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Dissident art, political actions, anarchist or liberal left group?
Provocation and media attention, involving civic activities. A call for and from a protest. Copenhagen
If you take your lovely lady to see Celine Dion at the Caesar Palace Colosseum, and then you take her to a nice romantic dinner at Bobby Flay's MESA Grill, and then you get her a nice cozy table at Club PURE, well then your lovely lady may be inspired to let you take her shopping here for something nice and naughty for her to model for you back in your hotel suite.
What do you think...
Andy Boreham on the majority of Taiwanese do not trust the U.S.
www.yahoo.com/news/u-owning-powerhouse-microchip-making-0...
Taiwan’s Tech King to Nancy Pelosi: U.S. Is in Over Its Head
Tue, February 14, 2023 at 1:30 AM PST
(Politico) - Nancy Pelosi arrived in Taiwan like a juggernaut. She defied threats from the Chinese regime in order to visit the island and ignored American generals who saw the trip as a reckless provocation. Ecstatic crowds greeted her at the airport and her hotel. Nothing, it seemed, could slow her down.
And then she met Morris Chang.
Chang, the 91-year-old founder of the chipmaking goliath TSMC, used a luncheon at Taiwan’s presidential palace to deliver a biting soliloquy to Pelosi and other visiting American lawmakers about the new industrial policy emerging in the United States. In comments that have not previously been reported in detail, Chang took aim at the CHIPS and Science Act and its $52 billion package of subsidies for semiconductor manufacturing.
Pelosi told me in a recent interview that Chang, an engineer trained at MIT and Stanford, began with a light remark.
“Fifty billion dollars – well, that’s a good start,” Chang said, according to her recollection.
Four people present for the meeting, including Pelosi, said it quickly became evident that Chang was not in a kidding mood.
With Taiwan’s president, Tsai Ing-wen, looking on, the billionaire entrepreneur pressed Pelosi with sobering questions about the CHIPS law — and whether the policy represented a genuine commitment to supporting advanced industry or an impulsive attempt by the United States to seize a piece of a lucrative global market.
Chang said he was pleased that his company could benefit from the subsidies; TSMC already had a major development project underway in Arizona. But did the United States really think it could buy itself a powerhouse chipmaking industry, just like that?
That very question now hangs over the Biden administration as it prepares to implement the semiconductor spending in the CHIPS and Science Act. The next phase is due to begin this month with the unveiling by the Commerce Department of a detailed process for awarding subsidies. The law already looks like a useful political trophy for Biden, claiming a prominent spot in his State of the Union Address.
The law is an emblem, in Biden’s telling, of his commitment to creating the jobs of the future and armoring America’s economy against the disruptions that an increasingly militant China could inflict, potentially by attacking Taiwan. Pouring subsidies into chip fabrication would “make sure the supply chain for America begins in America,” Biden told Congress.
That is far from a sure bet. As Chang told Pelosi, there is a long distance between the cutting of government checks and the creation of a self-sustaining chips industry in the United States.
His candid concerns represent a rough guide to the challenges Biden’s semiconductor policy will have to address if it is to succeed, long after the immediate political fanfare has abated — and well past the point that its generous subsidies for big business have run out.
Over lunch, Chang warned that it was terribly naïve of the United States to think that it could rapidly spend its way into one of the most complex electronics-manufacturing markets in the world. The task of making semiconductor chips was almost impossibly complicated, he said, demanding Herculean labors merely to obtain the raw materials involved and requiring microscopic precision in the construction of fabrication plants and then in the assembly of the chips themselves.
Was the United States really up to that job?
The industry evolves at incredible speed, Chang continued. Even if the United States managed to build some high-quality factories with the spending Pelosi championed, it would have to keep investing more and more to keep those facilities up to date. Otherwise, he said, Americans would in short order find themselves with tens of billions of dollars’ worth of outdated hardware. A once-in-a-generation infusion of cash would not be enough.
Was America really prepared to keep up?
If the United States wanted a semiconductor industry it could rely on, Chang said, then it should keep investing in the security of Taiwan. After all, his company had long ago perfected what Americans were now trying to devise on their own.
As course upon course of small plates came and went, Chang’s discourse ran on so long that his wife, Sophie, cut in at one point with a terse interjection; Chang told the group she thought he was talking too much. Tsai, observing the whole exchange, noted to Pelosi and the other Americans that Chang had a reputation for always speaking his mind.
