Thursday, December 05, 2019
For Shona and Jo
At Uni – they placate young heads from getting washed away upstream
River runs deep within The Cities; rivers of blood shed from knife's gleam
The barriers; what gates have kept us from knowing ourselves: what gates
These worlds we come from, land on which we soil, birthed with no shame
I call myself Bartholomew; I identify you as Bethesda, but we are not that
Childhood traumas we endured, brought us to this pedagogical kingdom
Self-prompted from ideology; histories where his story, her story conflict
We don't separate Indira Gandhi and India Arie, Jomo Kenyatta, Kid Capri
Large rooms where brooms sweep each student under desk; they uproot
Denounce colonial conduct perpetrated by order, supremacy, entitlement
This rebel theater: Shakespeare rewritten, where the lauded dream down
Robespierres among us, we look to other cannons for determining the truth
Sisters adjoined among academia's patricians, their speech riot is message
With these words, they rake the commons of idiomatic hate, stained walls
Without which cycles repeat, rivers run deep waters over students of color
Sisters, for us, each a rose, undoing damage, upholding right to be human
Friday, April 05, 2019
By Kofi Fosu Forson
Love binds – it is our greatest means for survival.
Sex and romance as human equation is sub-par when compared to (thought and text) – act of committing to writing a (tweet); a more profitable human dialogue, than sex and romance.
Recent reports have revealed decline in sex partnership among the younger generation; greater percentage of whom spend time online; zombie-like fascination of walking while checking information on timelines of most social media accounts.
Inter-personally, there are those who do the very thing of texting while at dinner with other people, or even taking turns examining their smartphones during sex, given variety of sex positions.
These are all bizarre accusations of deeming human beings part of a “walking dead”.
Primarily, inception of life online was to enhance engagement of intercommunication between lost souls, (friends); ambiguity of the word made more pathetic as in “followers”.
Detriment in time allotted for online activity when governed by perverse nature of humanizing online friends (followers), virtual spirits with profiles, is suspension of human activity as transcendence into otherworldliness.
“Otherworldliness” – supernatural manifestation borne out of a metamorphosis; human ascension experienced as god or demon rendering of (bright) or (black) light fueled by the inter-relatability between humans or within nature, resulting in psychosis or transformation; deliverance from supposes super-human subjectivity or status which inspires all forms of (human) life or otherwise surrounding.
The idea of fooling ones-self into thinking they possess a god-like status by being online takes away from actual process by which one acquires or achieves greatness.
“Greatness” – ability to seduce (an assumption separate from love); determinable as form of conviction and power which is interpreted not by worth in an individual but scheme with which an act proliferates.
In online “speak” – it goes viral.
For something to go viral, what resonates takes root in the post and its fascination, not in the individual who posted it.
This then begets the fancy of attempting to go viral; shot in the dark, pebble thrown into pool of the virtual, hoping it makes a thousand or more ripples.
Claiming of one’s worth online supposes tomfoolery which many see as way to pass time; an alternative to the seriousness of assuming the role of a human person, committed to living.
What is problematic is how people do view themselves as humans, and not virtual spirits. The availability of having and being given space to experiment; one would think people would create aforementioned supernatural profiles; wherewithal to be spectacular.
Counter-intuitively, most people express boredom. That circumstance for living is indeed boring, not much happens. As a matter of fact when one surfs most timelines on various accounts, not much is learned.
The zombie-like trance happens time and time again.
Proto-functionability coordinated between online particulars revealed a community of those who sought out thought from similar minds or others taking from the vacuous space, ideas, behavior, relevant to the moment, time and space.
Introduction to gender and sexual politics, post-post feminism, sexual neologisms of the pre-post W. Bush years infiltrated the conscience of many in the assumption of what became post-consciousness.
Decade of the 90s and its relevance to Clintonian politics, fetishism, grunge music/culture, reality show, heroin chic, post-Neo Expressionism, theater of the avant garde… (Mockumentaries) –
Exploded into welcoming of a new century…
This is what became of us; our programmable lives fashioned after theory that life was happening somewhere else and not where you were.
Eventually our ready-made-to-order lives were transported onto a computer screen where we sought to communicate with other people in hope of achieving an orgasmic charge, whether in the adjoining of coital circumstances; “international hook-ups”, virtual sex, “poking”…
We co-existed, inter-related and masterminded an undertaking; early attempts at “going live”, exploring the Barthes-ian philosophy of seducing the language; pre-emoji, “Lol” ridiculousness.
Origin for the self-obsession, subtle narcissism of the online user/abuser all stemmed from an acute neuroticism of the artist, dating as far back in time.
The selfie is an art-abstracticizing of the ego; Picasso’s many ways to look at himself through the Cubistic images of Dora Maar, Mapplethorpe’s fascination with processing his sexual prowess, Cindy Sherman’s film stills.
Self-obsession counter-balanced with an art neurosis was pragmatically the profile for every user/abuser with an online account.
Circumstantially, one was an actual artist and chose the online account as way of furthering the marketing of their talent and worth.
In doing so – the work is posted as would be in a gallery. Instead of unheard small talk made about the work or what would be written in a book left at the door, thread conversations revealed actual thought and opinion of the work.
Thread conversations were what became of the Kofi Fosu Forson/Dianne Bowen art project, Dismember the Night; where they took turns writing poetry as a thread, took themed selfies; these as a project was a first, which later premiered at Tribes Gallery, NYC.
The common online friend or follower does not have knack and ability to suppose the art profile of a professional; worth of thought in musings is more than a fib or faux pretense.
Exacting of a faux persona was and is the online ridicule.
This has resulted in mass exit from Facebook, not so much in its misuse, but evolution of posting, relatively from thought to image.
Instagram is newer processing of thought.
Taken from themes in title of Barthes’ Image/Music/Text – the image prioritizes the ego more than thought.
What then is dynamic behind Twitter – obsessiveness in the knee-jerk reaction of tweeting?
Where does one go when one forms an opinion - ? The op-ed pages have always been crucial in furthering of thought in the public frame.
More or less, talking heads on most cable news programs have origins as those who form opinions and via the wider more commercial venue; they are interviewed.
Pre-Facebook and Twitter, one blogged; this, a lost art form, was basis for the opinion-driven posts on most social media accounts and is now the cult of Twitter and tweeting.
Tweeting is the writer sans the pen or typewriter; a rabble-rouser at a bar, wit at cocktail party.
This is the assertion and yes, opinion of what most people have of Twitter, and perhaps it is that very thing.
Given the happenings and going-ons in the media and news cycle, topics that ”trend” receive a rigorous evaluation, over-evaluation and interpretation in tweets; the very purpose for tweeting; to urgently speak when one has no place for such activity.
Overwhelming aspect of Twitter and power in the tweet certifies manifestation of thought in its origin and how the world-wide-web reacts to it.
The thinker/academic/cum –interpreter of thought, values Twitter as a place for additional pedagogy.
Perhaps not forum for intuitively subjecting one to process thought as administered in a university setting; but the rhythm with which one tweets in its collectedness and recycling, wears on the conscience, forming a greater opinion in how one masters the written word or researches information.
What then is self-authorship?
The selfie reveals peculiarity with which one observes changes in the countenance, ordering of a facial diary.
Self-authorship gives credit to originating of thought from its base, as in a graffiti artist’s tag or painter’s self-portrait.
Self-authorship is the writer’s self-ownership; not warranted in copyright but addressed as opinion given respect and title.
Officializing one’s thought mainly under the guise of a tweet – gives merit to authorship.
Professional writers aren’t always proficient at tweeting – if as a way of fleshing out an original thought from its philosophical mode.
Rarely does one value the tweet of a professional writer as quotable within margins of quotes by acclaimed writers in history.
