position:artist

  • How music about space became music about drugs - MIT Technology Review
    https://www.technologyreview.com/s/613762/space-music-drugs

    The rock era and the space age exist on parallel time lines. The Soviets launched Sputnik in October 1957, the same month Elvis Presley hit #1 with “Jailhouse Rock.” The first Beatles single, “Love Me Do,” was released 23 days after John F. Kennedy declared that America would go to the moon (and not because it was easy, but because it was hard). Apollo 11 landed the same summer as Woodstock. These specific events are (of course) coincidences. Yet the larger arc is not. Mankind’s assault upon the heavens was the most dramatic achievement of the 20th century’s second half, simultaneous with rock’s transformation of youth culture. It does not take a deconstructionist to see the influence of the former on the latter. The number of pop lyrics fixated on the concept of space is massive, and perhaps even predictable. It was the language of the era. But what’s more complicated is what that concept came to signify, particularly in terms of how the silence of space was somehow supposed to sound.

    The principal figure in this conversation is also the most obvious: David Bowie. In a playlist of the greatest pop songs ever written about life beyond the stratosphere, 1969’s “Space Oddity” would be the opening cut, a musical experience so definitive that its unofficial sequel—the 1983 synth-pop “Major Tom (Coming Home)” by German one-hit wonder Peter Schilling—would probably be track number two. The lyrical content of “Space Oddity” is spoken more than sung, and the story is straightforward: an astronaut (Major Tom) rockets into space and something goes terribly wrong. It’s odd, in retrospect, that a song with such a pessimistic view of space travel would be released just 10 days before Neil Armstrong stepped on the lunar surface. That level of pessimism, however, would become the standard way for rock musicians to write about science. Outside of Sun Ra or Ace Frehley, it’s hard to find serious songs about space that aren’t framed as isolating or depressing.

    Space is a vacuum: the only song capturing the verbatim resonance of space is John Cage’s perfectly silent “4’33".” Any artist purporting to embody the acoustics of the cosmos is projecting a myth. That myth, however, is collective and widely understood. Space has no sound, but certain sounds are “spacey.” Part of this is due to “Space Oddity”; another part comes from cinema, particularly the soundtrack to 2001 (the epic power of classical music by Richard Strauss and György Ligeti). Still another factor is the consistent application of specific instruments, like the ondes martenot (a keyboard that vaguely simulates a human voice, used most famously in the theme to the TV show Star Trek). The shared assumptions about what makes music extraterrestrial are now so accepted that we tend to ignore how strange it is that we all agree on something impossible.

    Unsurprisingly, the ambiance of these tracks merged with psychedelic tendencies. The idea of “music about space” became shorthand for “music about drugs,” and sometimes for “music to play when you are taking drugs and thinking about space.” And this, at a base level, is the most accurate definition of the genre we now called space rock.

    The apotheosis of all the fake audio signifiers for interstellar displacement, Dark Side of the Moon (and its 1975 follow-up Wish You Were Here) perfected the synthesizer, defining it as the musical vehicle for soundtracking the future. Originally conceived as a way to replicate analog instruments, first-generation synthesizers saw their limitations become their paradoxical utility: though incapable of credibly simulating a real guitar, they could create an unreal guitar tone that was innovative and warmly inhuman. It didn’t have anything to do with actual astronomy, but it seemed to connote both the wonder and terror of an infinite universe. By now, describing pop music as “spacey” usually just means it sounds a little like Pink Floyd.

    What has happened, it seems, is that our primitive question about the moon’s philosophical proximity to Earth has been incrementally resolved. What once seemed distant has microscoped to nothingness. When rock music was new, space was new—and it seemed so far beyond us. Anything was possible. It was a creative dreamscape. But you know what? We eventually got there. We went to space so often that people got bored. The two Voyager craft had already drifted past Pluto before Nirvana released Nevermind in 1991. You can see a picture of a black hole in the New York Times. The notion that outer space is vast and unknowable has been replaced by the notion that space is exactly as it should be, remarkable as it is anodyne.

    #Musique #Espace #David_Bowie #Pink_Floyd

  • ONE MILLION - ITEM 2361
    https://vimeo.com/332715618

    BELVEDERE MUSEUM VIENNA | CARLONE CONTEMPORARY
    ONE MILLION BY ULI AIGNER - ITEM 2361 - MONUMENTAL PORCELAIN VESSEL

    APRIL 12 - NOVEMBER 3, 2019

    belvedere.at/uli_aigner_en

    Porcelain is like a material memory that can endure for centuries. UIi Aigner uses this medium as a starting-point to transform loss into a material message about life and survival. Her monumental porcelain vessel is to be shown in the series Carlone Contemporary in which contemporary artworks are juxtaposed with the Baroque pictorial programme of the Carlone Hall.

    ONE MILLION – ITEM 2361 by Uli Aigner is based on a large colour pencil drawing by the artist. As part of her porcelain project ONE MILLION, she had this made into a large vessel in Jingdezhen, China, the ancient “world capital of porcelain” and painted it, working together with a porcelain painter.

    The universal subject of a sunset alludes to the harrowing experience of the suicide of a loved one. On the vessel’s body there is a depiction of a sunset in north-western Canada, the last before months without sunlight. At the top edge, the artist introduces an alternative depiction of the universe: the theory, supported by a mathematical formula, that the universe is a hologram. Aigner addresses both a physical presence in a real environment and a hypothetical model – two ways through which people can relate to the world.