Several people described Chang’s remarks on condition of anonymity in order to discuss a sensitive private meeting. Indeed, the only person who agreed to speak with me about it on the record was Pelosi. She was also the only one who sounded untroubled by Chang’s skepticism about the United States as a home for the semiconductor trade.
“He knows America quite well,” she said, “and the questions he asked I saw almost as an opportunity to respond, even if some of it was challenging.”
Unlike other people I spoke to, Pelosi said she was not put off by the severity of Chang’s language. Lauding Chang as an “iconic figure,” she told me several times: “I was in such awe of him.”
But Pelosi said she had also delivered a firm message of her own: “That we knew what we were doing, that we were determined to succeed with it – that it was a good start.”
Other Taiwanese executives present voiced hesitation, Pelosi acknowledged, with some questioning whether American environmental and labor laws were consistent with the goal of nurturing a sophisticated industry. In our conversation, she rejected the idea that there might be tensions between her political party’s grand economic and social aspirations, and the narrower aims of the CHIPS law.
Chang, naturally, is not a disinterested observer of the American semiconductor effort. His company is a singular global power; its overwhelming importance in the high-tech supply chain has become a vital strategic asset for Taiwan as it gathers allies in an age of deepening conflict with the Chinese Communist Party. If China blockaded or invaded the island, the impact on TSMC’s operations alone would convulse the international economy. That is a strong incentive for wealthy democracies to defend Taiwan with more than blandishments about self-determination.
Chang has questioned in other settings whether the United States is a suitable environment for semiconductor manufacturing, pointing to gaps in the workforce and defects in the business culture. On a podcast hosted by the Brookings Institution last year, Chang lamented what he called a lack of “manufacturing talents” in the United States, owing to generations of ambitious Americans flocking to finance and internet companies instead. (“I don’t really think it’s a bad thing for the United States, actually,” he said, “but it’s a bad thing for trying to do semiconductor manufacturing in the U.S.”)
He repeated a version of that critique over lunch in August, prompting one member of Pelosi’s delegation, Rep. Raja Krishnamoorthi, to speak up and urge Chang to visit Krishnamoorthi’s home state of Illinois to get a better sense of the American workforce. Chang did not indicate he was tempted by the invitation.
When I asked several Biden administration officials about Chang’s criticism, the message I got back was a confident-sounding “stay tuned.” The next stage of CHIPS implementation, they said, would reveal in more detail how the law would be used to unlock a torrent of private-sector investment and make American semiconductor fabrication a sturdy, long-range enterprise. They did not reject Chang’s concerns about the current U.S. workforce, but pointed to American tech hubs like Silicon Valley and North Carolina’s Research Triangle as evidence that we do know how to build dynamic, fully staffed tech hubs in this country. Now, they said, we need to build more of them.
Not long after his luncheon with Pelosi, Chang visited an area that figures to become one of those hubs. In Arizona, he joined Biden at a vast construction site in north Phoenix where TSMC is building a gargantuan complex that may stand as something of a counterpoint to Chang’s overarching skepticism about the law. His company mapped out plans for an Arizona project before Biden became president, but after the passage of the CHIPS law TSMC announced it would massively increase its investment in the state — from $12 billion to $40 billion — and build a second facility there, too.
The final result would be a fabrication center that is expected to supply Apple and other American tech companies, employing thousands in a state that also happens to be a major electoral battleground. Not incidentally, it would likely be eligible for U.S. subsidies.
That, Biden said in December, was more than just a good start. He declared in Phoenix that the United States was “better positioned than any other nation to lead the world economy in the years ahead — if we keep our focus.”
Morris Chang could have told Biden that was a big “if.”
Cheerleader
Skin: Enfer Sombre- Momo- in Porcelain
Hair: tram J0731a hair
Make-up: .
