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Discussion in 'Streetwear and Denim' started by sipang, Dec 8, 2011.

  1. MS007

    MS007 Well-Known Member

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  2. pickpackpockpuck

    pickpackpockpuck Well-Known Member

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    Can animals exhibit morality?

    "Binti Jua, a gorilla residing at Brookfield Zoo in Illinois, had her 15 minutes of fame in 1996 when she came to the aid of a three-year-old boy who had climbed on to the wall of the gorilla enclosure and fallen five metres onto the concrete floor below. Binti Jua lifted the unconscious boy, gently cradled him in her arms, and growled warnings at other gorillas that tried to get close. Then, while her own infant clung to her back, she carried the boy to the zoo staff waiting at an access gate."

    http://www.aeonmagazine.com/being-human/mark-rowlands-animal-morality/
     
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  3. MS007

    MS007 Well-Known Member

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  4. sipang

    sipang Well-Known Member

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    3 people like this.
  5. zapatiste

    zapatiste Well-Known Member

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    that's interesting ! perhaps rather anecdotal (as are the countless stories of animals mauling the helpless), but in any event i wonder how the author would define morality -- it's somewhat hinted at, a form of altruism that may or may not be a conscious endeavour, but not in any concrete manner. which may be begging the question ...

    but does it make sense to draw anthropomorphic comparisons as we edge toward WWIII :p
     
  6. MS007

    MS007 Well-Known Member

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    Its a series of sketches Gary Card did for the ipad version of Dazed & Confused. Here are the originals (published in Decoy).



    "A couple of years ago I designed costumes for an experimental editorial for Dazed and Confused with Anthony Maule and Robbie Spencer, making our models into strange amorphic, distorted creatures by over padding and layering clothing with my bizarre latex costume pieces. I was delighted when dazed then asked me to re-interpret the shoot by illustrating the shoot for the i-pad edition of the magazine."



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  7. BreezyBirch

    BreezyBirch Well-Known Member

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    [VIDEO][/VIDEO]​

    From 1976 to 1989 Ulay worked together with Marina Abramović.
    In 1988, Ulay and Abramović decided to make a spiritual journey which would end their relationship. Each of them walked the Great Wall of China, starting from the two opposite ends and meeting in the middle. Ulay started from the Gobi Desert and Abramović from the Yellow Sea. After each of them walked 2500 km, they met in the middle and said "good-bye".
    At Abramović's 2010 MoMa retrospective, she performed ‘The Artist Is Present’, sharing a period of silence with each stranger who sat in front of her. Ulay made a surprise appearance on opening night. It seems that Abramović experienced a strong emotional reaction upon seeing Ulay's arrival, reaching to him across the table between them.​

    [VIDEO][/VIDEO]​
     
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  8. slstr

    slstr Well-Known Member

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    And then there was this
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  9. BreezyBirch

    BreezyBirch Well-Known Member

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  10. dwyhajlo

    dwyhajlo Well-Known Member

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    That Jay Z "Picasso Baby" fiasco is one of the most entertaining travesties to be perpetrated on the public in a long time. Hilarious and sad at the same time.
    The artistic part is that a multimillionaire managed to get people to embarrass themselves in front of dozens of people in person - and millions via the Internet - all for the profit of said multimillionaire. It really makes you think about capitalism, etc. Jay Z has always been an "artist"; that he has an abiding contempt for the majority of his audience is intrinsic to his work.

    Reminds me of this video in a way.
     
  11. robinsongreen68

    robinsongreen68 Well-Known Member

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    i don't see how anyone could have even the slightest acquaintance with the hyper-inflationary circus that is the international art world as represented by pace gallery and not be forced to 'really think about capitalism'. you don't need jay-z for that. which is perhaps the point?
     
    Last edited: Sep 6, 2013
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  12. pickpackpockpuck

    pickpackpockpuck Well-Known Member

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    makes me think of this review of magna carta:
    "Eight summers ago, Jay-Z described his impossible journey from no-name to brand name in eight sly words: “I’m not a businessman/I’m a business, man.”