Rule of Twitter is a game – uplifting of one’s ego, with number of likes or retweets suggesting fame or popularity.
The acclaimed writer/celebrity is able to exchange ideas with a fan base.
How then is writing a more profitable human dialogue than sex or romance?
Sex, first, is an exaggerated act – meeting a nonsensical conclusion.
“Lovemaking for all its pleasures alone is stupid. Nothing comes of it” - Umberto Eco.
One has to think of it in terms of hyper-sexuality and perversion; resolve one draws from masturbation, BDSM, group sex, virtual sex, talking dirty, (sexting), phone sex /rape - sodomy.
Then think of the mind and body in its puritanical state.
Hopelessness of both extremes emphasizes discipline one must muster to achieve self-control, refrain from indulging the senses in behavior held in question, suggestive of the carnal, obsequious or extremism.
Sex is hot air one breathes.
What one does to meet that need is purely speculative and in modernistic terms need not be understood as circumstance for promoting the sex act.
Process for this summation is evolution of gender and sexual theorizing within manner and exercising of male dominance and control in the official standard with which male and female behavioral patterns are met.
To think and write, as in a tweet; the graffiti artist’s tag, is all preemptive to turf war, bodily harm, sex-threat.
Perhaps questionable as means of directing policy – a tweet possesses possibility of counteracting fury displayed out-rightly in street body-sizing, corporate positioning, familial stress.
If - a more profitable dialogue than sex and romance; what accounts for advertism?
We are rendered human at birth; our governance, be it; of and by government, parental discipline, religious and spiritual intervention is based on a knowingness that we can overcome; our supposed superhuman potential.
Post-conscientiously, we have become virtual; android in our thinking and behavior.
What constitutes a human variety of behavior is rooted in the self; how one chooses to prolong and add to involvement of human participation is without judgment or conduct.
One can then draw back to theory of love; how it binds –
Conclusion therefore revolves around theory of the circle.
I would assume squared circle or an offerable grid and its systems is how we operate.
Advertism prolongs continuance; pluralism of thought, generations, populations, growth.
80s single-women-fad of making babies as an accessory – is marked in 90s faux lesbianism, suicide girl, internet-porn vixen, post-post feminist… (political nudists)
Commercialization of sex, and its modern romance-television reality shows, romantic comedies, celebrity gossip, centrally normalizes functionability of human evolution process.
Who and what are we; what do we become?
Theorizing of existentialism has met its surrender in the virtual world.
The great writer forms thought, makes space for the thought; proceeds in fleshing out the thought as fragment, sentence, book or volume.
The tweet makes that possible for those marginalized as pretenders.
Much as art is promulgated around pretense, the tweet limits preponderance of thought with its restricted number of characters; continuing the ongoing Kafka-esque trap we found ourselves in.
Writing (relevant) as tweet is more profitable human dialogue than sex and romance only in that we are sub-human or alternatively more-human.
One can make this definitive in the gender war / #metoo / pre-post carnal sexual ideologies /proliferation of sexual neologisms / tinder and match.coms-dating online…
The artist was once sought after, until posthumous sales of art became a reality; perhaps not cancelable in how the artist ultimately creates. The acclaimed author once had political merit; that notion is in question since the poet and poetry in general underwent a socio-political transformation; misunderstood interpretation of role of the public speaker, author and poet.
Follower on Twitter generates the strategy of the artist, author and poet – in some cases he is an artist, author and poet.
Language once shaped by diction, has been debased into a generational vernacular.
We are far from the writers in history who prioritized language – made use of thought as principle way of communicating.
Thought is elixir of semiotics.
Notion for communicating in modern terms is a form of id-orientation.
The tweet makes this possible.
Overall, social media has broadened meaning of self-governance.
World we inhabit has its priorities we incorporate into means for survival.
Desire is drawn as conclusion from problems that arise.
How we feed or commit to extraneous matters in our need to meet an end, results in the human person, conditioned to function as human, determined by the original functionality of love binding all that we are and what we do, to a more subtracted persona of –
The thought- animal –
Once isolated, imprisoned or self-imprisoned we think.
Placement for our thought is Twitter.
The human person is born to live, give birth, grow old, die – live on through other means.
The virtual spirit, “friend” – follower – meets an end with a post.
With a tweet, the world beckons.
It’s either power of a ruler speaking before an assembled audience, or a loner with a phone.
Photographs by Fabienne Perrier
Sunday, March 31, 2019
By Kofi Forson
Bro-love is not a queer thing.
The “Man-crush” is as Oscar Wilde as me wanting to be Anthony Borden Ward’s biographer after seeing a photographic spread in a fashion magazine.
Man seeing himself in another man is ultimate representation of brotherhood and "mirroring".
This is a given in father/son relationships, or brother to brother; perhaps even in the mentor/teacher and student.
Brotherhood in African-American community is well-served as post-slavery/civil rights method for togetherness; preferably organized in progressive music of James Brown or latter day Stevie Wonder; not to mention decades of 60s and 70s which saw an organizing of pro-black marches, more so “Black Power” chants in black communities as they saw civil rights leaders murdered.
The understanding here of blackness and masculinity as observed among Black American men stems from family structure; role of the father, as well as other men featured along the family tree.
What is dialogue between father and son, brother to brother, or with other black boys/men?
Places which merit such communication, once again highlights importance of family structure, schooling or church, an after school program or boys club/YMCA. How does it lead to neighborhood activities between black boys/men in general?
My assertion here and it will be stressed later is Gregory Pardlo's expression that the black diaspora is an imagined place.
As he spoke during a Skype presentation of his poetry hosted by poet, George Wallace, Pardlo, talking about Brooklyn communities he has been part of, spoke about generalization of black diaspora, how we as a people, knowing of our blackness, should all merit and prosper from the diaspora.
However so, the black person, male/female, inhabits an inner space separate from each and every other black person.
I hereby defiantly claim, much as no one person is the same, certainly no black person is the same as his fellow black brother or sister.
As Michael Jackson sang so beautifully about “Man in the Mirror”.
The fight is with society, what James Baldwin claims in the quote,”“Precisely at the point when you begin to develop a conscience you must find yourself at war with your society.”
However much discipline one finds in this quote, the greater war is with the self.
We as a black society haven't adopted the existential claim of “Who am I? What am I?”.
The French theorists and philosophers have reflected on a Jean-Paul Sartre definition of “the self”; humans searching for and creating their own identity - “Man is nothing else but what he makes of himself”.
Black male conscience on subject of masculinity veers from existential value of self and harps on concept of Roman gladiator, whereby the black man is at war not with himself or society but other black men.
Quite early in this essay to talk about imprisoning of black men, but as crucial a subject as it is to Black masculinity, perhaps better to highlight “raping of the black mind”; slavery, colonial and post colonial force and power entrusted by white supremacy.
An understanding of whiteness, overall, must be implied.
What worth and discipline, or anything of value, can one discern from white structure; its particulars, men, organizations and systems' devaluing base of black existence?
Post-conscientiously and controversially, some speak of slavery as misspeak of hope and opportunity.
When price can be placed on a human person for servitude it cancels and omits any means of personhood or self-claim.
Liberty within this is proclamation for freedom as in the “runaway slave” or abolitionist.
What is white rule? How did it serve as cancellation of black progress, hence; oppressing an entire race.
Subjectively what fundamental claims can one make for inter-relativity, upsurge of power, moral perceptions, under-defined and often unexplored meaning of race.
Knowingly we must form conclusion on inter-communicative existence as to “what is black” and “what is white”.
Freed spaces must be given to intellectual upholding on interpretation of what has been white ruling and enslaving of communities and its people through out history.
