novice Buddhist, expert neurotic. writer. aspiring adult.
sophcw at gmail dot com
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Oneohtrix Point Never - Boring Angel
I don’t think I’ve ever been moved by emoji before. This video is incredible.
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Once, you could wish to Become Enemies with a child.
This will no longer happen,
and fish will not be duplicated in your fridge when moving homes.
People will no longer receive a wish to skinny dip with mummies,
and you can no longer Try For Baby with the Grim Reaper.
Pregnant women can no longer “brawl.”
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In Ripps’s project, the decision to work with a brand like Red Bull is not just inseparable from the content, this decision is the content of the performance. Selling out is a medium. Viewing it, we are less interested in asking why did he choose to let a brand sponsor the project and more interested in why and how did he choose to integrate Red Bull.
Whitney Mallett for The New Inquiry
Fascinating piece on the trendiness of using corporate aesthetics and sponsorship as art.
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‘Capitalist Realism’ is the ideology that now structures our world, the idea that, in the words of Margaret Thatcher, there is no alternative. Neo-liberal capitalism seamlessly occupies the horizons of the thinkable. Within that framework, what does the emulation of the creative visual forms of the corporation signify? What’s with post-internet artists and all their corporate swag? Looked upon favourably, it suggests an ambition for the work. The visual language of the corporation is the language of the possible. Who structures our visual environment on a daily basis, but advertising agencies working on behalf of corporations?
The move towards brand language marks a desire to engage with the visual cultures of daily life. In adopting the form of the commercial policy document, artists are shifting the context of their work back to some form of social engagement, and that’s a tacit admission of just how ineffective contemporary art discourse has been in making practical and pragmatic interventions into the real world of everyday life. Instead, the utilisation of the language of the commercial sphere, then, signifies a genuinely radical shift from the forms of post-socialist contemporary art that came before, in the form of Relational Aesthetics — an attempt or desire to produce art that engages with everyday life, which changes the social or political world it is produced in. We can lament that there is no other political framework in which radical social engagement can occur, but we cannot really deny it.
Huw Lemmey at Rhizome.
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The accidental audience’s attitude toward what it sees is deeply predicated on the neoliberal vision of cultural migration, but its willingness to strip images of their status as property is so aggressive that it deserves a term of its own: image anarchism. Whereas image fundamentalists and image neoliberals disagree over how art becomes property, image anarchists behave as though intellectual property is not property at all. While the image neoliberal still believes in the owner as the steward of globally migratory artworks, the image anarchist reflects a generational indifference toward intellectual property, regarding it as a bureaucratically regulated construct. This indifference stems from file sharing and extends to de-authored, decontextualized Tumblr posts. Image anarchism is the path that leads art to exist outside the context of art.
Photoset reblogged from with 20 notes
This includes an interview with a hair extension. By Kelley McNutt.
“She’s all up on me like these pixels…”
"it’s cool because it’s nerdy"
Marina knows everything good.
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