    This exploration of light and shadow, of brightness and darkness in the cycle of life also appears in Carlo Innocenzo Carlone’s frescoes. These address the recurring alternation between day and night. Light is personified by Apollo as the leader of the Muses and has positive connotations, for it illuminates and exposes vices and drives them away.

    In the knowledge of the vast number of suicides worldwide, in this work Aigner is alluding to those who chose to leave us and paying tribute to those who “are still here in spite of everything”.

    Curated by Stella Rollig

    #art #porcelaine

  • https://aissa-sica.com/2019/06/23/can-artists-and-their-art-pieces-still-make-us-think

    Art and politics have always interacted. The artist often aims to defend political positions and art is frequently used as a tool for propaganda. There is also a trend of embellishing poverty and using it as a business. Silvestre does not claim to want to save the world with her artistic creations. But she thinks it’s important to depict the reality of her time. Future generations can see how yesterday’s artists have interpreted the social, political, and cultural reality of their times.

    There is also a trend of using political engagement as a business. Some artists claim to be engaged artists, a label that serves as bait but has no political significance. Political engagement can sell and can fall into a conformist political engagement. Conformist political engagement addresses popular current affairs or issues that are no longer taboo. Artists choose to orient their art as an influential medium at the political, social, or cultural level. Art can make people think and question, but art that changes the world remains utopian.

    #art #artistic #artist #artists

  • The Iraqi and Syrian refugees using body-mapping to share their stories

    What does it mean to flee one’s country and undertake the dangerous journey to Europe? What does it mean to suddenly lose everything and be forced to live in a different country? A new home, new school, new friends and a totally new life? To what extent does it influence family lives and the family unit as such? These are questions that a new research project, based at the University of Birmingham and funded by the British Academy, is tackling. The focus is not only on the changes occurring within refugee families, but equally on the impact of the influx of refugees on the host society.

    We use art as a research method to allow Iraqi and Syrian women and men to express their thoughts and feelings, on both their refugee journey and their new lives in their host countries. Fleeing one’s country puts enormous pressure and stress on an individual, both emotionally and physically. Using the artistic technique of body mapping proved to be very useful in this project, as it allowed participants to embody the emotional and psychological pain caused by their refugee experiences through art. Holding a paint brush, painting and being taught by a renowned artist, in this instance Rachel Gadsden, were for the majority of the participants a new experience. It provided them with a feeling of pride, achievement and self-fulfilment, at a time when they needed it the most. But what are they painting? How are they expressing their experiences? How do they portray themselves? What do they say about their new lives? Do their own narratives confirm widespread notions of their ‘vulnerability’?

    Decades of displacement

    Saddam Hussein’s decades of authoritarian rule in Iraq, the continuous political instability caused by his fall in 2003 and the rise of the so-called Islamic State (ISIS) in 2014 has forced over three million Iraqis to flee their country since the 1980s. Since the outbreak of the Syrian civil war in 2011, Syrians have become one of the largest groups of refugees, with more than five million civilians forced to flee to neighbouring Middle Eastern countries and to Europe. Many Iraqi and Syrian refugees have headed to Europe directly and settled in countries such as Germany or the UK, others went through multi-local trajectories of displacement in so-called ‘transit countries’ such as Jordan.

    Syrian and Iraqi societies are to a significant extent tribal and patriarchal in nature, with familial or community-based social networks often serving to protect their members. However, these networks may be disrupted or disappear entirely during a migration process, leaving women and children in particular in extremely vulnerable situations, unprotected by their family networks. Women, as well as children, very often find themselves in the most subservient and marginal positions, making them vulnerable to abuse and violence, inflicted either by social and religious communities or the state. Human trafficking operations have played a central role in facilitating immigration. In such circumstances, human traffickers who bring migrants across borders abuse women and children and force them into sexually exploitive occupations, or subject them to physical and sexual abuse themselves. Tackling violence against women and girls is one of the UK government’s most important goals. The UK’s aid report in 2015 highlights explicitly the challenges the UK faces regarding the conflict in Iraq and Syria and the need to support peace and stability abroad, in order to secure social and political stability in the UK. The UK government is working extensively towards implementing the ‘No One Behind Promise’, which strives to achieve gender equality, prioritise the empowerment of girls and women and end violence against them, within war zones, such as in Syria and Iraq, and during migration processes in particular.

    Women are often limited to gender-specific narratives of female vulnerability within patriarchal social structures. Without neglecting the fact that women are more affected by and subject to sexual and gender-based violence, the over 150 women we talked and worked with in our projects so far have another story to tell. In our art workshops, these women used art and body-mapping to express their powerful stories of resilience, endurance and survival.

    Gender roles in a time of war and instability

    “I never worked with fabric, but I learnt how to produce the most amazing clothes for women’s engagement and wedding parties. I go around clothing shops in the city and try to sell them. Now I have my own network of buyers. I earn more money now than my husband used to earn. He passed away five years ago and left me with three children to feed. Yes, they call me sharmuta – a slut – because I go around male merchants in town to see whether they would buy my products. I don’t sleep with them. I only sell them my dresses. I don’t do anything wrong. Therefore, I will not stop. I cannot stop. I have children to feed. The problem is not me – the problem is their dirty thinking, only because I am a woman and a good-looking one too [laughing].”

