Full speed ahead por Joakim Billebo

#dc#dc comics#batman#tim drake#bruce wayne#batfamily#dick grayson#batfam#dc fanart




seen from Malaysia
seen from Malaysia
seen from Costa Rica

seen from Malaysia
seen from China

seen from United States
seen from Italy
seen from Canada
seen from Japan
seen from Australia

seen from T1
seen from Netherlands

seen from Australia
seen from United States

seen from United States

seen from Malaysia
seen from China

seen from Greece
seen from Malaysia
seen from Yemen
Full speed ahead por Joakim Billebo

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
Here hills and vales, the woodland and the plain, Here earth and water seem to strive again, Not chaos-like together crushed and bruised, But, as the world, harmoniously confused: Where order in variety we see, And where, though all things differ, all agree.
Line 11. of “Windsor Forest” (1713) by Alexander Pope, born May 21st, 1688.
Mistah Kurtz - He Not Dead
In 1899 Joseph Conrad wrote Heart of Darkness. Inspired by King Leopold II’s exploitation of the Congo region for the extraction of ivory and rubber, Conrad’s novella explores the consequences of men operating outside a social system of regulation, and the inevitable corruption of power. His story begins on the Thames, where his protagonist, Marlow, begins an account of his steamboat journey into the Congo. Marlow, in pursuit of Mr Kurtz - a renegade ivory trader - unearths the savagery and ‘horror’ of the Company’s treatment of the native inhabitants.
Fiona Banner’s project for PEER gallery continues her long-standing preoccupation with Heart of Darkness, and resulted from an invitation to collaborate with the Archive of Modern Conflict. Rather than delving into the archive itself, Banner commissioned Magnum photographer Paolo Pellegrin, known for his extensive coverage of international warfare, to document London through the guise of conflict photography. Employing Pellegrin’s images, Banner uses Conrad’s tale of Imperialist hypocrisy as a framework for investigating financial institutions as a site of twenty-first century conflict.
Time and tradition. Celyn Bricker meets Lu Qing
Several years ago, while I was still a student and first learning about contemporary Chinese art, I had two considerable influences. The first was the artist Ai Weiwei, whose work I still greatly admire, and who needs no introduction. The second interest was of a very different kind. Rather than the work of an individual Chinese artist, I was more interested in a particular approach to art making, and this was typified by a single image I came across. It was a photograph of woman painting. It was a beautifully composed image, and showed the woman sat a table, with a small brush in hand. In front of her, stretching right to the foreground of the image, was an enormous scroll. Every section of the scroll was meticulously painted, although from the photograph it is not clear what the content of the painting is. While I was impressed by Ai Weiwei’s bombastic commitment to his political position, here I was moved by the profound commitment to the creation of a single artwork. I loved the repetition and simplicity of the piece, as well as its haptic quality: the fact that much of the work’s meaning was embedded in the fact that it was handmade, and painted by a single artist. Although I later forgot the name of this artist, the strength of this image remained with me. Why I mention this will become clear.
An edited conversation: Patrick Staff
Part 3
Dearest Hester,
I’m doing some research at the LUX here in London at the moment. I was looking through catalogues from the London Electronic Arts today, early 90s touring programmes, and I noticed a work called ‘A Spy, Hester Reeve Does the Doors’. We got the tape out of the archive, almost not believing it would be you. It was part of a programme the LEA did called Visionary Sexualities, with annie sprinkle, franko b, sue zando and others. Do you remember it? I was so excited to see this queer drag performance. How did the film come to be made? It said you originally performed it at switch and bait in Chicago, at the Club Lower Links? What was that about? And how did the performance get to be filmed by Suzie?
Thinking of you and sending love, Patrick xx
…
J2
What about the errors in memory when you are recounting stories, when you get things wrong because you don’t remember properly, and how those margins of error are actually linked to the process of editing. Editing is also a process of changing meaning and you can accidently edit just in terms of recounting an event.
J1
Yes, I know. Hester names all of these different people but she could have easily forgotten someone, and in which case that person, in our minds, never existed as part of ‘A Spy, Hester Reeve Does the Doors’. Through her lack of memory, the video that we know, some people are excluded.
J2
And this idea of recording is also echoed in the line where she says how in that version she hid a camera in her loin cloth and ended up taking a photo of the audience. It denies the spectacle as much as it upholds it.
…
It made me think about Patrick’s work and that fact that again it denies the idea of spectacle. Rather than there being a passive audience who watches the performance, it’s a case of everyone participating. Do you remember the performance that he was telling us about? Everyone was performing so therefore how could you record it without having a separate camera or someone external? The way that he defeated that was by each performer having their own camera. You get multiple recordings and from completely different perspectives, from the body of the performer themselves rather than the external spectator. I think that ties into what Hester says about filming back to the audience or turning your own body into a camera. It’s about using yourself both as the subject that records as well as performs.

