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B E O U R G U E S T
these skeletons look legitimately friendly and inviting, i don’t know about you guys but i’m hella stoked to kick it with these skeletons
These guys look pretty HUMERUS
Here is a sketch comic I made called Ducks, in five parts.
Ducks is about part of my time working at a mining site in Fort McMurray, the events are from 2008. It is a complicated place, it is not the same for all, and these are only my own experiences there. It is a sketch because I want to test how I would tell these stories, and how I feel about sharing them. A larger work gets talked about from time to time. It is not a place I could describe in one or two stories. Ducks is about a lot of things, and among these, it is about environmental destruction in an environment that includes humans. Thank you for taking the time to read it.
I am reblogging Ducks to send you the link to Todd Korol’s photo series on the Alberta oil sands. It even comes with a scarecrow. My sketches are very loose, and suggest things that are bigger, but it is something else to see them, and it is rare for me to see a set of images that evokes the place so clearly. I think it is a good compliment to getting a bigger picture. (Link)
For a time I tried to go along with it, enticed by others’ testimonials of the self-empowerment they felt by “owning” and utilizing their own sexuality to express themselves. I can’t speak for others, but in my case for the most part this wasn’t true. While there is something undeniably pleasing about seeing a beautiful image of yourself, overall I felt ashamed.
There is no one person or entity to blame for this. In fact, I have a tendency to blame myself. But the many articles you can read describing the constant sexualization of women aren’t made out of nothing. It’s a weird subconscious infestation combined with a desire to please a photographer and do things “right”. And while the vast majority of photographers I worked with were male, I don’t necessarily think all the visual pressure comes from men. I was once showing a good female friend some possible press photos and she said, “ooh, you look really pretty in this one. girls like that.”
It’s another mind-fuck situation. Because even in real life if you don’t wear makeup and don’t really care what you are wearing, if you try to take that mindset into a photoshoot it’s easy to be horrified by the results. Because they don’t look like the other pictures of women that you see, which are across the board photoshopped and usually include a lot of makeup.
Gradually the images I saw of myself in the media began to be at odds with who I felt I really was. I didn’t want to be sexy, I wanted to be grotesque, tough. I became disassociated from the pictures I saw of myself. And that’s maybe where the seeds of the AI began, a separate entity from the increasingly scared human I saw in the mirror in front of me each day.”
EMA, Back to the Void
I don’t know what this Newhive thing is, aside from “what EMA uses to post interesting stuff,” but this essay/collage/exhibit/series is amazing and worth experiencing in full. Seriously, click through. There’s a ton of visual stuff in addition to the writing, which is really good. Lots of material that affirms things I was thinking about The Future’s Void, too, like this on “Neuromancer”:
The lyrics were partially improvised and partially something I had been thinking about for a while. Many people misinterpreted the point of view and assumed I was trying to disparage and lecture young people, “millennials”, about their supposedly narcissistic selfie habits. In fact ”Neuromancer” is more in the spirit of an anti-capitalist, anti-big data “God Save The Queen” mixed with an unhealthy dose of shame.
As I said previously, I was the one who took most of the press photos for my last record. The person who made her living off of taking selfies was me. The disparaging language is the echoed voice of older generation looking down their noses at us, as if anyone under 35 had a multitude of career choices in this fucked world of mountainous student debt mixed with zero economic growth.
Really excited to see her play live again tonight.
1. The Funeral (Dedicated to Oskar Panizza), c. 1918.
2. The Lovesick Man, c. 1916.
3. Berlin Night Club (Ausschweifung), c. 1922.
4. Ecce Homo (Behold the Man), 1921.
5. Pandemonium (India ink on paper), 1914.
6. Schönheit, dich will ich preisen (Beauty, Thee I Praise), 1920.
7. Passanten (Passers-by), 1921.
8. Kraft und Anmut (Strength and Grace), 1922.
9. Unidentified (Offset color lithograph), from a series of 84 Plates, c. 1922.
10. Portrait of the poet Max Herrmann-Neisse, 1927.
We were so excited to see that Don Hertzfeldt did this week’s Simpsons couch gag! One of my favorite animators.