RULE
FOR ONE YEAR, STARTING APRIL 15 2015, I WILL NOT DO ANYTHING UNRELATED TO ART, ASIDE FROM LIFE-SUSTAINING ACTIVITIES.
occasionally subtle
$LAYYYTER

izzy's playlists!
KIROKAZE
Cosmic Funnies

ellievsbear
sheepfilms
"I'm Dorothy Gale from Kansas"

blake kathryn
hello vonnie
Not today Justin

Origami Around

Jar Jar Binks Fan Club
todays bird
TMBGareOK. The Official They Might Be Giants tumblr

Kiana Khansmith
h
let's talk about Bridgerton tea, my ask is open
seen from United States
seen from United States
seen from United States
seen from United States
seen from Malaysia

seen from United Arab Emirates
seen from Germany
seen from Belarus

seen from United States

seen from Malaysia
seen from Bangladesh

seen from TĂĽrkiye
seen from United Arab Emirates
seen from Egypt

seen from United States

seen from TĂĽrkiye

seen from United Arab Emirates
seen from United States
seen from Iraq
seen from Bangladesh
@akdmkgraffiti
RULE
FOR ONE YEAR, STARTING APRIL 15 2015, I WILL NOT DO ANYTHING UNRELATED TO ART, ASIDE FROM LIFE-SUSTAINING ACTIVITIES.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
truism
SPEAK TO INTENTIONSÂ
to exist in otherness is a proposition I seek in my art and my life. To this end I will contrive several experiments in the form of rituals, acts, and small gestures. I will occupy public and private space. For most, my actions will go unnoticed as they fade into the tide of repeated action or the white sizzle of everyday noise. To make art is to put something into relief, to shake the dust off of it, to recover, to renew. There is nothing less than struggle, continual struggle. Keats had it right with negative capability, but there also can't just be ambiguity; to feel a sense of an outside you must go crashing into a wall. Perhaps it needn't be so violet, your toe could nudge it, you could feel the line between your fingers.Â
All I'm going to do now is document and make note of everything that i do to come into a clarity. awareness, being the first step of change, is also the first step of art. it is not to disavow spontaneity or the unconscious, but to sieve through the haze of the everyday such that the everyday itself becomes apparent and does not recede into blankness, into an infinite regression of gestures that repeat a programme. all i am saying is that we need to shout back, unlearn the programme, resist as a sandbank or deposition resists the tide, allows the tide to curl around it, to take its outlines, to move in another direction. it takes so much to live another way.Â
Toshio Shibata
MY DESIRE HAS NO ROOT
its species undetermined.
My desire has no root.Â
I can describe its contours, its shades, and the seasons in which it flowers,
-- yet my desire has no root.Â
Paphiopedilum henryanum, Strelitzia reginae, Etlingera elatior ,
names for many things, but not my rootÂ

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Inspired infrastructure Samuel Castaño
WJTM: Let me turn to your work, especially your recent book The Location of Culture. I think it's fair to say that in some quarters the book has been controversial; I've heard it characterized as too difficult, as too political, as not political enough, and, my favorite characterization of all, as a danger to scientific thinking. What has been the harshest indictment of your writing, and how would you answer it? What criticism do you take to heart? HB: I take the question of accessibility very seriously. That a book should be impaired by a lack of clarity, so that people cannot respond to it and meditate on it and use it, must be a major indictment of anybody who wants to do serious work. But I also feel that the more difficult bits of my work are in many cases the places where I am trying to think hardest, and in a futuristic kind of way -- not always, I'm afraid, there may be many examples of simple stylistic failure, but generally I find that the passages pointed out to me as difficult are places where I am trying to fight a battle with myself. That moment of obscurity contains, in some enigmatic way, the limit of what I have thought, the horizon that has not as yet been reached, yet it brings with it an emergent move in the development of a concept that must be marked, even if it can't be elegantly or adequately realized.
W.J.T. Mitchell interviews Homi Bhabha
This ad on the subway goes hard as fuck
Were it not for appearances, the world would be a perfect crime

