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JBB: An Artblog!
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祝日 / Permanent Vacation
Cosimo Galluzzi
Today's Document
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DEAR READER
Peter Solarz
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Lint Roller? I Barely Know Her
macklin celebrini has autism
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@junkthought
Here is my response to Prabhjot Singh’s assertion that in the wake of his attack on saturday in New York, he feels “gratitude.” My response is still in need of disaggregating, editing, and so forth.
"Harlem hate crime victim Prabhjot Singh: I’m feeling gratitude"
...
Zapatos que rompen el silencio / Shoes that broke the silence, 2009 by Antonio Gonzales Paucar
Shoes, flies, nylon, Dimensions variable
ORBITAL MECHANICS
Complexity Graphics by Tatiana Plakhova
[previously: Red Trees - Biosphere]
The social machine’s limit is not attrition, but rather its misfirings; it can operate only by fits and starts, by grinding and breaking down, in spasms of minor explosions. The dysfunctions are an essential element of its very ability to function, which is not the least important aspect of the system of cruelty. The death of a social machine has never been heralded by a disharmony or a dysfunction; on the contrary, social machines make a habit of feeding on the contradictions they give rise to, on the crises they provoke, on the anxieties they engender, and on the infernal operations they regenerate. Capitalism has learned this, and has ceased doubting itself, while even socialists have abandoned belief in the possibility of capitalism’s natural death by attrition. No one has ever died from contradictions. And the more it breaks down, the more it schizophrenizes, the better it works, the American way.
Gilles Deleuze and Felix Guattari, Anti-Oedipus. (via junkthought)
But capitalism doesn’t begin, the capitalist machine is not assembled, until capital directly appropriates production, and until financial capital and merchant capital are no longer anything but specific function corresponding to a division of labor in the capitalist mode of production in general. One then re-encounters the production of productions, the production of recordings, and the production of consumptions—but precisely in this conjunction of decoded flows that makes of capital the new social fully body, whereas commercial and financial capitalism in its primitive forms merely installed itself in the pores of the old socius without changing the old mode of production.
Anti-Oedipus, 226. (via junkthought)
This is no longer the cruelty of life, the terror of one life brought to bear against another life, but a post-mortem despotism, the despot become anus and vampire: “Capital is dead labour, that vampire-like, only lives by sucking living labour, and lives the more, the more labour it sucks.” Industrial capital thus offers a new new filiation that is a constituent part of the capitalist machine in relation to which commercial capital and financial capital will now take the form of a new alliance by assuming specific functions.
Anti-Oedipus, 228 (via junkthought)
This is no longer the cruelty of life, the terror of one life brought to bear against another life, but a post-mortem despotism, the despot become anus and vampire: "Capital is dead labour, that vampire-like, only lives by sucking living labour, and lives the more, the more labour it sucks." Industrial capital thus offers a new new filiation that is a constituent part of the capitalist machine in relation to which commercial capital and financial capital will now take the form of a new alliance by assuming specific functions.
Anti-Oedipus, 228
But capitalism doesn't begin, the capitalist machine is not assembled, until capital directly appropriates production, and until financial capital and merchant capital are no longer anything but specific function corresponding to a division of labor in the capitalist mode of production in general. One then re-encounters the production of productions, the production of recordings, and the production of consumptions--but precisely in this conjunction of decoded flows that makes of capital the new social fully body, whereas commercial and financial capitalism in its primitive forms merely installed itself in the pores of the old socius without changing the old mode of production.
Anti-Oedipus, 226.
Jimmy Fallon, Robin Thicke & The Roots Sing “Blurred Lines" (w/ Classroom Instruments) (by latenight)
This song was a total slow burn and ended up winning mainstream 2k13. I like this version because it sounds less like a biting of Marvin Gaye and instead like a Sesame Street version, especially with a melodica. #thicke
Sundance’s new show The Writers’ Room is hosted by Jim Rash and takes viewers inside, well, the writers’ room of some of television’s best programs. Last night’s premiere featured the writing staff of Breaking Bad—and Bryan Cranston—and can be viewed in its entirety on Sundance’s website.
The Writers’ Room airs Mondays at 10pm on Sundance.
Yes, please, and thank you.
Urban Air by Stephen Glassman.
Gary Younge: Calls for calm after George Zimmerman was acquitted of murdering Trayvon Martin are empty words for black families
I was forced to watch bits of the Martin-Zimmerman trial in a public place. Luckily it was closed-captioned so I didn’t have to listen. This was how I came to watch about an hour of cross-examination by Zimmerman’s defense attorney of Rachel Jeantel, Trayvon Martin’s friend with whom he was…
Hey.
If you have ever wanted to try standup comedy, and you were thinking about paying the hundreds of dollars that standup teachers charge for their classes, please stop for a second. Consider taking my on-line course instead. I think it will work at least as well as any for-pay class out there....
In one of his most ambitious suspended installations to date, artist Tomás Saraceno (previously) launches visitors at the K21 Staendehaus museum in Düsseldorf more than 65 feet (20 meters) above the main piazza with a taunt, multi-level web of netting. Titled In Orbit the giant interactive piece is constructed from three separate levels of safety nets accessible from various points in the museum separated by enormous PVC balls measuring almost 30 feet (8.5 meters) in diameter. The resulting aerial landscape is an interesting hybrid between science fiction, spider webs, neural pathways and cloud formations.
photo credit: Studio Saraceno & Kunstsammlung NRW
Racism is a practice of abstraction, a death-dealing displacement of difference into hierarchies that organize relations within and between the planet’s sovereign and political territories…Indeed, the process of abstraction that signifies racism produces effects at the most intimately “sovereign” scale, insofar as particular kinds of bodies, one by one, are materially (if not always visibly) configured by racism into a hierarchy of human and inhuman persons that in sum form the category of “human being.”
Ruth Wilson Gilmore (via criticalmourning)
OCCUPY cover by Kelli Anderson
