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September 14 2017

Pichai doesn’t seem able to comprehend that the essence, and the joy, of parenting may actually lie in all the small, trivial gestures that parents make on behalf of or in concert with their kids — like picking out a song to play in the car. Intimacy is redefined as inefficiency.
— Nicholas Carr, “An android dreams of automation” (See also the previous post and the bookmark that ties them together.)
I believe that one ought to have only as much market efficiency as one needs, because everything that we value in human life is within the realm of inefficiency—love, family, attachment, community, culture, old habits, comfortable old shoes.
— Edward Luttwak, as quoted by Corey Robin in 2001, “The Ex-Cons Right-Wing Thinkers Go Left!” (via Jonahan Shainin via Cameron Tonkinwise; cf. a whole lot of things collected in this bookmark)

September 12 2017

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three Austin Kleon Instagrams tagged #owenandjuleskleonart, posted here because they are beautiful and because children + art

September 06 2017

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“Top and bottom sides of the Space Shuttle Discovery. Its first mission, STS-41-D, was completed on this day in 1984.” —MAS Context [Only the photo of the bottom is posted above, click through for the top.]

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“The NYC Modern School, ca. 1911–1912, Principal Will Durant and pupils. This photograph was the cover of the first issue of The Modern School magazine.”

Wikipedia on The Modern School (United States):

The Modern Schools, also called Ferrer Schools, were schools in the United States, established in the early twentieth century, that were modeled after the Escuela Moderna of Francesc Ferrer i Guàrdia, the Spanish educator and anarchist. They were an important part of the anarchist, free schooling, socialist, and labor movements in the U.S., intended to educate the working-classes from a secular, class-conscious perspective. The Modern Schools imparted day-time academic classes for children, and night-time continuing-education lectures for adults.

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Pasaje Bavestrello, Sergio Larraín, 1952

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garadinervi:

Pierrette Bloch, Untitled, 1999

Reposted byCarridwenkasiastrofamanxxtutus
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garadinervi:

Buckminster Fuller’s ‘Autonomous Dwelling Facility’ Dome at Black Mountain College, 1949, North Carolina Digital Collections, State Library of North Carolina

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“Fungus Man (in the canoe to the left of Raven) has the best facial expressions.” —Colin Dickey, referencing the image on the cover of Entering Time: The Fungus Man Platters of Charles Edenshaw, by Colin Browne, which is described on the Talon Books website in this way:

During the groundbreaking Charles Edenshaw exhibition at the Vancouver Art Gallery in 2013, poet Colin Browne found himself returning often to study three large argillite (slate) platters carved by the Haida master in the late 1800s. Produced several years apart, each of the platters presents the same scene: in a Haida canoe, Raven holds his spear at the ready, his bracket-fungus helmsman is wedged into the stern, and below the canoe a figure hovers. Where are they going, and why? And who is the bracket-fungus helmsman? Browne begins by tracing his family’s lives in a small village on Vancouver Island. He explores the Surrealist attraction to the Indigenous arts of the Northwest Coast, the tragic results from colonial incursions and government policies, and the extraordinary achievement of Haida artists during a century of radical change. He encounters a story with a teaching that is as profound and relevant today as it was when Da.a xiigang, Charles Edenshaw, learned it in his youth. And he finds in Da.a xiigang’s art a deeply personal and moving response to the arrival of the modern world.

Colin Browne’s Entering Time: The Fungus Man Platters of Charles Edenshaw is an extended, often poetic, meditation on the three argillite platters created in the late nineteenth century. In this newly published book, Browne ranges through the fields of art history, literature, ethnology, and oral history to discover a parallel history of modernism within one of the world’s most subtle and sophisticated artistic and literary cultures.

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Poster for the San Francisco Zine Fest 2017, by Trinidad Escobar:

I modeled the sirena’s face after my nieces – girls who live along the ocean in Bataan, Philippines. The creatures in the poster are all marine life that can be found in the Philippine coral reef and the Mariana Trench, the deepest part of the world’s oceans.

A sirena, in many folktales from the Philippines, is an engkanto, (a spirit or liminal being), who inhabits the ocean. In some cases, she is a spirit who was once human, died, and whose spirit returned to look after her beloved sea. In other stories, she was once a fisherman or healer who reincarnated as an actual merperson. In either case, she is typically a wrathful and cunning creature who has vowed to protect all life in the ocean and will harm humans if needed. In pre-colonial times, the stories described her as beautiful. In post-colonial times, she was described as hideous, thus changing the way Pilipinos connected with her. The sirena has psychological and cultural importance including concepts of feminine power, environmentalism, animism, and indigeneity. Once a part of Philippine belief systems, the sirena was reduced to a fairytale.

Mars Ravelo (1916-1988) was a Pilipino comic creator of one of the most popular mermaid characters in the Philippines, “Dyesebel” (Jezebel). Ravelo first showcased her in Pilipino Komiks in the 1950s and then several films were born from her story, thereby popularizing what colonists tried to scare out of Pilipino psychology. Comics have been critical to Pilipino storytelling for a long time (Jose Rizal, our national hero, once made a comic about oppression before the Philippine Revolution in 1896) and, to come full circle, I wanted to make a shoutout Mars Ravelo on this poster.“

August 30 2017

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De Young Museum:

The more I know about an object, the more I’m attuned to it.“ August #artistinresidence @marshallmelliott invites you to reflect on disappearance and absence, from the endangered plant species, Franciscan manzanita, to the former Grizzly Bear of Golden Gate Park. Meet the artist and view his work tomorrow through Sunday afternoons.

Find a few more images on Elliot’s website: Displaced Resident (Transparency), 2017.

August 26 2017

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Paul Seesequasis:

‘PATOFFE’ ~ (Cree) ~ Eastmain, Quebec 1973; Photo: George Legrady

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“My name’s Huda. I’m a visual design student. I suck at drawing but I enjoy blackmailing my friends into modeling for my shoots. #ArabArtists” —Huda Ali (photo above is projection art by Ali, not a photo of Huda Ali; see also Huda Ali on Instagram)

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Hieronymus Bosch Piñatas, Roberto Benavidez

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“View of the Bay Area from space today 🛰 @KarlTheFog really flexing his muscle today ☁️” —Drew Tuma [9 August 2017]

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XINONA is living in a post-apocalypic, died-out economy devoid of funding for art, for living, for loving, and for everything else. She sits in her spaceship, bobbing on waves of Kombucha planet, her home. She spends a lot of time watching sci-fi television on her phone.”

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“Bug, or feature, Journal of Ethnographic Theory?” —Matthew Battles

August 17 2017

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San Francisco, East Bay, and Marin: “Somewhere between 1925 and 1930, by Captain Albert Stevens Check out the snow capped peaks of the Sierra Nevada.” —@cartonaut

August 13 2017

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Torres de Satélite:

The Torres de Satélite (“Satellite Towers”) are located in Ciudad Satélite, in the northern part of Naucalpan, Mexico. One of the country’s first urban sculptures of great dimensions, had its planning started in 1957 with the ideas of renowned Mexican architect Luis Barragán, painter Jesús Reyes Ferreira and sculptor Mathias Goeritz. The project was originally planned to be composed of seven towers, with the tallest one reaching a height of 200 meters (about 650 feet),[citation needed] but a budget reduction forced the design to be composed of only five towers, with the tallest measuring 52 meters (170 feet) and the shortest 30 meters (98 feet).

Goeritz originally wanted the towers to be painted in different shades of orange, but changed his mind later due to some pressure from constructors and investors. It was finally decided the towers would be painted in red, blue and yellow, the primary subtractive colors, with the addition of white.

Thus, in the first days of March 1958, the Satélite Towers were inaugurated as the symbol of the newborn and modern Ciudad Satélite.

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