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do-you-have-a-flag · 8 months

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the one post I saw about burning man on here has missinfo (breaking event so understandable) and a pretty unsympathetic tone (I get it fyre fest or whatever but it is a former arts event that has been around since the 80s a lot of people did not have reason to expect stranded by the weather like this)

there is so much funny and interesting about this event even beyond the rich people stuck in the mud element

if you get a chance to skim the "Event timeline" portion of the Wikipedia article its a mix of creative themes and facts about mishaps

but to summarize the general history and give you a sense of how chaotic this event has been for the last almost 40 years

this event which started as an art collective and encouraged leave no trace trash policies as well as decomodification, a gifting/barter economy, and "radical inclusion and self expression" slowly changed into something critisised as less participatory and more influencer-baity which, when contrasted with the earlier emphasis on self reliance, is a recipe for trouble

By 1988, Larry Harvey formally named the summer solstice ritual "Burning Man" by titling flyers for the happening as such. This was apparently done to ward off references to "wicker man", the reputed Celtic pagan practice of burning live sacrifices in human-shaped wicker cages. Harvey has stated that he had not seen the 1973 cult film The Wicker Man until many years after and claims it did not inspire the action.

THE SOLSTICE BONFIRE OF A HUMAN EFFIGY HAS NOTHING TO DO WITH THE MOVIE ???

In 1990, a separate event was planned by Kevin Evans and John Law on the remote and largely unknown playa, known as the Black Rock Desert, about 110 miles (180 km) north of Reno, Nevada.[26] Evans conceived it as a dadaist temporary autonomous zone with sculptures to be burned and situationist performance art. He asked John Law, who also had experience on the dry lake and was a defining founder of the Cacophony Society, to take on central organizing functions of the events. In the Cacophony Society's newsletter, it was announced as Zone Trip No. 4, A Bad Day at Black Rock (inspired by the 1955 film of the same name).

there was a whole OTHER desert art party but this one openly inspired by a CRIME DRAMA?

so anyway several of these desert events of varying artistic and seasonal relevance got merged and grew through word of mouth, Wikipedia gives this insane sentence

1991 was also the year that art model and fire dancer (and later Burning Man's first art director) Crimson Rose attended the event.

this is very much something that started small

There were about 20 participants the first year, and approximately 100 in the second and third year. The annual, several weeks-long event, was held over summer Solstice at various fertile hot springs surrounding the desert. Participants built art and participated in self-directed performances.

and only became a public event in the mid 90s

Some key organizers of Burning Man were also part of Desert Siteworks [...] Hence, the two events saw much cross-pollination of ideas and participants.[...] 1996 was the first year a formal partnership was created to own the name "Burning Man" and was also the last year that the event was held in the middle of the Black Rock Desert with no fence around it.

the year it became a public event 2 deaths happened in the space between camp sites

Harvey insisted that the [crash] had not occurred at Burning Man, since the gates were not yet open. Another couple were run over in their tent by an art car driving to the "rave camp", which was at that time distant from the main camp. After the 1996 event, co-founder and partner John Law broke with Burning Man and publicly said the event should not continue.

so from the late 90s on there's a new location and much more regulations and formal ticket sales, shifting the tone firmly from loose artists commune/solstice bonfire into a more standard festival vibe with the aesthetic qualities of a Mad Max movie.

new rules include:

A grid street structure.

A speed limit of 5 mph (8 km/h)

A ban on driving, except for approved "mutant vehicles" and service vehicles.

Safety standards on mutant vehicles.

Burning of any art must be done on an approved burn platform.

A ban on fireworks.

A ban on animals.

in 2017 someone threw themselves into the flames

in April 2020 covid canceled the event, in September 1000 people tried to hold their own Burning man on a beach and San Francisco's mayor called them reckless and selfish. Similarly some people still showed up to the original location despite it's official cancelation.

in 2021 online events were planned

people showed up to the desert unofficially yet again, even more than in 2020

The Bureau of Land Management implemented restrictions including no structures other than shade structures and no fires other than campfires. There was a massive illuminated drone display outlining the Man instead of the burning of a Man effigy.

the event has had issues of trash, the flames releasing co2, gentrification by silicon Valley, diversity issues

so where we are at now is a lot of clueless and willfully ignorant people, mostly rich, several tech bros, going to an event that used to be an unregulated seasonal arts commune and is now an overpriced photo op with just as much drugs but way less active participation to the point of being like any standard music festival.

and it is in the desert.

and it has flooded for the first time in the event's history due to torrential rain. climate activists trying to block the only route to the event a few days ago make this especially symbolic as an example of dramatic weather conditions.

the mud is solidifying in heavy layers, people are stranded, there are no portable toilets working, they are on limited supplies, they are dressed for a party and celebrities are there and there is a real risk of trenchfoot but no ebola. someone died.

so yes hubris and schadenfreude at the rich people wading through muck during the escalating climate crisis. but also in addition to that a wild event with a wild history for which this is far from the first scandal. there's something to the counterculture and anarchic roots of the event, how they appropriated cultural practices, and how they were commodified in turn. how the pandemic interacted with the messaging of the event, how people with tech money and celebrities got involved, how the event is a particularly flashy and less sympathetic example of climate problems that have been hitting vulnerable communities for years now.

