In the slums . . . the closer colors are to the rainbow, the more enticing they are.
—Louis Cheskin, Color Research Institute
28 September 2015
9 September 2015
Sign here
Sapporo Tenjin-yama Art Studio observes The Sapporo Ordinance for Eliminating Organized Crime Groups (Boryoku-dan Haijyo Jyourei: Section 8).
As stipulated in Article 8 of the Sapporo Ordinance for Eliminating Organized Crime Groups (Boryoku-dan Haijyo Jyourei), Sapporo Tenjin-yama Art Studio may not be used for the activity of organized crime groups. When filling out this application, please check the box below if you agree to the following content.
My purpose(s) of using Sapporo Tenjin-yama Art Studio has no relation to activities of a designated organized crime group (Boryoku-dan) and/or the other antisocial forces or their benefits. In agreeing these terms, I state that I have no objection to Sapporo Tenjin-yama Art Studio, if Sapporo Tenjin-yama Art Studio cancels my application and residency in the event that it be ascertained that I am using the Sapporo Tenjin-yama Art Studio for organized crime group activity or the benefit thereof. I also understand and agree that Sapporo Tenjin-yama Art Studio provides the police with information on this application to ascertain whether my use of Sapporo Tenjin-yama Art Studio is related to activities of a designated organized crime group (Boryoku-dan) and/or the other antisocial forces or their benefits.
3 September 2015
Burqa of Skin
Juggalos
The Juggalos, a
loosely-organized hybrid gang, are rapidly expanding into many US
communities. Although recognized as a gang in only four states, many
Juggalos subsets exhibit gang-like behavior and engage in criminal
activity and violence. Law enforcement officials in at least 21 states
have identified criminal Juggalo sub-sets, according to NGIC reporting.e
- NGIC reporting indicates that Juggalo gangs are expanding in New Mexico primarily because they are attracted to the tribal and cultural traditions of the Native Americans residing nearby.
Most crimes
committed by Juggalos are sporadic, disorganized, individualistic, and
often involve simple assault, personal drug use and possession, petty
theft, and vandalism. However, open source reporting suggests that a
small number of Juggalos are forming more organized subsets and engaging
in more gang-like criminal activity, such as felony assaults, thefts,
robberies, and drug sales. Social networking websites are a popular
conveyance for Juggalo sub-culture to communicate and expand.
- In January 2011, a suspected Juggalo member shot and wounded a couple in King County, Washington, according to open source reporting.13
Juggalos’
disorganization and lack of structure within their groups, coupled with
their transient nature, makes it difficult to classify them and
identify their members and migration patterns. Many criminal Juggalo
sub-sets are comprised of transient or homeless individuals, according
to law enforcement reporting. Most Juggalo criminal groups are not
motivated to migrate based upon traditional needs of a gang. However,
law enforcement reporting suggests that Juggalo criminal activity has
increased over the past several years and has expanded to several other
states. Transient, criminal Juggalo groups pose a threat to communities
due to the potential for violence, drug use/sales, and their general
destructive and violent nature.
- In January 2010, two suspected Juggalo associates were charged with beating and robbing an elderly homeless man.14
Federal Bureau of Investigation "2011 National Gang Threat Assessment – Emerging Trends
28 August 2015
Clasical Economic Theory as expounded by Round Baldwin
"For De Certeau, the walking body moves in search of a familiar thing in the city. He invokes Freud, saying that walking recalls baby’s moves inside of the maternal body: ‘To walk is to be in search of a proper place. It is a process of being indefinitely absent and looking for a proper.’"
—Doina Petrescu, The Indeterminate Mapping of the Common
The fuzz in Alberta
The Song of the Smoke
I am the Smoke King
I am black!
I am swinging in the sky,
I am wringing worlds awry;
I am the thought of the throbbing mills,
I am the soul of the soul-toil kills,
Wraith of the ripple of trading rills;
Up I’m curling from the sod,
I am whirling home to God;
I am the Smoke King
I am black.
I am the Smoke King,
I am black!
I am wreathing broken hearts,
I am sheathing love’s light darts;
Inspiration of iron times
Wedding the toil of toiling climes,
Shedding the blood of bloodless crimes—
Lurid lowering ’mid the blue,
Torrid towering toward the true,
I am the Smoke King,
I am black.
I am the Smoke King,
I am black!
I am darkening with song,
I am hearkening to wrong!
I will be black as blackness can—
The blacker the mantle, the mightier the man!
For blackness was ancient ere whiteness began.
I am daubing God in night,
I am swabbing Hell in white:
I am the Smoke King
I am black.
I am the Smoke King
I am black!
I am cursing ruddy morn,
I am hearsing hearts unborn:
Souls unto me are as stars in a night,
I whiten my black men—I blacken my white!
What’s the hue of a hide to a man in his might?
Hail! great, gritty, grimy hands—
Sweet Christ, pity toiling lands!
I am the Smoke King
I am black.
A lot of work to do
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2 June 2015
Preregulation
"The following must go into my finished Directives: When you meet a Gethenian you cannot
and must not do what a bisexual naturally does, which is to cast him in the role of Man or
Woman, while adopting towards him a corresponding role dependent on your expectations of
the patterned or possible interactions between persons of the same or the opposite sex. Our
entire pattern of socio-sexual interaction is nonexistent here. They cannot play the game. They
do not see one another as men or women. This is almost impossible for our imagination to
accept. What is the first question we ask about a newborn baby?
Yet you cannot think of a Gethenian as "it." They are not neuters. They are potentials, or
integrals. Lacking the Karhidish "human pronoun" used for persons in somer, I must say
"he," for the same reasons as we used the masculine pronoun in referring to a transcendent
god: it is less defined, less specific, than the neuter or the feminine. But the very use of the
pronoun in my thoughts leads me continually to forget that the Karhider I am with is not a man,
but a manwoman.