    The young Iraqi widow above was not the only female refugee in Jordan, the UK or in Germany who struggles with social stigmatisations and sexual harassment, on the way to and from work as well as in the workplace. Women’s independence is very often violently attacked, verbally and physically, in order to control women’s lives, bodies and sexuality. Refugee women’s pending legal status, their socio-economic integration and the degree of their security within the host environment change long-held values on family structures and socio-cultural expectations on gender roles. They also influence women and men’s own understanding of their roles which, in most cases, represents a shift from their traditional gender roles within their families. Women and men’s roles in family and society inevitably change in time of war and forced migration and society needs to adapt to this development. In order to achieve sustainable change in society’s perception, both men and women need to be socialised and equipped to understand these societal changes. This does not solely apply to the refugee communities, but also to the host communities, who are also influenced by the presence of these newcomers.

    Through stitching fabric onto their body map paintings or adding pictures of the food they cook to sell on the canvases, women express their attempts to survive. Through art, women can portray how they see themselves: strong in enduring the hardship, without neglecting the challenges they face. “I want to show the world out there that we are not poor victims. One woman like us is better and stronger than 100 men,” as one Iraqi in Germany explains. Another Syrian in the UK emphasised women’s resilience, saying “wherever we fall we will land straight. I want to paint my head up for these politicians to know that nothing will bend us”.

    Women in our art workshops see the production of their artwork and the planned art exhibitions as an opportunity to provide a different narrative on Muslim refugee women. It provided them with a space to articulate the challenges they faced, during and after their refugee journey, but also to create a bridge between the refugee communities and the host community. The artwork produced in the workshops helped to facilitate community bonding, integration and above all, as one Syrian in Jordan explains, “a better understanding of what we really are”.
    https://www.thebritishacademy.ac.uk/blog/summer-showcase-2019-iraqi-syrian-refugees-body-mapping
    #corps #cartographie #cartoexperiment #réfugiés #réfugiés_syriens #réfugiés_irakiens #asile #migrations #couture #femmes #genre #dessin
    ping @reka

    • Negotiating Relationships and Redefining Traditions: Syrian and Iraqi Women Refugees in Jordan
      Art workshops in Jordan April 2019

      Narratives of displacement is a research-based project of the University of Birmingham and funded by the British Academy, documenting the effects of the long and extensive conflict in Syria and the consequent process of significant temporary and permanent displacement of families, upon the marriages and the family-units of the many thousands of Syrian and Iraqi women affected, and now living as refugees, and as asylum-seekers, within several host nations, namely: Germany, UK and Jordan.

      The project is devised and directed by Dr Yafa Shanneik, and comprises at its core the collecting and collating of data, in several locations, in this instance within Jordan, by Shanneik, by means of a comprehensive and broad-reaching programme of interviews with women affected, personal testimony, that considers the sustainment of the marriage and the family unit, and those topics directly related to this, ranging from, the physical, and frequently arduous and perilous, journey from home to host country, to the shifting balance as to the family provider – affected in turn by, for example, skills and the availability of opportunity, psychological changes within individual family members, cultural differences within those host nations.

      Dr Shanneik is acutely conscious of the forced upheaval, the diaspora of no choosing, and the desire therefore, the longing, of those affected, to give voice to the emotional impact, simply to tell their own stories. And, for this reason she has enlisted the services of artist Dr Rachel Gadsden, who will, over an extended period, work with the interviewees, together with family members, mothers, sisters, children, to create mural-style artwork, using the body-mapping process as a starting-point, to depict not only the destruction they may have left behind, the harrowing passages and the significant demands imposed by the process of integration, but also, perhaps, the opportunities, both foreseen and unforeseen, of the new circumstances that they find themselves in.

      The artwork will serve an additional purpose: the opportunity for the testimony, the stories, to be presented to the outside world, a public voice in the form of an exhibition; and therefore, as a means of enhancing this experience, composer and musician Freddie Meyers has been commissioned to compose an original score integrates the Syrian and Iraqi narratives as part of a live art performance, that will sit alongside the exhibition of artworks, to provide an additional layer in terms of expressing the emotional response.

      The starting-point for this particular leg of the project is the one-time fortified town of Karak. Historically, Karak was always of importance, in its strategic location overlooking the easy trading route formed by the valley and the escarpment that is now the Kings Highway, running from north to south through the centre of the country. There will always have been a ‘stop-over’ here, and certainly in the time of the Nabateans, it would have been both a military base and one of many toll-gates, alongside of course Petra in the south, used to control the movement of frankincense, in particular, shipped and sold to Rome, that made the Nabateans so wealthy and enduring. Later, it was held by the Romans themselves, and later again the, Frankish, Crusaders, who used it as a means of protecting Jerusalem, until finally it was laid siege to and liberated by Saladin.

      This fascinating and colourful history is of great significance in terms of Narratives of Displacement, exemplifying as it does the history of the different forms of migration, movement, cross-cultural trade and interface that has been instrumental in forging the tolerant and diverse nature of modern Jordan.

      Since the conflict in Syria began it is understood that there are, conservatively, over a million Syrians currently taking refuge in Jordan, and the country therefore actively engages in seeking to understand the many and continuing pressures consequent to this, borne not only by the refugees themselves but by their hosts, and impinging upon the infrastructure and social and work environment, the better to accommodate the enormous influx.

      The project for five days has based itself at the Al Hassan Cultural Community centre, interestingly on the other side of the valley from, and having spectacular views of, the liberated fortress. Strategically this location is still of importance. Under the inspirational guidance of its director, Ouruba al Shamayle, the community centre houses an extensive library, research and study rooms, and also a brilliant 800 seat theatre and, used in conjunction with Karak University, attracts students hailing from every other part of the country, north and south.

