21.3.17


20.3.17






7.3.17


6.3.17






when u realise u left a screwdriver in the background for the first 800 frames

28.2.17





27.2.17

To place anarchy in the left wing of politics and capital is to dismiss an entire history of people across the globe in favor of the theories of a handful of dead white men.

“The illusion of the political left and right, or left and right of capital, is a Eurocentric construct coming out of pre-revolutionary France. In legislative bodies, the aristocracy would sit to the right of the speaker and the capitalist class, or bourgeoisie (then referred to as “common” people) would sit to the left. Of course now the bourgeoisie is considered to be the political right, and the political left, just as before, dishonestly portrays itself as the vanguard of “the common people…The left is a white construct, by whites, for whites. Leftism is simply an ideology and a method of organizing the political, economic, and social order of white society. Prior to European invasion of places such as Africa and “the Americas” there was no left or right of capital. The political left and right are Eurocentric means to Eurocentric ends. They are a false dichotomy that serves to limit discourse and confine us all to a civilized, Eurocentric paradigm.” -Bison Live Oak

17.2.17



cant even begin to say how good this blog is as a collection of pencil tests etc
http://2dtraditionalanimation.tumblr.com


16.2.17

History must at last convince of the uselessness of insensate mass movements riding roughshod, now as ever, over anonymous suffering and claiming priority in the name of some newly clothed abstraction. If it does not teach that, it does not teach anything
The ThinkPad T460's 14-inch, 1920 x 1080 touch screen outputs sharp images and fairly accurate but not very rich colors. When I watched a trailer for Captain America: Civil War, fine details like the wrinkles on Steve Roger's forehead and the ridges in his helmet really stood out. The blue in the Captain's costume and the red in Iron Man's armor were subdued and a little dark, but not washed out. Images started to fade a bit at when viewed at greater than 45 degrees to the left or right.






london 






 

cheers beechy

http://theanarchistlibrary.org/library/peter-gelderloos-veganism-is-a-consumer-activity
30th Birthday
May I never be afraid
                     especially of myself   
                                                      but
Muhammed Ali are you telling
the truth?      
                     Well you’re being true aren’t you and
you talk so wonderfully in your body
                     that protects you with physique of voice
      raps within dance
                              May I never be afraid

                     rocked and quaked         
                                                      the mantilla is lace
                                                      whose black is oak
But if I’m dark I’m strong
                                       as my own darkness
my strength the universe   
                                       whose blackness is air
                                       only starry
                                       lace
But if I’m alive I’m strong   
                                           as life
Strong as the violets
in Marlon Brando’s fist
                                  his dissemblance flourished into truth   
                                                                                              She
took them
I’d take me too   
                           I do
                  and my Ali I see you      
                                                   a hard bright speck of me
the savage formalist
                               authentic deed of gossip
                   a kind body

I didn’t want to go home. This is a boring sentence. Perhaps for you Oregon is a calming word, evoking images of blackberry pie, ocean vistas, and the capture of suspected felons. I had never heard the word Oregon before. Like the distance of Scotland from London, it seemed impossibly far. A beautiful hazard: to go and keep going. How can I put this? In England, nobody ever, ever, ever did this. I, who once drove straight to Glasgow with a thermos of instant coffee mixed with milk and sugar, in a dinged-up Datsun Cherry, was considered an anomaly. “Are you demented? Why do you want to drive in a car to bloody Scotland? It’s seven hours on the M1, man!” Though, outwardly, I was wan and somewhat reticent, I . . . no, I was. My sexual experience consisted of lying under an elm tree in Hyde Park at the age of seventeen and being told by an undergraduate student of the London School of Economics that my breasts in that position, from that angle, resembled two fried eggs. We were meeting in a park as per the era. I am sure contemporary Punjabi-British teenagers are fearless individuals, undaunted by the prospect of community censure. Back then we met by the iron-wrought gate on a park bench, on a path built for seventeenth-century promenades. It is always a century. In my century, sex was a field of restraint and intensity unsurpassed by anything except drinking coffee in a foreign country like Scotland or Wales and borrowing my father’s car forever. “Are you out of your bleeding head? Your dad’s going to skin you alive!”
I expect my workshop will be similar to past Alice Notley workshops: same old format, assignments, xeroxes, forms, occasions, geometries, kinds of poems, speculations on and practice of the lofty and the silly. I assume I've learned a little more since the last time I taught, and that I've a little more to learn in the teaching. If not, boo hoo. Other possible issues: goofy works, "description," dreams (the new gen), school of Susie Timmons, rejuvenation of the "found work," the "line," how to be like Elinor [Nauen] and Maggie [Dubris], how to cultivate inventiveness, strategies for dry spell, dictionaries, diaries, little plays, calligrams, tiles, left-hand margins, how to get great theories and general self-improvement. [11]
— Alice Notley
https://www.poetryfoundation.org/poems-and-poets/poems/detail/53511

ART NEWS

Spying On Lace Visitors

February 22, 1987|ZAN DUBIN

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Don't visit Los Angeles Contemporary Exhibitions if you like your privacy. Starting Friday, most of the downtown gallery space will be under "Surveillance," LACE's latest show.
Myriad video cameras and hidden mikes will expose viewers' bodies and voices. The recorded information will be shown on monitors in the central LACE gallery.
"The whole building--our main offices, the bookstore and the main gallery--will be under audio and video surveillance," said Jeff Mann, LACE exhibitions coordinator, "so you'll be able to see whatever is going on in any part of the building from the main gallery."
The new show, which includes recorded videos and still photographs, explores surveillance--the intrusion of contemporary technology into people's lives. Its message is carried through artworks created with security and surveillance techniques and devices, such as cameras used to monitor supermarket shoppers or illegal immigrants at the U.S.-Mexico border.
"It's not just about surveillance," Mann said. "The way the works were done was by surveillance," many of them captured with concealed cameras or microphones.
About 30 artists, selected by curators Deborah Irmas and Branda Miller, contributed to the show.
"As people walk into the building," Mann said, "they'll be under the surveillance of electronic infrared heat-seeking intrusion detectors," part of a piece by Julia Scher on the outside of the LACE building.
"It's a banner that's hanging above the door, studded with these heat-seeking devices. As you enter, the seekers pick up your presence and lights flash and bells ring."
Inside, Gary Lloyd's "radio painting" is bugged to monitor viewers' conversations, and his heart-shaped radio transmitter sends out visitors' conversations over all airwaves within 10 blocks of LACE.
Other works include government landsat photographs (pictures taken from space) of the Chernobyl nuclear power plant, and a six-part video program with such segments as "Private Space/Public Space," "Government Spooks" and "Viewer/Voyeur." Sam Samore and John Baldessari are represented by photographs they instructed other people to take. The exhibition continues until April 12.