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thesims3help · 4 months

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Sims 3 - Gameplay enhancing mods: Family, Occults, School, Work - Part 2.

Continuation of our category based mods. Includes Family, Occult, School, Work/Careers categories.

Pregnancy:

More Pregnancy Interactions

Occults:

Gain weight after pregnancy

Children & Teens:

OneEuroMutt's list of kids through teens mods

Better Bloom Interaction

Autonomous Alchemy Stations

No Temporary Zombies

Mermaid Hunger and "Drying Up" Moodlet Tweaks [Five Flavors!]

Not-So-Weak Mummies

Vampires Are Not Kind! (Drink Without Permission)

Spell Book Tweaks, with multiple flavors (Updated for Carousel, Mill and Gondola)

Magic Academy / Dark Magic Academy Career

Faerie High

Bernardi Academy (Werewolf High)

Fortuneteller Baba's High School for Witches

Fortuneteller Baba's Elementary School for Witches

Vampire Covenant - Requested Career

Spells with increased chances of freezing and blazing

School:

Turtle Martial Arts High School

ClaudiaSharon's Simblr: Evening School, a mod (tumblr.com)

Work:

Architecture Career (TS2 Conversion)

Gamer Career - converted from The Sims 2

Oceanography Career - A TS2 to TS3 Conversion

Sims 3 Custom Career: Law (From the Sims 2: Seasons). Fulltime.

Turles Crusher Corps. Career

Custom Career - Hawaii 5-0 Reboot

Law & Order: Special Victims Unit (based on TV Show)

Garbage Collector Custom Career

The Mechanical Engineering Career

The Navy Officer Career! (With Mass Effect References.)

Car Dealership Career

Entrepreneur Career

Sims 3 Custom Career: Show Business

Professional Wrestling Career

Boxer Career [TS3]

Ninja Career v1.01

Hockey Career

NFL Career

MLB Career

NASCAR Career

Teen Modelling

The Modeling Career

The Socialite Career

Gynaecology Career

Oncologist Career - Converted from lientebollemeis career

Rapper Career - Converted from coko career

Nectar Career

Mad Scientist Career

Professional Procrastinator Career

The Professor Career - Custom Everything!! Outfit, Journals, Opportunities, et. al

Tourism Career -- With Opportunities & MOAR

Night Stalker Career

Psychology Career

Hunting Career

Sims 3 Veterinary Career

Monk/Nun Part-time Career

Sims 3 Priest Career - Full Time

Pirate Career & School

Different Job Titles For Careers

New Job Titles And Descriptions

#ts3 mods #sims 3 mods #the sims 3 #sims 3

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raven-at-the-writing-desk · 2 years

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Hi! Not a request but I have a question, do you know how the magic in Twisted Wonderland works?? I'm sorry, I don't know who else to ask about this 😅😅

I’m not sure if I totally understand what it is you’re asking since there’s a lot of directions we could go in for “how magic in TWST works” 😅 but I’ll quickly summarize what I can recall in general:

You must be born with the aptitude for magic. However, even if your parents or your grandparents were able to use magic, it does not guarantee that you will as well. We see many examples of this in TWST's main cast; plenty of the boys have family members who are non-mages.

People develop their magic at different ages. For example, Riddle perfected his unique magic by age 10, but Sebek is said to be a late bloomer with his magic.

Only 10% of the human population in Twisted Wonderland is even capable of using magic at the basic level (enough to lift a cup). We do not know what this percentage is for other races such as fae, beastmen, and merpeople. To attend a prestigious magic school like Night Raven College, you must be the cream of the crop of this 10%.

It is believed (implied, not outright confirmed to my knowledge) that fae are specifically more magically inclined than the others (as the Briar Valley, which boasts a population of mainly fae, rely on magic for everyday things).

Magic education is not typically offered in most schools; you’d need to go to a specialized program like NRC, have a private tutor, or self-train.

At NRC, first years study the theory behind magic; upper level courses involve more actual usage of magic in the classroom.

