As technology continues to assert itself as the most central means by which we create, socially interact and facilitate business, the divide between the physical and digital world continues to blur. Simultaneously, digital artists have been searching for ways to express the duality between the costs and benefits of having access to such amazing tools. Glitch art has proliferated on social sharing platforms, such as Tumblr, as a means to express the startling chaos and noise created through the bombardment by the constant and overwhelming amount of information generated by the internet.
Amongst the large number of glitch artists presenting themselves these days, Mark Klink’s calculated and controlled databending sets itself apart. His experiments in the destruction of the renderings of human faces intrigue viewers as they simultaneous implode and explode in both form and color.
Klink is also exceedingly generous with his knowledge, as he teaches and shares his processes on his open source blog. With the information shared by Klink and others, you can also participate in the ongoing online discussion exploring these new digital realities.
Aphrodite 007, 2015
Aphrodite05 v1, 2015
Body002 head detail, 2015
Lucy 03, 2015
Aphrodite 2, 2014, images posted with permission of the artist.
Abolition is the undoing of walls in all their forms, a constant striving to challenge and overturn their commanding presence within ourselves and without, a fierce struggle to unlearn and to face the destructive and oppressive structures that stand uninvited in our daily lives. It is radical creativity, connection, intersection and community action in opposition to narrow, paternalistic, reformist visions of social change. It is a readiness to listen, to be vulnerable, angry, genuine and powerful in imagining a new future. In this struggle, art is my crucible, it is how I understand the world and how I respond to it. Art remains the witness on my journey of abolition, what connects me when words are too distant and what supports me when the path grows steep and the walls high. I believe in this power of art; it is, like abolition, a lifelong practice.
Trident with Shiva as Ardhanari (Half-Woman)ca. 1050, Chola dynasty, South India, The Cleveland Museum of Art
In this hybrid form of the deity, Shiva assumes his own form and that of his consort, Uma. The right half of the figure’s anatomy depicts Shiva with two arms-one resting on his bull mount, Nandi, and the other holding his battle-ax. The other half of the figure represents Uma, whose hand once held a flower. The image is combined with the trident, Shiva’s weapon of both destruction and grace.
The Tower itself represents ambitions built on false premises. The lightning bolt breaks down existing forms in order to make room for new ones. It represents a sudden, momentary glimpse of truth, a flash of inspiration that breaks down structures of ignorance and false reasoning.
✗ Brock Rumlow/Crossbones || FC: Frank Grillo || OPEN
→ “I consider myself an artist – a true craftsman who specializes in murder, destruction, and terror.”
Brock Rumlow is a ruthless mercenary with deep-seated connections to the Hydra underground working within the ranks of S.H.I.E.L.D., leading S.T.R.I.K.E. operations. Rumlow caught S.H.I.E.L.D.’s (and HYDRA’s) attention through his work in Taskmaster’s mercenary school, working his way up to a teacher’s position, ending up being hired by both organizations but remaining loyal to only one. A world-class hand-to-hand combatant, Rumlow is skilled in various forms of martial arts, street-fighting, and military tactics. His ideals very much rely on brutality as a guiding force and his principles are cruelty.
Rumlow is currently an undercover HYDRA agent within S.H.I.E.L.D. and the Red Skull’s right hand man. He recently partook in an attack on Captain America, Diamondback, and the Winter Soldier after they happened upon information regarding the Red Skull’s return and whereabouts.
FightAsOne has a Synthia Schmidt, Red Skull, and Rachel Leighton.
When I left home, I felt nothing. I paid no thought to anything I had known before. The planet was deteriorating and mostly barren, just like those who had decided to stay after the cataclysm. The stars however were open. We had progressed in the art of space travel so rapidly when it became obvious that we would be unable to continue on Earth. The center of our civilization moved to a newly colonized planet. But even a solar system over was not enough to quench my thirst for a journey. The journey became the story of my life. I have seen interstellar war, aliens of all form and manner, nebulae that ebb and flow with the breath of creation. I have also seen the compassion and destruction capable by all beings, and the most visceral emotions bursting forth. I have traveled farther than anyone in history. However my journey has come to an abrupt end and now, in theses pages, I will chronicle my journey before death inevitably pulls me from this reality. My name is unimportant, but I am sure that by the time you finish reading this that you will know who I am.
Noticeable Ability : Her Incredibly strength is enough to make the ground sake. With her hammer in her hand, her destructive strength is double and can break through almost anything in her path.
Meet Hematite. Unlike most Gems who fought in the Gem War Between the Homeworld and the Crystal Gems. She was a teacher on the Homeword and had taught many Gems before and during the Gem War by using her unique teaching methods. She respected and helps each gem with there training and also form many strong connection with her students that she had taught.
