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Questions I ask: Why does JJ Abrams find it acceptable to give Alice Eve a momentary half-nude scene in the new Star Trek (in a scene that in no way supports the plot) but Captain Kirk is able to walk around the Enterprise with a paunch belly?
acamouflage:

“Wooden Slats Dress” by Yohji Yamamoto, Autumn/Winter 1991

acamouflage:

“Wooden Slats Dress” by Yohji Yamamoto, Autumn/Winter 1991

(via bbook)

tachyonsplus:

Currently have a Saturnizer and Vortex Decoder available.

Email at tachyonsplus@yahoo.com if yr interested.

And I did not understand so much. I did not understand, for instance, that people really die. I did not understand that death is irrevocable. I did not understand the grief of those who remember the dead. I did not understand that the horrors of history, those textbook cases of genocide, rape, and slaughter, would happen in my lifetime to people I knew. And so I did not understand that the earth is real, and that what happens on it happens to real people just like me. I did not understand that as I grew older my life would continue with me. I thought instead that each event in my life was discrete, each person of that moment only. I did not understand that the people I knew I would always know, one way or another, for the rest of my life. I did not know that one never stops knowing anything, that time continues to pass relentlessly, though without any particular vengeance, taking each of us with it. I did not understand then that there is no choice, that one always writes for the living, that there is no other way to create the future or to redeem the past. I also did not know that each human life is precious, brief, an agony, filled with pain and struggle, sorrow and loss.
– Andrea Dworkin, First Love (via being-and-nutella)

(via mushfromnewsies)

Questions I ask: Why does JJ Abrams find it acceptable to give Alice Eve a momentary half-nude scene in the new Star Trek (in a scene that in no way supports the plot) but Captain Kirk is able to walk around the Enterprise with a paunch belly?
acamouflage:

“Wooden Slats Dress” by Yohji Yamamoto, Autumn/Winter 1991

acamouflage:

“Wooden Slats Dress” by Yohji Yamamoto, Autumn/Winter 1991

(via bbook)

tachyonsplus:

Currently have a Saturnizer and Vortex Decoder available.

Email at tachyonsplus@yahoo.com if yr interested.

And I did not understand so much. I did not understand, for instance, that people really die. I did not understand that death is irrevocable. I did not understand the grief of those who remember the dead. I did not understand that the horrors of history, those textbook cases of genocide, rape, and slaughter, would happen in my lifetime to people I knew. And so I did not understand that the earth is real, and that what happens on it happens to real people just like me. I did not understand that as I grew older my life would continue with me. I thought instead that each event in my life was discrete, each person of that moment only. I did not understand that the people I knew I would always know, one way or another, for the rest of my life. I did not know that one never stops knowing anything, that time continues to pass relentlessly, though without any particular vengeance, taking each of us with it. I did not understand then that there is no choice, that one always writes for the living, that there is no other way to create the future or to redeem the past. I also did not know that each human life is precious, brief, an agony, filled with pain and struggle, sorrow and loss.
– Andrea Dworkin, First Love (via being-and-nutella)

(via mushfromnewsies)

darnyill:

art

darnyill:

art

(Source: tibets, via delicate-vacuum)

"Questions I ask: Why does JJ Abrams find it acceptable to give Alice Eve a momentary half-nude scene in the new Star Trek (in a scene that in no way supports the plot) but Captain Kirk is able to walk around the Enterprise with a paunch belly?"
"And I did not understand so much. I did not understand, for instance, that people really die. I did not understand that death is irrevocable. I did not understand the grief of those who remember the dead. I did not understand that the horrors of history, those textbook cases of genocide, rape, and slaughter, would happen in my lifetime to people I knew. And so I did not understand that the earth is real, and that what happens on it happens to real people just like me. I did not understand that as I grew older my life would continue with me. I thought instead that each event in my life was discrete, each person of that moment only. I did not understand that the people I knew I would always know, one way or another, for the rest of my life. I did not know that one never stops knowing anything, that time continues to pass relentlessly, though without any particular vengeance, taking each of us with it. I did not understand then that there is no choice, that one always writes for the living, that there is no other way to create the future or to redeem the past. I also did not know that each human life is precious, brief, an agony, filled with pain and struggle, sorrow and loss."

About:

I am often inspired by psychology and various disciplines within the humanities, as well as multisensory video performance. My latest work references ideas of cognitive psychology, specifically cognitive dissonance, distortion, double-consciousness, and catastrophizing. It uses the mixing of analog video and audio as a metaphor for these mental processes and focus on the feeling of discord as each signal fights for airtime.

An incessant stream of images and messages assault our consciousness on a minute-by-minute basis, during which our egos attempt to reach equilibrium. This conflicting information must be processed in order for the individual to function in society. These expectations and demands have deep cultural roots that seemingly pre-exist media outlets, but are reinforced by them just the same.

My work deals with this discomfort, which is not limited to a mere moment but is instead ever-present. We often live in a constant state of mental anxiety and chaos, a cacophony of stimuli and expectations. This translates into the breakdown of the image, which ironically can produce formally pleasing results.

Glitch art is often described as the moment when technology is made transparent, or when “the machine reveals itself.” I use this framework to mirror a psychological state, while also referencing previous movements such as Dada and Fluxus. I am also inspired by VJ performance and DIY culture.

I use mostly outdated technology because it highlights the contrast between our desire for the newest and greatest and the availability of the obsolete.

Following: