processes

frank, the succulent
with two chicks

(my favorite one)

(Source: processes)

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greasemypalms:

Sophie Sitbon // Paris Fashion Week 1990

(via endlssbummr)

" One is the important recognition that the New Aesthetic project is undertaken within its own medium: it is an attempt to “write” critically about the network in the vernacular of the network itself: in a tumblr, in blog posts, in YouTube videos of lectures, tweeted reports and messages, reblogs, likes, and comments. In this sense, from my perspective, it is as much work as criticism: it does not conform to the formal shapes – manifesto, essay, book – expected by critics and academics. As a result, it remains largely illegible to them, despite frequent public statements of the present kind. "

The New Aesthetic and its Politics | booktwo.org (via iamdanw)

In an odd mood this morning. This new Bridle essay didn’t simply move me , it made me cry. The legibility and literacy he points toward is something that I have been struggling to come to grips with over the last few years. And gaining that literacy while physically being amongst people that have no interest in gaining it grows more frustrating and maddening the more the gains become manifest.

(via notational)

12 hours ago | Permalink

Vigilance (1991), by Julia Scher: Representative of Scher’s elaborate involvement with security systems as both social critique and material for art. In this installation for the Centre Pompidou, she installed several black-and-white surveillance cameras in unpredictable, empty spaces in the museum. Visitors are taped, and, as they proceed through the museum, they can see their own image on monitors in other rooms. But they also see pre-taped images of other people in the same spaces performing often aggressive actions, but they are unaware that the footage had been taped earlier. They think it is live and they can become very anxious. They might see people fighting or lying naked on the floor, but they are not sure where they are or if they are in need. Potentially, a certain panic could erupt; panic propelled by the very “security” systems that are supposed to offer solace and safety.

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Vigilance (1991), by Julia Scher: Representative of Scher’s elaborate involvement with security systems as both social critique and material for art. In this installation for the Centre Pompidou, she installed several black-and-white surveillance cameras in unpredictable, empty spaces in the museum. Visitors are taped, and, as they proceed through the museum, they can see their own image on monitors in other rooms. But they also see pre-taped images of other people in the same spaces performing often aggressive actions, but they are unaware that the footage had been taped earlier. They think it is live and they can become very anxious. They might see people fighting or lying naked on the floor, but they are not sure where they are or if they are in need. Potentially, a certain panic could erupt; panic propelled by the very “security” systems that are supposed to offer solace and safety.

(Source: vl4da, via notational)