While she did not fought much on earth she hold a reputation of having greater strength among many other stronger Gems, including Jasper. The times she had went to Earth to fight, she had to lead a squad of Gems to handle difficult task. Yet the more times she went to Earth, the more she distrusted both Yellow Diamond and many other Homeworld Gems.
When Hematite finally learns what they have been doing on Earth and what the Gems she had taught were fighting for. She spoke out against Yellow Diamond and to end the war. Yet Yellow Diamond and many others did not listen to Hematite and had started to distrust. In fear of Hematite strength and the reputation she had, they sent her back to Earth by force and into the front lines to keep her busy and not to cause any trouble back on the Homeworld.
Despite this Hematite still try to convince the other gems to stop fighting and end the war. Yet despite her effort only a handful were convince. Eventually She and the gems she had convince abandon the Homeworld Gems and left the conflict and avoid the crystal gem as well, in fear that they might attack due to previous battle with them. Hematite had hope of going back to the Homeworld and fixing it for the better, but the galaxy warp pad was destroy before she ever got the chance and the only thing she could do was disappear with the other reneged gems she was with.
I quit smoking again last night. There are words in my head again already this morning.
I remember drunk conversations from eight hours before, I have hope for the future again. I can actually see myself performing my dream in the future. My mind babbles what I must do today to bring me there.
I am an addict. They’ve warned me it runs in my blood. Last night, in a drunk slur he said he was an alcoholic. And that being an alcoholic means more than addiction to alcohol, it means self destruction.
I destroy myself in many forms, multiple times a day. My destruction masquerades as pleasure, love, enjoyment, alcohol, television, marijuana, boyfriends. My art and my soul are covered by these distractions. I feel hardly able to survive. Because of myself.
I have decided to be in awe of that power. I have decided to toss the tables over and use it as fuel for my future. Which I must make today. No more procrastination. I am alive already, afterall. I am stronger for my blunders, I will learn from my mistakes.
Or so are my thoughts as I consume my coffee. I am an addict yes, but I will make it work for me.
“How did the symbol of post-war paranoia (the
cloud) become the metaphor for the global and interconnected world utopia?”
This is the starting point of the
latest exhibition held in Serralves Contemporary
Art Museum, in Oporto. From the atom to the pixel, from radiation to
information, the exhibition successfully manages to draw a parallel between the
atomic and the digital age. The later did not succeed the first. In the present day, both ages coexist and
merge, to form an Age of Anxiety. The
new form of living and the ultimate mean of destruction are now fused together,
intertwining utopia and dystopia, hope and despair. Originally products of the
military ingenuity and imagination, the nuclear and digital clouds have now
inhabited and molded our culture for over 70 years, from arts to politics, from
psychology to economics.
In 1945, first in the Jornada Del Muerto
desert and then in Hiroshima and Nagasaki, the nuclear cloud started casting
its shadow over the twentieth century. American at first, the bomb went on to
become Russian, English, French, Chinese, Indian, Pakistani and North Korean. The
now widely known symbol of peace was initially designed as an icon for
anti-nuclear protests; the bikini was baptized with the name of the French Polynesian
atoll where nuclear tests were made. The
atomic had captured the public’s imagination contaminating every aspect of
society and culture. From the beginning of the 1950’s up to the end of the
1980’s, the world lived in the fear of an eminent nuclear holocaust.
Theories like The Mutual Assured
Destruction grew from the attempt to rationalize and cope with this state of
permanent paranoia and shaped the all the Cold War thinking. This logic of
mutual annihilation was only to fail in a scenario in which the first strike
damaged the communication infrastructures avoiding the opponent’s response. To
prevent this, the communication networks were multiplied and decentralized. In the
decades that followed the system networks logic triumphed, influencing
computers, ecology, psychology, politics and economics. The network system cultural
paradigm was so strong that it transcended the traditional barriers of left
versus right or culture of masses versus counter culture. The distrust in man
made decisions in an ever more complex world, in which a single error could
mean annihilation, made us rely ever more in computers and computer logic.
If God was
already dead The Trinity (test) took its place. The atomic was to provide both
the dilemmas and the answers. The mixture between paranoia and utopianism that
inspired John Nash’s theory of games and that would later inspire the idea of
the self regulating market was born here. The fall of the Berlin Wall and the
global optimism of the 1990’s paved the way for the global ascent of this new
cloud, the digital.
takes our iconoclastic image driven society a step further. If an image is
worth a thousand words how many words is worth a million images? The digital
era atomized the image, and like the radiation from atom bomb its effects on
people are deforming of brain and body, literary and metaphorically.
The Cloud has shattered the frontiers between
work and leisure, kitsch and art, eroticism and pornography, propaganda and
information, truth and lie, real and unreal. It’s shaping our relationship with
the world. A mixture in between the Basic English, computer jargon and pure
visuals can be the true global Esperanto of the future.