Students are not authorized to use magic combat unless formally granted permission by a faculty member or any dorm leader.

Imagination or visualization of one’s magic is apparently important for spells to be successful. This is most likely why NRC invests in classes like Music(ology) and the (Visual) Arts.

Magic is implied to be temporary, although curses and blessings have more long-lasting effects (usually a period of hundreds of years) that may wear away with time.

Blessings and curses are defined as magic bestowed upon someone. They are technically the same thing, and differ only by whether the intention is positive or negative.

It is considered rude to cast a spell on a person without their consent, especially if said spell is typically cast on objects.

It's implied you need to be conscious to maintain magic (excluding curses and blessings). For example, when you go to sleep, your magical fire will go out.

Autonomous magic also exists, though it requires considerably more power to maintain.

Every magic user is capable of manifesting a magic unique to them (which appears to be tied to the user’s personality and/or life experiences); this is known as “unique magic” (or a “signature spell” in the localization). Like with normal magic, UM manifests at different times for each mage.

The name for a UM and its chant appear to come “from within”; they are not names the mage consciously decide.

Magical pens (or rather, the magestones in them) act as conduits through which a magician can channel their magic, though they are not required to cast spells.

Using magic produces a dangerous and highly toxic byproduct known as “blot”. With proper rest and nutrition, blot naturally goes away.

Negative emotions speed up blot accumulation.

Different people accumulate blot at different speeds, just as different people have different magic pools to begin with (as determined by genetics, but apparently can be artificially inflated by magic training).

It is implied that the larger your magic pool, the longer blot remains in your system.

Letting blot build up from straining one’s magic or not allowing time for recovery will result in a state known as “Overblot”, in which the blot consumes the user and gives birth to a physical manifestation known as a “Phantom”.

Phantoms will drain the vitality out of its host until they are dead; the Phantom will continue to exist afterwards.

“Overblot” is supposedly an uncommon occurrence.

You must sever the connection between the mage and their Phantom to snap them out of Overblot.

Blot is made of strong toxins and stagnant magic. It condenses and crystallizes once it is expelled from the body.

Magic can be naturally present in nature; magestones form as a result of crystals absorbing magic from the earth and air.

S.T.Y.X. is an organization that dedicates itself to studying blot and Overblots; they have captured a number of Phantoms and use them as test subjects for their research.

Anti-magic armor is able to be manufactured, but extremely powerful magic such as Malleus's can overwhelm the anti-magic quality of said armor. This implies a limit to how much magic can feasibly be blocked by armor made to keep it out.

It is the magic gemstone/magestone in the magical pens that absorbs blot; these gems are easily mined from certain caves.

It is possible to perform magic without a magic gemstone, but blot will build up in the body instead. The blot will also accumulate much faster, making normal spell casting take a much heavier toll, let alone unique magic.

Reiterating on the last point, it seems to take considerably more magic to use one’s UM. However, we also know of cases where this is not true, such as Kalim’s Oasis Maker (requiring only a little magic power to produce a ton of water).

Magical pens are not always pens. The NRC staff appear to have fashioned their gemstones into other items, and RSA students wear their magical gemstones as brooches instead of as pens. According to Lilia, the form of magical pens has changed a lot over the years. Sometimes they were super big, other times they were very small (see Lilia’s School Uniform vignette for more information on this).

Potion making does not seem to require magical input (unless, as the previous bullet point states, you need to infuse magic into an ingredient or into the potion itself), but flying a broom seems to (as Yuu is told they cannot play Magical Shift/Spelldrive, which requires riding a broom).

There is some level of chemistry involved with making potions; elements (the ones on the Periodic Table) are sometimes mentioned in reference to lab work.

Transformation potions are said to be outlawed. (This is why everyone was shocked when Jack’s unique magic allowed him to turn into a wolf.)

Merpeople that go to work and study on land are given free potions from a special organization first established by the Mermaid Princess; these potions grant merpeople human forms for anywhere from 7 to 10 days and need to be continuously consumed in order to maintain its effects.

There are special jobs related to magic, such as magical healers (like Riddle’s parents) and magic policemen (something Deuce hopes to become in the future).

Magical engineering (that is to say, the cross between magic and technology) is also a thing; Idia and students in Ignihyde generally excel in this field.

Magic must be infused in order to harvest certain ingredients, such as mandrake (see Cater’s Labwear vignettes for more information on this).

There are equations necessary to cast certain spells, such as “autocleaning via implement magic infusion” (see Riddle’s Dorm Uniform vignettes for more information on this).

There are items infused with magic that even non-magicians can use with ease (such as Yuu’s Ghost Camera), as they do not necessarily require magical input to operate.

