Light touch towards blank hate on the Net, or as Isabel & all the Clever Pies say “Dedicated to hard working internet trolls everywhere. Love ya, keep on trollin’! X

 
Lyrics:

Well hello friend Mister Insightful
Thank you for your comment on my little Youtube clip!
Most people say you’re cruel and spiteful,
But you’re right, how do I sleep at night? I am a massive prick.

They call you hater well they’re just jealous
Your constructive pearls of wisdom give me thrills I can’t deny
How will we know if you don’t tell us
We could improve our Youtube channels by “fucking off and dying”?

Some might say you are a…
Sexually aggressive, racist, homophobe, misogynistic,
Cowardly, illitterate, waste of human skin,
Sexually aggressive, racist, homophobe, misogynistic,
Cowardly, iliterat, waste of human skin,
But I say: thank you beautiful stranger.

I love the way you don’t upload things
You know we’d be too dazzled by your cinematic vision
But you’re there on every comment string
Where you teach us, just like Jesus but while wanking like a gibbon.

I’m really sure that if I met you
You probably wouldn’t rape me like you promised that you would
We are like “that”; I really get you
You’re right about that laughing kid, he is a total “cnut”.

(Samba instrumental)

You wished me cancer and misspelled “cancer”
But I know that it’s a metaphor. You hope that I will grow,
Just like the tumour you hoped would kill me
Inside the tits on which you said you’d also like a go.

You said that girls shouldn’t do funny
But you’d fuck me double hard and let your mates go after you.
Oh what a line you lovely honey.
Are you on e-harmony? Oo! I’ll join the queue!

Some might say you’re a…
sexually aggressive, racist, homophobe, misogynistic,
cowardly, illitterate, waste of human skin,
sexually aggressive, racist, homophobe, misogynistic,
cowardly, iliterate, waste of human skin.

But if it wasn’t for you my darling,
I would never have written this tune.
Some might say that You’re So Vain,
But this song is all about you!
Written & Performed by Isabel Fay          Directed & Edited by Chris Lincé

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To see a World in a Grain of Sand
And a Heaven in a Wild Flower,
Hold Infinity in the palm of your hand
And Eternity in an hour. 

Wm Blake

Trailer for “Something Wicked This Way Comes”

On  June 5th 2012   Ray Bradbury – imaginer of the worlds of Farenheit 451, The Martian Chronicles, and Something Wicked This Way Comes – passed away.  Here are three Odes to his vision and the touch of the human in his work:

Margaret Atwood on the Optics which was Ray Bradbury

“Bradbury sinks a taproot right down into the deep, dark, Gothic core of America. ……  At its heart is the notion of the doubleness of life: you are not who you are, but have a secret and probably evil twin; more importantly, the neighbours are not who you think they are.”

Jet Propulsion Laboratory Memories of Ray Bradbury

“On Nov. 12, 1971, on the eve of Mariner 9 going into orbit at Mars, Bradbury took part in a symposium at Caltech with Arthur C. Clarke, journalist Walter Sullivan, and scientists Carl Sagan and Bruce Murray. In this excerpt, Bradbury reads his poem, “If Only We Had Taller Been”

 

 

Neil Gaiman on Bradbury’s machineries of joy

“Ray Bradbury was not ahead of his time. He was perfectly of his time, and more than that: he created his time and left his mark on the time that followed……  He colonised Hallowe’en, just as the Silver Locusts colonised the red deserts and glass towers of Mars. He built it, as he built so much, and made it his.”

Scene from the Martian Chronicles

Jin Young Yu

Jin Young Yu The Disguised, 2009

“It was too simple to define them as “the alienated people” or “the depressed people”. Instead, I thought that I, or we, could easily be one of them. My works are about people who, instead of getting along with others, choose to keep a distance from them, and be invisible or be left alone unconcerned. Instead of trying to fit into the world, they climb into a space of their own and reject other people’s intrusions.”  Jin Young Yu

Jin Young Yu interview at Arrested Motion. See the complete work of “The Disguised” at Union.

____________________

Maryvonne Saison

“Literature is less the concern of literary history than the concern of the people. Literature (or one could just as well say art in general) is what is liable to create this overlap between the private and the collective, this coalescence or even transmutation of the private into the collective, via an artistic gesture in which the autonomy of art or the prerogative of the author is no longer valid. The space of art becomes the place where a revolution capable of constituting a people in the name of culture is prefigured. ”

From “The People Are Missing”    2008

Read the entire essay here. From a perspective of Jacques Rancière and Gilles Deleuze, Saison’s philosophical exploration argues for an art which initiates the creative and resistant construction of individuality.