What balance must be shown to allow for this further explanation?
If challenge of the black male is to free himself of white authoritarian rule; what is #post #post conscientiously called “decolonizing”, shouldn't there be a binding conscience that allows for an intellectual face-off where both sides assert counter-dependence.
When the black man looks in the mirror does he see shades of a white person?
Outrightly, a #post conscious black man removes all notion of anything white from his identity and persona.
In the war with society, does one not look at himself and see his enemy? Doesn't means of claiming status as healed and being conscientiously aware mean one is free of his enemy.
If Baldwin's claim is that we seek war with society once we become conscientiously aware, do we not then place importance on maneuverability from our professed target?
Is mission to wage war, racially motivated or is it the blatant misuse of government?
Does the war a black man wages meant to target white authority?
Can he see beyond the man he wants to be, without having an understanding of the white man's claim of superiority?
If this is war one wages with society, who ends up victorious, and when?
This again feeds into notion of the Roman gladiator, but in essence knack for competition is an American ideal.
The construct of the Black American male's disposition is more American than European or even African.
I come back to notion of diaspora, making sure in explaining further black male identity, there is an overwhelming reality which strengthens black and white dynamic as rooted in American race systems.
The fight; be it Roman gladiator reference, shoot out at the O.K. Corral, or two B-Boys in a spitting battle; Black masculinity originates from his enslavement, bondage and torture of his experience, his self-definition of who and what the white man is, his, the black man's need for freedom; a need which pulls from making peace with this torture.
Then again this is definitive of my interpretation of Black American masculinity.
Per chance removed from ignorance, masculinity generally showcases one's ability to “fuck up a muthufucka” or “bust a nut”.
In the Hollywood-ized /pop cultural reference, masculinity is derivative of sex and violence; however represented in fuck-films or internet porn and Playstation.
Objectified view of masculinity must serve both self-dependence, dependence from a governing and crippling system, betterment of one's role in a community, how that meets an ultimate end for peace and salvaging of sanity and intellect.
Black male builds on this truth with his role as pimp, thug and ability to politick.
As pimp, he uses his "mack" deliverance to seduce girls/women into gaining an advantage for sexual pleasure, or manipulating them into performing services for monetary benefits.
It is not only a male governance of women; it is also manipulation of seductive power in dealing with other men; forming means of control where one can at times serve as lone shark, given moment of asserting power, he is able to emasculate another man.
A pimp has psychological advantage in his mastering of grit with sensitivity; thereby able to encourage dialogue on sex, seduction and explanation for gender roles, however biased or macho.
The thug, on the other hand, maximizes his authority by physical force and self-defense. He uses his masculine prowess to get what he wants by all means.
There are those who chose this role as way of criminal behavior.
Most of the time it is manipulated in street disputes, neighborhood and territorial misunderstandings.
Furthermore, this is most highlighted and featured in gang war.
In another extreme it is relevant in prison culture.
Politicking is managed at certain places; locally at the bar or barbershop, but most definitely what qualifies the black male's masculinity as someone who knows only how to fight and “fuck” is someone who manages a discussion.
In talking or speaking, he can rally a group or community into serving or reclaiming one's pride for replenishing goodness within family or social status.
Given these principalities in defining Black masculinity, what is the balancing of pride, blackness and masculinity when a person struggles with keeping mental health due to drug addiction or a psychiatric diagnosis?
Deficiency among many black men originates as previously mentioned within family structure. It begins there, first, because it is here where principals are set for self-improvement, whether observance in role a father may have played, uncles or grandfather.
Given education, one becomes aware of roles black men in history may have played.
Knowing of genetic disorders and addictions sets premise for what a black man of disability is able to do for himself.
Problem with defining for one's self a mental disability and seeking help is the restraint of many black men to seek help, which in a sense is viewed as weak or “pussy”.
Therein lies disadvantage of many disabled black men who self-medicate with recreational drugs and may exhibit signs of mania or depression by committing crime or engaging in physical confrontations.
The progressive advantage of a black man who comes from a good family and lives mildly above a middle class status and suffers from psychiatric disability is someone who has support and therefore does not feel alone as a black man of misfortune who uses prison or gang culture to build comradery.
Upsurge in masculinity of a black man who is well-represented in society is someone who has confidence and is able to pursue his dreams; an over-riding reality in every person, black or white; means by which one can stand alone and be able to contribute as well as commit to better planning.
Balancing of power made relevant to body-sizing among black men is the sensing or reading of another black man's mental frame or psychology.
This is an unwritten dialogue most black men have in the streets, professionally, within families and most understandably in prison.
It is also a matter of role playing; who supposes power as criminal or victim.
The battle waged in the streets is between those who are of the streets; perhaps live in the streets, are displaced and homeless, or are in keeping with criminal activity and those who walk the streets, as normal citizens.
Manner of approach is survival using street tactics or plainly being aware. The dispute often is who is more masculine, man with physical prowess or that of a person with street smarts.
Often, man with combination of education, experience and street smarts is the person who exhibits level of masculinity which is influential and circumstantially commanding.
Examples can be given in prison, mental institution or transitional housing.
These environments are not for faint of heart. Certainly those who are privileged, sensitive and prioritize a safe family living are prone to be challenged.
Means of survival can only be expressed by someone who is receiving and inclusive in his behavior. A person of this balance and centeredness is born into this role; a person of talent, someone who spits rhymes, tags, illustrates, plays an instrument.
His masculinity is form of self-governance. Achieving this level of fluidity accomplishes form of uniformity and balance.
The street term “pussy nigga” is usually applied to such a person whose sensitive nature is constantly in question. He often has to proclaim a defining status by being extremely good at his hobby or talent. This occasionally wins him over his doubters.
Another term perhaps would be “pussy faggot”, certainly not the political status a queer person would seek.
Black queer male can estimate his status from overwhelming aspect of many different factions.
Psychic and emotional incest are complex norms which receive less and less attention and are not given priority as actual incest.
Incest of the psychic and emotional variety are suggestive nonetheless. They inhabit conscience of certain families.
In these cases, a father-figure may covertly fantasize about his son, not verbalized, but sensed due to sensitivity of son, or implied through sexual suggestiveness of father.
Emotional incest can involve a case where the mother lives out her fantasies of her husband through the son; whereby there are no actual cases of sex, but once again comments or behavior may imply that notion.
Given maximization of suggested rape; upholding of power over another, be it from father to son or brother to brother, there's victimization and a robbing of one's sexual priority, perhaps due to actual rape.
Genetically, sexual disorders or assertion of gender preference also live in families.
Psycho-sexual disposition of a black man can be influenced by introduction to prison culture.
Whitened conscience of a black man can also contribute to various ways in which he approaches sexuality.
Hyper-sexuality, on the other-hand can be product of one's psychiatric diagnosis.
Diseased mind of a black man may result from being performed on by another man, masturbating in public, unwarranted fondling of women in public places or committing to molestation and, or rape.
Black masculinity is represented in everyday body-sizing black men have of each other, over-ride in politics, strain in sporting activities and sexual performance.
The family structure is ultimately where the black male gains ground in becoming represented as black and male.
Without positioning of himself within the greater and bigger picture of life, employment and society, he is at a disadvantage at gaining self-respect, respect from family or peers.
As a black man living in America he is forced to look at and examine principles ordered by a governing white exterior.
Much of what he imbibes determines amount of influence white entity has over him.
Somehow root of white influence is an unavoidable conclusion; this is definitive and made present in our inter-connectivity and inter-relatability.
Controversy from this stems from root and understanding of governance, whiteness, and prioritizing of rules and conducts in history.
“Fuck the nigga up!” - may be gangsta.
An O.G. may control conduct of every single person on a block.
