“Mica Moca is a gigantic three building complex, the remnants of an old treasure vault factory. It is open and ripe with possibility. In the main room, personal objects are set up around the room. They are offerings for the public. Each collection has a cell phone number and a sort of aural menu attached to it. The public is being asked to pick up their phones for a free, private concert with the singer of their choice. The singers are housed in various rooms throughout the complex, unseen by their audience. It is an intimate concert for two.”

"Recontextualizing the Found Object" Exhibition

I have just received some images from the exhibition called “Recontextualizing the Found Object" at the Martha Gault Art Gallery, Slippery Rock University in PA.
It is so wonderful to see the installation images with other artists’ work. I was pleased to have been a part of the show. Sean Macmillan who was the Juror and the director of the exhibition, wrote “The show was a profound success. We have received great feedback and had a tremendously high turnout.“ Also he will be able to compile the catalog of the show. That is awesome news! I will be looking forward to having the catalog with all the great pieces.

Here are some overview pictures of the installation space.

If you look closely, you can see my art work in the center of the image below. It is inside the vitrine next to the brownish piece.

It’s so small. Here is the bigger version.

Here is the participating the artists for the show.  Emily Watson, Columbus, OH                 Rob Jackson, Athens, GA             Yong Joo Kim, Providence, RI Amelia Toelke, Madison, WI                Tara Philips, Toronto, Canada       Lisa Johnson, Bloomington, IN Wesley Harvey, San Antonio, TX            Ray Ogar, Little Rock AR            Ronald Gonzalez, Johnson City, NY Melissa Cameron, Victoria, Australia      Barbara Knuth, Seattle, WA          John Whitfill, Lubbock, TX Renee Zettle-Sterling, Cooperville, MI    Robly Glover, Lubbock, TX           Nicole Burns, Lindenwood, NJ Laura Wood, Greenville, NC                Chader McDonah, Tempe, AZ           Abigail Heuss, Greenville, NC
Re-Contextualizing Well-known Cultural Artifacts vs. Ambiguous Appropriation

Is there a difference between re-conceptualizing well-known cultural artifacts and ambiguous appropriation?  Is the later too vague and inconspicuous?  Dishonest?

This conflict remains not far from my mind when using appropriation methods in my own work.  This NY Times article maintains that it is certainly on the mind of many others when Warhol’s soup cans are accepted and Helene Hegemann’s book is rejected.

Hegemann’s book borrows from many other literary artists and writers, including famous individuals as well as bloggers.  Those who were appropriated didn’t seem to mind but others are worried this is the beginning of a slippery slope.

With all the information now readily available to anyone surely supports this sort of thing will only increase so maybe it’s time to accept it and appreciate it as it won’t be going away anytime soon.  From my perspective, the possibility of expanding copyright laws could only harm artists who aim to critique.

Essay/Article Response



NNR 008 - The Homewreckers “I Statements” LP

At long-last, The Homewreckers’s debut LP has arrived. Literally years in the making, this half-hour tour de force distills everything that we all loved about 90s Lookout Records’ snotty, brash pop punk, but with a critical and analytical bent that recontextualizes this familiar lexicon.

Homewreckers are anchored by renowned visual artist Cristy Road, and her impeccable musical sense speaks in a voice as immediately identifiable as her artwork and writing. All copies on green vinyl with a poster-sized insert.

NNR 009 - G.L.O.S.S. Demo 7″

Girls Living Outside Society’s Shit. Vinyl pressing following two initial cassette runs of the stellar debut from this Olympia powerhouse.



April 23, 2011

What does it mean to know someone? Opening ourselves up to people make us vulnerable. Therefor people put up a guard to become a conformed individual of our society. When that guard comes down for a moment of uncovered truth, they might be seen as “weird.” Imagine a world where everyone’s true self were uncovered. But then you could also argue that humans are so complex that we are too ambiguous and every aspect of ourselves is too indefinite to be exactly so. We can’t be just one thing so we can’t ever be completely uncovered unless every aspect was taken into account.  In some ways, I feel like it is impossible to truly know someone if you are not in their head, you can only come to learn ones habits so well that they become can become predictable. In this context of thinking, that would be the extent that you would truly know someone.

Whether that made sense or not, this is me venting about how it is almost impossible to know how well you know the people around you. Someone could hold a secret forever, and you might never find out.

This picture is an image I am using in my re-contextualization of Hansel & Gretel. I juxtaposed two photos, a brick wall with the branches of a tree, and re-contextualized it by rephotographing it through a macro lens adapter.

but-i-have-to-behemoth asked:

do you actually do tarot readings and divination or do you just have the cards for the artwork and symbolism??