___________________

 Adrienne Rich

What Kind of Times Are These  (1995)

There’s a place between two stands of trees where the grass grows uphill

and the old revolutionary road breaks off into shadows

near a meeting-house abandoned by the persecuted

who disappeared into those shadows.

I’ve walked there picking mushrooms at the edge of dread, but don’t be fooled

this isn’t a Russian poem, this is not somewhere else but here,

our country moving closer to its own truth and dread,

its own ways of making people disappear.

I won’t tell you where the place is, the dark mesh of the woods

meeting the unmarked strip of light—

ghost-ridden crossroads, leafmold paradise:

I know already who wants to buy it, sell it, make it disappear.

And I won’t tell you where it is, so why do I tell you

anything? Because you still listen, because in times like these

to have you listen at all, it’s necessary

to talk about trees.

Born in Baltimore in 1929 Adrienne Rich was to free her poetic work with the hopeful and determined urgency of the issues of sexual politics and philosophy of identity in her 1963 publication Snapshots of a Daughter-in-Law: Poems 1954-1962.   Though her work from this groundbreaking collection, and though out the rest of her career, was to use a poetic system employing insistent tempo, asymmetrical stanzas and sentence lengths with relentless ruptures, this was applied with a conscious openness to explore a “non-poetic” system of the language (within the structures of poetry) where she strived to interrogate a poetics of social justice and the voice of the disenfranchised within language.  Her best known of anthology of poems, the collection Diving into the Wreck: Poems 1971-1972 (1973, entire text here and lead poem”Diving” can be read here), won her the recognition of the National Book Award which she accepted with fellow recipients, Audre Lorde and Alice Walker, for the true writers of their insights: All women.  Along with a unyielding and meticulous body of poetry Rich was to publish a number of books on the issues of feminism and the social and one of her last publications in this regard A Human Eye: Essays on Art in Society (2009) is seen as a classic regarding art and the feminist critique.  Rich died on March 27 2012.

For more information and poems see here.

____________________

Valie Export

Unsichtbare Gegner [Invisible Adversaries] (1976)

Valie Export is a seminal figure in exploring the intersections and containments of language and subjectivity. One of the earliest female artists to exploit video and its performative crux, Export’s work explored the notions of normative representation and the socially constructed nature of the individual. Her consistent and resistant abandonment of a medium specific practice was a means to give a narrative explication of the capturing gaze inherent in the mechanisms of the social and detail how it restricts the creation of personhood. This examination in her work presented the representational in order to overtly become a means of deconstructive critique of the artificial impositions in the social.  The above work, Invisible Adversaries, searches out the integration/impositions of social ideologies and how this alienates the individual from conscious constructions of the self. In a phrase, “We all become other to ourselves”.

Homepage of Valie Export.

_____________________

Yoko Ono

Yoko Ono, Road Of Hope 2011

Part of the Imagine Peace project, Road of Hope is from the Mori Art MuseumYoko Ono website here

__________________________

Consumption of the Human Invisible.

Human Traffiking

Human trafficking : Unprotected Work, Invisible Exploitation: Trafficking for the Purpose of Domestic Servitude

http://www.osce.org/cthb/75804

The Artist Statement is naturally thought of as being a ground of information to use in analysing the body of work of an artist or a specific project presented by the art creator/author.  Indicating a direction for interpretation of a large body of work, or to specify how elements of a specific artist project (an individual work) are meant to be conceived of (or connected) in order to find the meaning(s) of the piece, the statement is meant as illumination and elaboration of intention and how the audience is to approach the work (and follow through the elements of the piece) to gather together the meaning of the artobject(s). Sometimes, in a more contrary fashion, the artist’s statement will be used to consciously disrupt normal (“normative” in the discipline vernacular of art dialogue) readings, which would ordinarily be followed through by the spectator of the artpiece, to generate a sense and intention of the piece outside the concourse of common interpretations.  This disruptive functioning of the art piece can be found in a vast spectrum of artist’s statements and can move from the decidedly and purely poetic, the subjective and intimate biographical, the surrealist text, to the imposition of arbitrary (at least until they art imposed by the artist) meanings given to elements of the artpiece and eventually to the whole.

