In this work Kruger invokes the aphorism “Children should be seen and not heard.” The children depicted here range from school-age youngsters to youthful adults whose gestures hint at—but do not literally make the sign language for— the words printed nearby. Some of the gestures in fact seem lewd, lending an aggressive tone to the generational and social dissent that the words and pictures suggest.
Following two acclaimed albums on Planet Mu that
explored a range of influences—from krautrock to library music to
electronic psych—the Irish duo moves to Rob Da Bank’s Sunday Best label
for their latest work which, more than ever, reveals their love of
experimental cinema and film scores (note: the cover art is the work of
American light and film artist Michael Robinson). Throughout, you can
hear heavily layered background noise (forest, ocean, animals, radio
static, indigenous music) augmented with micro-sampling (seal sonar,
recordings of icebergs underwater, Siberian throat singers), all built
atop often-complex rhythms.
Under Interscope Records, SNSD will be readying to knock on the doors of the European market with a special album release of ‘The Boys‘!
On January 17th, 2012, the girls will be releasing a special album in the United States, Canada, France, and England featuring songs from their third album, as well as Korean, English and remix versions of ‘The Boys’.
This will mark the girls’ official debut in the European market following the release of their U.S. debut with ‘The Boys’ maxi-single earlier this month. ‘The Boys’ managed to debut at #122 on the iTunes on December 21st, with the English version of ‘The Boys’ having ranked in at #74 back with their October release.
Considering the fact that they haven’t promoted at all in the country yet, the K-Pop fever is being felt all across the world.
On December 26th, SM Entertainment stated, “SNSD will be promoting actively on stages all across the world, not only Korea and Japan. The members will also be pursuing a more diverse range of individual activities like dramas and musicals.”
The new version was announced on the Chromium blog, along with a list of benefits that the switch to 64-bit brings to the table. Thanks to compiler optimizations and a more advanced instruction set, Google says it is getting big speed boosts. In graphics and multimedia content, the 64-bit version of Chrome is averaging a 25 percent improvement in performance. Security is better, too, thanks to high-entropy address space layout randomization in Windows 8, making memory hacks harder. Google also notes that it has seen “a marked increase in stability for 64-bit Chrome over 32-bit Chrome,” particularly in the render process, which crashes half as much on 64-bit builds.
For now, the 64-bit version of Chrome is only available on Windows 7 and 8, and only in the developer and canary (nightly) channels. These are unstable builds that aren’t meant to be used by novice users, but anyone looking to try out the cutting edge of Chrome development can try the dev version here or canary here…
I will never understand why people deny themselves knowledge, discovery, and exploration out of fear. Why live if you only intend on staying boxed into your small corner of reality? Is it really living at all? The world is so fascinatingly beautiful if you only open your eyes. There is nothing to lose but fear and ignorance, and so very much to gain.
Prominent Kenyan scholar Ali Mazrui, believed staunchly in the power + influence of African universities and its importance and role in the development of African intellectualism. The African university served as a central space in the public sphere that fostered and cultivated ideas, encouraged students to probe, debate, and engage critically with different ideas that surrounded nationalism, socialism, democracy and what it meant to be part of an ‘African revolution’. Intellectualism thrived in this domain, as it was a space for inquiry, participation and the development of ideologies. However, there a point in which African Universities no longer served as the focal point for African intellectualism. The emphasis on the (individual) nation-state in the post-independence era, as opposed to continental solidarity + collective prosperity, triggered the decline of African intellectualism. With a new emphasis on the nation-state came this shift from the collective to in the individual, and also came the rise of authoritarianism. According to Mazrui, the killers of intellectualism were authoritarianism and the lack of academic freedom (he also noted that Cold War politics played a significant role in the extinguishing of African intellectualism). However, this death of African intellectualism was not permanent, as there was a second wave or what Mazrui considered “a new intellectual revival.” With this revival, there was the emergence of Pan-African research organizations on the continent, such as the Council for the Development of Social Science Research (CODESRIA) and the African Association of Political Science. In addition to these new networks and institutions, what also emerged during this revival were various journals and publications which published scholarly African thought. This second wave of African intellectualism was in part due an occurrence of decentralization, increased transparency and a shift from “one-partyism” to democratic systems. Contemporary African intellectualism is suffering again due to socioeconomic factors such as under-funded and over crowded universities. Young people are feeling that the social sciences will not adequately support them in a hyper-industrial, hyper-digital, hyper-capitalistic world. There needs to be yet another “new intellectual revival.” Creating spaces + opportunities in which we can nurture + preserve social inquiry, critical thinking and social research, is crucial for development, and creating social change. Solutions to pressing issues cannot arise without forward thinking and interrogation. Supporting this generation + the next generation of thought leaders, especially on the continent, is how new policies, new theories + new forms of artistic production can emerge. This is in part why SUNU: Journal of African Affairs, Critical Thought + Aesthetics (@sunujournal) is coming to life. Supporting young thought leaders, writers + artists, preserving African intellectualism, and inspiring change is at the heart of SUNU’s ethos. Collectively. I cannot wait to share. It has been taking longer than expected, because it is bigger than I expected. The work of SUNU’s contributors will be respected, because they are contributing the collective consciousness + the preservation of intellectual thought, from the arts to human rights. // Photo 1: Dakar, Senegal. Bruno Barbey 1980. Photo 2: Students inside the UniLag University, Lagos, Nigeria. Alex Majoli, 2013.
Winter winds embrace me. I love you. Whisk me away. My heart hurts. The time is now. HEAVEN open up. GOD let me in. Jesus, will pumice your feet with my knotted woolen hair. LET ME IN. Winter wind take me.
Today, I was tried. I cried, the entire way through. I stood stirring in a pot that contained my chopped and seared heart. Stewed in a broth of blood. I’m stirring to make sure the pieces get tender. I need to re-digest my heart. Having got trapped in the mine that produces the jewels of sameness.
Tonight, I’ll stand on the roof, naked. Thoughts:
Fourteen, Lord listen, fourteen sins. I counted them. I know them. They’re exact. Lord, I know you seen them all. Six of ten, I’ve defamed. But, the first I never coveted. I know your love God. I know your honor. God, I know your LOVE. Look upon me! Survey me. Fourteen, I know they’re there. F O U R T E E N !
Imagine the lost world. The lost world, I see. The world that is true and exact. A world of different measures that debunk the resting child of God. Wake the children, prepare them. I say to my wedded woman. Go forth, unto that river. Drown them. They are sin. They are carnage. They are sin. Woman drown them. The eyes of the lord looketh.
Tomorrow, I on roof, naked. Dream:
NO, NO, NO, NOOOOOOOOOO! Let me go. I need my wife. You will not burn me in these sheets! You will not trap me! I need my wife. No, Mister! Listen. I’m deranged with a clear consicience. I need my wife. She and I wedded. She’s/her heart is hurting. I feel her. She’s hurting. Touch me! Mister touch my heart! You feel? A tangled beat, right? I need my wife. let me out of this room. The answers you seek I don’t have. I won’t know until I am back in my pair. No, I won’t lie. My tounge is a sword. Mister. Mister. MISTER! I N E E D MY W I F E! … Awake.