The educated black male approaches self-governance intellectually and spiritually. In doing so he is part of an order of a bigger picture; how his blackness meets whiteness as means of balance and definition.
Meanwhile thinking #post #post consciously, he is able to uphold status as black person beyond the manner and grip of imprisonment, as well as self-imprisonment.
Wednesday, October 25, 2017
OF WHITENESS AND THE FEMALE / Return to Black Beauty / Hyper-femininity
Understanding nuance of how white female prompts to infiltrate intellectualism and sex in the displaced person one has to look to art, fashion, literature and cinema.
Telling of what is art history never lays credit to craftsmanship of the bush man or artist of African origin. Works, mostly sculptures founded in traditional African art are given attention mostly as part of a curated history.
From Byzantine art to what is normally understood to be modern art, the white European male artist, reflected also in the coordinated American, brought awareness to what is singularly defined as art.
Indigenous art has always found its importance in a marginalized art movement. They are given presentation of a specialized and often debased responsibility.
Interpretation and influence of what is the white female in all of this is her pursuance and edit as muse and point of distraction and focus.
Claim of the white female as universal muse is contradictory to the black woman as universal mother.
Elements such as acute awareness and introspection have always been given dynamic of what is white intelligence; such that portrayal of white artistry throughout history is made basis for modern intellectualism.
The spin can be understood as the abstracting of the black model and principle, wealth of information founded in birth place of man and evolution.
If it can be said birth place of mankind is continent of Africa, then everything of notable worth pours out of that very place and it's people; idea pertaining to royalty and an assertion of power and wealth.
The white female in her depiction through the Victorian Age, Pre-Raphaelite movement, French New Wave, American Cinema, Pornography and Rock and Roll, the groupie and sex muse, overall muse and model for art has worn on conscience of the displaced person.
The white female's visibility as psychic torment for sexual persuasion is in order for neurosis. It is neither the problem and curiosity of what is "never to be had" nor "warning placed upon". Her preponderance of what is symbolic to the displaced person is different from the accepted, although pigeon-holed black person of residence.
The white female is sold as export, Brigitte Bardot from France, Sophia Loren from Italy, Madonna Ciccone from America.
Discourse of race is inherited in maintenance of what is ingrained within every dialogue of the black and white, attributed to slavery and persecution. The displaced person's governance is of the borrowed and rejected; something relative in modern disrespect of the immigrant. He/She; the immigrant is a dancer without partner, therefore his or her own tendency and will is to fend for him or herself.
The white female is made disposable to him whereas the black person of origin is given the redirect in the unconscionable intent of racism.
Black is black and in the modernist intent of white supremacy the white female is query to all that stems from intellect and sex, the id and super ego, rationalization of what is beauty and perversion.
With refrain from displaced person's seduction into intellectualizing of beauty; its white source and hurried inclusion into subcultures of art is made relevant when he, the person in question, enables an entry into his or her cultural history, of native tongue, cuisine or an affirmation of blackness.
Blackness in a post-post modernist interpretation is made unique to the person. However there has to be an understanding of what is thug, savage or gangsta.
Once the inventiveness of sex has been polluted by art, music, fashion and pornography, the displaced person prioritizes sex more than just of a bodily and sensationalistic order. It becomes a form of language. Neuroticism and peculiarity of fetishes become all too familiar.
Although the white female at this point is no longer of importance or part of a neurosis; the displaced person finds it difficult in promoting an accordance with the hyper-feminine or gangsta female, subject of which he meets his orgiastic behavior.
He spends the rest of his life torn between enacting of what was once normalized in the influence of white female on subject of intellect and sex and attempt at order and accordance of what is blackness with respect to the black woman as less an earth mother and diva, made more so sensationalized as muse.
Struggle then becomes differentiation between orgiastic behavior, intellectualism and humanism.
Care and respect for otherworldliness and the supernatural overwhelms all that is spiritual.
It is of this nature that the displaced person finds understanding.
Thursday, July 13, 2017
ARTIST AND MUSE
Order for Working Relationships between Men and Women
In Business and Otherwise
Power-positioning in the virtual world, male and female posturing, interspersed with masculinization and feminization of the celebrity self-image, what current themes and topics men and women share in thread conversations, posts as status updates, images on Instagram and in Tweets irrespective of each other, all factors into who we are as gendered groups and our ability to associate and dissociate.
Interweb connectivity then serves as playground for furthering intellectual body sizing and maneuverability on what each sex values as important in-between pop-polluting with hilarity, social media becoming a conscious avenue for flinging spontaneous thoughts in reference to male and female idealization and how we manage confluence within our separate yet controlled gradual evolution.
Gender and sexual politics has endured a manifest ever since sex curatorial in popular culture of young pop diva, a carry-over from 1980’s Madonna craze. During early to mid-90’s a cultural explosion featured a burgeoning group, the Barely Legal, young female explosively given a sexual identity embracing both innocence of pre-teen and promiscuity of the adult female.
This then becomes Hollywoodizing of the young female as product permeating search for the next big star as seen in television programs set up to find pop idols and super models marketed for a general public less intuitive on exceptional talent, more so reliant on general aspects of fame and persona.
Over time there has been subjectively less introduction of what would be considered “genius” talent as trade-off for something more commercial. Those who exhibit overwhelming brilliance and are given marketability govern an upper echelon of celebrity. The carry-over is evident in how the younger demographic are targeted. Rise for such acknowledgement began with the Reality Show which cost little money to make; extent of artistry came in post-production, making the producers great profit. Reward for the particular form of adventurism in television production gave way to unsuspecting stars and idols. That notion of a “nobody” becoming “somebody” was the sentiment of Andy Warhol’s statement, “In the future, everyone will be world famous for 15 minutes”.
Westernized notion of beauty has been “blue-eyed, blonde girl”. As response to Madonna’s street-wise and self-professed authority, primary factors of her persona, a more Mickey Mouse Club attribute was given Britney Spears, different generation’s answer to Debbie Gibson, 1980’s pop star. Spears and Christina Aguilera spearheaded new notion of the female pop star, something which a decade later saw globalization in Miley Cyrus’ Hannah Montana.
Given commercialization of this new product, it was made clear transport was between merchandizing the new viral phenomenon into conscience of most men, what has been stressing of sex in the young adult male and what was purported to be the “dirty old man”, by parlance referencing Humbert Humbert from Vladimir Nabakov’s, Lolita, how Barely Legal magazine soon led to internet porn, a moment when the art muse became sex muse.
In Marnina Gonick’s article, Between “Girl Power” and “Reviving Ophelia”:Constituting the Neoliberal Girl Subject, she reflects, “Since the early 1990s, the popular media, popular literature, television, films, academic conferences, and special issues of feminist journals have been participants in an incredible proliferation of images, texts, and discourses around girls and girlhood in the late twentieth and early twenty-first centuries”.
Furthermore, “However, a close examination of this amassing of images and discourses also raises some critical questions, opening up further perspectives on what they may mean about changing constructions of girlhood, shifting subjectivities for girls, and their relationship to modernity”.
Girl Power given a face and concentration in pop groups, Spice Girls being the most dominant, showcased the “new girl” who governed outside boundaries of femininity, whereas “Reviving Ophelia” valued the girl as vulnerable and passive.
Marnina Gonick’s article investigates how the two realms of discussion, made popular in the international best-selling book by U.S. psychologist Mary Pipher entitled, Reviving Ophelia: Saving the Selves of Adolescent Girls, position girls separately in relation to the emerging configurations of subjectivity demanded by shifting relations of production, world economy, and redefined relationships between governments and citizens related to the rise of neoliberal policy and practice.