Joseph Kosuth, What Does it Mean 1999

However the Artist Statement can be used by the artist in a myriad of divergent ways which lie outside of this purely information stance or unsettling disruptive positioning.  We can see (some) of these alternative methods of the Artist Statement Piece under four different rubrics: (1) As ArtObject itself, where the actual text  of this statement is the artpiece; (2) as a formulated nexus to activate the spectator to actions which create the piece (participation art, or post-production art, where the artpiece is created by the audience doing something and this “is”, or continually becomes, the art), (3) as a means to critically evaluate the institutions of art or the operations of society, or (4) as a meta-critique of critiquing itself which imposes a single interpretation upon the experience of the artpiece.

Joseph Kosuth, What Does this Mean 2009

The Artist Statement under these alternative guises of artproduction is shaped and utilized to circumvent the pathways of customary art consumption (and presentation); and is used to trigger an atypical space of art for the viewer in order yield novel and enlightening ways of seeing meaning in the piece. These varied forms of Artist Statement locates the place of the ArtObject into a space of elsewhere which is outside of the statement, but not within an object supposedly the statement is expected to comment upon.   The statement becomes the focus of the “piece” but concurrently points elsewhere to a place with nebulous boundaries and questionable locations. The intermediary of the artpiece, which usually lies between the artist (and their intention) and the viewer (and their idea of the artwork), is circumvented and confuses the exact location of the piece along with the faithful meaning it harbours. The concept will be the sole residence which the artpiece inhabits in the Artists Statement Piece (and can therefore be categorized in the tradition of Conceptual Art), but where this “object of art” lies in the spectrum of experience, material, and meaning shifts and finds no ground. Yet even with this shifting query of the location of the Artist Statement ArtPiece, the conceptual functioning of these pieces forms an engendering clarity and specific precision in the matrix of meanings these artpieces can establish and one in which the artist can mine to invigorating and thought provoking effect.

Below are a few instances of the Artist Statement which use a number of these alternative modes for the generating innovative meanings, and new locations, for the artpiece.

Tamy Ben Tor, “Time and Space” 2011

Tamy Ben Tor’s work, at Zach Feuer Gallery

Gregory Fong, Artists Statement 2008 (page1)

Gregory Fong’s work. You can find page 2 of Fong’s Artist Statement here.

Josh Wardle, Artist Statement

Josh Wardle’s work can be seen at his Website PowerLanguage. Download  his “Artists Statement” template here.

Robert Barry, Some Places To Which We Can Come 1971 (Artist Statement of Project, Galleries were closed during time of exhibition)

Robert Barry is contextualized in late 20th Century conceptual art by John Perreault at the Arts Journal

Charlotte Young,  Artist Statement 2011

Charlotte Young’s work, at her website today I made nothing.  Young lecture on the critical misfunction of Artspeak.

Felix Gonzalez-Torres, Untitled (artist statement, the clock) 1992

Felix Gonzalez-Torres’ work and information can be found at the Queer Cultural Center website.

Minerva Cuevas, Public Works 2002

Minerva Cuevas’ work can be seen here. The above piece is at eflux’s Do It online exhibition of instruction art (take a look for instances of this form of interesting artistic practice!. Here are selections of Yoko Ono’s instruction pieces to check out as reference for this practice as well.)

Brian Sherwin, Artist Statement header for his 3 part essay on the subject

Critic Brian Sherwin’s  comments regarding the artist statement and his idea about using it as self-critique .

“Every concept arises from the equation of unequal things.” Nietzsche On Truth and Lies in a NonMoral Sense (1873)

Laurie Anderson is one of the first and, definitely pioneering, figures of digital, cross-platform and hybrid medias. Her transmedial approach (using divergent mediums to create her art practice and pieces) was fundamental to breaking the idea of a medium specific language of art, and her use of electronics and computers was foundational to the introduction of this medium to art production, presentation and elaboration.  Important and seminal in divergent, detailed and dispersive ways her approach confounded meaning boundaries and questionable mediums while delving and developing new techniques and approaches to the activities of art and its presentations.

