Vimeo, 1 min 16 sec
Screenshot:
So far these little non-videos have been extremely unpopular, so I know I'm onto something.
The Eurorack array seen in earlier non-videos (top) has been pared down to modules actually in use (except for a Doepfer FX module, which just sits there).
And in case you missed them:
Rhythm Study No. 5
Rhythm Study No. 7
Rhythm Study No. 2
Rhythm Study No. 12
Paint Trail
New New Wilderness
Benjamin Studebaker has a post on "media bias charts" that cling to conventional notions of left/right and rate journalists according to that outdated scale. Studebaker proposes lumping everything that is considered acceptable left and right by these pundits into a single box -- liberal, meaning essentially establishment liberal (pro war, pro "markets") -- while creating new boxes for the anti-establishment left and right:
In the process of coming up with the chart above, he formulated and discarded the chart below (minus the red ink):
This is actually a more helpful chart because it allows for a far center, which has been added in red.
The far center is who got it right on Russiagate (including voices from the right and left). New Right is used instead of Alt-Right because the latter is a Clinton term. Mostly the far center agrees that (i) the military/contractor sector is sucking the life out of the US and (ii) bank bailouts are a mistake. Where they disagree is on (A) government intervention in markets and infrastructure (left says we need more of it; right says less); (B) race/identity (the far center is more likely to be skeptical of shaming and language policing than the bulk of the anti-establishment left while at the same time scoffing at claims of white superiority); and (C) fiscal/monetary issues (e.g., whether printing money is OK to address social problems or whether it always, necessarily "leads to inflation").
Vimeo, 2 min 11 sec
Screenshot:
And in case you missed them:
Rhythm Study No. 7
Rhythm Study No. 2
Rhythm Study No. 12
Paint Trail
New New Wilderness
Neoliberal artist Kenneth Goldsmith has a new exhibit opening in Venice called HILLARY: The Hillary Clinton Emails.
A press pack is available via the commercialized sharing platform Dropbox.
Using "techniques of appropriation and collage," Goldsmith prints out the emails that Clinton sequestered on a private server when she was ostensibly working for the American taxpayer. The show is not a criticism of this dicey activity but rather an attempt to shift the blame for her 2016 election loss back to the email server controversy, just as the Russian collusion narrative is dying an ignoble death. As the press release explains:
The almost 60,000 pages of [Clinton email] documentation are printed in double copy and are on display in the gallery and in the lobby on the second floor of Despar Teatro Italia. The pile of papers is rather unimpressive, rebutting Trump’s efforts to make them monumental. In this way, Goldsmith creates the greatest poem of the 21st century, an anti-monument to the folly of the heinous smear campaign against Clinton.
The gallerygoer is supposed to be impressed by this unimpressive pile of paper, sufficiently to rethink the election. Perhaps we can look forward to a future exhibition from Goldsmith documenting Clinton's unimpressive speeches to investment bankers, the mere millions in "speaking fees" she received in advance of the contest, or evidence of the sheer underwhelmingness of the failed state she helped to create in Libya!
underwhelming, but pretty