Nails: Formanails-Pia
Costume: [Provocation] Cheerleader
Provocation to turn back to breast feeding, turned into wallpaper from appropriated Vietnamese mural art. This was on a wall in the fantastic Viet Soy restaurant on Hyperion in Silverlake.
photo by Jessica Stewart - www.romephotoblog.com Public Provocation: www.colab-gallery.com/ June - October
Unlike the Bengal tiger, the Siberian tiger very rarely becomes a man-eater. In January, 2002, a man named Qu Shuangxi was attacked by a Siberian tiger on a remote mountain road near Hunchun, Jilin Province, China, near the borders of Russia and North Korea.He suffered compound fractures of the elbow and was thrown into a ditch but managed to survive. When he sought medical attention that evening, his wavering story raised suspicions as it was well-known that Siberian tigers seldom attack humans without provocation. An investigation of the attack scene also revealed that a basketful of raw venison that the man was carrying was left untouched by the tiger. Since this was inconsistent with tiger food-seeking behavior, officials suspected Qu to be a poacher who somehow provoked the attack.
The following morning, tiger sightings were reported by locals along the same road and a local TV station became interested and did an on-site coverage. The 3-men TV crew and a local guide found tiger tracks and blood spoor in the snow at the attack scene and followed them for approximately 2,500 meters, hoping to catch a glimpse of the animal. Soon, the tiger was seen ambling slowly ahead of them. As the team tried to get closer for a better camera view, the tiger suddenly turned and charged, causing the four to flee in panic. Approximately one hour after that encounter, the tiger attacked and killed a 26-year-old woman who happened upon it on the same road.The authorities were alerted after villagers tried unsuccessfully for two days to retrieve the woman's body since the tiger was always nearby. Eventually, the authorities were able to retrieve the body with the help of a bulldozer. By then, the tiger was found lying 20 meters away, weak and barely alive. It was successfully tranquilized and brought back for examination. The examination revealed the tiger to be anemic and gravely injured by a poacher’s snare around its neck, with the steel wire cutting deeply down to the vertebrae, severing both trachea and esophagus. Despite heroic surgery by a team of veterinarians,the tiger died 8 days later of wound infection.
Subsequent investigation of the first attack revealed that the first victim, Qu Shuangxi, was indeed a poacher who set multiple snares that caught both the tiger and a deer. The tiger was able to somehow break free. Although horribly injured, it stayed around and waited for Qu's return. After Qu field-dressed the deer and descended the mountain, the tiger followed him and targeted him for attack on the road. Qu, who survived the attack with only fractures and lacerations, was later charged with poaching and harming endangered species and served two years in prison. After release from prison, Qu became a tiger conservationist and worked toward clearing the forest of old snares.
In an incident at the San Francisco Zoo on 25 December 2007, a Siberian tiger named Tatiana escaped and killed one visitor, injuring two others. The animal was shot dead by the police. The zoo was widely criticized for maintaining only a 12½ ft (3.8m) fence around the tiger enclosure, while the international standard is 16 ft. (4.8m). The zoo subsequently erected a taller barrier topped by an electric fence. The police say that one of the victims admitted to taunting the animal.
On January 5, 2011 a Siberian tiger attacked and killed a tour bus driver at a breeding park in the northern province of Heilongjiang, China, while the bus was stranded in the snow with mechanical difficulties. Park officials reported that the bus driver broke safety guidelines by leaving the vehicle to check on the condition of the bus. Read more...
American postcard by Classico San Francisco, no. 350-013. Image: Turner Entertainment Co. and WMG. Publicity still from Tom and Jerry - The Movie (1992).
Tom and Jerry is an American animated series about a cat (Tom) who tries to catch a mouse (Jerry), resulting in bizarre chases and fights in which the mouse usually wins. The series is one of the most popular animated series in the world and has received several prizes and awards. Seven episodes won Oscars, and another six were nominated for Oscars. Tom and Jerry was originally produced by Metro-Goldwyn-Mayer and was created by William Hanna and Joseph Barbera. Since 1993, production has been handled by Warner Bros. Tom and Jerry also appeared in a few feature films.