Laurie Anderson gives an optimistic and enlightening address to a new batch of graduating art students (SchoolofVisual Arts, NYC) regarding Society, Work, Freedom, and Institutions and how the forms of art augment, disrupt, entice and supplement our existence. Laurie Anderson’s talk is definitely worth a look for everyone who wonders what art is, means, and what role it may have in 2012  (stay with the 30 min. talk as she does a short performance at the end utilizing “her love of putting electronics in my mouth”, as she puts it);

”A lot of the work in United States is highly critical of technology. I’m using 15,000 watts of power and 18 different pieces of electronic equipment to say that.” Laurie Anderson


“When love is gone, there’s always justice. And when justice is gone, there’s always force. And when force is gone, there’s always Mom.Hi, Mom!”   Laurie Anderson (O Superman)

”They say that Heaven is like TV… a perfect little world, that doesn’t really need you.” Laurie Anderson (Strange Angels)

 

“History is an angel being blown backwards into the future”  Laurie Anderson (The Dream Before)

“There’s a secret order in the sky. And the colours of the stars tell you their age. Their origin. How they began. And I’d never realised this before. I had never realised that I was living in an enormous clock.”  Laurie Anderson (interview, Critical Stargazing: An Interview with Laurie Anderson – Robert Barry 2010)

 From Home of the Brave, introduction sequence “Zero’s and One’s”

“…..no single person who has ever lived will be able to tell you what happens. Period. Nobody’s right and nobody’s wrong. So what do you do, then? With my experience, and how my mind works, and what I think about—let’s call it “the disappearing mind stream”—when you follow your thoughts and watch them attach to certain things, it makes certain things real and other things unreal, and you realize that this is all created by your mind.”  Laurie Anderson (interview, Amanda Stern, The Beliver 2012)

“The Handphone Table, Remembering Sound”

“I guess all my things are works in progress. “ Laurie Anderson (interview, LeisureGuy at More Intelligent Life 2010)

“Endlessness is certainly appealing.”  Laurie Anderson (interview, Robots and Thought, Carnegie Mellon 2010)

Boat (2012)

”Language is a terrible trick. People think that just because they know a word they know a thing.” Laurie Anderson (interview, Tenshin Reb Anderson 2012)

Laurie Anderson “asks a question?”

“One of my favorite baffling quotes comes from Lenin: “Ethics is the aesthetics of the future.” I guess it means that sometime in the future we’ll all be good to each other and communicate so clearly that we won’t need those things that we put in the beauty category. They’ll just be fetishes, relics. In my paper I talked about how belief and beauty rub up against each other to make something, and how uneasily they rest together. I used the Parthenon as an example. When the Parthenon was a place of worship, everybody brought their beautiful statues to dedicate to the gods, their kouri, to celebrate their victories, their dedications and their prayers. They propped them up all around the Parthenon, which quickly came to look like a museum; there was so much stuff there. So they all went back to the caves and the woods and the rivers where they could find the gods, because they couldn’t find them in the Parthenon anymore.”  Laurie Anderson (Interviewing Marina Abramović , Bombsite 2003)

“….I’m interested in situations that are almost arguments … that become something else and are dealt with through a conversation.”  Laurie Anderson (interview, Karyn Lo Muscio, Get Magazine 2011)

“Delusion” Performance (with Chalk Drawings) 2011

For A Visit to the myriad forms of Laurie Anderson’s work, check her website.

The Gray Rabbit, 2010 Video still

“There is the sky, which is all men’s together.”        Euripides

Illustration of Earth night-time view of Andromeda-Milky Way Galaxies

Four Billion years from now our once lone galaxy will have a major collision with the oncoming Andromeda Galaxy.  The collision will result in a merger of the two galaxies remaking the two into a larger galactic body.  The remake of our two revolving nests of stars will not damage our own fragile arrangement of planetary bodies but will fling our star into a new region of this now larger galaxy.

As NASA notes: “Computer simulations derived from Hubble’s data show that it will take an additional two billion years after the encounter for the interacting galaxies to completely merge under the tug of gravity and reshape into a single elliptical galaxy similar to the kind commonly seen in the local universe. Although the galaxies will plough into each other, stars inside each galaxy are so far apart that they will not collide with other stars during the encounter. However, the stars will be thrown into different orbits around the new galactic center. Simulations show that our solar system will probably be tossed much farther from the galactic core than it is today.”

The insight to the collision “came through painstaking NASA Hubble Space Telescope measurements of the motion of Andromeda, which also is known as M31. The galaxy is now 2.5 million light-years away, but it is inexorably falling toward the Milky Way under the mutual pull of gravity between the two galaxies and the invisible dark matter that surrounds them both.”