It is also possible to infuse clothing with magic; this is the case for the NRC ceremonial robes and dorm leader uniforms. Infusing magic helps to protect the wearer.

Malleus is considered one of the “top 5 magicians in the world”, implying that there is some kind of ranking system in place. It's not clear how these spots are calculated or determined.

Ghosts are prone to gather in places with a lot of magical energy, such as NRC grounds on Halloween night.

#twst #twisted wonderland #disney twisted wonderland #twst en #twisted wonderland en #notes from the writing raven #spoilers #twst resource #twisted wonderland resource

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dannyfoley · 6 months

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Tamás Kaszás

The art presented in the Bourne Vincent Gallery focus on the themes of defining the role of the artist in society, going beyond the field of art into other areas of knowledge and work, as well as abolishing the boundaries between art and everyday life.

Agro-Culture, 2011, Neo-Agro (posters), 2011

A constellation of sculptural works composed of farming utensils, found materials, and posters. The works reference the artist’s interests in folk science, fictional anthropology, and self-sustainability.

Tamás Kaszás, an artist-anarchist, imagines the society of the future functioning in a post-fossil fuel economy. Using simple found materials, he practises art as a lifestyle and a form of survival and lives in a house he built on the island of Szentendrei-sziget on the Danube. His references include: folk wisdom, crafts, climate movements, permaculture, as well as proposals of historical communal movements, for example Temporary Autonomous Zones (T.A.Z.) introduced by Hakim Bey. Posters from the Neo-Agro series are displayed in various public buildings in Limerick.

Tamás Kaszás artist and activist who lives outside of Budapest (HU). Recent presentations have taken place at the Institute of Contemporary Art, Winnipeg (CA), Galerie Krinzinger, Vienna (AT) and Museum of Contemporary Art, Budapest (HU).

#contemporary art #fine art #anthropology #colonialism #climate crisis #contemporary sculpture #Tamás Kaszás #everyday #fine art print #poster #political #folk art #eva international #Ireland’s Biennial

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questionthebox · 1 year

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Letters To.

took turns watching the children,

swim, jump, swim some more,

as we also, paraded the trophy room,

congratulating life, on its passages, of families formed

over sports, education, the arts,

it was a beautiful day,

one in which as I got home later, made me come to realize that I

have liked to capture “intimate moments”

with my camera, as they as I thought summarized

what Peter Lamborn Wilson wrote about

Temporary Autonomous Zones,

I drew back in my thoughts to thinking of Kate Winslet in that movie

“Little People”

how I wish, those moments of sex and intimacy, would’ve been simply

the whole movie,

as they create in time, an autonomous zone of pure realization,

pure freedom, pure acceptance.

#poets on tumblr #poetry #poem #spilled ink #spilled writing #writers of tumblr #prose #prose poetry #poems of tumblr #writeblr

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oxiegoeimi · 3 months

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View this post on Instagram

A post shared by Andrew Cortez Cayanan (@oxiegoeimi)

instagram

Art| She Remembers

Artist| #ShootingStarLogBook

The aftertaste of failed expectations continues to linger on my tongue. With decades invested in dreaming, my fantasies came with a cost. Be it late nights spent feeling too numb to scream, cry, or speak; I couldn’t wrestle with the dark. Falling into depression, I wanted to take whatever to overcome my thoughts. Sex, drugs, and risk didn’t fix anything. Romance and war were temporary catharsis at best. Makeup, fancy clothes, and lies helped me endure what I observed in the mirror. Working out and having deep conversations aided me in suffocating my internal inferno. None of it was enough to heal outright. Turning to infinity for answers, I learned that I will never reach understanding or trust. Incapable of being autonomous, my willpower is limited to the breath provided for my lungs. So, what’s the use? If existence doesn’t even allow for independent definition on an intrapersonal level, why strive to keep myself alive? What feels so heavy and binding is the reality that there are those who govern every detail synthesizing this dimension, its entities, and their constructs of change. If such is the case, there are only two possible outcomes. Either, we are subject to what’s perfect or not. Even though I know that it’s not the latter, I struggle with relying on them completely 24/7. Any “progress” is granted. Everything else only manifests through contradictions to their cause. While this is a problem for my comprehension of freewill and responsibility, I recognize that accepting their help is the universal foundation through which one could actually fall in love.