      The immediate vicinity of the centre alone plays host to many hundreds of refugee families, and so over the juration of our stay the centre has witnessed a continuous visitation of the women and their families, attending for interview with Shanneik, and subsequently to interact in creating body-mapping paintings. The interviewing process has been successful and revealing in documenting individual narratives, and the participants have rendered their often-harrowing stories within a total so far of 7 narrative canvases.

      The venue has proved wholly appropriate for additional reasons. The centre plays host to the regular round-table forum of local community leaders, and consequently on Wednesday, Shanneik was given the opportunity to present to a near full complement of forum members including influential local tribal and community leaders. The talk generated considerable interest and discussion amongst the forum, who voiced their appreciation of the objectives, and offered continuing support.

      Subsequently the governor of Karak, Dr. Jamal Al Fayez, visited the centre to familiarize himself with the research, taking a short break for coffee and relaxed discussion about the project’s aims and objectives, and additionally contributing to the artwork underway, completing a part of the painted surface of one of the artworks, and also superimposing in charcoal some of the written word to be contained in the finished pieces.

      From Karak we journeyed north to Irbid where the weather took a turn for the worse. With the rain and the cold, we were conscious of how such conditions might affect our ability to link up with prospective artistic collaborators. The first workshop in Irbid brought together a group of both Syrian and Iraqi women and was hosted in a private home. A red plastic swing swaying in the sitting room, caught our attention. Our Iraqi host has 2 young children, a daughter, and a son who is autistic. The swing allows the son to continue to enjoy physical activity throughout the winter months – this winter, apparently, having been one of the longest. We painted two canvases; one that accommodated two Syrian sisters and our Iraqi host, and one created on traditional dark canvas and telling the stories of displacement of the four Iraqi women, designed in a circular pattern and evoking journeys and life’s force. After the women drew and painted, music filled the air as all the Iraqi women danced and sang traditional songs together. It was a joy for Yafa and Rachel to witness: art and music transports the mood, and the women let their feelings go, laughed, sang and danced together. Rachel recorded their ululation; to incorporate in the music and performance Freddie Meyers is composing.

      That night there was crashing thunder and flashes of lightning, so no surprise that our trip to Mafraq, further north, had to be postponed – flooding can be a hazard on these occasions as rainwater pours down from the mountains and fills up the dry wadis. So instead the project headed to a Palestinian refugee camp, to a society that supports orphaned children.

      Freddie and Tim were not able to join the workshop and so went off to film the surrounding area. Hearing the stories of migration is always a challenge, but as Yafa interviews the women a clear narrative emerges to guide the piecing together of the artwork. This time there were two Iraqi women and also two Syrian women. Despite living in the same building, the two Syrians had never before spoken to one another. One of the Iraqi women has been fantastically creative in her efforts to secure the lives of her children, taking whatever work she can to support her family, having been widowed five years ago. Adoption is rare in these communities so it was heartening to hear about the work of the society as it goes about raising funds to educate and support the young orphans. The psychological impact upon the women is invariably, but perhaps not always addressed or discussed, and the process of art and the interviews can be cathartic, allowing the women to be open and perhaps emotionally truthful about their predicament.

      The weather turned the following day, so Mafraq was back on the schedule. The project visited a centre that teaches basic skills to support and enable refugees to seek work. A group of five women who all had direct contact with the centre joined the workshop. The women were all from Homs, and its environs. One of the canvases tells of the many ways the refugees fled their homeland and made their way to Jordan, both north and south. The key factor that emerged was that all of the women wanted to hold hands in the painting. It is clear that they support one another. Yafa and Rachel had the opportunity to visit the temporary homes of three of the women. As is to be expected, living conditions can sometimes be difficult, with problems related to dampness, for example, lack of adequate heating, and overcrowding. Despite the challenges the women were making traditional food to sell in the market and doing whatever they could to make the daily conditions and circumstances for their families better.

      The final destination for the project was Amman, where the project was hosted at the Baqa’a Palestinian refugee camp. It was market day in Baqa’a so our journey into the camp was more a case of maneuvering around stallholders than following the road. Al Baqa’a camp was one of six “emergency” camps set up in 1968 to accommodate Palestine refugees and displaced people who left the West Bank and Gaza Strip as a result of the 1967 Arab-Israeli war. Over 200,000 people live in the camp now; the community has welcomed recently many Syrian and Iraqi refugees.

      We were hosted by an organisation that also supports orphans, and they had brought together the group of Syrian women refugees and their children for our art workshop. 
Their husbands and fathers are all missing as a direct result of the Syrian conflict. We hear this narrative often, the bravery of each of the women as they share their stories and continue to support their families in the best possible way they can, is humbling. 
We will be creating a full narrative artwork, but these images say so much already.

      14-sketches13-blue-muralWe were additional joined in this workshop by Nicola Hope and Laura Hope, friends of Rachel’s. Nicola is at University studying Arabic and is currently attending Arabic classes as part of her degree process in Amman, and Laura, an Italian literature teacher was visiting her daughter. Additionally so as not to let the men miss out of the experience of the centre and the Baqa’a hospitality, the hosts took all of us on a tour of the camp after the workshop.

      Having listened to many harrowing and challenging stories of displacement during their time in Jordan, told by the Syrian and Iraqi refugee artistic collaborators, at the forefront of Yafa’s and Rachel’s mind is the fact that displacement is never a temporary predicament, it is a continuing one. The emotional scars are life long, and they have yet to meet a single refugee whose greatest hope is anything other than to safely return home.