The conclusion of the intersection and merger after the initial collision will take an additional two billion years to complete and will happen under a massive pull of gravity between the two systems. The resultant reshaped form will be a single elliptical galaxy similar to a type commonly seen in our proximate local universe. Though the Milky Way (our place of residence) and Andromeda will crash into one another, stars which compose each galaxy are placed so far from one another that the probability of collisions are minimal. “After the merger most of the stars will be thrown into entirely new places around the new galactic center. Simulations show that our solar system will probably be tossed much farther from the galactic core than it is today.”

See the Hubble/NASA site.

“Feminism questions a given order in political terms, while science fiction questions it in imaginative terms….If science fiction demands our acceptance of a relativistic universe, then feminism demands, no less, our acceptance of a relativistic social order. Nothing, in these terms, is natural, least of all the cultural notions of ‘woman’ and ‘man.’
Sarah Lefanu. In the Chinks of the World Machine: Feminism and Science Fiction

Women have been engaged in the writing of the genre of science fiction since the beginnings of the novel in the western world.  The author above notes the concern of the general ideological structure of Science Fiction which means to explore the “technologies of gender.” from within the framework of contemporary post-structuralist feminism (which theorizes gender as social and discursive construction and which is skeptical of the twin-oppositional binary and essentialist definitions of “feminine” and “masculine”).  Lefanu’s contention here is that the plasticity of science fiction and its openness to incorporating into itself a variety of diverse literary genres allows a fluidity of narrative form which problematizes hetreo and masculine “normality.  This fluidity yields a  potentiality of enormous importance to contemporary women writers as it becomes the means (despite its colonization by male writers) for a inscription of women as subjects free from the constraints of  normalizing narratives (embedded in the masculinized “natural language” of the novel) while simultaneously offering up the possibilities of interrogating that very inscription of gendered language and becomes the beginnings of a through questioning the of basis of gendered subjectivity.

This questioning began in feminist science fiction with the publication of Shelly’s Frankenstein.  In this novel the “constructution “of the self (soul) is performed through education and defines the parameters of “humanness”.  For Shelly (as for her mother Mary Wollenstonecraft) construction of identity and the performance of humanity occurs only though the processes of education and socialization.  This rejection of the essentialist argument is mirrored most closely to Pablo Neruda’s statement that the living of life crafts the regimes of the soul.
If humanness is constructed in life how language constrains the development of subjectivity became a focal point for the feminist writers of the “golden age” of Feminist Science fiction (spanning the years 1960 through the 80’s).  A number of writers attempted to explore languages which escape the Lacanian credo of the male language which entailed that “We are all born into a language and there we remain”.  These novels, most pointedly detailed in LeGuin’ s “The Left hand of Darkness” , Joanne Russ’s “The Female Man”, and  Suzette Haden Elgin’s  “Native Tongue”, attempted an exploration of a alternative language to “write the female (or other) body”.

And what is currently happening in this field?  The performitivity of genders has shaped in current “other” Sf a reflection on the continuous deconstruction and elaboration of the self and the technologies of languages which define and delimit them. Since the 80’s an elaboration of the “novel of the other” has held sway. This includes the self as constantly and definitively virtual and is reflected in the cyberspace of the science fictions worlds.  Additionally the language of our own otherness has spawned a plethora of divergent Science Fictions which include gay, black, and a host of alternative voices.  The invisible “naturalness” of the world and the language that constructs it is taken to task in the virtual locals of these novels which deconstructs this language and positions itself in the fluid and questionable.

________________________________________________
Here is an odd selection of highlights of the genre of Feminist SF ,  with links to help you choose what to look at! And if this isn’t enough?   Check out a Feminst Sci-Fi timeline here at the Female SciFi (FSF) wiki.

Frankenstein (1818), and The Last Man (1826), by Mary Shelly.  Get the entire novels at the Gutenburg Project here.

Sultana’s Dream (1905) by Roquia Sakhawat Hussain. Read entire text here.

Herland (1915)by Charlotte Perkins Gilman. Get the Entire Novel at Gutenburg Project here.

The Left Hand of Darkness (1969) by Ursula K. Le Guin. Le Guin writes about the Gendering of Pronouns of the title in this Afterword (1994) to this novel.