The history of Tom and Jerry is usually divided into seven periods: Hanna-Barbera period (1940-1958), Gene Deitch period (1961-1963), Chuck Jones period (1963–1967), Later Hanna-Barbera period (1975), Filmation Associates (1980), Hanna Barbera Studios (1990–1993) and Warner Brothers (1993-present). The precursor to the series was the animated film Puss Gets the Boot (1940). Like the first 114 episodes, it was produced in the Metro-Goldwyn-Mayer animation studios under the direction of William Hanna (1910–2001) and Joseph Barbera (1911–2006) using classic animation techniques. Fred Quimby and other senior MGM executives reacted rather cautiously to the screening of the film, even though they had been very impressed by the preliminary versions. When the film was released in cinemas without much advertising, Rudolf Ising was credited as director, while Hanna and Barbera were not mentioned by name in the original version. After the film was nominated for an Oscar, Quimby called the two into his office, explained that MGM did not want to put all its eggs in one basket, and had them work on other characters. It was only when short film expert Besa Short wrote to Quimby asking ‘when the world would see more of these delightful cat-and-mouse cartoons’ that Hanna and Barbera were instructed to work on the characters again. Now the cat, initially named Jasper, and the mouse (called Jinx by Hanna) needed new names. Studio employees were asked to write pairs of names on pieces of paper, which were collected in a hat. The piece of paper pulled from the hat contained the names Tom and Jerry and came from animator John Carr, who won fifty dollars. Now the studio had to obtain legal permission to name the two characters after the cocktail Tom and Jerry. The characters of the same name from Van Beuren Studios had already been discontinued in 1933.
From 1940 to 1958, 114 Tom and Jerry cartoons were produced by the Metro-Goldwyn-Mayer cartoon studio in Hollywood, after which the film studio was closed. At the time, the cartoons, like all animated films of that era, were shown in cinemas. These 114 cartoons are now considered timeless classics and are still very popular worldwide. Seven of them won Academy Awards for Best Animated Short Film, placing Tom and Jerry just below Walt Disney's Silly Symphonies as the animated series that won the most Oscars. Depending on the animation team and concept, there are stylistically different designs for Tom and Jerry between the first episodes of Tom and Jerry. In the early days, the cat was drawn in a very cute, fluffy and stylised manner, while the mouse was rather chubby and not very expressive. The characters evolved from the realistic style used in merchandising today to the more distinctive forms of 1949, which were again much more abstract. The original series is notorious for its extremely violent gags: Jerry cuts Tom in half, traps his head between a window or a door, sticks his tail in a waffle iron or an electrical socket. Tom uses axes, guns, dynamite, clubs and poison to try to kill Jerry. A running gag is that Jerry hurts Tom while he is not paying attention, and Tom only realises this pain a few seconds later. Tom's body also takes on all kinds of bizarre shapes after these tortures. For example, he is crushed by a heavy cupboard or steamroller and then becomes as flat as an ironing board, only to 'pop' back into shape a few seconds later and furiously chase after Jerry. The cat is kept by the black housekeeper, Mammy Two-Shoes, who is afraid of mice. In the American original, she speaks with a distinct Southern black accent, mainly appears as an authority figure or punisher, and often comes to harm. A special feature is that in the older films, only the lower half of the drawn humans is shown (from the perspective of a child or an animal). The music and sound effects play an important role in the short films and contribute to the humour and action. Music director Scott Bradley created a mix of jazz, classical and pop music. Tom and Jerry had a guest appearance in the feature film Dangerous When Wet (Charles Walters, 1953). The live-action/animated musical comedy features an animated swimming sequence starring Esther Williams with Tom and Jerry.
In 1960, MGM handed over the production of Tom and Jerry to Rembrandt Films, led by Gene Deitch in Prague, in what was then Czechoslovakia. The result was a series of very cheaply produced and surreal animated films. Three years later, production returned to Hollywood, where Chuck Jones directed new episodes for Sib-Tower 12 Productions until 1967. In 1975, a new Tom & Jerry Show was launched in which the pair interacted on a friendly basis. This was followed by various attempts to revive the old series, but the first 114 cartoons from the period 1940-1957 are generally considered the best and remain the most popular. The plots of the short films usually revolve around Tom's frustrating attempts to catch Jerry and the wild violence that accompanies this. Both Tom and Jerry are equally mean to each other, but there are just as many moments in the films where they get along reasonably well. This makes it unclear why Tom chases Jerry so often, but the most obvious reasons are probably: their cat-and-mouse relationship, because Tom's mistress orders him to, competition with another cat, revenge after a provocation by Jerry, or pure bullying. Tom sometimes manages to catch Jerry, usually because Jerry allows him to or through sheer luck. In Heavenly Puss from 1949, Tom dreams that he is not allowed into heaven after his death as punishment for wasting his whole life chasing Jerry.