- “how emerging forms of femininity are linked to shifting cultural ideals of personhood, individuality, and agency and how these are, in turn, reflective of social, economic, and political changes”.
Idea of a self-governing “new girl” was represented in emergence of the Riot Grrrl movement, an underground feminist punk movement that originated in the state of Washington and Washington, D.C. As a subcultural movement it combined feminist consciousness and punk culture and politics. It also promoted musical acts that served as an inspiration for a musical movement that inspired women to express themselves the way men had all along.
Vulnerability among young girls spurned a subculture derivative of what was known as Emo, a rock music genre characterized by expressive and confessional lyrics, which emerged as a post-hardcore musical style from the mid-1980’s hardcore-punk movement of Washington, D.C.
Emo has been associated with a stereotype that includes angst and sensitivity. An Emo girl would be more than likely to be depressed, attempt suicide or cause bodily harm, like cutting, a prevalent behavior where girls with knife or blade cut themselves.
A modernized merging of the angst-ridden girl with subtlety of perversion and the docile is the Suicide Girl, which formerly originated from an on-line community based website that revolves around pin-up photography of young tattooed women known as the Suicide Girls.
These circumstances in how the young female thrusted her sexual and proverbial defiant and deviant conscience onto society spurned a new popular feminist movement which broadened discussion on how varying subjectivity of female transcendence could co-exist within a “gendered, raced, classed and sexed identities”.
In Mirnina Gonick’s article she refers to Lesly Johnson who suggests history of the gendered role of the female in the 1950’s experienced a cultural shift, which Gonick argues “is an important antecedent to current transformations”.
Bettina May, Las Vegas-based burlesque performer, model, photographer and vintage stylist.
“It was during the 1950’s that the historical constitution of an opposition between womanhood and personhood was disrupted and women were, for the first time, recognized as subjects within discourses of modernity”.
Women were previously subjected to roles as lesser to a man’s rationality and individuality.
As Gonick explains, “Women were located in the subordinate position of binaries such as passivity and activity, agent and victim, and subject and object and thus were constituted as outside prevailing definitions of full personhood.”
As many feminist youth researchers have noted expressed in the Gonick article, “these same cultural definitions precluded young women from meeting the criteria of modern adolescence in the form of the individual en route to becoming the self-determining adult”.
Overwhelming factor behind the shift was due to the “feminist agenda of the time” but also “as the result of women’s crucial role in the processes of modernization itself. Women’s involvement as both laborers and as consumers created new demand for unprecedented forms of technologies and novel forms of cultural goods”.
A conclusiveness drawn in the underpinning of how men and women co-angular and form a balance within relationships in a non-working or working and business setting is evident as mass-approximation of ideas and gender proclivity within the roles of the artist and the muse.
Modernizing of functionability between the artist and muse can be found in photographs Alfred Stieglitz took of Georgia O’Keefe, film work Andy Warhol accomplished using Edie Sedgwick as model and the sexually sensational partnership of Jeff Koons and Ilona Staller, also known as Cicciolina.
The artist yearns for symbiosis and symmetry within his art. Origin of the artist’s query is in an intellectual thought, an idea he stumbles upon by way of sketch, a psychic prompt, inspiration, all in accord with refrain from stagnancy. Allowing for common understanding of his role, he self-wills a concept in preparation for a piece of art. As with the order of gravity, there’s a tug and pull, a theory founded in the life experience. The art riddle more or less takes on a supernatural formulation whereby the artist is prone to spontaneous interventions.
In lieu of a hypnotic and unexpected momentous occurrence which brings to a stop any and all of his schedule to chronicle and pinpoint this surprise, ultimately referred to as inspiration, he values physicality of the muse, as someone he channels his opinions on art, a relationship which takes on parameters of power and control, love and sex.
The need for an intervention is his acknowledgement and need and want for poetry. Much of this stems from chaos meeting order and not sentiment of verse and meter. Other elements of art play into the defining point of inspiration whether actual poetry, prose, music, theater or film. Inspiration is means of enlightenment for the artist. He values it more than anything. The muse therefore has to be a constant source of inspiration.
Beauty for the artist is aestheticized and objectified. The artist seeks physical beauty in his muse. Beauty therefore being a combination of the artist’s neurotic agenda, what elements of his libido is magnified in the muse. Essence of the muse is the artist accepting and rejecting himself. The love/hate principle is prevalent in how the artist attracts the muse. Circumstantially there is no prerequisite. Everything is choreographed in a first chance meeting. Immediate attraction is felt more than just as a physical assumption. It is processed as transcendence. Sexual dynamics determine the intent. Lust and fear drive the cause.
Language found in his dialogue with the muse is one of fawning, making direct his expectations, hoping to benefit and achieve a desired effect. Level of behavior revolves around a touch and go philosophy. The artist can never get all that he desires. The muse holds back enough to maintain her own existence. Once the relationship manages a current and concurrent ideal, both the artist and muse know their roles.
Bettina May, Las Vegas-based burlesque performer, model, photographer and vintage stylist.
A business setting operates on a devised platform where principally the employee is chosen based on his or her various orders of professionalism and credit to required official expectations. As made clear by the employer whatever is expected of the employee is to be met with absolute clarity and dedication. Objectivity makes for necessary coordinated symmetry, major factor which encourages a balanced rhythm, an imagined logic that keeps all parties involved operating at a tremendous level. Business acumen therefore weighs on how employee meets demand of the job, whether he or she and the employer manage consistency keeping with profit and longevity.
As with the artist and muse, gender ramifications are basis for operating. There is no bias involved in the hiring of a person. Discrimination against any particular gender, race or sexual orientation is totally prohibited. Content for asserting progress and workmanship between the artist and muse is trust. The two entities enter the field of work with promise. Viewed as duty it can be free of nonsensical sexual retribution, although language under which the artist and muse operate can involve romantic interplay. Any form of punishment in the working place is against the law. Whereas regard for courtship is an element within artist and muse working relationship, sexual harassment as practice from employer to employee or among employees has criminal bearings. Not all artist and muse relationships involve politics on love and eroticism.
Order for working business relationship with the artist and muse as reference formally explores the atypically platonic circumstance. However keen on genderisms, both working business and art relationships and otherwise should involve a sense of humanism. The person operating on maturity and experience must confide in his employee as someone upholding a sense of will but with a breaking point. Having empathy for and managing a respectable coexistence goes a long way.
Company like a department store or any other means of employment where most employees work and collect a check, there isn’t that expected need for simpatico. Factory settings however function on order for synchronicity, that sing-song pattern whereby everything happens within a natural flow.
Asserting our gendered roles for benefit of a scheme, program or plan, we must respect the partnering gender opposite free from judgment. Centering one’s intent as means of procuring a goal must be practical. Setting standards allows all parties involved a chance to work in accordance with the original plan. These unwritten rules are forms whereby humanizing each other’s role separate the rational of the id-oriented, psycho-analyzing of how the respected gender should behave. Supposing dominance of the male ego or as much as a female in question may exhibit an advantage in prowess, one must approach each person and circumstance differently.
Persona and performance are subjective interpretations that highlight how each person has amounted status and experience. Much of this presents itself when a person is put under test. How he or she reacts supposes a predilection. There are many ideologies and stereotypes pertaining to each characteristic, psychology of which is match for confrontations or the all too unavoidable test of emotion. Acquiring a type, discipline or behavior made relevant as an example for the betterment towards the projected accomplishment and hence success goes far back than one expects.
Contentment we bring to a project matches over confidence we may have exhibited in other situations as professionals. Most importantly these are evidences far-reaching back into our experiences as student. One’s persona is an amalgamation of the parent – father/mother overbearance and need for instituting a probability and distinction in their children. The child spends a life trying to live up to acceptance of the parent’s trust and faith. Whatever exercising and exorcising of life, love and death metaphors as experienced within context of people in the outside world sets a trend in who and what a person becomes.
