Art & Science Journal: Call for Submissions for Art & Science Journal Issue 3»
Art & Science Journal is a website and biannual publication about artworks that deal with themes of science, nature and technology. If you are an artist or designer whose work deals with these themes we welcome you to submit to issue 3. To do so, send high-resolution images and include detailed…
Signal boost to my art & science friends.
People hate her, they really do. Did you know that to Yoko someone is a verb in America? It is something that boys say if they’re hanging out with you too much and they’re going to school or they have a band. It’s almost a myth that’s used to suppress women. Y’know, ‘You’re gonna Yoko me. You’re gonna destroy me.’ And this woman put up with racial inequality from Fleet Street, she put up with being accused of breaking up the best band in the world, she put up with people’s idea that she castrated this man and then, worst of all, she had her best friend, her husband, the person she lived for, die in her arms in front of a fortress that she’d hidden herself in for 20 years. And I just feel that the world media should apologize to her because she handled it with so much dignity.
Courtney Love about Yoko Ono, 1993. (via somedayshewilldiealone)
Always reblog a woman supporting a woman instead of tearing her down her sister.
I want to emphasize the tactile and contagious quality of cinema as something we viewers brush up against like another body. The words contact, contingent, andcontagion all share the Latin root contingere, “to have contact with; pollute, befall.” The contingent and contagious circumstances of intercultural cinema events effect a transformation in its audience. As hybrids, the works challenge the separateness of cultures and make visible the colonial and racist power relations that seek to maintain this separation. The works pollute viewers’ ideas of cultural distinction, implicating each of us in them. In addition, as well as bearing meanings to the audience, these works receive impressions from the people who have seen them. Intercultural cinema builds up these impressions like a palimpsest and passes them on to other audiences. The very circulation of a film among different viewers is like a series of skin contacts that leave mutual traces.
Laura U. Marks, The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses