Hans Appelqvist: How Come
Kim Jong Il Funeral Limos THE EPITOME of Capitalist Excess: ‘75 Lincoln Continental
A number of news reports coming out of North Korea today purport the American-looking cars at the head of the Kim Jong Il funeral procession to be ‘Russian limos’… but the first point of note would be that such cars were only manufactured in the Soviet era: the GAZ Chaika has been out of production for decades, and ZiLonly recently made/restored a single old-style limousine to custom Kremlin order- an open parade-car looking nothing like the car above.
North Koreans weeping hysterically over the death of Kim Jong-il (by rkcrkprk99)
new TLTRPreß publication featuring Ms Bonneviot, Ms Cooper, Mr Droitcoir, Mr Fabuš, Mr Haworth, Ms Laube, Ms Marszewski, Mr Mečl, Ms Nilsson, Mr Pieroni, Mr Quack, Ms Spjut, Mr Tang, Mr Thumfart, Mr Weijde and more. Edited by Mr Kohout and designed by Mr Svensson.
(Source: gifs-from-movies, via kerk)
“Most conventional performers are of course enacting or interpreting a text, whether that is a fixed choreography, a written script, a musical score, or a sketchy set of notes around which to improvise. By the very fact of that relationship, the performance ties itself to the fact of something that existed before the given moment. Most immediately, this sense of something having come before refers to the specific text for the performance at hand. But in a larger way it evokes the more general historical relationship between a specific text and the history constructed by all the texts of a given genre. Independent of the gesture made within the present, this larger history is the source of meaning for that gesture.”
Rosalind Krauss, Video: The Aesthetics of Narcissism, October Vol. 1., 1976
Pete Swanson - Man With Potential
http://soundcloud.com/_type/sets/pete-swanson-man-with/
Much has been made of the re-emergence of beats in experimental music, but if you listened carefully enough to Pete Swanson’s output to this point you’ll realize those rhythms have been present for a long time. The New York-based artist might still be best known for being a member of now defunct noise duo Yellow Swans, but he’s made plenty of solo music since then, even if it has been quite difficult to obtain. Straddling a line between free guitar noise (‘I Don’t Rock At All’) and singed electronics (‘Challenger’), ‘Man With Potential’ shows that Swanson is unafraid to dive headfirst into the dank pulsing soundscapes that helped birth his old band.
Where Yellow Swans used pulses to underpin their cascading white noise, Swanson here puts the chattering 140bpm percussion at center stage, not least on the album’s opening track, charmingly titled ‘Misery Beat’. Setting the stage for the music to follow, we are thrown headfirst into chattering synthesized squeals and dense kick drums before being smacked around the head with the kind of slippery noise lead we’ve not heard since ‘Going Places’. This is Birmingham techno filtered through the mists of the Pacific Northwest, and is all the better for it. Elsewhere ‘Remote View’ explores a more downtempo sound; coming across like post apocalyptic house music as heard from a club bathroom.
With ‘Man With Potential’ Pete Swanson has crafted his most defining statement to date; a blistering collection of contemporary club music with a deafening noise twist. It might not be easy listening, but who said life had to be easy?
TAMPOPO
(Source: youtube.com)
The Century Of The Self - Adam Curtis
complete series
(Source: youtube.com)
Dieter Roelstraete: (Jena Revisited) Ten Tentative Tenets
“Indeed, if today we find it increasingly difficult to define or describe both the era and the world we live in, if a sense of unmooring, drift, directionlessness, and general confusion seems to have grabbed a stifling hold of our imagination in all its attempts to map the contemporary life-world, this is probably a side effect of our living in a twenty-first-century “floating world”—one that is not only ruled by the tyranny of superficial entertainments (to which most art now is happy to belong), but one that is also radically—and no longer just hopefully—afloat.”
Hiroshi Sugimoto, Ligurian Sea, Saviore, 1993. Gelatin silver print, 47 x 58 3/4”