We increasingly give up the real world for the
integration in the virtual. From politics to art. One is abdicating of an
oppressed reality in exchange for a new parallel universe that promises the endless
freedom that our real world lacks. Our social and political being exists now
only within limits of the virtual space. Our individualism has made us lonely.
The digital cloud is also responsible for a
since of confusion and constant paranoia. Has we’ve seen the digital utopia was
created in a response to the dangerous and paranoid world created by the atom
bomb. This response was developed by LSD fueled libertarian hippies as a tool
to free us from the dictatorship of corrupt politics and corporative news. The
result was the creation of new form of control far greater than one that
If post-modernism shattered the narrative of
history into a thousand pieces the cloud as taken it a step further, reinventing
and recombining all the more or less broken pieces, destroying any possibility
of certainty among millions of sparse random and unconfirmed data. The ancient
manuscripts, the news agencies press
releases, the secret services leaks, the terrorist organizations manifestos, the
crazy sects gospels, the politician tweets and the celebrity facebook update
status are all gathered into one all
simultaneous nonlinear narrative. The paranoia that was in the origin of the
digital age made its way back as kind of a feedback. The non-linearity typical
of post-modern art made its way into politics. From the economy to the war, the
public is presented with an enormous range of conflicting figures and
paradoxical measures making it impossible to take a party have an opinion or
even try to understand the issue in the first place. From austerity to ISIS, the
reality filtered by the digital eye has turned the world into an unsolvable
puzzle. This chaos turns politics into a childish yes or no answer exercise to
minor questions, which in the future will probably be answered via internet. A
state of controlled panic interluded with virtual escapism is our contemporary condition
and those who have the pleasure of visiting this exhibition will no doubt feel
way home I couldn’t help thinking of John Ruskin, the famous Nineteenth century
art critic, who towards the end his life wrote a book called “The Storm-Cloud
of the Nineteenth-Century”, describing the harmful effects of
industrialization, and whose last drawings are incomprehensible studies of cloud patterns. Maybe
he was mad or maybe…
 Poem by John Donne, quoted by Oppenheimer
as the inspiration for the code name Trinity (the first nuclear test), held in
Jornada del Muerto, New Mexico, USA
I’M A CARNAL ORGANIC ANAGRAM HUMAN FLESH INSTEAD OF WRITTEN LETTERS I REARRANGE MY PATHETIC TISSUE I INCISE I REPLACE I’M REBORN I ERADICATE THE FAKE PRE-PRESENT ME ELEVATE ME TO A HIGHER HUMAN FORM THE CHARACTERS I AM MADE INTO A WORD COMPLETE THEN I’LL BE THE NEW NORM SELF-INFLICTED FRACTURES I REPLACE MY BONES WITH BARS ALUMINUM BLEEDING OXIDE DRUG OF GODS INTO MY POUNDING VEINS
MY RECEIVING EYES EXCHANGED WITH FUSES BLINDNESS INDUCED TO PREVENT DESTRUCTION CERAMIC BLADES IMPLANTED PAST MY RIBS TO SAVE ME FROM THE DUES OF INHALATION I TEAR MY WORLDLY USELESS SKIN STAPLES TO PIN IT OVER MY EARS NON-RECEPTIVE OF UNGODLY SOUNDS I DISABLE THE AUDIO GENERATORS OF FEAR HEXAGONAL BOLTS TO FILL MY MOUTH SHARPENED TO DEPLETE THE CREATOR OF ALL VIOLENCE WITHOUT SPEECH THERE WILL BE NO DECEIT
BAPTIZED IN VITRIOLIC ACID A FINAL TOUCH A SMOOTHING OF FEATURES COMPLETION OF THE GREATEST ART TO CAST THE GODLY CREATURES HUMANS, ONCE ASTRAY MADE DIVINE STRIPPED OF CONGENITAL FLAWS WE’RE INCANDESCENT REVELATIONS IN A WORLD OF DARKENED FORMS
DISCIPLES COME JOIN WITH ME TO SAVE A FAILED HUMANITY FOLLOW THE GOD OF CYANIDE INTO THE NEW ETERNITY BEHOLD A SACRIFICIAL RACE A CLEANSING WORSHIPPING OF PAIN THE NEW MILLENNIUM CHRIST HERE TO REDEEM ALL FROM LIES
God did not make death, nor does he rejoice in the destruction of the living. For he fashioned all things that they might have being; and the creatures of the world are wholesome, and there is not a destructive drug among them nor any domain of the netherworld on earth, for justice is undying. For God formed man to be imperishable; the image of his own nature he made him. But by the envy of the devil, death entered the world, and they who belong to his company experience it.- WIS 1:13-15, 2:23-24
“Receiving” 10x8 mixed media on canvas, StaceyMSchultze.com
Zhang Dali spray-painted silhouettes of his head on walls of condemned traditional structures throughout Beijing. Other works take the form of the same silhouette punched through the brick wall to create the head in profile as the negative space. He was motivated by the destruction of the older communal neighbourhoods that were being replaced by high-rise and the rise of materialism. Zhang Dali’s works have been concerned with the vast social and cultural changes that occurred since the initiation of economic reforms in 1980s. His intention was to include documentation about the issues that his work evoked through a dialogue with his audience. The engagement with audience is part of the conceptual practice of the artist. A hollowed out profile provides a window to a view of the Imperial Palace, the Forbidden City, in the photograph below from 1998. It makes a striking contrast against the partly demolished walls of the traditional hutong communities that have lived just outside the palace walls for centuries. There is a great sense of loss in Zhang Dali’s works.