Okay well first off, divination isn’t real, so let’s make sure we’re all on the same page here. I do do tarot readings, but like–the cards are a way of recontextualizing problems or situations in my life or the life of whoever I’m doing the reading for. No fortune telling or any related bullshit. It’s just like talking something out with a friend, those conversations where they don’t say much because you both know what you really need is to have a conversation with yourself. Tarot forces you to think in symbols and archetypes instead of getting bogged down in the gritty details of whatever’s bothering you. (Which is great for someone as insanely anxious as I am.) It’s useful and fun and a nice quiet way to shake hands with your subconscious from time to time. 


New Age Video Aquarium - Paintball, Disney, and Cold Steel, live in Baltimore.

interesting how the antiquated Chinese execution practice of lingchi (slowly slicing off limbs until death, or as a form of public humiliation after death) is eroticized by french philosopher georges bataille, further proving the disgusting phenomenon of horrific foreign realities becoming erotic domestic fantasies! appropriation and reappropriation! eroticism of moral detachment! I’m disappointed but not surprised! 

[The Bianwen Book, 2014, Chen Chieh-Jen]

INTERVIEW  |  Ways of Seeing: Dwain Leland’s “Ceci n’est pas un passif.”

Context: Late in the evening of August 13, 2015, I posted via social media a modified image of myself that was photographed and produced by Justin Monroe and his team as a satellite project to his Wet Dreams calendar shoot. As a lover of art, I recontextualized the image to make it something new, as well as to offer a commentary on stereotypes of the male body, gay culture, and photography. I called the image “The Treachery of Stereotypes,” and in homage René Magritte, inscribed across the image “Ceci n’est pas un passif,” which translates to, “This is not a bottom.” What follows is an informal interview about the piece and my work in general, conducted today by Max Perez, an artist and photographer who took an interest in the piece.

Perez: Hi, Dwain. I’m not smart enough to figure out what the text has to do with the image. Because I see “passif,” which I’m guessing is “passive” (I never took French class). But I know in Spanish “pasivo” means “bottom” so it might be in reference to your bum-bum.

So is the “Treachery of Stereotypes” that people assume things about you because of your body? I’m probably way off the mark aren’t I?

Leland: That is PERFECT, actually.

I’m not totally original in my idea. The first person to be so smart was painter René Magritte in the late 1920s. He produced a work I am sure you have seen, called “The Treachery of Images,” in which he depicted a pipe on the canvas, and below it, wrote “Ceci n'est pas une pipe.

Translated, it means “This is not a pipe.” What he’s doing is calling attention to the fact that the painting of the pipe is not the pipe itself, but only a representation. It was a modernist idea of the referential.

Perez: I want to do a photo like that. I do doll photography so I’m going to borrow your idea, if you don’t mind.

Leland: Yes, of course you may use it; again, it’s not totally my idea anyway! I may have started a new meme… *wink*

But going back to content, any time someone sees a man with a curvy ass, they immediately assume he must be (1) gay, and (2) a bottom. This is not true and certainly is not true in my case. As men are following the path of becoming more objectified in mass- and social-media alike, we will see a breakdown in these assumptions about a man’s sexuality as it relates to his image. Presently, a lot of the communications I get from people (or, just look at the comments on any of my images) relate to me being a sexual object to be taken, much like  a woman—and this is the link to “bottoms” in gay culture—gay bottoms are seen as the counterpart to women, to be taken, used, feminized, etc. And the French equivalent of the English word for a gay “bottom” is “passif,” which you rightly pegged (no pun intended) as being “passive.” We probably both know that bottoms are not all passive, but can be quite aggressive, actually; just as not all “tops” are the aggressive, or “active” ones. The same is true for women and men who copulate: just because men are the penetrators doesn’t mean they are always the aggressors. It’s all so fucking ridiculous! It’s almost as if the people who made up these words and concepts had never had sex in their lives!

Nevertheless, it’s the language we are stuck with using. As such, there end up being so many things wrong with the assumptions and the nomenclature that I wanted to point it all out in a concise way, and to say on a grander level that the image is not the thing it refers to. That is to say, the image is not “me,” even though people seem to mistake it for who I am all the time, as if I can be reduced to one facet, a one-trick pony. That, my friend, is a huge mistake!

One other Interesting bit relating to my use of French in this case is that “passif”also translates to “liability.” Ironic, indeed.

Perez: I did think it referred to the idea of being a bottom because I do see that you are objectified quite a lot. I think its so rude how people will comment and like the sexy photos but completely ignore your other photos and posts that are about your achievements outside of modeling.

Leland: Yes, it’s frustrating, but then again, even though I sometimes see all the posts in relation to each other, I try to make each post stand on its own. And, being completely forthright with you, I know that objectification is the likely result. I mean, let’s be honest: I objectify myself! But it’s always my hope that within the image, the viewers will look beyond the objectification, that the objectification is a portal through which they enter into dialog with their ideas about what culture says men are supposed to be versus who we really are, what “fitness” really is and looks like, and what is private versus what is public, and how we choose to draw that line. Of course, there is so much more than those things, but those are the big ones.