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
An edited conversation: Patrick Staff
Part 2
J1
It’s interesting to think about that process of historicising and recording stories etc., in terms of us talking now. The interview speaks of a time maybe what 15 years to the fore? And now we are looking at it 10 years on. I was thinking about the structure of the project and where we want to go with it, how we map the conversation.
J2
Oral histories are usually seen as an alternative way of recording history. When you interview someone you often get a completely different story. There are so many untold stories that get written out of history because the whole idea of recording or making an archive is governed by people who make decisions about what is going to be remembered. For example Gombrich’s ‘Story of Art’. You choose what you make the story of art to be and you elide everything that doesn’t fit within your conception of it.
J1
That fits with the way that Patrick researches, interviews and the use of oral histories. Even from the fact that we have received two conversations from him. And obviously both texts have been so edited. How relevant is it to go and read the original transcript of the Sandy Katz interview? Do we just work with what we have received or do we delve deeper into the content?
J2
I’m not sure what Patrick would have thought but he did give us the links at the top of each document, the video and the full transcript. So there is obviously that desire to maintain a connection to the original transcript. And in terms of Hester, from a quick Google you can find that video of her, you can actually visualise it.
An edited conversation: Patrick Staff
Part 4
JAMES WENTZY: We have to change tape.
SS: Change tapes? Okay. SK: Okay, I need to pee. SS: Okay.
SK: Do you want me to just pick up where I was?
J1
The format of this interview with Sandy is really…I guess we have to guess how much Patrick has edited and formatted it himself. It seems so purposeful how he’s left some parts…It’s very…
J2
…contrived…
J1
He’s really trying to create something with this document by including those parts.
…
I was thinking of creating a subsequent document as an interview between you, me and Patrick, to create a new fiction. We could develop a script to include stage directions. We could really play on this script format and, like you said, continue to edit and create further fiction.
J2
I like that idea of those interludes being like stage directions. Creating a play.
J1
Do you think he has left them in order to create a sense of context to the interview?
J2
Maybe it’s trying to show the artificiality of the set-up. Even though it’s a really real testimony, the interview format is also a very artificial construction. For example the fact that they have to change tapes every forty minutes. I’ve watched transcriptions of interviews before and when you have to change tapes it’s actually really frustrating moment because someone can be in the middle of saying something, quite a good thought or point, and then because of a logistical concern when it comes back to it that thing gets lost and that thing never gets said. It’s really hard to get back to it. I was once transcribing some documentary and just watching the way that the interviewer tries to steer it back but it’s really hard to interview someone and get them to think. So maybe that’s why he’s included it, to show that technological interruption and how it affects the story.
J1
It’s also about how much ‘umming’ and ‘arring’ you choose to put in, because you don’t really need to if it’s just for time coding. But this transcript does make notes of all those bits.
J2
I wonder if the interview continued beyond that. Patrick could just be giving us…
J1
It does say at the top ‘edited email’. Did he cut bits out before he gave it to us?
J2
It’s a shame we didn’t record our conversation with Patrick.
J1
I just felt we would have done so if it had felt comfortable to
J2
I think you’re right. I don’t think going back and listening now would be that helpful. I think it’s actually interesting to not include a conversation with Patrick. I think it’s interesting that he’s given us these two pieces, not really said anything and then we have had these responses.
J1
He almost seems like a fictional character, an in-between person, an enabler or facilitator, connecting these two texts. Whatever comes out that we create is kind of Patrick Staff. That’s all you get of him. It’s what we choose to…through our own voices.
An edited conversation: Patrick Staff
19 May 2014
Part 1
J1