I. Subversion of form, material, color and utility. PEA PIECE Carry a bag of peas. Leave a pea wherever you go. (1960 winter)
It’s difficult to argue with a pea as the nexus of nature and design. As a sculptural object, it has perfect integrity of form; its color is expressive of the organic and connective, as is its communal growth in pods. It is resilient but destructible. Most vitally, a pea telegraphs two qualities integral to Yoko Ono’s creative persona as incubated by the Fluxus school: it is both small and funny. For a performance artist with a near-pathological bent for clowning to disarm detractors and aggressors, a pea is a weapon par excellence.
Yoko’s art reveals a preoccupation with peas as stage props, constructive materials, symbols, and a not-too-subtle homophone for her major political and social agenda. She flung peas at audience members while swinging her hair in musical “accompaniment” during her early days as doyenne of the New York City avant-garde art scene. She smashed them, cooked, on canvases; and in her 1960 instructional PEA PIECE, she “planted”–a tactical term reclaimed as a witty agricultural pun–peas in random urban spaces for strangers to find.
Modern Head by Roy Litchenstein born New York City 1923-died New York City 1997
Conceived 1974, fabricated 1089-1990 painted stainless steel
Roy Lichtenstein be again creating his modern had series in the late 1960s with the idea that men can be made to look like a machine and the image manufactured by an industrial source. This concept pervaded to the artist work throughout his career. Inin modern head here referenced the flat plains, Percision, and abstract geometric forms associated with the 1930s Art Deco architecture and design. Modern head was installed in 1996 in Battery Park City, 1 block from the World Trade Center. The sculpture survived the destruction of 9/11 with only surface scratches & became a memo board for the FBI during its ensuing investigations.
#aCreativeDC #dcitystyle #igdc #ilovedc #iloveny #survivor #roylitchenstein #nyc #9/11 #VSCOcam (at National Portrait Gallery)
Like I told my buddy @gunplazokumr2 Yesterday, the nickname given to this Zaku by fellow soldier of the Zeonic army is “Death’s Shadow” similar to the nicknames given to Char Aznable and Shin Matsunaga, this Zaku’s nickname can be explained by his colour, a extremely dark almost black, German Grey. “Death’s Shadow” was given to the Zaku and Pilot as the pilot wrought horrible deaths and unparalleled carnage to whoever he fought and slaughtered. His actions are seen by many ZEON soldiers as Death himself ( Satan, Death or the Grim Reaper whatever you call him ) ascending down to the battlefield to wreak his plague of destruction upon the Federation. In the form of a Black Zaku, many see the Z Massacre as Death’s very own shadow doing his job on the battlefield. Thus giving him the name, “Death’s Shadow” #gundam #gunpla #hobby #scaledmodel #robot #bandai #plamo #art #anime #awesome #manga #mecha #modelkit #mobilesuit #mobilesuitgundam #wip by tonezone117 http://ift.tt/1NBhPML
She wanted to soar as high as she
possibly could; spread her wings, open her mind, her hopes and dreams and fly
up and up and then fall back to Earth in a fiery spectacle to burn bright for
just one eternal moment and then rise from the destruction to see the figure whom
picked up the fragments of her from the ash and melded the pieces together to
form a new-fangled work of art. Her. Not an angel and not a demon; just a beautifully
fragmented masterpiece. She wanted to soar, but now her wings are broken and
bound; her form stitched together with flaws and good intentions yet she had
eyes that spoke of limitless love and hope; eyes that sparkled with the promise
of mischief and good things and yet behind all the brightness and the good
there flickered a small flame of pain, of resentment of those that yanked her
from her flight. And yet she rose yet again; the being that was neither angel
nor demon but the exquisite mix of dark and light. The magnificent creature
that once flew among the stars was now cruelly bound to wander the earth, her
wings broken and bound, never to soar among the galaxies again. And yet she did
not care for she had spent time among the stars, a feat which few others could
claim. She was content to spend the rest of her days walking the rough and twisted
path that was her beautifully fragmented life.