- oxiegoeimi

synergy 11.1 🦁🏳🔐💙 remember to always #trust #nature 🌲 #Healer 🔥 #Spirit 🕊 #hope ⚜️ #grace ☔️ #love 🌸 #life 🌊 #unity 🌈 #believe 💝 #weareone ✂️🕚🎶 #energy #PinkySwear #prayer #meditation #freelove #hereandhereafter #dream #vision #Eternity #paradise #infinity #light #origin #writing #source journey #create #coexist #together 💜🌠🌅🌟

#Instagram

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facultytick · 5 months

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Veer Narmad South Gujarat University Surat, Gujarat Invites Application for the following Positions of Visiting Faculty Recruitment

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meshare · 9 months

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How IoT Data Centers Enable the Connected World

The massive growth of Internet of Things (IoT) devices and applications relies on the backbone of widespread data center infrastructure. As more “things” get connected, the demands on data centers for storage, bandwidth, and real-time computing power intensify. Optimized IoT data centers equipped with next-gen architectures make smart cities, autonomous vehicles, precision agriculture and countless other use cases possible.

In this article, we’ll look at how specialized IoT data centers support the unique workload needs of a rapidly growing connected world.

The IoT Data Deluge

IoT solutions produce mind-bending data volumes that traditional data centers struggle to accommodate. Consider a few projections:

There will be over 55 billion connected IoT devices by 2025, each generating data.

Autonomous cars alone will produce over 40 terabytes of data per day.

Industrial IoT sensors generate over 73 petabytes of data daily.

Smart city applications like traffic sensors, cameras, smart poles and environmental monitors are exploding data volumes.

And these figures represent just a fraction of the expected overall data deluge. Handling the variety, velocity and vast scale of IoT workloads requires a new, optimized approach.

Architecting for IoT Demands

Most existing data centers are centralized and designed for conventional applications, like business computing and web serving. IoT requires greater decentralization and localized processing, driving architectural shifts like:

Distributed data hubs – Smaller, localized data centers embedded in key metro areas, factories, and remote sites handle localized data streams. This reduces latency.

Edge computing – Mini data centers at the edge of networks perform rapid analysis on live data so only processed insights move to the cloud. This reduces backhaul bandwidth needs.

5G and WiFi 6 connectivity – These latest wireless technologies handle high capacities and speed required for expansive device connectivity and low-latency applications.

Analytics acceleration – IoT data centers use FPGA and GPU chips tuned for crunching real-time analytics at scale, with deep learning integration.

By distributing resources close to devices and users, next-gen IoT data centers achieve speed, scale and efficiency.

Robust Power Systems

IoT solutions are often mission-critical, demanding maximum data center and network uptime. That requires robust power sources and backups like:

Multi-grid utility connections provide redundant energy sources to keep data centers running if the grid goes down.

Onsite power generation through natural gas generators or fuel cells kicks in during grid outages.

Uninterruptible power supply (UPS) batterbackups offer temporary power buffer to keep data centers online until generators start.

DC power distribution improves efficiency by directly supporting all the DC-powered servers, switches, and devices in modern data centers.

Redundant, resilient power and battery backups provide the uptime and availability crucial for supporting always-on IoT applications and real-time decision making.

State-of-the-Art Cooling

The massive computing power required for IoT workloads generates substantial heat that must be dissipated. IoT data centers deploy advanced cooling like:

Direct liquid cooling systems for racks bring coolant directly to servers and chips, away from air-based heat removal.

Free cooling and thermal storage uses external air and water when ambient temperatures are low, reducing HVAC energy.

Cold aisle containment seals racks into isolated cold air zones for efficient cooling.

Smart ventilation dynamically adjusts air flow based on live sensor data tracking thermal conditions across data halls.

Innovations in cooling allow increased computing density without overheating while achieving new energy efficiency levels.

Bolstering IoT Security

With critical infrastructures and valuable data involved, IoT systems require stringent cybersecurity measures including:

Data-in-transit encryption secures all communications between end devices, networks and data centers.

Access controls like biometrics and smart cards authorize entry to server areas.

Network microsegmentation and VPC logically isolates various workloads in multi-tenant environments.

Real-time security analytics quickly identify and shut down abnormal traffic indicating attacks.

Hardened hypervisors provide additional isolation between virtual machines.

Data center security protects the trusted foundation underpinning expansive IoT deployments.

The Connected Future

As IoT transforms industries through automation, analytics and intelligence, purpose-built data centers serve as the engine powering this connected revolution. Without advanced data centers designed specifically for IoT’s demands, smart cities, autonomous cars, and industrial automation would remain aspirational concepts rather than practical realities. Robust data centers packed with specialized optimizations make the promise of a smarter, hyper-connected world possible in the here and now.