How social media feeds into this remarks on parental upbringing of the so-called “spoiled child”. One would be alarmed to recall “white entitlement” or its trickle effect into a black relevance. The social media persona is of someone who warrants a need for not so much respect but rather adoration, the artist to muse fawning. Further inspection would suggest love hysteria has been perversely channeled to include the street idiom of “kissing one’s ass”. The artist and muse practice of mirroring goes on with frequency in social media. Idea of Facebook is propping up profiles and images pitted against each other. Will to “like” a post maintains the idolizing format, subtly indicated which keeps up the rhythm of behavior in social media.
Persona therefore principally determines one’s acceptance and rejection. More incalculable self-authority expressed inspires a “trending” and “following” of posts, images and accounts. The person who exists outside of the virtual world can easily be encouraged and made hyper-desirable as a social media muse. The manipulated effect happens overtime, continuously changing dynamics of who the person is as a thought or concept, then evaluated with his or her continuous exchange with the public. Origin of posts, tweets, thread conversation and status updates determine this.
Workability hereby interpreted as a union of gendered male and female employees attempting an undertaking for profit has to be free of misguided egos, certainly no gender mansizing and its female equivalent.
Fraternizing has easily caused great qualm in the projected success of an organization, what overtime creates distance and opinionated views on dominance, power and the marginalized. Adjoining entities that promote visions made to accentuate pride of a governing race or gender is the ongoing need for diversity in the entertainment world.
As Claire Zillman reported for Fortune, actress Jessica Chastain earlier this year at Cannes championed role of women in Hollywood, speaking about the entertainment industry's wage gap and her very own efforts to achieve equal pay with her male counterparts.
Bettina May, Las Vegas-based burlesque performer, model, photographer and vintage stylist.
The star of films such as Zero Dark Thirty and Miss Sloane as a jury member of the 2017 Cannes Film Festival spoke candidly at a press conference about the "quite disturbing" way women were portrayed in the movies she had seen at the annual event in France.
"I watched 20 films in 10 days—and I love movies—and the one thing I really took away from this experience is how the world views women. From the female characters that I saw represented, it was quite disturbing, to be honest," Chastain said.
She renewed a call for "more female storytellers," which she felt could lead to female characters that reflect the women she is used to seeing in her daily life—"ones that are proactive, have their own agencies, don’t just react to the men around them; they have their own point of view."
Interestingly enough the jury at Cannes awarded the award for best director to Sofia Coppola for her remake of the Clint Eastwood film The Beguiled.
Coppola is just the second woman to win the prize in the festival's 70-year history.
In her acceptance speech read on her behalf, Coppola thanked female director, Jane Campion, for being “a role model and supporting women filmmakers.” Campion to this date is the only woman to have won the festival's coveted Palme d'Or award, the highest honor at the Cannes’ Festival.
Want and need for accountability regarding more positive female roles must be looked at not from the view point of more female directors and filmmakers in the Hollywood movie making process, rather better filmmakers both male and female.
Kathryn Bigelow’s directed film, Detroit, a period crime drama written by Mark Boal about an incident at a motel during a street riot in Detroit in 1967 is an example of a Hollywood film directed by a female director with intent on making and producing a good to great film.
Ava DuVernay who catapulted to fame with her movie, Selma, continues to pave the way as Documentarian, Screenwriter and Director.
What has to be recognized is credit to good film making. With great directors, proper films will be made, therefore prescribing potentially appropriate roles for actors, whether male or female.
A success story like Quentin Tarantino opened the eyes and minds of Heads of film studios. There’s always a search for the next great thing. Unfortunately that idea has been shelved for the prospects of the next big block buster film.
The questions raised now comment on importance of film schools, talent of the screenwriter, purchasing of good film scripts, distribution of films, current popularity of what once were groundbreaking independent films and so many topics concerning where we are with producers of films, the new ground for talent on television and if the current social media scene helps or hurts the creative process.
The artist was once dangerous in his creatively maddening spirit, Toulouse Lautrec, Salvador Dali. Rauschenberg and Alex Katz of the 70’s presented the world with an appeasement of talent and hunger in the artist.
Certainly Warhol changed the whole spectrum, defined and redefined what it meant and currently means to be an artist.
The movie show is lived sensationally in the minds of people online. Any of them have their favorite films they have loved for years, once when movies permeated our conscience and prioritized how we lived our lives.
The movie experience continues to be a break from the hardship of life. A lot of time now is spent suspended on the trivialities of social media activities.
Seemingly what we once did and who we once were are transformed as an online metamorphosing process.
In the moment and in the spirit and with every turn we change, the relationship between the artist and the muse as the last great romance, their dead selves possessing people to art – the pretentious ability to attract attention with talent.
What talent is, who the artist represents himself or herself as, how they are rewarded will always be an ongoing mystery.
Saturday, June 10, 2017
The Virtual Kingdom: Human Branding in the Selfie Age
By Kofi Forson
As with the defining of a subject - forming of base, support, gravity, one begins from the beginning. I hereby reference songs by R.E.M., Feeling Gravity's Pull and Begin the Begin.
In Feeling Gravity’s Pull there’s a naturalizing of vision, an almost artist-shock of light. Gravity in essence is the substantive force that pulls us around.
“Read the scene where gravity is pulling me around. Peel back the mountains peel back the sky. Stomp gravity into the floor. It's a Man Ray kind of sky. Let me show you what I can do with it. Time and distance are out of place here”.
Begin the Begin on the other hand is a sentient entry into fortuitousness. There’s a giving and understandable merit for power and control.
“Let's begin again, begin the begin. Let's begin again like Martin Luther Zen. The mythology begins the begin. Answer me a question I can't itemize. I can't think clear, you look to me for reason. It's not there, I can't even rhyme here in the begin.”
In it all is the assertion of existence, merry and frivolous act of articulating and fussing with light, however intellectual or envisioned. It’s a combination mixing and matching of thought, double-downing on pre-eminence, ego and id.
There’s never a rhythm to the social media dance. People go there to flex their muscles, disclose a plan they may have botched in real life.
Authority is self-willed and in doing so definition of persona / personae is magnified based on how far one is willing to go. Body-sizing of appeal and attraction becomes counter-effective when there are no “likes” or “shares” of an image or post. This “love me” or “leave me” culture is less romantic as it is an attempt at celebrity on a smaller scale.
The self-purported instant sensation is governor and governess. Our brand is by deception showcasing brilliance, separating us from party speeches, bland attempts at entertainment.
The selfie was introduced to popular culture with use of I-phone or Smart phone as a way of chronicling spontaneous events without the officiality of actually taking a picture. This was manipulated much like the go-pro camera. Both items accentuated the knack and fun for adventurism. With productivity of I-phones and smart phones as replacement for professional cameras, what the Nikon, Point and Shoot prescribed, people were able to treat taking pictures as a fun activity. Social media was then a place where people posted and shared these images.
In the late seventies, Cindy Sherman unveiled her film stills, a series of black and white self-portraits which featured the American photographer in various circumstances taken from her poses and situating of her body as subject for detailing certain narratives and associations.
Petula Girndt - German Photographer
Given the stylized nature of this artistic venture it set a premise for something that had been earlier prioritized by such photographers as Lee Miller, an adventurist who captured her very own image on her many travels.
Modernistically, the works of Robert Mapplethorpe and Nan Goldin explored the extremes and edge of habit and emotional and physical violence. The images of Goldin as an abused woman and Mapplethorpe pushing the boundaries of sadomasochistic behavior are more far-reaching than the narcissistic and self-obsessed selfies paraded through social media.