      This was even more evident at Baqa’a Refugee Camp. Vulnerable individuals have a remarkable ability to survive, and ultimately they have no other choice other than to do just that.

      https://www.birmingham.ac.uk/schools/ptr/departments/theologyandreligion/research/projects/narratives-of-displacement/blog.aspx
      #art

  • Schools Are Deploying Massive Digital Surveillance Systems. The Results Are Alarming
    https://www.edweek.org/ew/articles/2019/05/30/schools-are-deploying-massive-digital-surveillance-systems.html

    Last December, early on a Sunday morning, Amanda Lafrenais tweeted about her cats. “I would die for you,” the 31-year old comic book artist from Clute, Texas wrote. To human eyes, the post seems innocuous. But in an age of heightened fear about mass school shootings, it tripped invisible alarms. The local Brazosport Independent School District had recently hired a company called Social Sentinel to monitor public posts from all users, including adults, on Facebook, Twitter, and other social (...)

    #SocialSentinel #algorithme #CCTV #vidéo-surveillance #surveillance #étudiants #SocialNetwork

  • This Chinese Artist Criticized Google and Xi Jinping. Now He’s Facing Government Harassment.
    https://theintercept.com/2019/06/04/badiucao-china-google

    The messages arrived suddenly and then he went quiet. “My identity is leaked,” he said. “I am worried about my safety.” The Chinese dissident artist Badiucao had been busy preparing an exhibition in Hong Kong to celebrate Free Expression Week, a series of events organized by rights groups. His show was partly inspired by Google’s plan to build a censored search engine in China, and was set to include work that the artist had created skewering the U.S. tech giant for cooperating with the (...)

    #Google #Facebook #Twitter #GoogleSearch #Dragonfly #activisme #censure #surveillance #art (...)

    ##harcèlement

  • Faces Emerge from Cartography Contours in Expressive Portrait Drawings
    https://mymodernmet.com/portrait-drawings-cartography-ed-fairburn

    British artist Ed Fairburn uses maps as his canvas to create incredible portrait drawings. Each detailed work merges the topographic lines of cartography with the hand-drawn contours of the subject’s face, resulting in a captivating coexistence between landscape and humanity.

    Rendered using traditional drawing materials such as ink and pencil, Fairburn starts by making gradual changes to various types of maps to “tease out” the human form. Roads, rivers, and mountainous contours weave and merge together to create abstract shadows, lines, and facial shapes.

    #cartographie #art

  • Why are women forgotten in art and design history?
    https://www.creativereview.co.uk/why-are-women-forgotten-in-art-and-design-history

    When it was founded in 1919, the Bauhaus school represented a new approach to art that did away with the pretension of previous movements. Burning bridges between artist and artisan, focus was placed on craft, process and the building of art rather than the end product itself. The iconic school would go onto influence design and architecture over the next century with hallmark names like László Moholy-Nagy, Paul Klee, Wassily Kandinsky and Marcel Breuer at its helm, who all taught at the iconic school as ‘masters’ during its 24-year history. However, few women were made masters, and women artists tend to rank further down on the Who’s Who list of Bauhaus icons, despite the school’s reputation as a bastion of gender equality.

    #art #femmes #invisibilisation

  • New Gillette ad shows father helping transgender son to shave | World news | The Guardian

    https://www.theguardian.com/world/2019/may/28/gillette-ad-shaving-transgender-son-samson-bonkeabanut-brown

    A transgender man learning to shave is featured in a new ad by razor company Gillette. The ad, posted to Gillette’s Facebook page, features Toronto-based artist Samson Bonkeabantu Brown shaving with some coaching from his father.

    “I always knew I was different. I didn’t know there was a term for the type of person that I was. I went into my transition just wanting to me happy. I’m glad I’m at the point where I’m able to shave,” he says. “I’m at the point in my manhood where I’m actually happy.”

    #publicité #transgenre

  • Police are using flawed data in facial recognition searches, study finds
    https://www.cnet.com/news/police-are-using-flawed-data-in-facial-recognition-searches-study-finds

    When the faces aren’t quite there, police have resorted to using celebrity doppelgangers, artist sketches and computer-generated images. Police across the country are making facial recognition searches even when there’s barely anything to match it with. A study from the Georgetown Law Center on Privacy and Technology released Thursday looked at how police are using flawed data to run facial recognition searches, despite years of studies showing these matches aren’t reliable. That includes (...)

    #NYPD #algorithme #biométrie #manipulation #facial #surveillance

  • Hokusai
    https://fr.wikipedia.org/wiki/Hokusai

    Hokusai (北斎 ?), ou de son surnom de « Vieux Fou de dessin »
    ...
    En 1814, il publie son Manga regroupant croquis et dessins. Les Trente-six vues du mont Fuji (1831-1833) comptant en réalité 46 estampes et La Grande Vague de Kanagawa (1831) sont ses œuvres les plus connues. La couverture de la partition de La Mer (1905) de Claude Debussy reproduit notamment la Vague de Hokusai.

    Tako to ama retouched
    https://de.wikipedia.org/wiki/Datei:Tako_to_ama_retouched.jpg

    English: Tako to ama, an erotic ukiyo-e by the Japanese artist Hokusai.

    LARGE OCTOPUS:
    I’ve been hidden and waiting so long and finally got you! What a nice pussy! It can’t be more delicious! Zu zu... suck suck suck... I will take you to the Dragon Palace after you are handled.

