never again 511

What do our institutions do?

draw the lines. line us up. count the lines. move the lines. never cross the lines.

encouragement is just a practice they use to build us up and make it easier to pick us apart.

when a professor tells you that you have that characteristic canadian women voice,

that uncertain, unstable, unsure voice.

she is just perpetuating a discourse of difference, of dependancy on male ontological technologies.

being more like them rather than being more like myself. fuck the cynical boy bashers.

fuck you. and fuck your opinions on the concern i have for being taken seriously.

Museum Manifesto 1

What is it about museums that make them so foreign to us.

travel in space to travel in time. chain of being time machines.

An encapsulated sector where things can be parcelled off in order to represent a compartmentalized reality; a bounded off space in which we can OBSERVE with a detached sense of ourselves.

But in our current state where identities and genres are stuffed down our throats at every other turn, how do we anymore see ourselves as detached, independent organisms when we are so enthralled and exhilarated by every beep flash and digital delineation that comes our way.

History isn't stagnant and compartmentalized. the world is hybridized and although there are some aspects of cultural quarantines (spiritual copyrights) we exist in a state of the hyperreal where everything is nothing and everything is something. Our contextualizations of these notions (in terms of museums) should reflect these fractures. pointing to our state of instability in a world where profit makes the difference; 'originality' speaks to conformity in all sense of these definitions.

eff.

ontologies of technology are driving me crazy. maybe i can get a new one in the pottery barn's african chic department.

boredom bourdieu

habitus habitus habitus

you cottage fucks

"...the panoramic perspective is linked to the exercise of political power precisely because of its ability to abstract universal meanings from the specifics of landscape. The panoramic point of view reflects an elevated social position; those with the ability to see the big picture are those who are given the power to control and alter social as well as physical landscapes..."

Michael E. Harkins (2000) Sacred Places, Scarred Spaces p.55

salami somalian sommelier

How do we balance the oncoming collapse and our incessant need to delve into convoluted extractions of visual culture. I'm not going to pretend I don't find anything interesting in the new art criticism and its multifaceted layers of self-gratification and eclecticism, but is it preservable? When a society breaks down and its imperial systems begin to deconstruct, objects become new sources of symbolic stimuli. The imperial (or capitalist) economy changed the classification and context of each and every object in the western world (by way of expropriation and assimilation); the 'art' object has become linked to a kind of status ascendancy. So when such a system breaks down, what do we do with all the abstract expressionists, colour field painters, minimalists, conceptual artists and new postmodernists (the second half of the 20th centuries modern 'progress' builders)? Do we bargain with art museum elitists (Marc Mayer...?) for local produce in lieu of pretentious public access fees? Probably not. May'be we can just look from the outside in like me and my dad used to do at the oversized glass display case that is the Museum of Anthropology.

Dear Derek Carlson: Please start a blog.

well...

it's happening all over again...