Match of the Day II, 2005, Industry of the Ordinary (IOTO, collaboration between Adam Brooks and Mathew Wilson), as Old God and Young God, play table football, first to 100 goals, on the promontory point by North Avenue beach.  Photo: Greg Stimac  (Click to see larger)


Things that inspire us: 

Blowing Series by Seungjin Yang

“Blowing stools are made of balloons coated with epoxy resin. I tried to make the blowing balloon a simple making process based on my personal childhood memories into industrial fabrication furniture making process.

Once blown balloons are shaped and fixed in certain form of chair, than I poured epoxy resin 8 times so that it can form a very durable and rigid structure of furniture. The tactility of balloon is transformed into fine colored glass with glossy finishing of epoxy resin.

Through this project, I want to make ordinary materials and making processes into an extra-ordinary manufacturing process.”

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Where “Tropes vs. Women” challenged the video game industry to think critically about its representations of women, Sarkeesian hopes “Ordinary Women” will challenge storytellers to think about the stories and roles written for and about women.

“Women are usually relegated to the muse or the wife or the sidekick, and this series is saying: No. There are these extraordinary real women throughout history who have done these extraordinary things,” she said. “Draw inspiration from that. Tell their stories and stories like those.“

Anita was featured in yesterday’s LA Times talking about our new series, Ordinary Women!


Been moving so quickly this past year that I’m not sure I ever shared photos of this work. Huge thanks to Victor Yañez-Lazcano for his expert assistance on making this one a reality.

Lemonade, 2015
Hosted by Adam Brooks/Industry of the Ordinary
Terrain Biennial, Chicago

Sculptural installation and social space designed to foster generative contexts, provide moments of respite, and add a little bit of sweetness to our otherwise sour social conditions. Lemonade dispensed, both child-friendly and spiked, at regular intervals, along with the accompanying cards.

I would describe Marxism as a philosophy of wonder: what appear before consciousness, as objects of perception, are not simply given, but are effects of history. ‘Even the objects of the simplest “sensuous certainty” are only given him through social development, industry, and commercial intercourse.’ To learn to see what is ordinary, what has the character of 'sensuous certainty’, is to read the effects of this history of production as a form of 'world making’.
—  Sara Ahmed, The Cultural Politics of Emotion, 180.

EJ Hill and Collin Pressler
Untitled, 2012

The proposed work will place EJ Hill and Collin Pressler in a public, building-front window space with high foot traffic. Both men will be clothed in white cotton boxer-briefs and t-shirts. The space will be furnished with a twin-size bed fitted with white sheets, two pillows fitted with white pillow cases, and a white blanket. During the course of the 24 hour performance, both men will engage the theme of intimacy through talking, kissing, embracing and resting together in the space. The artists will present themselves at the curious intersection of public and private space in a way that validates and celebrates the beauty and naturalism of male intimacy.


The Design Panoptikum in Berlin is the creepy industrial museum everybody has been looking for. What appears to be an ordinary storefront on the ground floor of a grey apartment block on Torstraße is actually a bizarre collection of 3,000 historical objects and curiosities from the worlds of film, aviation, medicine, sports, construction, and household goods. Described as a Museum of Extraordinary Objects, it looks like a Kraftwerk album come to life, with its display of retro medical equipment and mechanical mannequins paired with everyday items. If you’re brave enough to visit this place, owner Vlad Koornev might give you a personal tour of his design museum/house of horrors. He has described his collection as “50% about the visitor” in that he wants people to look at objects differently, not just visually but philosophically as well, so that by the time they step out into the reality of Berlin’s streets, their heads should be spinning (no, not like this, silly).

(Image Source 1, 2, 3, 4, 5, 6, 7)

Tayuu (Japanese courtesan) by Stephane Barbery on Flickr

Although tayuu used to be involved in ancient sex “industry”, nowadays tayuu are ordinary dancers dressed in historical costumes. They became totally extinct when first geishas appeared. Back then it was fashionable to spend free time with geishas and enjoy their artistic performances rather than have sex with tayuu. But tayuu also developed their own specific culture, arts and costumes. Because of that, some abandoned tayuu districts turned into museums and hired few women to dress up as tayuu and study their arts (tea ceremony, dance, singing, ikebana etc.). Modern tayuu take part in celebrations, historic parades and so on.

“But within minutes, it’s obvious that this isn’t your average manufactured music industry 17-going-on-27-year-old. She is hiding - like any ordinary teenager - behind a wall of extension-free hair. It is almost impossible to believe that this slight, hesitant girl could be the same person whose singing voice entranced the 80,000 spectators in the Olympic stadium last year …”


The ‘distinctly unmagical’ town of Cokeworth:

Cokeworth is a town in England where Spinner’s End is located. […] Cokeworth has a river running through it, evidence of at least one large factory in the long chimney overlooking Snape’s house, and many small streets full of worker’s houses.

Home to Lily, Petunia and Snape during their childhood’s, this industrial town suggests normalcy and the ordinary. Nonetheless, Spinner’s End was the place which facilitated Lily and Snapes’ magical development and made them the talented young wizard and witch they each grew up to be (even if they took very different paths in later years).
California activists want water restrictions to include oil industry

California should require oil producers to cut their water usage as part of the administration’s efforts to conserve water in the drought-ravaged state, environmentalists said on Wednesday.

Governor Jerry Brown ordered the first statewide mandatory water restrictions on Wednesday, directing cities and communities to cut their consumption by 25 percent. But the order does not require oil producers to cut their usage nor does it place a temporary halt on the water intensive practice of hydraulic fracturing.

California’s oil and gas industry uses more than 2 million gallons of fresh water a day to produce oil through well stimulation practices including fracking, acidizing and steam injection, according to estimates by environmentalists. The state is expected to release official numbers on the industry’s water consumption in the coming days.

“Governor Brown is forcing ordinary Californians to shoulder the burden of the drought by cutting their personal water use while giving the oil industry a continuing license to break the law and poison our water,” said Zack Malitz of environmental group Credo.

“Fracking and toxic injection wells may not be the largest uses of water in California, but they are undoubtedly some of the stupidest,” he said.

The industry has received scrutiny for how it disposes of undrinkable water produced during oil drilling. Last month the state ordered the operators of 12 wells to halt injections of the water out of fear that it could contaminate fresh drinking water supplies.

[More at the source…]

anonymous asked:

i'm surprised by the difference in comments that stef received vs. what alex received on netibuzz; i would assume that the compliments would have been given to the thin, blonde and pale german. living there, do you think racist ideals are dissolving?

Separating fact from fiction, the Korean fashion or entertainment industry may choose Europeans over African or African Americans almost all of the time, but beauty standards are less strict once you step outside of these industries– even in South Korea.

For these industries, beauty is always tied to race.

For ordinary people on the internet– the Korean netizens who commented on Stefanie’s article or Alex’s article, beauty is not always tied to race.

Beauty is not always defined by race (or skin color)– even in South Korea.

And, Alex is beautiful.

P.S.: Racism and xenophobia look the same; but, they aren’t.