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beingjackmalkovich · 1 year

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EPILOGUE:

THE ACTIONTITUTION PREVAILS

The Collective Actiontitution or a new temporary constitution for change and transformation (edited by a Krakow inhabitant, therefore by everyone in Krakow)

Art. 1 1: Trichotomy Toward Antichotomy

Beyond good and evil, we can find the third wheel that will force the movement of the static and comforting duality. Toward the cure? (34) Toward understanding, yes. (35) The logic is quite simple: three is the only natural number which is at the same time the closest to two and closer than two to the infinity; it is the simplest choice to start a revolution. As soon that the third person will join, the basic life of the couple will stop and the plot against urbanists will be able to start: conspiracy as abstract sex proposes a third route out of this dominant dichotomy. (36)

Direct application: Any kind of dichotomous conceptions or relationships will be progressively banned, without any kind of force, but through a natural process of understanding and a program of sensibilization. For the city, the result is the creation of preconditions for the reader to discover a multitude of relationships not intended. (37)

Jack Ma comment: “It needed the Snake to make Adam and Eve transform the Paradise into Hell: it is in three parts; one might almost say, in three acts…”(38)

Art. 2 1: People Against Metropolis

We know the scheme from the past: the constitution was that of the heroic age: assembly of the people, council of the people, basileus.(39) Apparently designing for people (40), the urban application of the politics failed. People will be coming together, starting from three and toward everybody, in order to orchestrate a stupid, irrational and necessary attack on the metropolis. The choice is actually the most rational decision for a quest of a new city without bombing everything, which is what rationalists do.

Direct application: Through abolishment of the norms, the people are invited to act positively stupid in the planned streets for an appropriation of the metropolis. A financial compensation will be offered to the people for this self-organized process of design: people as autonomous architects, they exist in large numbers and are spread across the city.(41)

Art. 3 1: Fake Plastic Idols

We always loved them those rationalists. Every metropolis has its staff of officials. (42) They became living legend, Mick Jagger of internal affairs, Michael Jordan of the education, Miley Cyrus of the defense and the army… Blindness under their authority is something we accepted easily, alongside lots and lots of plastic flowers.(43) But if they are gone, it becomes interesting: we need now to rely on figures beyond the borders of society, figures from the past to produce cultural data such as heritage artifacts, geometric motifs that depict nature and the universe, music, performance, and games. (44)

Direct application: a first temporary synthetic government is nominated, composed of: Anita Steckel, Cy Twombly, Stephen Hawking, Vivienne Westwood, Lois Mailou Jones, Lygia Clark, Zaha Hadid (early works), Niki de Saint Phalle and Akira Kurosawa. If you heard of them it’s good, if you don’t it doesn’t matter, you will learn, they’re not going anywhere.

They will sit in a parliament dedicated to their absence: they were not a political party; they made pretense to no formal religion. (45)

Art. 1 2: Hyper-Referential Architecture

This is a common situation: in the background is a piece of classical architecture. (46) On her screen was an open letter to architects, its first words: “Dear Architects, I am sick of your shit.” (47) It is time that we develop a palace which relates to what the people know and see, a city that now truly represents the mirror image (48) of culture. It is simple: if the architecture is contextualized in erotic closeness, I become hyper aware of my physicality. (49) If we achieve such a project, the new hyper aesthetic may include an ethical dimension, based on what one might term the collective experience of immanence. (50)

Direct application: A popular drafting office will be set up to freely handle and convert the great digital flow: there is no application of the scientific process, and the data gathered are not used to analyze the behavior of the population as a whole. (51)

Jack Ma comment: “In other words, they do not dematerialize a concrete form by replacing the concrete: they dematerialize the concrete itself.” (52)

Art. 2 2: Civic Hilbert Space

We have to accept it: the old civic, state, and national groupings have become unworkable.(53) The aversion of a spatial condition stuck in a representation spanning between one and four dimensions is symptomatic of the multitude we are looking for: the people can’t stand anymore a society composed of a small finite number of categories. An alternative has to be settled down: there is "Hilbert space", where quantum mechanical wave functions undulate (54) alongside information in the land of thousand dances. Cultural, digitalized and historical space has many dimensions (55), the city we are looking for has an endless number of identities: this implies both a revision of the urban space and a redefinition of civic responsibility. (56)

Direct application: The new communication system radically transforms space and time, the fundamental dimensions of human life. (57) A new paradigm of space is defined: it does not limit itself anymore, it is now a n-dimensional space where people can finally feel whole in it. The government and popular drafting office will take care of its application.

Jack Ma comment: “Descartes contented himself with two dimensions. (58) Well, he sucks.”

