I want a life filled with flowers. Flowers everywhere. Flowers growing inside me.
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⁂
sheepfilms

titsay

shark vs the universe

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@theartofmadeline
styofa doing anything
Xuebing Du
trying on a metaphor
dirt enthusiast
YOU ARE THE REASON

roma★

blake kathryn
let's talk about Bridgerton tea, my ask is open
we're not kids anymore.
Stranger Things
h
Three Goblin Art

★

seen from South Africa
seen from Italy
seen from Germany

seen from Malaysia
seen from United States
seen from Dominican Republic
seen from Canada
seen from Ukraine
seen from Ukraine
seen from Morocco

seen from United States

seen from United States
seen from Italy

seen from Brazil

seen from Malaysia

seen from United States
seen from Brazil
seen from Canada

seen from Malaysia
seen from Netherlands
@art-is-alien
I want a life filled with flowers. Flowers everywhere. Flowers growing inside me.
Week 8 Principles (the real ones)
Week 10- Reflections
It seems very clear from these readings that even though we strive in our scientific and artistic pursuits to maintain the moral high ground, we often leave a little “wiggle room” to do what we want. In some cases, this leads to a greater understanding of scientific truths or new discoveries, in other the living creature of the endeavor suffers for no gain at all. But even this suffering with no result can be viewed as a gain, in that we understand what did not happen. So where is the line between cruelty and discovery?
In the past I have puzzled over this dilemma in reference to scientific advancements made during the second world war. Necessity, opportunity, and indifference to suffering birthed many medical and scientific breakthroughs during this time period. Many experiments were performed unethically on captives in the concentration camps in Europe and America, and these sad acts lead to innumerable discoveries in the medical field. The suffering of many lead to the discovery of many principles that our modern medicine is founded on.
I personally cannot condone the harmful treatment of any individual, however I also partake in meat, medicine, and cosmetic items, which are all the product of what may be interpreted as “unethical” treatment of non-humans. In observing this, my stance on harmful treatment of animals seems a bit shallow, seeing as I am aware of these occurrences and do nothing to alter my behavior or the actions of the corporations who perform these harmful acts. I can think of many excuses why this may be: I am too poor to afford ethical produce or cosmetics, I can only use the medicines that my country approves of and provides within my financial window, I do not personally have contact with any of the creatures being used by these corporations, and so on.
These are true, but in my mind they seem to come across as excuses rather than reasons. And maybe that’s fine. I cannot say for sure that I am personally responsible for the lives and care of these non-human species. I can even go so far as to blame Capitalism for these atrocities. However, such thinking would only allow these behaviors to continue un-checked.
In art, the creator makes conscious decisions about the media, the setting, the audience, and many other factors. Numerous artists in the past have created pieces that bring the actions of corporations into the harsh light of criticism. I feel like this is a start. Artists can use the imagery of suffering to shock the public and even alter the way people think about animal testing or unethical farming techniques.
That is a power that should not be underestimated.
Principles week 11
Principles week 10
Powerful stuff....
For those who have un-hostable crows. I wonder if they'd give you trinkets?
so tired
would like to become a plant
On the topic of identity, are we what we are by birth, or are we what we are by choice?
Week 7 Principles
Art in the Anthropocene:
Text: “One problem is that we are adapting so quickly to these new terms and conditions, both by shielding ourselves through various technological apparatuses (for those who can afford to do so) and through ingenious survival strategies, that it is often difficult to remark on these new perceptual and sensorial realities. In response to the obvious demands that new ecological conditions are making on people, such as the increased movement of climate refugees from Sub-Saharan Africa and Southeast Asia, or Northern peoples who are literally watching their ways of life vapourize, the arts can become a way of attuning to new realities. ... Time is central to the conceptualization of the Anthropocene, for it forces evolutionary and geological considerations into Western thought. As Smailbegović argues, “many of the temporalities that are relevant for developing a politics of time in the Anthropocene—such as minute and incrementally accumulating processes of change, or the long duration of geological time, or even the temporal rhythms relevant to particular non-humans—may not be directly available to the human sensorium.”57 Indeed, this is what so many of the artistic interventions in this book attempt to fathom: the various times that pass through ours, the ways in which time can bend and elongate, and how time is written into our bodies, composing the relations we have to all the other things around us. Time… is the accumulation of a lifetime of passing through environments that offer certain kinds of affordances, which then influence the collective perceptions and sensations of the organisms of the Earth. Attuning ourselves, through poetry, art, and description, to pay attention to other times; developing techniques to begin to think through the limits of our temporal frameworks, and then thinking beyond them—these are crucial practices; in fact, they are matters of survival.”
Principle: Art is made often in a singular moment of time, but should always be conscious of the passing of time as it remarks upon humanity. Some art will long outlive its maker, and others will last barely a breath, but the keeping of time through art is crucial to the awareness of the temporality of humanity.
Envisioning a Sustainable World
Text: "I have a vision, but it would make me feel childish and vulnerable to say it out loud. I don't know you all well enough to do this." That remark struck me so hard that I have been thinking about it ever since. Why is it that we can share our cynicism, complaints, and frustrations without hesitation with perfect strangers, but we can't share our dreams? How did we arrive at a culture that constantly, almost automatically, ridicules visionaries? Whose idea of reality forces us to "be realistic?" When were we taught, and by whom, to suppress our visions? Whatever the answers to those questions, the consequences of a culture of cynicism are tragic. If we can't speak of our real desires, we can only marshal information, models, and implementation toward what we think we can get, not toward what we really want. We only half-try. We don't reach farther than the lengths of our arms. If, in working for modest goals, we fall short of them, for whatever reason, we reign in our expectations still further and try for even less. In a culture of cynicism, if we exceed our goals, we take it as an unrepeatable accident, but if we fail, we take it as an omen. That sets up a positive feedback loop spiraling downward. The less we try, the less we achieve. The less we achieve, the less we try. Without vision, says the Bible, the people perish. Children, before they are squashed by cynicism, are natural visionaries. They can tell you clearly and firmly what the world should be like. There should be no war, no pollution, no cruelty, no starving children. There should be music, fun, beauty, and lots and lots of nature. People should be trustworthy and grownups should not work so hard. It's fine to have nice things, but it's even more important to have love. As they grow up, children learn that these visions are "childish" and stop saying them out loud. But inside all of us, if we haven't been too badly bruised by the world, there are glorious visions”
Principle: There is a sense of wonder that is key to artwork, even if it is not meant to be wonderful. There should always be a prevailing vision that the artist should strive to communicate to the viewer, however the viewer may discover some different vision within the work.
Un-hostable being: the garden snail
Principles week 9
Forgive the chicken scratch
Week 3 Principles
Principle 1: The creation of art should be a consuming action of dedication – the art making should dictate the actions of the maker.
“I was completely controlled by the Instamatic (or what the rationalists call a camera)… I took snapshot after snapshot.” Robert Smithson, "A Tour of the Monuments of Passaic, New Jersey"
Principle2: Art should be made in response to an action or reflection and provoke an action or reflection from the viewers.
“The streets are really where my work finds its meaning and direction, in people's reactions to it.” Richard Long, 'Five Six Pick Up Sticks' from Kristine Stiles, Peter Selz, "Theories and Documents of Contemporary Art - A Sourcebook of Artists' Writings"
Study of Play: https://youtu.be/icfv6y4D3wA
Dialogical Exploration Assignment:
I had my own exploration with this assignment. I really enjoy spending time in my space, and since it’s so close to where I live I visit it often just to relax. My friends who live in the college with me, however, barely remember that it exists. I wanted to spend some time helping them to explore the space and discover all that it had to offer. And then it rained. So I went through with my first plan; to have them collect something they didn’t know was in the garden and present it to myself and each other. As we walked around, my friends began to play with one another and with the space. I found this interaction interesting, because playing and jumping and dancing on a wet slippery rooftop seemed so reckless and funny. So after they showed me their discoveries, I asked them to stay a little longer. we played some tunes and the rain started falling harder, so we just goofed off and enjoyed the space on a rainy day. (no one slipped and fell, so I’m pleased with the results)
Busy women!!
I made a bee friend! (a stingerless male)
Look at those huge eyes! 💛🐝
all i ever think about is how birds are dinosaurs
is this bird dubstep
I really just wanted this on my blog. Sorry.
not sorry
A reminder that Kookaburras are a thing that exists.
One of these lives in a tree just outside my dorm room..... It sings at 5:30 am sometimes..... This sound makes me die a little inside.