    WOMAN:
    Fucking octopus! Ah ah, you get my cervix! I can’t breathe! Oh, I’m coming, your suction cups... oh, your suction cups... oh, what you’re doing with them! Oh yeah, oh yeah... I’ve never been so... aaah aaah... by octopuses... Mmmm... good good... yeah... there... zu zu zu...

    LARGE OCTOPUS:
    How it feels to be teased by eight arms? See, you are so aroused and totally wet.

    WOMAN:
    Oh, it’s tickling, and I’m losing the control of my waist. I’m losing control! I’m coming! Ah ah...

    SMALL OCTOPUS:
    After daddy finishes, I’m going to rub and suck from the clitoris to the pores with my suction cups!

    Hokusai Manga
    https://en.wikipedia.org/wiki/Hokusai_Manga

    The Hokusai Manga (北斎漫画, “Hokusai’s Sketches”) is a collection of sketches of various subjects by the Japanese artist Hokusai. Subjects of the sketches include landscapes, flora and fauna, everyday life and the supernatural. The word manga in the title does not refer to the contemporary story-telling manga, as the sketches in the work are not connected to each other. Block-printed in three colours (black, gray and pale flesh), the Manga comprise literally thousands of images in 15 volumes, the first published in 1814, when the artist was 55. The final three volumes were published posthumously, two of them assembled by their publisher from previously unpublished material. The final volume was made up of previously published works, some not even by Hokusai, and is not considered authentic by art historians.

    #manga #dessin #Japon

  • James Charles and the Odd Fascination of the YouTube Beauty Wars | The New Yorker
    https://www.newyorker.com/culture/culture-desk/the-odd-fascination-of-the-youtube-beauty-wars

    Watching Westbrook’s video, I might have felt boredom (forty-three minutes?), but, instead, I felt the excitement that must overwhelm an anthropologist discovering a lost culture, obscure but oddly fascinating, with its own dramas, alliances, and enmities. Added to this effect was the comedy of the gaping chasm between the flimsiness of the conflict and its melodramatic presentation. Speaking directly to the camera, her hair and skin smooth and gleaming and her legs drawn up to her chest, Westbrook’s tone often seems more appropriate for a bereavement support group than a skirmish kindled by a supplement sponsorship. At one point, she claims that she feels betrayed because she and her husband helped Charles with business decisions for years, without expecting payment in return. “Life will never stop being painful,” she says. “No matter where in the world you are, no matter your circumstances, you are always going to experience heartbreak, and that’s part of being human.” Viewers responded enthusiastically. “Tati is no longer a beauty guru… she’s a freaking legendary life guru,” a fan wrote, in a comment that received a hundred and seventy-four thousand likes. In response, Charles came out with his own YouTube statement, in which he appears weepy and makeup-less, apologizes in vague terms to Westbrook and her husband for “everything I have put you through over the last few weeks,” and promises, in possibly even vaguer terms, to “continue to learn and grow every single day.” (He also said that he didn’t receive any payment for his SugarBearHair promotion and instead did it as a favor to the company; SugarBearHair, he said, had recently given him an artist pass when he felt “unsafe” in the less secure V.I.P. area at the Coachella music festival—the traditional ground zero for influencer drama.)

    In an Instagram post from the Met Gala earlier in the week, Charles had written, “Being invited to such an important event like the ball is such an honor and a step forward in the right direction for influencer representation in the media and I am so excited to be a catalyst.” His suggestion that influencers are a marginalized group that deserves affirmative-action-style media attention was justifiably met with derision, but it did evoke the strange, liminal position that they occupy. On the one hand, people like Charles and Westbrook—so-called civilians who have amassed millions of followers through a combination of relentless vlogging and a savvily fashioned persona—now wield enormous financial power by using their accounts to promote brands. (One report predicts that the influencer economy will be worth ten billion dollars by 2020; Instagram recently partnered with several prominent influencers to test out a program that would enable direct sales on the social-media platform.) On the other hand, influencers’ power relies on their relatability. (“I want to show you guys that, no matter who you are, you can make it,” Westbrook says, feelingly, toward the end of her “Bye sister . . .” video. “I had freaking nothing, nothing, when I started out.”) Traditional celebrities serve as powerful marketing tools precisely because, though we are enticed by the fantasy that they offer, we understand that we could never really be like them. With influencers, conversely, it feels like, with a little help and a little of their product, we could be. Influencers: they’re just like us.

    An influencer is, by definition, a creature of commerce. Unlike with a traditional celebrity, there is no creative project necessary to back up the shilling of products (say, a movie franchise used to promote merchandise)—the shilling is the project. But, paradoxically, the commercial sway that influencers hold over their fans depends on their distinctive authenticity: the sense that they are just ordinary people who happen to be recommending a product that they enjoy . Charles’s sin, according to Westbrook, was trading their friendship for lucre (or at least a Coachella pass). “My relationship with James Charles is not transactional,” Westbrook says in her video. “I have not asked him for a penny, I have never been on his Instagram.” Railing against Charles’s SugarBearHair sponsored post, she continues, “You say you don’t like the brand. You say that you’re the realest, that you can’t be bought. Well, you just were.” Later in the video, she takes on a Holden Caulfield-like tone: “You should have walked away. You should have held on to your integrity. You’re a phony.” She, herself, she claims, would never pay anyone to promote her beauty supplement in a sponsored post: “My product is good enough on its own. We’re selling like hot cakes.” Indeed, one shouldn’t underestimate the value that authenticity, or at least a performance of it, carries in the influencer marketplace. Since “Bye sister . . .” was posted, it has been viewed a staggering forty-three million times, and Westbrook has gained three million subscribers. Charles has lost roughly the same number.

