in dreams @indreams1 - Tumblr Blog

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necrytalkie1

hu ming paintings

shooting practice (2004)

enemy coming and... (2005)

enemy invassion alarm (2006)

big ant (2006)

today, I took a rest (2007)

grubarchived

i see a lot of art filled with plants, like, in the american art scene there seems to be a kind of general movement towards and appreciation of ruined structures being overtaken by nature. offices full of dead computers and leaves. walls with ivy. old factories crawling with new growth. a symbol of degrowth, of new futures that devour and reject colonial modernism, of a refutation of the tyranny over land. it's a nice sentiment.

but consistently im noticing something odd, which is that over and over the plants depicted in art are very familiar -- they're houseplants. pothos. monstera. calathea. zamioculcas. plants growing in the wrong place, at the wrong time, in the wrong climate, a mishmash of unrelated folks with far-flung origins symbolizing "natural" retaking of the modern world.

plants, specifically, that are directly tied to the legacy of colonialism. from northern africa. from southern america. from india. plants that were collected as curios during periods of direct imperialism. plants kept as trophies, plants sold at high prices. plants that are "exotic". that are beautiful. that are high-value. plants whose people got no payment for their capture.

they're the plants people in american colonial territory, who lack access to native plant community, see most often -- that is, other than "weeds". and so when these artists reach for the pure idea of plant, the concept of nature, these plants are their only blueprint. dragging with them all of the baggage of hundreds of years of empire.

it's incredible how much this changes the messaging of the image. dreams of ecological participation stained with a creeping theme of alienation from their native biosphere. the thumbprint of colonialism, clear as day. a hopeful vision of the future, kneecapped by its own symbology. hundreds of individual artists so alienated from their own ecosystems that even their fantasy of participation with nature is inextricable from colonialist trophies. trying to imagine reclaiming the world.

dailyflicks

These surrealists who made the early films were shooting in the dark, they were feeling their way. But they've left behind a sign on a door that said: once this door is opened, in the future, it will make a way for a brand new kind of film. I'm very happy to be a fellow traveler with any of these guys. David Lynch in Arena - Ruth, Roses and Revolver (Feb 20 1987)

omegaversereloaded

Ive already made this post 3 times but the cutest thing ever is adding mutuals on instagram and seeing how normal everyone is

omegaversereloaded

Mutuals on tumblr: i NEED to be bisected by an anarchist punk lesbian werewolf TONIGHT or i will kill myself

Same mutuals on instagram: Wow, it was a crazy weekend hiking with my friends 🌄 and then celebrating my little brother's 11th birthday! 7th grade will be wonderful for you little man 🤘

pop-art-sixties-seventies

Conception de pièce pour l'exposition 'Visiona' par Bayer AG, conçue par Verner Panton, 1968

caroloftheshells

tara rodgers, "synthesis" (in keywords in sound, ed. david novak & matt sakakeeny, 2015)

caroloftheshells

"As social and technological processes of sound reproduction produced the very ideas of 'original' and 'copy' (Sterne 2003), the emergence of sound synthesis techniques produced audible, interdependent categories of 'natural' and 'artificial' sounds. This unfolded in the context of debates about synthetic and natural materials happening across cultural fields (Smulyan 2007: 4-45; OED, 'synthetic'). Some inventors and musicians embraced synthesized sound as a means of transcending bodily limitations in performance, since myriad sound-producing tasks could be delegated to electronic signals or machine processes. Synthesizers promised to mimic, or even sound better than, a human performer (Olson and Belar 1955: 595; Plumb 1955b; Holmes 2002: 12). At the same time, there were concerns over what this delegation meant for conventional ideas of musicianship and creative authority. Was technology 'somehow false or falsifying' when mediating acts of musical expression (Frith 1986: 265, quoted in Théberge 1997: 2)? Or, if synthesized sounds were too 'realistic,' would synthesizers put musicians out of work (Taubman 1955a, b; Strongin 1969)? Synthesized sounds thus exemplified broader debates about the roles of emerging technologies in musical practice and the place of science and technologies in everyday life.

"While nature and artifice are well-worn topics for twenty-first-century readers familiar with cultural theory, these categories held great significance to the inventors, musicians, and listeners who greeted new sound synthesis technologies over the last century. Indeed, stories of synthesized sound in practice are often marked by movements around and across perceived boundaries of nature and artifice, of human and machine, and of what counts as fully human in the course of human histories. Many inventors of electronic musical instruments have devised and revised touch-sensitive interfaces in efforts to humanize expressive possibilities of otherwise unwavering electronic tones (Chadabe 1997: 14; Holmes 2002). Disco and house music producers, and their dance floor interpreters, have heard in 'unnatural' (i.e., not acoustic) electronic beats and synthesized strings a sonic metaphor for queer identities and communities (Dyer 1990; Currid 1995; Gilbert and Pearson 1999: 61-66, 91). R & B musicians have taken up the vocoder and other explicitly technologized voice synthesis effects to challenge cultural inscriptions of black subjects and voices as 'the epitome of embodiment' and authentic 'soul' (Weheliye 2002: 30-31). In these examples, sonic artifice-- as it is so marked by distinctive timbral and tone-shaping dimensions of synthesized sound-- is a machine-produced veneer that always reflects back on human conditions, relations, desires. Synthesized sounds themselves are complex naturecultures-- instances of the imploded and deeply interwoven categories of natural and cultural, 'where the fleshy body and the human histories are always and everywhere enmeshed in the tissue of interrelationship where all the relators aren't human' (Haraway and Goodeve 2000: 106)."

madamerenoir

Lbf

Form Unformed

alienpapacy

hey yall im fr broke broke after paying this past due gas bill rn if anyone could throw me a couple bucks to help tide me over for a few days im bogmummy on all the payment apps