on, I had a Pilot Jones / She took me high, then she took me home.” If Ocean writes epiphanies, it’s in lines like “I know what I was on”: in a world defined by smothered understanding and missed opportunities, knowing anything constitutes a victory."

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