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Invisible Violence, Aestheticised Violence
I live on the other side of the world. What troubles me is how the Ferguson Riots is covered -- or rather, not covered.Â
^ Front page of the local newspaper the Straits Times today. Ferguson riots relegated to pg 22, with the issue framed as violent public outrage. No mention of excessive police force.Â
^ No mention of the Ferguson riots in the major headlines either.
^ Pg A22: The headline Smoke and Fury is a clear appeal to our cultural conscious -- it's an oft quoted phrase from Shakespeare's Macbeth, which William Faulkner also references in his book The Sound and the Fury: [Macbeth:] To-morrow, and to-morrow, and to-morrow, Creeps in this petty pace from day to day To the last syllable of recorded time, And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life’s but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more: it is a tale Told by an idiot, full of sound and fury, Signifying nothing. (Macbeth, Act V, Scene v) Perhaps the reference to the line from Macbeth is meant as a poetic gesture, highlighting death, despair, and futility. But poetry is misplaced here. Coupled with the choice and style of images used to illustrate the article, such a headline aestheticises and thus obfuscates the very real violence occurring in Ferguson. The Ferguson riots illustrates deep seated racism in America; a newspaper headline is no place to turn something like that into art.  Why should something so horrible be given a title that rings of beauty? What did the headline writer expect? A standing ovation for his clever turn of phrase?
In the images, the Ferguson riots is reduced to a romantic storm of smoke in triptych, where black bodies are lost in the plume. There is no direct image of violence, or of the opposition between police and civilians. Ugliness is effaced in favour of beauty.Â
The Straits Times' portrayal of the Ferguson Riots reminds me of David Dabydeen’s searing critique of the Romantic painter,  Turner? To quote Dabydeen --"'My poem focuses on the sunken head of the African in the foreground of Turner's picture. In Turner's seas (and in those of other painters) it has been drowned for centuries." Â
It's the same fucking thing - the same invisibility. Of all images to illustrate the tiny rectangle of space they had for the article they chose one which that not give us anything to grasp hold of -- a Muybridgean sequence of a man slowly wrapped in smoke. I actually missed the write-up the first time because I did not realise immediately that the images were of Ferguson. The images lack specificity and any sense of locality -- they were lost in the sea of other smoke-filled images in my internal database. It could have been Gaza. It could have been Iraq. It's an afterimage of those place.Â
The Ferguson Riots is therefore embodied in the plume of smoke: like smoke it drifts elusively through our minds only to quickly dissipate. In obfuscating the contents of the news, the newspaper can say that it isn't taking sides. But it is taking sides. It's saying that the issue is of no concern to us on the other side of the world; it paints Ferguson as just another footnote in the litany of protests turned chaotic and violent in democratic countries where freedom of assembly is allowed. It turns the event from one that should cause outrage to something so banal and everyday it is not even worth the front page. And it's true that racially-motivated violence by enforcers of the law happen everyday. But do we ignore these acts of institutionalised racism just because they're frequent? By relegating the news to a small section away from major headlines, the Straits Times enforces the ubiquity of the violence against black people as nothing worth thinking about. It normalises it. Of course, it also broadcasts a message to our own political context. Because it frames an event like Ferguson as ubiquitous, by implication it asks us if we want these events to be ubiquitous in our own lives. It says, "This is a day in the life of the great US of A. Do you want this to be your political norm?"  Above all, it asks us not to pay attention to it. It beseeches our ignorance. It enforces Ferguson's invisibility. It enacts a violence in disappearance. --- EDIT* Additional reading: http://www.blackgirldangerous.org/2014/08/things-stop-distracted-black-person-gets-murdered-police/Â
http://www.thenation.com/blog/180943/death-michael-brown-and-search-justice-black-america
So what you’re really saying about Israel is that it’s the rook protecting the king, the United States/West from harm and blame, and the Palestinians are being exploited for the sake of continuing instability in the middle east to ensure western dominance. Or am I misunderstanding something?
...
A sample of tweets on #Ferguson tonight, 8/13/14
Cat Day Thoughts / stream-of-data
46 minutes ago
how a nation imagines its past has more to do with its present and future goals than an actual, fixed past reality (and there are always unfixed and multiple stories of place and belonging). History is malleable, and nostalgia is one of its weapons turned back upon the nostalgics - an empty promise of a dreamworld past to assuage our empty futures
-
2 minutes ago
I propose the Singapura cat as Singapore's national animal: as the lore goes (as it is always lore), the Singapura is a breed engineered from strays into an elite breed of cat. A cat is survivalist, selectively domestic, marked by Machiavellian loyalties of convenience -- a cat never loses its tendency to come and go as it pleases, and it will eat out of anyone's hand http://en.wikipedia.org/wiki/Singapura_cat
EUROPEANS TAUGHT FOR CENTURIES that Africa had no written history, literature or philosophy (claiming Egypt was other than African). When roughly 1 MILLION manuscripts were found in Timbuktu/Mali covering , according to Reuters “all the fields of human knowledge: law, the sciences, medicine,” IT DID NOT MAKE MAINSTREAM NEWS as did the lies taught by Europeans concerning Africa
Someone asked me to somehow “verify” that this story is real.
Of course it’s real! The PROBLEM with the coverage regarding these manuscripts is that they’re constantly portrayed as being in “danger” because many of them are still in the possession of Malian descendants. About 700,000 have been cataloged so far, and they have had to be moved in part because apparently extremist groups have tried to firebomb them. Many others are still in the possession of the families they have been passed down in.
Some of these collected manuscripts are being housed in exile, but mold and humidity have been a constant threat. They have been raising funds to try and preserve these manuscripts-you can read more about the project to house and protect them here.
A bit of the history of these manuscripts from National Geographic:
These sacred manuscripts covered an array of subjects: astronomy, medicine, mathematics, chemistry, judicial law, government, and Islamic conflict resolution. Islamic study during this period of human history, when the intellectual evolution had stalled in the rest of Europe was growing, evolving, and breaking new ground in the fields of science, mathematics, astronomy, law, and philosophy within the Muslim world.
By the 1300s the “Ambassadors of Peace” centered around the University of Timbuktu created roving scholastic campuses and religious schools of learning that traveled between the cities of Timbuktu, Gao, and Djénné, helping to serve as a model of peaceful governance throughout an often conflict-riddled tribal region.
At its peak, over 25,000 students attended the University of Timbuktu.
By the beginning of the 1600s with the Moroccan invasions from the north, however, the scholars of Timbuktu began to slowly drift away and study elsewhere. As a result, the city’s sacred manuscripts began to fall into disrepair. While Islamic teachings there continued for another 300 years, the biggest decline in scholastic study occurred with the French colonization of present-day Mali in the late 1890s.
So yeah, basically the story of this collection’s source more or less ends with “…but unfortunately, colonialism”, as do most of the great cities of Africa, the Americas, and some parts of Asia.
Also, as an additional consideration:
With the pressures of poverty, a series of droughts, and a tribal Tureg rebellion in Mali that lasted over ten years, the manuscripts continue to disappear into the black market, where they are illegally sold to private and university collections in Europe and the United States.
Notice where the blame is placed here via language use: on the people in poverty forced to sell their treasures, as opposed to the Universities in Europe and the U.S. buying them.
It’s really just another face of Neocolonialism.
Fun fact: I only learned about that library by playing one of the Civilization games where it exists as a wonder
One of the many reasons why Medievalpoc is also about representation in all types of media.
One of the most important ways the past affects us all today is the media we create about it. History is a story, and a story bears the mark of each teller it passes through. So, each time we tell a story, we have the power to shape it as it passes through us, to others.
Whether we’re writing textbooks, fiction, or articles; sharing something on Facebook, teaching a class, playing a game, or texting our moms, we make choices in how we phrase things and frame information. When you hold things in your mind, like the Library of Timbuktu, and think about how it interacts with everything else you know, it will affect your words and behavior, which in turn affects the people around you.
As I wrote about yesterday, Colonialism in many ways involves telling lies about entire nations and peoples, and using power, ruthlessness, and brutality to make them into almost-truths. After all, if you burn the manuscripts of an entire people and then tell them they have no history; if you make teaching what remains of their history illegal, is that not violence? Is that not genocide?
I’m sure there are those who would call that an exaggeration or hyperbole, but these are often the selfsame folks who are moved to violence to defend the idea the European history is populated entirely and without exception by people we in the U.S. would consider white today. We can pretend all we like that this vision of an all-white historical Europe came from nothing, no one, and nowhere, as if it is undiluted truth that comes to us untainted by centuries of colonialism. But the facts are that you can point to specific moments, authors, and articles that show the turning points; that show these ideas being born. You can read Race Mixture in the Roman Empire by Frank Tenney (from 1916) and see how articles like these shaped American views of race in antiquity; how the racism of 1916 was imposed onto Classical Antiquity. And these are the same people who decided that an entire continent did not have books, had no written history.
Why do we know what we know? Where does it come from? And how does the media we are creating today reflect it?