The First Mobile, if one is sent, must be warned that unless he is very self-assured, or senile,
his pride will suffer. A man wants his virility regarded, a woman wants her femininity
appreciated, however indirect and subtle the indications of regard and appreciation. On Winter
they will not exist. One is respected and judged only as a human being. It is an appalling
experience."
— Ursula K. Le Guin The Left Hand of Darkness
25 May 2015
baklava balaclava
"Affirmation here is not some sort of naïve, silly and candid-like “oh, I want the world to be a better place.” No, it’s a very gutsy engagement with the present. It takes a lot of courage to take on the present. It is very depressing stuff. If you want to do critical theory this way, you’re going to be a pretty gloomy person, a very depressed partner, and somebody that will never be invited to witty dinner parties, you will be just too depressed. So I always say, clock in and clock out; engage with the present just enough, and then have a good gin and tonic and get on with it, it’s Friday afternoon after all, so what the hell. But dosing the amount of horror that you take in, what Bourdieu called la misère du monde, the misery, the wretchedness, that negative consciousness that is so much a part of critical theory, to actually fight for justice you have to take on the burden of the injustice. To want to improve the situation you need to take stock of what it is; it takes a lot of courage. No wonder many people just go out the door and do whatever they do in the science departments… I’m just doing this, I’m not looking at the global picture… In the humanities, in critical theory, in feminism, we look at the global picture. I have lost so many of my friends either to burn out, to early death, or to forms of completely opportunistic conformism, that I have started thinking seriously about the politics of affirmation as a praxis, as a practice; you engage with the horrors of the world, you take it in, we dose it very carefully in space and time, and then we process it. This is what I think the micro political comes down to. You dose it, you focus, you frame it, and you act on it. And you can only do it in very localized manners and in very sustainable doses. Because we critical theorists are just as human as others, slightly more mortal than most, however. And that vulnerability that comes with this courage, this recklessness, or taking on the misery of the world, is something that we need to add to the general picture, or the methodology or pedagogics of critical theory. We really don’t want any more dead heroes. And we don’t want anymore of our students fighting losing battles in the margins, facing poverty and precarity, we want you to succeed. And this means dosages."
—Rosi Braidotti, "Nomadic Feminist Theory in a Global Era" (lecture 2012)
24 April 2015
Greek Rhythms
“‘Young Architecture’ as a discrete catagory [sic] reflects the atrophied aspirations of our cultural moment, in which, among a generation poorer than our parents, a growing majority will be unable to graduate to architecture, freedom, home-ownership or traditional debt-free marks of vocational maturity − a subtle but de facto form of slavery is creeping up on us.
Meanwhile the healthy ecologies formed of intermediate-scale architectural practice coupled with critical journalism and socially minded procurement have decayed through a process of polarisation − towards the very large and the very small, Establishment and emerging. In this context of power vs exploitation, the term ‘Young Architecture’ offers a vehicle for a compromised partnership between a cosy architectural press, morally bankrupt late-capitalist development and a disenfranchised generation of graduates with limited options.
‘Young Architecture’: a tainted brand
Brand ‘Young Architecture’ is perilously close to becoming shorthand for a privileged clique purveying minor and pop-up buildings, instantly and uncritically published in a sycophantic hype driven by individualism, consumerism and an obsession with youth, in a way that increasingly apes the fashion industry. While the works themselves are consistently imaginative and delightful, demonstrating the skill of their authors, it is the term of ‘Young Architecture’ and the values it is coming to imply that must be interrogated.
‘Young Architecture’ makes a virtue of an injustice. The ageist mantle demands a level of knowing self-parody from emerging designers who it smothers as it belittles, imposing low expectations as default. In segregating architects into binary camps, the term smuggles through tacit approval for the Establishment while cementing the position of knowingly under-remunerated outsiders: the young.
(…) The reactive definition of an adolescent stage in career development places inflated emphasis on conspicuous displays of ‘authenticity’. Vulnerable, self-initiated projects necessarily embody a humane frugality. However, communicating this ethic in a visual language that is Tumblr-friendly constrains much of the work to a style measured in the thin rustic novelty of pop-up DIY-like production: chipboard, shipping containers, bare bricks, spontaneous installation and time-limited demountability.
Architecture has finally become fast enough to simulate the frivolity of throw-away fashion. But before it congratulates itself for this renaissance of dynamic participation and urban vitality, sedulous emerging designers should question the direct social consequences of the burgeoning pop-up industry which courts them and the widespread co-option of this architectural froth as a game of distraction. The permission for and sponsorship of such installations ties these energetic works to a broader political question around who owns the city for whom.”
— Phineas Harper, Phil Pawlett Jackson, The Architectural Review
15 April 2015
Bacon
HeathCardwell
Bacon's emotions are in every brushstroke. He's the real deal and you'll understand and feel that again at some point. You have a habit of changing your mind several times about an artist, which is fine, as long as it's genuine at the time you write, not because it keeps you in a job.
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Report
Bacons emotions are in every film.He's the real deal and you'll understand and feel that when you watch Flash dance again.You have a habit of changing your mind several times about an actor(Tremors),which is fine as long as its genuine at the time you watch Stir of Echoes, not because it keeps you going to workReplyReport
Bacons taste is in every pan that fries it.Its the real deal and you'll understand and taste that when you put it in bread .You have a habit of changing your mind several times about a meat,which is fine as long as its genuine at the time you put the sauce on it.ReplyReport- OK, I get it, you're frustrated. We all know how that feels MrPrintmaker.Reply
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