Perez: I’ll be honest, what first led me to you was Justin Monroe; I love his work and draw inspiration from it for my own photos. But you stood out and the more I learned about you, the more I wanted to know. I guess it’s easier for people to see a man with a certain look and make snap judgments, which I’m ashamed to say I did, but I enjoyed being proven wrong. And you’ve certainly done that multiple times.

Leland: Thank you! I love Justin, and I’m glad you took a second look. That sophistication connotes higher intelligence. Of course, I know I have a body that grabs attention, but again, I hope that people’s attention goes beyond titillation, and that they can take a second look and ponder the meaning that infuses the images. Otherwise, it becomes soft-core pornography, and though that has its place, its not why I do what I do.

PerezI have a lot of ideas and questions about your work, so I definitely want to continue discussing it with you.

Leland: Of course! Like any “self-involved artist,” I love talking about my work. [Leland chuckles.] But only with smart people like yourself!

Perez: Oh, go on. Thank you, Dwain.

Leland: You’re welcome, and thank you.

Geostatonary, the Deceiver

Let’s continue this running joke! Geo has a low enough point total to be run as a PC.

Geostatonary’s Second Skins power requires that you play in a roleplaying game - tabletop, LARP, or otherwise - with him. This would be easy enough to avoid if not for the fact that his roleplaying games are damned fine. As it is, I’m pretty sure that he’s got me - and, furthermore, for some reason I don’t mind. This should feel weirder than it is.

I’m not sure why he appreciates this joke. Since, you know, he clearly isn’t a Deceiver.

Keep reading

You might have been okay at Super Hexagon, back in the day

I think that just twelve seconds is as long as I’m actually able to survive at Terry Cavanagh’s Super Hexagon. The game, with its deep color and throbbing chiptune soundtrack (did you preorder your Hexagon vinyl?) is meant to be difficult; it creates intensity out of simplicity.

Kai Clavier has reimagined Super Hexagon as a blinky old Game & Watch title. I love this demake, mostly because by its nature it cannot go too fast for me. Now, I can last for at least 14 seconds~!!! Sometimes recontextualizing popular modern games using the look and feel of old tech offers something beyond amusing juxtaposition. Demakes can be lenses through which we can see the pure core of a thing.

Read the rest…

But that painting of that cat hangs in the kitchen at the [Wilco] loft, and every day I’d look at it and go, “You know, that should just be the album cover.” Then I started thinking about the phrase “Star Wars” recontextualized against that painting — it was beautiful and jarring.

Read more:
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Then I Will

Created for NaNoGenMo 2013 by Rodrigo Lanas, Then I Will is a novel constructed out of phrases sampled from Twitter.

Using tweets as a source means that the raw material used as an input to the generator make at least a little bit of sense on their own. Using them in the generator recontextualizes them into a continuous first-person narrative of obsessive planning for the future, suggesting an elaborate Rube-Goldberg-esque plan that seems to start from writing a NaNoGenMo novel generator and escalate into a complex plan of revenge.

alex-does-latkes replied to your post:Oop! Vague question, haha. Umm, how about just…

Ahhh, thank you so much! Yeah, I’m trying to get over the intimidation to dip my toes into this since I’ve been wanting to get into it.

it’s far less intimidating than people think, imo! It’s just very tedious, honestly. Lots of programming principles need to be rethought and recontextualized within the idea of a ‘game’. things move when people press buttons and goals are a thing all of a sudden, etc. 

I recommend starting with a platformer, I feel like that’s a good starting point for basic ludocentric game design. Alternatively, start with a twine! Get used to the idea of a narrative flow that you can ‘control’ as a dev, haha. It’s fun!

im openly talking about system shit on this blog because ive ceased to give a shit. anyway i wish i could recontextualize some of the conversations my doflamingo has with lans crocodile because they seriously sound like some incorrectonepiece content

[9:18:02 AM] doflamingo: MAYBE MONET DID, CHECK WITH HER
[9:18:08 AM] darion: ive never met her
[9:18:23 AM] doflamingo: SHE WAS COOL
[9:18:25 AM] doflamingo: ICE COLD
[9:18:30 AM] darion: pff
[9:18:47 AM] darion: relateable
[9:19:08 AM] darion: you can stop
[9:19:16 AM] doflamingo: CHILL

Listen: Various Artists - Black Summer Tape

JUNGLE GYM Records presents “Black Summer Tape,” the official debut of our UNDERGROWTH series. Featuring 8 JUNGLE GYM artists, UDG 0.01 leaves no stone unturned in its search for the darkness that can be found on even the brightest of days, by those who are looking for it. As the warm season comes to an end, “Black Summer Tape” stands as a bleak recontextualization of the classic summer mixtape, and is exclusively from JUNGLE GYM.