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
I still believe that there is a way to participate in this international market of performance art without having to compromise your practice. It essentially means that you have to engage in a more ongoing and deeper dialogue with the curators and the producers to make them understand that the kind of project that you will present is not just a credible, repeatable project, but in fact that you will respond to the site; you will incorporate local artists; you will present something that has never been performed before and will never be performed the same way—and that there is always a margin of risk and failure…and they have to accept your terms.
Guillermo Gomez-Pena (via svaartpractice)
While on a recent trip to Paris, we meandered into a little convent, then down a set of stairs into a low-ceilinged room where people were praying. He immediately joined them while I remained on a bench in the hall. This place wasn’t a cathedral. It wasn’t architecturally remarkable or even pretty. When I peeked in at the praying people, they seemed intent and grave; even from where I sat, I could smell someone’s sweat, as if it took labor to get close to the infinite. This wasn’t a museum; it was a workshop. While I knew I could go in, it didn’t seem right to do so, as if I hadn’t been introduced to the host. So I stayed where I was, absorbing the silence. My monk popped out again a few minutes later, smiling, and we continued our walk. I had seen what there was to see in the literal sense: a few people with their eyes closed in an ordinary room. But I didn’t see what made him smile or made the others sweat. It was as if he had stopped to drink at an oasis invisible to me, right in the middle of Paris.
— "Is God Just Not That Into Me?”, Stacey D’Erasmo for the New York Times
There are some who are immaculately at one with all being, who are open to the experiences of all humankind, who love with a kind of selfless grace, who understand the human condition and the chaos of the universe.Â