    A triumphant little zinger, no doubt. But what about the rest of us? When an artist self-identifies as a corporate entity, are we still Jay-Z fans? Or are we Jay-Z customers?

    Here’s how it worked: Samsung purchased a million copies of “Magna Carta” in advance, then, via the app, made the album available to subscribers five days before its widespread release. In exchange, users were asked to share access to their social media accounts, their phone calls, their GPS location and more. If the medium is the message, we finally had an answer to that fan-or-customer question.

    And now who would want to be either? Throughout “Magna Carta,” the 43-year-old pretends he’s a threat to a system he’s so eagerly become a part of, as if his life as a champion capitalist is some perpetually escalating act of subversion. Hooray? Rooting for this man in 2013 is like rooting for Pfizer. Or PepsiCo. Or PRISM."

    rest available here: http://articles.washingtonpost.com/.../40440751_1_magna-carta-holy-grail-jay-z-fans

    there are some issues with the review, like the fact that your information is being collected anytime you buy something online, whether you sign up or not, samsung/jay-z aren't doing anything unusual there, i suppose. but i still mostly agree with the sentiment.
     
  13. zapatiste

    zapatiste Well-Known Member

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    i don't understand, what's wrong with that (aside from the music being garbage, which is personal opinion)
     
  14. pickpackpockpuck

    pickpackpockpuck Well-Known Member

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    seems disingenuous to act like you're this outsider challenging the system when you're firmly entrenched in the system, no? i get that he's always rapped about the same stuff. but once upon a time he could rap about being some kind of rebel and mean it. now when he says it you can't really take it seriously.

    this all assumes that authenticity and credibility or whatever matter. if it's not something important to a listener--they just want something they think sounds good--then that stuff isn't a problem. but keep in mind that jay-z didn't become popular as some hollow pop star. i could be wrong about that since i was never really into jay-z anyway. just the impression i had
     
  15. zapatiste

    zapatiste Well-Known Member

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    yeah his early stuff was rather hardcore, and though i didn't care for his messages, it displayed some skill.

    what i didn't get wasn't the lack of authenticity or what have you but how that related to corporations ? is pepsi or pfizer lacking in authenticity , what does that even mean :puzzled:
     
    Last edited: Sep 6, 2013
  16. pickpackpockpuck

    pickpackpockpuck Well-Known Member

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    the point was that he basically is a corporation now, yet he wants you to root for him as though he was an underdog. you don't root for pepsi to succeed—they're already hugely successful. why would you root for him?

    edit: why you making me work? :happy: also, that's not my opinion, by the way. i don't really care much one way or another. i have a friend who's a big jay-z fan and disagrees with that review
     
    Last edited: Sep 6, 2013
  17. zapatiste

    zapatiste Well-Known Member

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    i see. but why would he change his tune now ? if he started droning on about his riches and great successes, it would be an even greater departure from authenticity and turn him into lil wayne or something equally bad. and people root for pepsi/pfizer every day, by buying their products. one kills you the other is s'posed to heal you hehe

    in the end it doesn't really matter for me, though. it would probably be best if everyone just ignored him or he took up a more silent hobby :)
     
    Last edited: Sep 6, 2013
  18. sipang

    sipang Well-Known Member

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    always felt like Pfizer's subversiveness was one of facade tbh, never bought into the hype


    can we talk about that jay z meme instead
     
  19. sipang

    sipang Well-Known Member

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    [VIDEO][/VIDEO]​
     
  20. zapatiste

    zapatiste Well-Known Member

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    a thrilling bit !

    The pair travelled from Milan and queued to get into the room that housed the “Mona Lisa”. Eventually, they pushed their way to the front. But they had not come to see the painting: they had come to see its absence. One week earlier, it had been stolen.