    #Culture_numérique #Influenceurs

  • The symphony when the devil plays for the participants in Eurovision in Tel Aviv
    By: Dr. Nasser Laham
    http://www.maannews.com/Content.aspx?ID=783407

    To all the artists participating in the Eurovision song contest in Tel Aviv. This is not the beautiful Tel Aviv that they have told you about, this is the Palestinian city of Yaffa, the one that Zionists occupied in 1948, the one where Israel killed another nation and took its land by force. Israel, the one that imposed a siege on Gaza. Israel, the one that bans Palestinians from singing, dancing, and celebrating.

    Have you heard about famous Palestinian artists? Muhammad Assaf from Gaza? Have you heard of Reem Banna from Nazareth? Or any other name for any Palestinian artist singing inside the walls of an Israeli prison? Has anyone ever translated the words of Palestinian songs to you?

    As you sing, look at the faces in the audience, are there any Arabs? Is there any Palestinian allowed to enter the hall and listen to your songs? (...)

  • spring19
    http://www.radiopanik.org/emissions/schattenjacht/spring19

    artist - song

    Khanh Ly - Goi Ten 4 Mua

    Gene Clark - No Other

    White Noise - Phase-In: Love Without Sound

    Psychic TV - The Orchids

    Serge Gainsbourg - Transit à Marilou

    Robert Rental - On Location

    Kurt Vile - Summer Demons

    John Lennon - Remember

    Nico - Purple Lips

    Sidney Owens & North, South Connection - Sputnik

    Shira Small - Eternal Life

    Taeko Ohnuki - Carnaval

    African Head Charge - Elastic Dance

    Susan Cadogan - lady lady

    Ted Lucas - Now That I know

    Simón Díaz - Tonada de luna llena

    Catherine Jauniaux With Tim Hodgkinson - Kebadaya

    Romie Singh - Dancing To Forget

    a springtime set composed with radiant clouds and sunbeams (and for some reason a lot of songs out of 1981)

    http://www.radiopanik.org/media/sounds/schattenjacht/spring19_06678__1.mp3

  • Slow Fermissage
    http://constantvzw.org/site/Slow-Fermissage.html

    Wicked Technologiesis a project considering the ethics and aesthetics of fermentation in relation to artistic research. This project is developed by Sara Manente, a choreographer, performance artist and amateur fermentress, in collaboration with drawing artist Gunbike Erdemir. On Wednesday 8 May from 15:00 until 18:00 the artists will be present in the office of Constant to share their experiences about the different physical, metaphorical and theoretical fermenting processes that occurred (...)

    #Constant_V

  • Skattjakt
    http://www.radiopanik.org/emissions/schattenjacht/skattjakt

    artist - song

    richard steele - Folk Song for Michelle

    sandra bell - lost train

    Harmonia - Notre Dame

    Clark Hutchinson - Textures in 3-4

    Von Zamla - Tail of Antsong

    The Happy Dragon-Band - Disco American

    Keith Hudson - Darkest Night

    Caterina Barbieri - Pulchra

    Tonto’s Expanding Head Band - Beautiful You

    Minimal Compact - Statik Dancin’

    Charlie Haden & Carlos Paredes - Song for Ché

    Billy Bang & Dennis Charles - Air Traffic Control

    Clark Hutchinson - Acapulco gold

    David Mitchell & Denise Roughan - Jewel

    http://www.radiopanik.org/media/sounds/schattenjacht/skattjakt_06602__1.mp3

  • I wish more people were dull – Forthright Magazine
    http://forthright.net/2019/04/18/dull

    By Johnny O. Trail — As I drove to my office on Wednesday, I was listening to XM Satellite Radio. I seem to continually scroll through stations until I find the song I want to hear. Oftentimes I land on country music stations and listen to a great variety of artists. On this day, the disc jockey was talking about an artist who is now deceased.

    #Bible #Christianity

  • #ai for #fun: Awesome Apps You Can Test Right Now
    https://hackernoon.com/ai-for-fun-awesome-apps-you-can-test-right-now-d5e0174d2273?source=rss--

    Artificial Intelligence and Machine Learning. What is it? Just another hype, modern trend to name the technology, or maybe, it is a potential superpower to kill humans?! Today we hear those buzzwords and what is more serious, wrong assumptions about them from everywhere, but only a few understand what it really is and how it works. And if you are not among the latter one, maybe it’s time to change this situation? If your answer is yes, I offer you learning this technology through the uncomplicated and entertaining approach. It’s unnecessary to spend a couple of hours on boring research, just try AI by yourself and explore its capabilities on practice.AI in Your Browser: Talk to Books, Draw like an Artist and More1. Semantris : When was the last time you played Tetris?It’s a fun and (...)

    #funai #ai-for-fun #artificial-intelligence

  • #Vito_Ricci & #Lise_Vachon
    http://www.radiopanik.org/emissions/moacrealsloa/vito-ricci-lise-vachon

    Vito Ricci grown up in Brooklyn and Lise Vachon in Montreal. Now both living in Queens, New York.

    Photo (c) Laurent Orseau

    Playlist at the end of the page.

    Vito Ricci’s leading edge instinct and creativity have made him a vital and prolific composer of illuminating and compelling works. Infused with poignancy and honesty, his music has the power to linger in the listener’s memory. An artist who has been called “composer of wide ranging and obsessively fascinating collection of works” by the Wire, and his soundtracks compared to “heirloom seeds put back in circulation” byPitchfork and “elegant and snappy” by the New York Times. Vito Ricci has been on the leading edge of the downtown music scene since 1979.

    During his thirty-year-plus career, Mr. Ricci has scored over fifty (...)

    #Jacob_Burkhardt #Zummo #Ursula_Mamlok #Byard_Lancaster #FLie_lux_Quartet #Eleanor_Cory #Ornette_Coleman #The_Woster_Group #Blue_Gene_Tyranny #Rashied_Ali #Martin_Goldray #Bob_Holman #Jacob_Burkhardt,Zummo,Ursula_Mamlok,Byard_Lancaster,FLie_lux_Quartet,Eleanor_Cory,Ornette_Coleman,The_Woster_Group,Lise_Vachon,Blue_Gene_Tyranny,Vito_Ricci,Rashied_Ali,Martin_Goldray,Bob_Holman
    http://www.radiopanik.org/media/sounds/moacrealsloa/vito-ricci-lise-vachon_06556__1.mp3

  • Amazon staff listen to customers’ Alexa recordings, report says
    https://www.theguardian.com/technology/2019/apr/11/amazon-staff-listen-to-customers-alexa-recordings-report-says

    Staff review audio in effort to help AI-powered voice assistant respond to commands When Amazon customers speak to Alexa, the company’s AI-powered voice assistant, they may be heard by more people than they expect, according to a report. Amazon employees around the world regularly listen to recordings from the company’s smart speakers as part of the development process for new services, Bloomberg News reports. Some transcribe artist names, linking them to specific musicians in the (...)

    #Amazon #Alexa #domotique #écoutes #BigData #profiling #voix #biométrie

    https://i.guim.co.uk/img/media/acb68c03f10757d288238d46197c2fe7a2d0218f/0_35_3861_2317/master/3861.jpg

  • Fade to pleasure 29.2
    http://www.radiopanik.org/emissions/ftp/fade-to-pleasure-29-2-

    Music matters the most.

    A smooth balance between the experimental and club oriented sides of an artist.

    Do It Yourself is our leitmotiv. Stencil hand-made artwork on the sleeve, every NoSR copy is unique

    Mixed By Scaarlet & hosted By Snooba on Panik (Brussels-Be) Grenouille (Marseille) Canal B (Rennes-Fr) C’rock (Vienne-Fr) Diversité FM (Dijon-Fr) LNFM (LLN-Be)You FM (Mons-Be) Woot (Marseille) Campus FM (Toulouse-FR)

    Thanks to Nicolas Landrieux aka Nico Gomez

    1. A-Sim - Ghost of Skye (NoSR 010)

    2. Volatil - Cycles (NoSR 003)

    3. Scaarlet - Baltimore (Forthcoming NoSR)

    4. Scaarlet - Spotless Dream (NoSR 004)

    5. C/Fe - Approaching The Gaz Giant (NoSR 005)

    6. Scaarlet - Not Good (NoSR 009)

    7. Scaarlet - Communication Failure (NoSR 004)

    8. Roger 23 - Output (NoSR 006)

    9. Peev - (...)

    #indie #idm #electronic_music #deep #indépendant_label #abstract #No_suit_records #electro_acoustique #indie,idm,electronic_music,deep,indépendant_label,abstract,No_suit_records,electro_acoustique
    http://www.radiopanik.org/media/sounds/ftp/fade-to-pleasure-29-2-_06517__1.mp3

  • Alexander von Humboldt: the graphic novel
    https://www.nature.com/articles/d41586-019-00958-5

    Four years ago, the historian Andrea Wulf rescued Prussian naturalist Alexander von Humboldt (1769–1859) from relative international obscurity with her delightful biography, The Invention of Nature.

    To celebrate the 250th anniversary of Humboldt’s birth this year, Wulf has teamed up with artist Lillian Melcher to create The Adventures of #Alexander_von_Humboldt, a graphic work of non-fiction depicting Humboldt’s five-year exploration of Latin America as a young man.

    It was a time when scientists had become obsessed with measuring and documenting all aspects of their environment, from human features to the elevation of hills. But no one took investigation of the environment further than Humboldt — and no one thought as seriously about how the measurements could be integrated into a holistic understanding of our globe.

    #roman_graphique

  • #Emma_Kunz

    Emma Kunz (1892–1963) was a Swiss healer and artist. She published three books and produced many drawings.

    Kunz was born to a family of weavers in 1892 in Switzerland.[1] She was not a trained artist; she is characterized as an outsider artist.[2] Her first exhibition, The Case of Emma Kunz, was posthumous. Inspired by spiritual evolution,[1] she divined with a pendulum and created her drawings by radiesthesia.

    Said one scholar, in comparing her to other women artists, “Hilma af Klint, Agnes Martin, and Emma Kunz approached geometric abstraction not as formalism, but as a means of structuring philosophical, scientific, and spiritual ideas. Using line, geometry, and the grid, each of these artists created diagrammatic drawings of their exploration of complex belief systems and restorative practices.”[3]

    https://en.wikipedia.org/wiki/Emma_Kunz

    #femmes #art #femmes_artistes #historicisation #dessins #suisse

    signalé sur twitter par @reka :
    https://twitter.com/womensart1/status/1110074354140884993