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rip larry fischer aka wildman
In 1947, Erich Fromm, a humanist, psychoanalyst and philosopher, developed a theory of character that divided people into five “orientations,” mostly determined by their relationship to stuff. He characterized four of these — the receptive, exploitive, hoarding and marketing orientations — as part of the “having” mode, which is focused on consuming, obtaining and possessing. (The fifth orientation was “productive,” which focuses on experience and human connection.) Fromm specifically linked the hoarding orientation to the Protestant work ethic and the American merchant middle class and argued that this orientation is characterized by, among other things, being “constipated and squinty.”
rip bill haast
A secret of his success was the immunity he had built up by injecting himself every day for more than 60 years with a mix of venoms from 32 snake species. He suspected the inoculations might have explained his extraordinarily good health, but he was reluctant to make that claim, he said, until he reached 100.
Mr. Haast, who was director of the Miami Serpentarium Laboratories, a snake-venom producer near Punta Gorda, Fla., died of natural causes on Wednesday at his home in southwest Florida, his wife, Nancy, said. He was 100.
Mobility trumps rigor. More than in images or abstraction per se, there is a tremendous interest today in what the art historian Dario Gamboni has called ‘potential images’, that is, ‘those established—in the realm of the virtual — by the artist but dependent on the beholder for their realization, and their property is to make the beholder aware — either painfully or enjoyably — of the active, subjective, nature of seeing.’ That is, seeing one thing rather than another is not a given; it is a commitment — and a form of painting that lays emphasis on this latent state of the image (which is also a latent state of abstraction) is one that throws back on the viewer the question of his or her own choice or predisposition in determining what to see. In particular, the whole phenomenon of ‘painterliness’ has a different value today than it did in the past. It functions less as a signifier of the individual artist’s stylistic signature or as the trace of emotional expression or of the labor of making that would have been concealed by a smoothed-over high finish — though it can still be all of those — than as a way of allowing the painting to linger in the condition in which things are still unsettled, metamorphic, in transition.
The Global Village Construction Set (GVCS) is a modular, DIY, low-cost, high-performance platform that allows for the easy fabrication of the 50 different Industrial Machines that it takes to build a small, sustainable civilization with modern comforts.
defensive posturing guy
rainwater harvesting system
via shelter publications fb
Scientists predict this year's "dead zone" of low-oxygen water in the northern Gulf of Mexico will be the largest in history – about the size of Lake Erie – because of more runoff from the flooded Mississippi River valley.
Each year when the nutrient-rich freshwater from the Mississippi and Atchafalaya rivers pours into the Gulf, it spawns massive algae blooms. In turn, the algae consume the oxygen in the Gulf, creating the low oxygen conditions. Fish, shrimp and many other species must escape the dead zone or face dying.
Federal and university scientists predict this year's zone will be between 8,500 square miles and about 9,400 square miles. The actual size of the dead zone will be measured over the summer.
low-impact living interactive links
nasty lil 1960 302 ranchero
I FEEL KIND OF BAD FOR AB-EX. At sixty-something, the old bird’s gotten the gimlet eye from just about everybody: It’s vulgar, it’s the phallocracy, it’s nothing but an empty trophy, it celebrates bourgeois subjectivity, it’s a cold-war CIA front, and, well, basically, expression’s really embarrassing. A dandy wouldn’t be caught dead doing something as earnest as struggling, or channeling jazz with his arms. An old-style dandy, at least. T. J. Clark’s 1994 text “In Defense of Abstract Expressionism” made AbEx’s connection to the vulgar perfectly clear, rendering it bathetic in all its ridiculous glory. But his writing touches only briefly on one of the most important aspects of this vulgarity—the fact that it is gendered. And it’s precisely the gender vicissitudes of AbEx that I’d like to examine here: I would draw the dotted line back to 1964, when Susan Sontag mined this territory in her “Notes on ‘Camp,’” declaring, “The old-style dandy hated vulgarity. The new-style dandy, the lover of Camp, appreciates vulgarity.”
How is it, exactly, that we forgot the new-style dandy? How is it that, despite the complexity of AbEx, its reputation has boiled down to the worst kind of gender essentialism? Its detractors would have it that the whole kit and caboodle is nothing but bad politics steel-welded around a chassis of machismo—that the paint stroke, the very use of the arm, is equivalent to a phallic spurt, to Pollock whipping out his dick and pissing in Peggy Guggenheim’s fireplace. (This sexualized reading is itself, of course, a reversal of Clement Greenberg’s earlier—but no less testosterone-driven—notion of AbEx as a pure and transcendent optical experience.) Meanwhile, AbEx’s legacy presents us with a tangle of still more gender clichés, a strange terrain inhabited by fake-dude-women like Lee Krasner and Joan Mitchell, wielding their paint sticks like cowboys; and Pollock and de Kooning operating as phallic she-males, working from their innermost intuitive feelings, a “feminization” that introduces another twist in this essentialist logic.
yes i am watching million dollar decorators
more harry smith
frank stella radio - 1 hr discussion touching on digital art, cave paintings, 20c surface, etc...
diy cattle panel and rubble-rock bbq