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Sara Mayohas

Franziska Presche

Niko Gabrilo

An Iranian motorist rides his motorbike past a mural depicting a scene from the torture of Iraqi prisoners by U.S. personnel at the Abu Ghraib prison near Baghdad, on a major highway in the Iranian capital Tehran, June 1, 2004.

(Photo credit: Behrouz Mehri/AFP)

solcoil

Carved antler discovered at the Grotte de Lortet rock shelter in the French Pyrenees

Magdalenian period (roughly 15,000–12,000 years ago)

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“There’s a photograph of artist H.R. Giger holding his 1980 Oscar for Visual Effects (Alien, 1979) while wearing souvenir Mickey Mouse ears that he got at nearby Disneyland before the awards ceremony. Refusing to take the hat off, Giger stares ahead with dark, stubborn eyes wearing a white choker band, and a black button-down shirt, while holding the new Oscar at his chest. In silhouette he’s something like a symmetrical monster with big round ears; bionic hood ornament. The son of a Swiss chemist, Giger had gone Hollywood.” — Stephanie La Cava

and to add a lil cherry on-top; Disney buys Fox which owns Alien franchise. This self-awareness of the power of one’s imagery—of its ability to engage in the production and dispersal of aesthetic viruses—constitutes both a challenge and a threat to the centralized models of power that systems like Hollywood both generate and operate within.