There were numerous attempts to make a Tom and Jerry feature film, primarily in the 1970s after the successful reruns of the original cartoons and the airings of the new TV animated versions (although there have been debatable possibilities of making attempts in the golden age of cartoons)After 25 years, the odd couple returned to the screen in their first theatrical feature-length animated film, Tom and Jerry: The Movie (1992). It was produced and directed by Phil Roman, with a screenplay written by Dennis Marks, who also scripted some episodes of the then-airing TV series Tom & Jerry Kids. The film features original songs written by Henry Mancini and Leslie Bricusse and a score also composed by Mancini. Although largely mute in the original cartoons, Tom and Jerry are given extensive spoken dialogue for the only time to date. Joseph Barbera, co-founder of Hanna-Barbera Productions and co-creator of the original Tom and Jerry short films, served as the film's creative consultant. The film tells the story of an eight-year-old girl named Robyn Starling, who enlists Tom and Jerry's help to escape from her evil legal guardian and reunite with her lost and presumed-dead father. The film grossed $3.6 million and received negative reviews. Gene Siskel and Roger Ebert gave the film two thumbs down on Siskel & Ebert. Although they praised the animation style for its faithfulness to the theatrical shorts, neither thought that it was a good idea to give dialogue to the two characters, with Ebert stating that by making the duo talk, "the movie loses the pure comedy of the cartoon shorts where everything depended on situation and action." Additionally, they felt that the film suffered from a lack of slapstick action compared to the shorts, and criticised the story for giving the character of Robyn Starling more screen time than Tom and Jerry. After years of languishing in development hell, including a live-action film in 2009 and an animated film in 2015, a live-action/animated hybrid film followed, Tom and Jerry / Tom & Jerry (Tim Story, 2021) and written by Kevin Costello. Although it utilises 3D computer animation, the production developed software and used other techniques to mimic the look of traditional animation. The film received generally negative reviews from critics and grossed $136 million worldwide on a $50‒79 million production budget. Writing for RogerEbert.com, Brian Tallerico gave the film one out of four stars: "Aggressively mediocre, the updated version of Tom & Jerry (...) is a depressing affair, a film that reminds one of similarly hollow uses of beloved properties like Yogi Bear and The Smurfs. Although at least those knew to focus on their timeless characters. Tom & Jerry barely understands the physical comedy that made the cat and mouse first-round entries in the animated Hall of Fame, focusing instead on a celebrity wedding at a fancy New York hotel and the people who work there. A few sequences of classic T&J comedy aren’t nearly enough to make up for the dull plotting and flat characters in this soulless product, one that will fail equally for adults who grew up on Tom and Jerry, and their kids who have never heard of these characters." The film won a Golden Raspberry Award for Worst Prequel, Remake, Rip-off or Sequel.
Sources: Brian Tallerico (Roger Ebert.com), Wikipedia (English, German and Dutch) and IMDb.
And, please check out our blog European Film Star Postcards.
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
On golden rod covered in pollen eating another insect. These hornets are aggressive and will sting repeatedly with little or no provocation - thankfully something I didn't know when I was photographing this one. If you have time please view in large and/or original for more detail.
OVER HALF A MILLION PEOPLE took to the streets of London on Saturday 26th March. They were marching against the Con-Dem government’s cuts. It was one of the biggest protests this country has ever seen. Every single trade union was represented on the protest and they were joined by anti cuts campaigners, pensioners, students and the unemployed.
No amount of police provocation against peaceful protesters or headlines in papers about violence can obscure that this was a massive working class demonstration.
And its power came from numbers and the social power they represent. It was a determined but angry protest. Millions of workers fear for their jobs and millions more are right to believe that the Tories are out to destroy their communities.
Magnificent
This government, held up by it’s Lib Dem collaborators, knows and cares nothing about the pain it causes, after all the majority of the cabinet are millionaires and two thirds went to private school.
The marchers’ message was clear—not one cut and not one job loss. And they are right: why should workers and the poorest in society pay for a crisis they did not create?
There doesn’t have to be a single cut or job loss. Greg Philo published an important article in the Guardian newspaper recently. He highlighted the fact that the personal wealth of the richest 10% of the population in Britain is £4,000 billion.
A one off tax of 20% on the wealth of this group would raise £800 billion and would wipe off Britain’s debt in one fell swoop.