I wonder if he’s still alive, that’s what I always thought
J2
Sandy Katz?
…
Tape I 00:05:00
SARAH SCHULMAN: Ready?
Sandy Katz: Oh, so you’re gonna film me from two different angles?
SS: Yeah. Look at me. Jim Hubbard: Look at Sarah. James Wentzy: The tapes last 40 minutes, so we’ll change tapes every 40 minutes.
SS: Okay. So the way we start is you say your name, your age, where we are, and today’s date.
SK: Okay. My name is Sandy Katz. And we are at Short Mountain Sanctuary, where I live, which is in Cannon County, Tennessee. I’m 42 years old. What was the –
SS: Today’s date.
SK: And today’s date is October 15th, 2004.
…
J2
Do you want to take me through your notes?
J1
The interview appears to be part of a bigger project that this woman, Sarah Schulman, was doing at the time…ACTUP…
J2
ACTUP…yes. And it was an oral history project.
J1
What’s an oral history?
J2
It’s based around the process of interviewing and creating an oral history through that medium. So there is less of a focus on documents, cold, factual elements etc., and more of an interest in speaking with individuals, getting their personal stories and creating an archive – a living archive of their voices.
…
SS: Do you remember how you became aware of it?
SK: I can’t remember the first references to AIDS or gay cancer, or whatever. Later on, in retrospect I’ve read the early articles that appeared. But I don’t specifically remember seeing them. But by the time I started having sex with men, I was definitely aware that there was this health crisis in the gay world, and that I, that there were precautions. I think that, I think I was aware of, say, of some basic safe-sex ideas before I was having sex with men.
At the same time, I’ll say that sort of because of what I was just describing, of this idea that I just was so strongly not identified with the men who I could tell from a block away were gay. I did feel sort of weirdly distanced from AIDS in my early sexually active years. I felt like the guys who I was having sex with didn’t really fit the profile, and I wasn’t, I don’t think I was really sort of seriously considering the idea that, that they could have HIV.
…
J1
One part of the interview that I found particularly poignant were the sections about medication, which seems to be quite a contentious issue at the time, whether you took the prescribed medication for HIV/AIDs or whether you didn’t.
J2
Well that medication came out as new medication just as HIV/AIDs was considered a new disease. There’s a fear around how you actually treat it and deal with it. Because in many ways it’s the unknown.
J1
And it’s interesting how he put off the fact that he was sick. It got me thinking about the idea of abled and disabled bodies again…
J2
Yes, it’s interesting to question at what point you become a ‘disabled’ body. Is it from the moment that you start to feel physically ill or at the point when the doctor diagnoses you? In many ways you become a disabled body because the diagnosis and prescription of medication tells you that you are.
J1
And for a long time Sandy seemed to be in denial about that, thought he was…before he was positive…when the results came back inconclusive.
…
SS: Well did you ever conceptualize of yourself as a potentially future person with AIDS?
SK: Not really. I really just, I just, I guess I felt I had enough information, and – was smart enough that I wouldn’t get it. And I never particularly had any anxiety about having been exposed to it. And the times when I got HIV-tested, it was always as a companion to someone who was filled with anxiety about having been exposed, and just wanted a friend to go get tested with. So, and it’s kind of interesting.
I didn’t test positive myself until 1991. But I did start testing inconclusive in 1988. And on two different occasions, it was the same scenario, of a friend who was filled with anxiety. So I went with them to get tested, and got tested, really just thinking I was doing it as support for them. And then, they came back negative. And I came back inconclusive. Which I didn’t really interpret as positive. I sort of constructed all of these elaborate – reasons why I would have an inconclusive blood test. I had had malaria in the late ’80s, and some doctor told me, maybe my malaria was making the test read strangely, or. Um. But it, no, it wasn’t ’til I actually tested positive in ’91 that I really thought about the possibility that I could be positive. I had even had boyfriends who were positive, but I just felt like I was being so careful and by-the-book that, uh, that I’d be okay.
…
Compiled by Joseph Constable and Jess Dunleavy