    The afterlives of art
    Toby Lichtig

    Rick Gekoski
    LOST, STOLEN OR SHREDDED
    Stories of missing works of art and literature
    284pp. Profile. £14.99.
    978 1 84668 491 3
    Published: 4 September 2013
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    “The nail of the Louvre” by Georges Léonnec, 1911“The nail of the Louvre” by Georges Léonnec, 1911 Photograph: Roger-Viollet/Getty

    Anyone who is not perplexed by the complex issues surrounding the loss of works of art hasn’t thought about them sufficiently.” This call to contemplation by the writer and rare-book dealer Rick Gekoski is the animating force behind Lost, Stolen or Shredded, a collection of essays about the gaps and missed directions in the recent history of human culture, the precious works of art that have been destroyed or pilfered, irrevocably distorted or never created in the first place. Its grouchy tone also belies the appeal of its author. Gekoski has an ear for lively prose and a nose for a good story, particularly if it involves a degree of mystery. “There is, after all, something wearying, predictable and banal, about knowing things”, he writes, citing Franz Kafka as an author who profits by exclusion. In his foreword, Gekoski tells the story of Kafka and Max Brod’s visit to the Louvre in 1911. The pair travelled from Milan and queued to get into the room that housed the “Mona Lisa”. Eventually, they pushed their way to the front. But they had not come to see the painting: they had come to see its absence. One week earlier, it had been stolen.

    Much of the ground in this anthology has already been covered, but even the more familiar tales benefit from retelling. The fifteen discrete chapters form what Gekoski calls “my own internal museum of loss”, and although the author insists that he can offer no overarching thesis (“it is not my aim to write generally about the nature of loss”), we are reminded, time and again, that the creation of a work of art is merely the beginning of its narrative, that “to be without loss is to be without change”, and that an artwork is more than the sum of its parts. Context, for Gekoski, is everything, as Marcel Duchamp, or Jacques Derrida, would doubtless have agreed. One writer also notable for his absence in this erudite and wide-ranging collection is Walter Benjamin, who wrote, in his famous essay “The Work of Art in the Age of Mechanical Reproduction”, about the “aura” of a work of art. This, for Benjamin, is what gives art its authenticity, both aesthetically and – of interest to a dealer such as Gekoski – in market terms. “Even the most perfect reproduction of a work of art is lacking in one element”, Benjamin wrote: “its presence in time and space, its unique existence at the place where it happens to be.” This notion of “aura” seems to hang heavy in Lost, Stolen or Shredded as Gekoski considers the various ways in which it can be negated, enhanced or interfered with.

    The two-year disappearance of the “Mona Lisa” merely added to its character – a similar effect, it might be argued, to accumulated centuries of craquelure and patination. The robbery of the “Urewera Mural” in New Zealand created a legend of its own. Gekoski describes the theft of Colin McCahon’s painting – filled with references to Tuhoe tribal history – by two Maori activists, bent, in their own words, on giving the New Zealand authorities “a taste of what it feels like to have something taken from you against your will and be powerless to stop it”. Gekoski uses this tale to digress on the politicization and “sanctity” of art, posing the uncomfortable, if facile, question of whether a “priceless” painting can ever be “more valuable than a human life”. He sensibly avoids the answer but does conclude, in the light of the valuable debate that erupted about Maori dispossession, that the mural was “better lost than found”. It was eventually returned, somewhat damaged, after several months of “investigative incompetence” and a series of intricate negotiations with the campaigners.

    Who has the right to appropriate or ruin a work of art? At what point does it become public property? For Gekoski, there are no simple answers. He considers Graham Sutherland’s portrait of Winston Churchill, a commission by Churchill’s parliamentary colleagues on the occasion of his eightieth birthday, in 1954, which the British Prime Minister despised (“it makes me look half-witted, which I ain’t”) and which was later destroyed at the request of Churchill’s wife, Clementine. Gekoski notes that Lady Churchill had form in this area, having demolished portraits of her husband by Walter Sickert and Paul Maze, and argues, unconvincingly, that the Churchills had “ample justification” for their actions because the painting was commissioned “to honour [Churchill], and it didn’t”. One wonders how the public would now react if Prince Philip decided to feed Lucian Freud’s portrait of the Queen to the Windsor hearth.