With this in mind it’s crazy that Ed Miliband and New Labour are arguing that some cuts are necessary and that it’s the pace of the cuts that’s the problem. There’s no need to make cuts at all!
Saturday’s demonstration was magnificent, but it alone will not be enough to force Cameron and his cronies to make a U-turn. The Socialist Workers Party believes that if we are going to stop the Tories in their tracks, we will need further mass protests—and more importantly, strikes involving hundreds of thousands of workers.
And we are not alone. On Saturday the leader of Unite (Britain’s biggest union), Len McCluskey, told those at the rally “This is only the start. We need a plan of resistance including coordinated strike action.”
Strike
Again when Mark Serwotka (the general secretary of the PCS) addressed the march he said, “Imagine what a difference it would make if we didn’t only march together but took strike action together.”
It’s time to turn those words into action. Already some unions, including the NUT, PCS and UCU are moving to joint action on pensions at the end of June—this could see 700,000 teachers, civil servants and lecturers on strike together.
That would be a good start, and would put pressure on the government, but we could really finish Cameron if the GMB, Unison and Unite also called their members out. We would see 5 million on strike—that would signal the end of Cameron.
Now we are all back at work, there is no time to waste. Union meetings need to be called as soon as possible and every union section/branch/region needs to be passing motions calling on their unions to call joint strike action now.
The message is simply that we marched together, now it’s time to strike together.
Article: Socialist Worker www.socialistworker.co.uk
Underwater provocation, overhead projector with underwater video, rocks, pebbles, sea creatures, books both information text and story books
Chila Kumari Burman
Etching, lithograph and pastel on paper
Taken in the exhibition
Monster
Opening The Horror Show!, Monster begins by delving into the economic and political turbulence of the 70s and the high octane spectacle and social division of the 80s. Against a backdrop of unrest and loud uprising, it charts the origin story and ascent of the individuals who will go on to disrupt, define and destroy British culture, while exploring the monsters which plague society today.
Punk prophet Jamie Reid opens the show by conjuring his Monster on a Nice Roof (1972), painting a prescient picture of the dark skies gathering over Britain. Chila Burman’s If There is No Struggle, There is no Progress - Uprising (1981) and Helen Chadwick’s Allegory of Misrule (1986) refigure social discontent and anxiety in the image of horror, as the socio-political and monstrous collide. In a jarring dislocation of British cultural identity, Guy Peellaert’s David Bowie, Diamond Dogs (1974) and the otherworldly creatures captured by Derek Ridgers’ nightlife photography point to the emergence of the cultural provocation and rebellion that defined an era. Monster revels in a resoundingly British spirit of nonconformity, with a spectacular display of Pam Hogg’s new Exterminating Angel (2021) and works by Somerset House Studios artist and designer Gareth Pugh and the late visionary Leigh Bowery. Elsewhere, Noel Fielding’s Post-Viral Fatigue (2022) shows how the imagery of horror resonates still in our Covid-ravaged contemporary reality. As the nightmarish and otherworldly fills the gallery, a newly commissioned mural by Matilda Moors sees the walls dramatically clawed at by a monstrous hand.
Contributing artists include Marc Almond, Bauhaus, Judy Blame, Leigh Bowery, Philip Castle, Chila Burman, Helen Chadwick, Monster Chetwynd, Jake & Dinos Chapman, Tim Etchells, Noel Fielding, Mark Moore & Martin Green, Pam Hogg, Dick Jewell, Harminder Judge, Daniel Landin, Jeannette Lee, Andrew Liles, Linder, London Leatherman, Don Letts, Luciana Martinez de la Rosa, Lindsey Mendick, Peter Mitchell, Dennis Morris, Matilda Moors, Tim Noble & Sue Webster, Guy Peellaert, Gareth Pugh, Jamie Reid, Derek Ridgers, Nick Ryan, Steven Stapleton, Ralph Steadman, Ray Stevenson, Poly Styrene, Francis Upritchard and Jenkin van Zyl.
The Horror Show! A Twisted Tale of Modern Britain
(October 2022 - February 2023)
Somerset House presents The Horror Show!: A Twisted Tale of Modern Britain, a major exhibition exploring how ideas rooted in horror have informed the last 50 years of creative rebellion. The show looks beyond horror as a genre, instead taking it as a reaction and provocation to our most troubling times. The last five decades of modern British history are recast as a story of cultural shapeshifting told through some of our country’s most provocative artists. The Horror Show! offers a heady ride through the disruption of 1970s punk to the revolutionary potential of modern witchcraft, showing how the anarchic alchemy of horror – its subversion, transgression and the supernatural – can make sense of the world around us. Horror not only allows us to voice our fears; it gives us the tools to stare them down and imagine a radically different future.