The selfie should and can illustrate a series of emotions experienced during a period and time in the living experience. One such artist on Facebook takes selfies while in the studio. These images are timeless and are less the artist drawing attention to herself as they are portraits of a lifestyle. Another, an avid cyclist and fashion blogger takes selfies while on the road or experimenting with a variety of looks for her blog.
Julia Kristin - Cyclist and Fashion Blogger
In other words the selfie can be a way of articulating to the general public one’s persona and level of expertise and experience. Understandably at a party setting with drinks involved there are those who engage in the activity of senselessly taking pictures.
However expressive, selfies should become a way of communicating to the world and less a means of showmanship and orgiastic behavior.
Petula Girndt - German Photographer
If given a controlled and thematic approach we become celebrity. We are known for the definite thing that defines us, our glory and our stardom.
See it as talent needing exploration – what tweets eventually suppose, continuous thread of thought, however thrilling or furthering philosophy.
In the image concept, what we see bends on beauty and aesthetics. Image the self as an object of fancy. Make that an association which commercially keeps conduct and reiteration a constant imprint on the sight and senses.
Portrayal of subject intrinsic to our interests deepens frequency with which followers gallivant on social media Timelines. Attraction then revolves around replacement for the non-sex, non-drug craving.
That then is what rock and roll is! What is hip-hop! What is journalism! What is Goth! – Language is balance through which we make our selves known. Musicality is symmetry, order, vision.
The often and frequent need to post is a drive, the pull from a sex drive, manic proposal for immediate gratification.
In this dystopic orgy one must be self-rendered and manage togetherness with the human manager within the virtual. The person that is in isolation must become self-made.
None of what pours from the mind, heart and body should be taken for granted. Need for fulfillment no matter how necessary or belittling should be approached as if a show of magic, trick, thought.
What we are in the virtual are entertainers. In the giving off of self-display people are watching. The patented voyeurism is the fascination.
We are show-offs! We are psycho-superior! – Once we make this non-sex, non-drug party our very own means of disillusionment, we draw from each other the very disjointed energies which fall prey to an unimagined blood-sucking.
As an absolute must one should curtail the offense of being offended unless having undergone bullying or shaming. We are all non-nominative. We approach from the bizarre, our selves undefined.
What has to happen is the making and accentuating of I, Me, My prioritization. Branding of the human within the virtual begins much like puzzle. Our dispersive selves are throwaways we proportion in the virtual. Make this the delivery from non-conclusiveness.
The programmed and orchestrated plan is when someone moves within and without. Making of the threat, who and what you profess to be or want to be is designed not to fail. Once present in the virtual you are success. Key then becomes maintaining system with which we promote cadence, similarities and differences. Symbiosis is almost necessary to attract more followers.
What dimensions then does the virtual present? If perfected we are dealing with the highest representations of ourselves - customizing of the body as ghost in the otherness of what the body projects in physicality and spirit, represented as life encompassing, never-ending.
The cult of it is that we are masterminding a presentation. The act of venturing into nothingness, hoping to resonate and connect is in itself ridicule, as if blinded, forced to imagine the concept of the human as ghost.
In this circumstance we are presented with the profile picture or the thing that gives insight to the total form, unifying of all that we represent, symbolize, signify. Be it a cup with the world "love", cartoon of rabbit with bow tie or the selfie, passport picture, the virtual stranger is in need and in search of connectedness.
Like the night at the Foie Gras dinner party, one is in hope for a conversation. In order to achieve this one looks for a likeness, be it ordered in uniformity, color or balance.
Such is the capacity in the virtual world - without it we are lost. The certainty of being lost in the real world is what attracts us to the virtual world. Many are then able to hide and suppose a persona different from the original idea of self. Circumstance of which trolling has become disease.
The identifiable person is the official you, either that or poseur. Look to be accountable for tweets, status updates. Sensibly all that is transported across virtual lines comes from a place within, an unimaginable substation of ideas.
Make this central to logic.
In the long term, psycho-serenity is untroubled or questioned because we are managing a system whereby our posts are either made impenetrable as forms of linguistic fervor or informative for a community, perhaps gossip to meet demands of the what, why and with whom.
Further investigation would lead one to come to conclusion that we are less of what we had hoped and intended to be. And now are trying out subrealities in a card game we never expect to lose because the ginning up of who we hope to be is only made pure with a post or another comment.
Proportionately our lives are concurred and optimized with subjectivity of the virtual and human. This then brings to mind the thought of where we have come to, now being controlled and handcuffed in this very world of the virtual, more importantly "social media".
Social media is standardized as place of escape, the zeitgeist making common tug and pull of society’s ills, inconclusive terrorizing and outpouring of information. However and seemingly illogic in its blueprint, many ideas are exchanged, lives are made new, relationships start, needs are met, temporarily or in life’s distance.
The human life supposition has always given way to a life lived in exclusivity. Fanaticism of subcultures was the original idea that begot social media. Somehow it was a way for like-minded people to cavort.
Rhiannon Stephanie - NYC Photographer and Artist
Present sense of what is social media is more so the enriching of a life suspended.
The futuristic sentiment whether of space exploration or patterning of international relations, adjoining of allies or interconnectivity of friendships continents apart was to broaden communication.
The Jazz Age presented us with this formality. The medium of the novel transported visionary ideas to people all over the world. In doing so, musical performers traveled to different countries to make presentations of their music.
This alone was the original model for what we know virtually as "sharing" - to have something of note and worth and want to allow for mass consumption.
Suddenness of something going viral!
Credit must be given to the human element of curiosity, the playwright's fancy for dialogue. What is shared between two or more parties makes for an event. And as in the virtual understanding, the world is listening.
How then have virtual relationships deviated from what we knew as Facebook Friends, MySpace Friends. Is this still a tribal inventiveness or has that come to pass and we are now dealing with a web of fast moving thoughts presented as status updates with very little care for the understanding of who these people are behind these profiles.
What the editor of a Press upon defining for the public what their submission policies are would always want to know whether they are dealing with a human or robot.
Have we not become robots now? Are we not androids?
Our personal and cultural histories determine who we are in the virtual. In the deepening race, gender, identity factors we base our advancement on principles of livelihood, focus on the physical and imagined. Given forays into the fantasy and sensationalized space within we emerge from stupor of conditioned and unconditioned manifestations. Principally we are triggered by associations and disassociations in the life cycle.
Self-discovery is made relevant as to who we are and what we know. No getting around physical make up and identity. What forms of articulation we express plays into our place of birth, schooling, education, family and friends. Heartening what is central to us can allow for a concrete understanding of where everything is being channeled.
The next level would then be what we are passionate about. The system-projection deliverance, theme for our role in virtual reality would then be overall the very thing we make radical - how we approach bargaining of what we share and how it is interpreted. Such mechanizing renders itself as who we are in the virtual world, what we are known for.
With hands represented as tools we learn how to solve a problem. The major query we should always keep in mind is, are we justified in serving our followers and how do we keep them following. There’s always tendency to deviate from the plan given fluctuations in the life process. A systemized approach when tweeting or giving a status update can propel frequency with which followers build interest. Retweeting normally provides solidity in keeping a customized flow.
The reason then for being on social media is a question we need ask ourselves. What do we hope to achieve? We encourage and manifest a thinking pattern once we reach a point of professionalism. Our role on social media can be kept purely for enjoyment. Managing an account which serves the community it targets or builds an outreach can benefit many parties involved.
Specified accounts in the academic, journalistic or art oriented realms are in keeping with a method. These then can be managed as organizations and not the rancor and vilification perpetrated by some isolated individuals. Majority of those who venture into the virtual world are there for hijinks. Manner and behavior then harp on hilarity and exaggeration.