Art. 3 2: Knowledge Market Economy

While physicists were looking for a theory of everything, politicians seeking for a utopia that will never happen, and economists exploring how rubbish theory could be used to explore consumer based markets (59), the people themselves realized they were the means of production of a new city: hours spend on free digitalized encyclopedia and social medias turned out to be what defines the new economical actor of our world. Originally, the knowledge of mathesis was confined to the magician (60), now it is fully online: people have become the generators of the ultimate resource. Before, growth aimed at discerning the inner meaning of a range of religious revelations and scientific cosmologies. (61) From now on, it will the index of a bigger and bigger system of information sharing.

Direct application: the economic system as we know it, is abolished. No one knows what that means, but it is happening. Major investment will be made to progressively replace capital by information. A trading floor will be set up to manage and brew the collective wealth in the treatment basin.

Art. 1 3: Phallicless City Construction

Assuming the toxic fascination of the past societies for dicks as symbols and political actors, an initiative must be started against the dominance of rigid steel and concrete structures that adorn the central districts of all of our major cities. Do we not encounter here the split between the phallic economy and the non phallic domain? (62) No, because it has extended to all domains, it takes way too much space: over abstract space reigns phallic (63) omnipresence and metaphorical load-bearing elements. In this trash space, much of this waste is the result of overproduction, expiration, spoiling, and contamination (64) trough material symbols of erected objects.

Direct application: a transition on several decades is engaged to transform the built environment and reduce as much as possible the summoning of phallic symbols. The horizontality and verticality of walls, together with their cubicalness and curvolinearity, represent very different aspects of the spatial character (65) and diversity the people will be looking for.

Art. 2 3: Culture Becoming Liquid

A new more equal city, through new constructive and economic systems, needs to materialize its wealth in a new way: while citizens believed that producers formed the basis of the nation’s wealth by literally creating material abundance (66), the people understood that the collective body is animated by an immaterial substance (67) which is what later becomes of this commodity (68) all systems are looking for : an in-between, a quantum state of wealth, the liquid fire. (69)

Direct application: A new form of wealth shall be managed and distributed through the Sewage Palace, this new form includes a shared resource produced by and for user communities and governed by these communities. (70) The spatial climate should follow this paradigm shift: let’s put up baths next to the academies and employ bath attendants along with professors. (71)

Art. 3 3: Images Forever There

Data is a mirror carried along a highway (72), it is the reflection of who we are, and it needs to be expressed in the material we produce. The people will embrace that images, trademarks and logos taken from familiar media formats (73) will be graved in their spatial condition. Moving through the city becomes a promenade where we conceive the advance to knowledge as a gradual recovery of truth stored in the subconscious. (74) The information which would enlarge our thoughts to infinite space and would keep us up at night under the light of the blue screen, will finally be translated into a new constructive conscious city: an animal composed by everyone everything everywhere.

Direct application: The government will take care that the heritages of our culture and knowledge stays engraved as much in the minds than it will become in the stones, the Sewage Palace as an open manifesto to support that the accumulated images reinforce the credibility of the term. (75)

Jack Ma comment: “I like that. The rest is history”(76)

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streetart-nightly · 1 year

Photo

“STAB the rich, they’re a social glitch” - Jeremy Corbyn, 2017 Labour march.

at TAA 2019 - Temporary Autonomous Art

#corbyn #labour #labour march #social glitch #graffiti #wall art #squat art #taa #Temporary Autonomous Art

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taylastudio2022 · 2 years

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EVA HESSE (REVISITING):

Revisiting Eva Hesse - Artist Study:

I thought it would be useful to once again revisit Hesse’s work, as she continues to be an influential artist reference. During my formative critique, my work was also compared to hers, or considered “reminiscent” of her work, so I thought I would reconsider, and study Eva Hesse’s practice now later on in my practice of this year:

“Hesse’s reflection on whether to privilege forethought or spontaneity, structure or disorder, captures a persistent thread through the artist’s short but powerfully transformative career”.

“Hesse responded to the cold, autonomous forms of Minimalism—then at the height of its influence—with work that was bold and material, but also mysterious, fragile, sensuous; dependent on wall, floor, and ceiling”

“Her early compositions include figure drawings, abstract collages, and photograms, among other styles and media. But it was during her most acute period of grief—in 1966, after her father died and she separated from her husband, the artist Tom Doyle—that the sculptural work Hesse is best known for came into definition.“

- Artsy.com

Eva Hesse Untitled or Not Yet, 1966 San Francisco Museum of Modern Art (SFMOMA) ^^

Eva Hesse No title, 1969-1970"America is Hard to See," at Whitney Museum of American Art, New York (2015) ^^^

Vertiginous Detour, sculpture made of acrylic and polyurethane on papier-mâché, rope, net, and ball, by Eva Hesse, 1966 ^^

Eva Hesse, Contingent, 1969 - above. ^^^

“I destroy—rebuild and so it goes,” - Eva Hesse.