Featuring over 200 artworks and culturally significant objects, this landmark show tells a story of the turbulence, unease and creative revolution at the heart of the British cultural psyche in three acts – Monster, Ghost and Witch. Each act interprets a specific era through the lens of a classic horror archetype, in a series of thematically linked contemporaneous and new works:
Each of the exhibition’s acts opens with ‘constellations’ of talismanic objects. These cabinets of curiosities speak to significant cultural shifts and anxieties in each era, while invoking a haunting from the counter-cultural voices in recent British history. Alongside these introductory artworks and ephemera is an atmospheric soundtrack, conjuring the spirit of the time with music from Bauhaus, Barry Adamson and Mica Levi.
Monster, Ghost and Witch culminate in immersive installations, combining newly commissioned work, large-scale sculpture, fashion and sound installation, with each chapter signed off with a neon text-work by Tim Etchells. The Horror Show! offers an intoxicating deep-dive into the counter-cultural, mystic and uncanny, with the signature design of the three acts courtesy of architects Sam Jacob Studio and Grammy-winning creative studio Barnbrook.
[Somerset House]
Editor-in-Chief : Damian Ward Hey
Art Editors : Don Hazlitt & George Kayaian
Literary Editors : Orchid Tierney & Almée Herman
Managing Editor : Michael S. Russo
jef safi's contribution :
- Front cover art,
- p.40, Piece #1 - in-between° 1492 + i 106921380836893
- p.74, Piece #2 - in-between° 8651 + i 65748780955539
- p.136, Piece #3 - in-between° 7681 + i 144516743874782
In-between poems are textual complexion hyperpoetried with the in-between hyperpoem machine
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Authored by SophiaOmni, and/or is a print journal for creative experimental writing and/or innovative graphic art. The journal seeks submissions from writers and/or other sorts of artists whose work openly challenges the boundaries (mimetic, aesthetic, symbolic, cultural, political, philosophical, economic, spiritual, etc.) of literary and/or artistic expression.
For more information on this and previous volumes of and-or, please see our website at AND/OR.
and/or is distributed by SophiaOmni Press, an independent publishing company based upon distributivist economic principles.
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| . rectO-persO . | . E ≥ m.C² . | . co~errAnce . | . TiLt . |
Aaron + Betty from or(g)A + SPAU
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
An odd type of floating fungus that resembles Beholder monsters, only to explode at the slightest provocation and shower their surroundings with deadly spores.
Il est encore tôt... je viens de démarrer, et comme par provocation il se tient là... comme pour me narguer. Le manque de lumière déssert une nouvelle fois le X-S1... mais merci à Darktable pour me permettre d'obtenir une photo à peu près potable...
It's early ... I just started, and as a provocation ... he stands there as if to taunt me. The lack of light dessert again the X-S1 ... but thank you to darktable for me to get a picture approximately correct ... ...
Merci de vos visites, com's et autres fav's... Bon W.E...
Thank you for your visits, com's and other fav's ... Good W.E...
Font, source, fuente, burim: from Internet. Credit photo.
La liberté d'un Peuple, d'une Nation, est une chose grave et nécessite une lutte permanente contre toutes les provocations, d'où qu'elles viennent.
La libertad de un Pueblo, de una Nacion, son cosas muy serias y necesitan una lucha permanente contra todas las provocaciones, de donde vengan.
La llibertat d'un Poble, d'una Nacio son coses molt gravissimes y necessitan, sempre una lluïta permanent contra totes les provocacions, de qualsevol part de on puguin sortir.
Liria e një kombi është një luftë serioze dhe e përhershme kundër të gjitha provokimeve, manipulimeve, nga kudo.
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Phase 1 - Invade Gaza and Degrade Rockets Capability - November 2012
Israeli Prime Minister Benjamin Netanyahu, facing an election in January 2013 had clearly put the Gaza attack plans on low gear until after the US Presidential election, following which Israel virtually immediately embarked upon a series of military provocations including sending tanks into Gaza on November 8th that killed a Palestinian child, then 2 days later fired a number of shells into Gaza killing 4 civilians and wounding 38 others.