Art subtext gives off the premise for collaboration. What we are entertaining is a form of art collaboration without the expediency of philosophical thought. Grammatically this is a wording without principle as in the emoji or acronym.
The supposition would then be we are comfortable with ourselves in social media. There are those who use it professionally to promote events. Given choice of social media account one can prioritize what they want to say or share. But we are comfortable with ourselves in social media. It has become the firing range. Seemingly the in-crowd has been invaded by the cultural mass that no one is special. It is true to form an anecdote - no one is special and the cultural mass rules. Our faux believability gives us a premise to continuously channel the god or diva within.
What is then the human presentation? How are we living our lives if not to report it back to the virtual - what has become "instagramming". Is life less important if not given a priority in social media?
Are the cameras always watching? Is this, the social media world, the human person circumventing death? Has this become our means of enlightenment?
Rhiannon Stephanie - NYC Photographer and Artist
What is then the trick that defines the virtual from the human quotient? Does one continue to believe that valuing a human connection is greater than the virtual assumption? What is human? What is virtual? Has social media become an "androidal" party?
First twenty years of any life is spent making mistakes. The next twenty affords us a chance to clarify and make solid our determination. As with the adventurous self the twentieth year is when a person forms and conditions a program furthering the intention and continuance in becoming someone expected. The prolonging of our intention brings about a call for higher education or acquiring a trade. Acknowledgement of what we already know allows for growth. We make this possible in concert with other participants by exchanging ideas, premise for what we know in the virtual.
Livability of the human dynamic in stereo has to assume relations within the virtual. Phenomena that we’re not here alone should provide us with conduct for organizing an effort to reach out. An ingrained courage and fierceness pushes us into the unknown. We are at once giving of ourselves, hoping to gain something in return. Such was the original intent. What is happening now is a virtual highway where thoughts crash and explode. Accordance with the identifiable persona either resonates as human or rhetoric.
The most important woman I have ever known I met in the virtual and we have yet to meet face to face. Humanizing of a virtual person takes on many challenges. It is sustainable with the various ways to communicate. Ours was a gradual committing of time and patience in discovery and learning about another person, about another place. The basis for wanting to know about another place on earth seen through communication with a person in the virtual is outrightly futuristic. Understandably she and I were of the mindset that we were both intellectually curious. The supposition for our exchange was then certified in her knowingness and wanting to share. Importance was then suggested in how I was to perceive this as a growing and learning circumstance.
When confronted with availability and presence of a person incredibly eloquent and more advanced in their existence, credit should be given. We then should take a chance, be willing to participate knowing both roles are interchangeable. What I walked away with in our projects online, continuous dialogue and preoccupation with language was a carry-over of my interest in the muse, aestheticizing of beauty. That relevance was present in all that we achieved as a glorified philosophical interconnectivity. An example I failed to reach in all my years at university. The virtual supposition allowing for a reality sensed and felt in all the entreaties of acquired tastes of intellectualism, power positioning, rules and conduct and the lauding of a person’s worth however impressionable, transparent.
Artness and made-to-feel-pretty personifying of the human animal lends a lot of itself to the virtual. Having encouraged a professional and personal relationship with a woman I have known for thirteen years and we never sat face to face ever and this to this date is the most gratifying relationship ever - because it affected my language and with most artists that is sacred.
Language is sacred.
Preoccupation with how thinking originates from nothingness can mold a conscience into welcoming other mindsets in the hallowed virtual world. These become interventions, mild and polite intrusions on the mundane. They can be achieved with a feeling for respect and trust becoming more or less intimate moments shared with followers, messaging, tweets or Skype conversations.
In the real and human redirect, we promote maturity. Constant growth rendered in the physical body feeling, interpreting and collaborating is essential for sustenance.
The body electric is built on love and intellect. Of the utmost importance we need to accelerate the learning potential, something achieved in the here and now. Each moment we gain momentum if and when we pay attention to circumstance and uniformity.
Love and intellect perfects us, that which drives us from fear, the very thing we confront in the real and virtual.
An astute observation would then be how we have come far from torture and trauma. We as humans have survived interrogation of what it means to exist mortally and conscionably.
Love and death is our entry into the future. We die to live. And in death we see into another world.
The virtual is our minds and bodies disengaged. This psycho-circus is made up of ghosts in transition.
It is at once our intellectual selves misbehaving or coordinating a thread conversation. There are no boundaries.
Once we log on we fall in line. We leave behind the stressors and in posting and tweeting something magical happens. The human person acquires light, takes a bold step into the future.
We are made divisible as human creatures. As mortal beings we long for acceptance. Within the virtual world we challenge our fate. We become less mortal. Our half-lives positioned like portraits.
In this we see ourselves as important, represented, governed and governing.
Friday, April 21, 2017
Art Hot - Possessive Self versus Art Truancy
Selfie is the selfless self seeking attention.
Painting in museum or gallery is product of the artist once possessed. The possessive self needs order. Practice and need for perfection is the constant resolve with which he makes art.
The art truant self-prompts for attention, wills the persona more than talent.
Graffiti artist is the example of someone who is driven by angst. This drive is actionable, less neurotic more activist.
The selfie is done aimlessly without conclusion. To make art of the selfie is a dare.
Compromise between the self-possessed artist, one who scribbles or illustrates on napkin and the circumvent selfie promoter has a resolution rooted in query of what is art?
Art hot amplifies subjectivity of its value. 60's culture saw rebellion from representational art detailed in the Kosuth collaborative culture.
Cubism and Abstract Expression can then be seen as the artist changing the dynamic. Contribution to this would then be what is expected of the artist.
Does he meet that glowing and glorifiable dare from within to manifest? How then does he gain credibility as artist? Does he fit the mode or become the squared peg attracting the circle?
Voluminously art encompasses all that is creative. Supposed interpretation of art is made relative to fine art, more so the framed painting or drawing. Officiality placed upon it would then be it's merit in a gallery, museum or auction setting.
I'm more so inspired to determine mindset of the artist in his or her persona, cult of this - That Dali was mad is controversy. Picasso was just as mad.
It is the conscience which prescribes who and what is art. The product is by parlance a given.
Pecuniary understanding of art as business has corporatized all that is made definitive of talent, conscience and power.
In today's art world Picasso would be the ridicule.
One who transcends the "art boy genius" and on a grander scale the art warriors, neck breakers and art lords who have survived various movements see into its successes.
I for one have seen one too many Gerhard Richter's to know what drives the art messianic.
What is Hot ? ~ !
Beauty tantamount with intellect optimally is sign of prescience. There is however no understanding of Athena and Aphrodite represented in the singular female. Assumption of this carries with it relevance to flawed nature within the human person.
The female body naked is eternal - Mothering potential makes for newness as in birth, death of which furthers and completes the life circumstance.
Female body naked herein makes for pull of attraction in the human male.
If one is ever to determine what is hot, sex, the act and preoccupation surrounding it defines any and all understanding of heat, both physical and virtual.
Modernity and technology singularly bring about preservation of what is youthful; an interpretation governed by marketing and promoting the ingenue as product.
Commerciality however predetermines what demographic best responds to a given cycle. Much of this falls on the balance of race and gender.
The young white male and female are celebrated separately from how the black boy or girl meet acceptance . Youth in the white person condescendingly holds superiority.
The black person's athleticism and naturalizing of "black beauty" in the redirect is accentuated. This is the dastardly mark of racism.
Afro-futurism, Black Hollywood, Hip Hop culture and continuance to maintain what in history has been a black renaissance is the task at hand going forward.
Otherwise the term "white-hot-heat" will forever mean all that is beautiful, white, blond and blue-eyed.