    It is for quite another reason that Gekoski finds it “hard to regret the destruction of [Philip] Larkin’s diaries”, by Larkin’s lover Monica Jones – and that is because they were never “meant” for public consumption in the first place. But the real explanation is that the contents were likely to be so distasteful. There are some things, it seems, Gekoski would rather not know (the revelations about the private life of Eric Gill have “ruined” Gill’s art for him). It is easy to disagree with him on this point – surely our understanding of an author better informs the work – but Gekoski is correct that our view of Larkin “is probably more sympathetic” as a consequence, and this undoubtedly helps us to focus on the poetry. And whereas we may mourn the “extra badness” lost to history in the untold stories of Lord Byron’s incinerated memoirs, “there is nothing attractive about the extremes of the Larkinian”.

    The question of ownership again arises in a stimulating discussion of the ongoing purchase of Kafka’s manuscripts by the National Library of Israel from the estate of Max Brod’s mistress, Esther Hoffe – a process that recalls The Trial in its tortuousness and technicality. Other subjects of interest to the author include the pillaged treasures of the Kingdom of Benin, the repatriation of Nazi loot, and the recent fate of the National Museum of Baghdad, which lost around “15,000 antiquities” during the Second Iraq War. Gekoski acknowledges that one man’s plunder is another man’s national archive, pausing to reflect that “if we embark upon a frenzy of giving back from one culture to another, we will come to have museums which are merely ‘national’ . . . where a kind of crimped provincialism holds sway”. This is, of course, easy to say when, like Gekoski, you have a city such as London at your disposal. He is more sympathetic to the dispossessed populace of Benin than that of nineteenth-century Egypt because “the Oba . . . had enhanced and protected their treasures”.

    A chapter on fakes, focusing on the notorious master forger Mark Hofmann, helps to inform the debate about authenticity, and another on literary process looks at a “finished” artwork’s ghostly parallel lives. Does our appreciation of The Waste Land change when we consider its original opening: “First we had a couple of feelers down at Tom’s place”? Gekoski has little to say about this, but he does raise an interesting point in considering the future of literary archives in the age of total electronic recall. An author such as Jeanette Winterson may indeed destroy her work in progress as a matter of course (“I don’t want my personal papers becoming a doctoral thesis”, she wrote in her memoir Why Be Happy When You Could Be Normal?), but anyone who uses a computer unwittingly records their every keystroke onto their hard drive. Gekoski could have said more about a culture in which everything has become at once more disposable and obsessively documented, in which notions of authorial privacy have changed beyond recognition, in which physical objects (books, letters, CDs, photographs) are dismissed as yesterday’s technology, copying is akin to acquiring, and artists such as David Hockney paint not with a brush on canvas but a thumb on screen. This is the age of digital reproduction, and the implications for art’s “aura” are manifold.

    Lost, Stolen or Shredded could ultimately have benefited from a wider thesis, perhaps based around this point, but it isn’t Gekoski’s style to confine art to a box. “No fun in that”, he mutters. This collection originally appeared as a series of broadcasts for BBC Radio 4, and this is how it should be read: in short bursts, with great pleasure, and even greater consideration to art’s contradictions and contingencies.


    Toby Lichtig is an editor at the TLS.

    but i still find it rather arbitrary
    the “aura” of a work of art. This, for Benjamin, is what gives art its authenticity, both aesthetically and – of interest to a dealer such as Gekoski – in market terms. “Even the most perfect reproduction of a work of art is lacking in one element”, Benjamin wrote: “its presence in time and space, its unique existence at the place where it happens to be.”
     

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