Les Guérillères (1969) by Monique Wittig. Website dedicated to the work of Wittig here. Interesting Essay ‘Those women who were fighting men’:Monique Wittig’s Les Guérillères, a mythical re-vision” by Cathrine Burke (pdf)

The Female Man (1970) by Joanna Russ. Guardian newspapers obituary of RussRuss reviews the movie version of Ellison’s “A Boy and His Dog” (good fun).

Motherlines (1978) and Walk to the End of the World (1974) by Suzy McKee Charnas

Kindred (1979) and Parable of the Sower (1993), by Octavia Butler. Remembering Butler at Jezebel here.

Native Tongue (1984), The Judas Rose (1987), and Earthsong (1993), by Suzette Haden Elgin.  Elgin writes on the Láadan  language developed in these three novels. Elgin’s Hompage here.

“The Judas Rose” book cover art

The Handmaid’s Tale (1985), Oryx and Crake (2003), and Year of the Flood (2009), by Margaret Atwood.  Atwood’s  homepage is here.

The Maerlande Chronicles, English: In the Mothers’ Land (1992) by Élisabeth Vonarburg. Vonarburg’s homepage here.

The Ship Who Searched (1992) by Mercedes Lackey. Hompage here.

The Fifth Sacred Thing (1993) by Starhawk.  Starhawk page here.

The Gate to Women’s Country (1998) by Sheri S. Tepper.  Website dedicated to Tepper’s work here.

Oy Pioneer! (2003) by Marleen S. Barr. Barr’s preface to her (editor) Afro-Future Females (pdf).

The Shore of Women (2004) by Pamela Sargent. Blog here.

The Hunger Games (2008) by Suzanne Collins. Though considered a “young adult novel”, this novel has a female actor who is not primarily contained by male relations. Collins Homepage here. And from the angle of the movie, The Female Spectator.

Cover art for Octavia Butler’s “Parable of the Sower”

Those who wish to further explore check out this link to the Feminist SF Blog Reading Recommendation list!  Lots of fun there, and amazing resource.

 

Easter Meal for the Needy, Los Angeles, California

When we speak of ”Jobless Recovery” we need to be clear.  It means not only that there is (1) rampant unemployment while the some of the numbers of the economy are looking favorable, but also that (2) the “financial” institutions are back to profit levels, and actually exceeding, “pre-2008 crisis” heights while the actual general economy is notoriously bad and in a decline (that is a small section of the population is reaping the rewards of the Post-2008 Financial collapse).

The profits of the Small sections of the current society:

Back to Profits for Finacial Markets

And how the sharing of the economy works for the general population:

workers plummeting share of the economy

The thing to remember here, the call for Austerity Programs to solve this problem (that is the “Real” Economy) would: 1) constrict the flow of money through the economy inhibiting recovery which would benefit the general population (and bring about a fuller robust economy), 2) put added pressure on the bottom 98% who have no money (this is in tandem with calling for Tax Decreases for the Already Wildly Profitable 2%, who see already record low taxes), and 3) would make it necessary for the populations to seek “private” companies for the Public services (like health care in England, or Electricity in Sweden) shifting this economy to the upper 2% as well (austerity programs and privatization drives become a way for the “markets” to get their hands on money distributed elsewhere in a economy).

Blinkity BlankNorman McLaren  1955

 The 1955 animation by the Canadian experimental filmmaker Norman Mclaren Blinkity Blank, uses the technique of directly working with the filmstock.  In this case McLaren Scratches away the Blackened Emulsion to let light through the Stock by means of the projection in the theatre.  Mclaren also develops a “graphic” sound by scratching the film stock in the “unseen” part of the film which creates the optical sound (sound was created by light passing through the film. See the below clip from the original Fantasia, 1940, for a humorous explanation of optical sound) though this is layered with a improvisational score from Maurice Blackburn.

Blinkity Blank combines an abstract field of lines dots and other objective forms while continually playing at its alterations into figurative elements.  This places him with artists such as Kazimir Malevich

Kazimir Malevich Cow and Violin, 1913

and Ross Bleckner

Ross Bleckner, Cage, 1986. Hummingbirds appear on Abstract, and Stripped, Grid

who explored the continual flux between the conceptions of the multiple layers of differing Representational Systems (superseding the binary of “figurative” and “abstract”).