I admire all of Hesse’s work, including her drawing practice, but these particular works (above) especially, considering their relevance aesthetically and perhaps conceptually to my own work.

I love the bodily nature of Untitled or Not Yet. The organic bulgy sort of forms are left to hang and pull at their own will, only being captured by these net like structures. The way that the light is reflecting off of the materiality of these work evoke a sense of ‘wetness’ or fluidity. This reinforces this idea of a bodily form, I consider the works to have a sense of agency, and movement. An element I hope to have my own work.

In all of the other works shown, they are suspended/hung in a way that allows them their own space - which I consider to be one of the most successful recent developments in my own practice. I enjoy the works that are installed using the materiality of the work - the work being everything- rather than trying to hide fishing line - This leans back into this idea of anti-form and has this unapologetic sort of nature rather than attempting to create an affect, the work just is.

I find No title, 1969-1970 interesting as it appears to be hung, having it’s own space and allowing a 3-D sort of look, but is still by the wall. The work is in-between conventional/unconventional. There were suggestions to have some of my work on the wall as well as suspended away from the wall during my formative so this sort of install could be interesting to explore.

In all of these works there is a certain element of “delicacy” which is also present in my works. It’s always commented on during critiques, this idea of ‘fragility’ - I think that works to the advantage of the work when exploring ideas of tension - and I think that circles back well conceptually to the temporary, the body, memories, feminine identity.....

Links: https://www.artsy.net/article/artsy-editorial-transformative-career-eva-hesse

https://www.britannica.com/biography/Eva-Hesse

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lucysmusicblog · 2 years

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Public Space Rights Readings Reaction

Learning about the rights one has in shared spaces in New York City was fascinating. The text from the Temporary Autonomous Zone was really interesting in that it addressed poetic terrorism and fighting back against authorities. I thought the concept of “art as crime and crime as art” was thought provoking as well. It reminds me of this book that I read about graffiti when I was younger. A lot of people recognize it as damage to public property, which is understandable. But, one should also consider thinking about it from an art standpoint. Graffiti is a form of art as well, that expresses the artist’s emotions and views. Although it is a crime and treated as vandalism, that in itself makes it an interesting avenue of art. It’s the forbidden mystique surrounding it that lends itself to true freedom of expression.

The readings about uses of public spaces, protests vs. parades and regulations on music were also very intriguing. It was interesting how nature was viewed as “government owned”. One of the regulations was “no writing on trees, plants, shrubs, etc…” and while I agree, it made me think about whether nature can be owned by an institution. Do we truly own any part of the land on Earth? Yes, the government may deem a property “ours”, but I’m thinking beyond that. We don’t own the world, we just happen to be inhabiting it. There’s a key difference there and I think exploring the complexity of that idea is fascinating. Some of the regulations were comical to read, in that it should be obvious not to do them, but I’m sure they have happened. One that I found entertaining was the “no landing aviation” because I think it’s common sense that no one would land their jet on a whim in a park. But, it seems that it poses some sort of threat because they need to outwardly state it. Another regulation that I found though provoking was the one about weaponry. Obviously we don’t want weapons in our parks, but having an exception for cigarette lighters and law enforcement on duty shows what exceptions we make in our society. Although smoking and vaping is prohibited in New York City’s parks, beaches and pedestrian plazas, being allowed a cigarette lighter allows people to do those actions more easily. I thought requiring horses to have “horse diapers” on them was a funny concept. It’s practical because horse dung can be an inconvenience if dropped in public areas (my cousin shows horses for competition, so I know how much of a smell that can be), but still entertaining to read. I found it surprising that people don’t need a permit to perform in the subway stations. I was thinking that an enclosed space would be different, but the stations are shared spaces, so that makes sense. From experience, I see people everyday breaking these regulations- smoking in the park, feeding animals, asking for money and much more. This goes to show that although these rules are put in writing, their effectiveness is questionable. Some of the things I read reminded me of blue laws, laws that are written but aren’t enforced.

The last texts that I read about were the rights of squatters. I didn’t know many things about them until I read the readings and I found it really interesting. Squatting is more of a civil matter, which makes sense as to why it was incorporated into punk to make a statement. I found it really intriguing that if you live on a property for 30 days or more, you can be legal tenants of it. As long as you don’t “beautify” the land, after 10 years, one can even make a property claim. I never knew that squatters had rights. It also makes sense why in the videos of people’s houses we watched in class looked unlivable, they weren’t able to fix up around the land. I think that in itself makes a statement though, the fact that someone is set on living on a property and becoming a squatter. I learned a lot from the readings about people's rights and how they can use grey areas to get around laws.

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