Blinkity Blank received such honors as Short Film Palme d’Or from the1955 Cannes Film Festival, the BAFTA Award for Animated Short, and the Silver Bear which is given by Berlin International Film Festival, but the short film is really best known by the artistic and film community for being a landmark work of visual and aural integration and a direct application of work to the film stock as material (while keeping a narrative structure).

Note: this is the second of the series which will look at the “experimental” films discussed by Gilles Deleueze in his books Cinema 1: The Movement-Image, and  Cinema 2: The Time-Image. The above discussion is not from the Deleuzian standpoints in these volumes (very, very important to note).

For Deleuze’s take, and the First part of the series, look here.

Only one instance here, that comes from the States, but this applies to the entirety of global and European economies as well.  Not only did those companies and people “betting” against the economies (or against their own “loan” packets), or just making incompetent decisions about moving money around (on “super-leverage” non-existent funds), get the Big-Money Bailouts (what we ironically call “Advanced Socialism for the Privately Owed”) after the Economic Crash of 2008, but they seem to have stolen another 7.7 trillion unnoticed:

One reason that the U.S. economy still struggles to achieve sustained growth is that Americans are a long way from recovering the trillions of dollars of household wealth lost during the Great Recession.

U.S. household wealth fell by about $16.4 trillion of net worth from its peak in spring 2007, about six months before the start of the recession, to when things hit bottom in the first quarter of 2009, according to figures from the Federal Reserve.

While a rebound in the stock market, an improved savings rate and consumer steps to reduce debt resulted in net worth gains since 2009, only a little more than half of that lost wealth – $8.7 trillion — is back on household balance sheets.

That leaves American household wealth $7.7 trillion less than it was before the recession.

That explains these graphs side by side:  While the majority populations lose money (on top of the bailouts and cut social programs), the top percentages get record high profits and conjoined with record low taxes.

Household Net worth

We just can’t stop giving to the upper 2% but as a Zero-Sum game it means the bottom 98% have to shift that money upwards. The above chart shows 7.7 trillion was never replaced in Average household earnings after the crash. the Money was shifted, within the economy to the upper percentile earners.  What happens (other than the money given them in other ways) then?  Their taxes go down dramatically in the same period, i.e. since they crashed the economies of the world.  This is also the time when the Average Households are asking to give up (Austerity Programs, or Krugman’s “Pain Caucus”) their share of the social “pie”.

How can this make any sense? It doesn’t,  so, even the Nobel-Prize Economist Krugman has a head-scratching ponder about the class that takes all the money and giving us back Austerity Programs (cut the social programs for the majority) and Jobless recovery (they keep the money and get windfall profits while the rest get unemployment)

What lies behind this trans-Atlantic policy paralysis? I’m increasingly convinced that it’s a response to interest-group pressure. Consciously or not, policy makers are catering almost exclusively to the interests of rentiers — those who derive lots of income from assets, who lent large sums of money in the past, often unwisely, but are now being protected from loss at everyone else’s expense…
Ask for a coherent theory behind the abandonment of the unemployed and you won’t get an answer. Instead, members of the Pain Caucus seem to be making it up as they go along, inventing ever-changing rationales for their never-changing policy prescriptions.

While the ostensible reasons for inflicting pain keep changing, however, the policy prescriptions of the Pain Caucus all have one thing in common: They protect the interests of creditors, no matter the cost. Deficit spending could put the unemployed to work — but it might hurt the interests of existing bondholders. More aggressive action by the Fed could help boost us out of this slump — in fact, even Republican economists have argued that a bit of inflation might be exactly what the doctor ordered — but deflation, not inflation, serves the interests of creditors. And, of course, there’s fierce opposition to anything smacking of debt relief.

Who are these creditors I’m talking about? Not hard-working, thrifty small business owners and workers, although it serves the interests of the big players to pretend that it’s all about protecting little guys who play by the rules. The reality is that both small businesses and workers are hurt far more by the weak economy than they would be by, say, modest inflation that helps promote recovery.

No, the only real beneficiaries of Pain Caucus policies (aside from the Chinese government) are the rentiers: bankers and wealthy individuals with lots of bonds in their portfolios.

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Update 1:  Hate to bring Dr Krugman into it again, but one of his recent posts trys to make it simple:

“there’s a good case that fiscal stimulus right now would actually improve the long-run fiscal situation, while fiscal austerity makes it worse.”

Austerity Measures will only make the General Economies Worst, but is a wonderful means for the upper Percentiles to get their hands on the rest of the Cash in a Society!