The trigger for Gaza retaliation was the targeted assassinations of Hamas military commander Ahmed Jabari who was killed by a missile that was followed by an extensive bombing campaign to inflame Hamas into retaliating with longer range rockets.
The Israeli Government is using Hamas retaliation as political cover for the justification for an all out air and ground assault against Gaza with the primary objective for seeking out and destroying much of Hamas's longer range rocket stock piles.
Hamas by firing a dozen or so rockets at Tel-Aviv is following Israeli war planners strategy as it plays well to Israeli and western audiences that an assault upon Gaza is justified.
The Gaza War Phase 1 invasion now appears imminent, as already upwards of 100,000 Israeli troops have started to mass on Gaza's border as the bombardment continues to pave it's way for an invasion of Gaza.
The estimated consequences of Phase 1, if inline with the last Gaza war in the run up to the 2009 Israeli elections could see some 2000 Palestinian deaths against an estimated 30 Israeli, and likely to result in a short lived invasion of less than 1 month as Israel would soon require the troops for Phase2.
Given that much of Iranian nuclear infrastructure is deep under ground (under a mountain), limited Israeli ground forces may also be deployed, or tactical nuclear missiles used to vaporise deep under ground infrastructure.
Iranian Response
Iran will have also been under taking war gaming scenarios in which respect witnessing Israel diminishing its capability to respond following an Israeli air attack, Iran may conclude that an Israeli attack were imminent and therefore may choose to strike first before Israel attacks.
However the problem for an Iranian first strike following an Israeli invasion of Lebanon is that it would draw the United States into the unfolding war, in which respect Iran is effectively in a lose, lose situation as the outcome would be the same as Iran's air, missile and nuclear infrastructure would be greatly degraded.
However, the advantage of a first strike would be that it would unite an increasingly rebellious population that are suffering as a consequence of hyperinflation behind the Iranian leadership.
There is also an alterative scenario that could scupper Israel's attack plans which is if Iran decided to comply with UN resolutions regarding its nuclear programme, for which there is no real sign unless behind the scenes negotiations are taking place, in fact Israel starting to dismantle Iran's capability to deter an Israeli air attack will likely result in an acceleration of the Iranian Nuclear programme as Iran attempts to detonate a series of nuclear tests as a warning against an attack, as we have seen countless times in the past such as at the height of the India / Pakistan confrontation of a decade or so ago.
The bottom line is that the Israeli Government had put its military plans on hold until after the US Presidential Election, following which it has now implemented it's 3 stage plan the ultimate goal for which is the destruction of Iran's nuclear infrastructure, towards which it is using the cover of actions in defence of attacks from Gaza that the Israeli elite has engineered as part of a series of war gaming scenarios and plans put together many months ago.
These plans have now been put into action and the events in motion suggest that we will first see a Gaza invasion, then of Lebanon, followed by a strike against Iranian nuclear and military infrastructure, all within the next 3 months so as to chime with the January Israeli general election that Prime Minister Netanyahu aims to win.
In respect of the consequences for a region wide war, Israel has miscalculated in their rush to implement plans, as they see the country's security being underwritten by the United States therefore have ignored the wider middle eastern, Russia, and China dimensions to a conflict that they seem determined to instigate.
For instance we could see that whilst the US is preoccupied in another war in the middle east, that China uses that as an excuse to seize the East China Sea Islands that it disputes with Japan and thus change the whole strategic balance of East Asia / Pacific that the US has dominated since the end of World War 2.
Current Probabilities
The probability of an Israeli ground invasion of Gaza - 90%.
An invasion of Lebanon - 70%.
An conventional attack on Iran's nuclear infrastructure before the end of January 2013 - 65%.
Use of tactical nuclear weapons on Iran's deep under ground nuclear infrastructure - 40%.
Probability that Iran will do a deal with the US / UN and disarm before being attacked - 20%.
Every war when it comes, or before it comes, is represented not as a war but as an act of self-defense against a homicidal maniac. - George Orwell
Source & Comments: www.marketoracle.co.uk/Article37585.html
By Nadeem Walayat
Copyright © 2005-2012 Marketoracle.co.uk (Market Oracle Ltd). All rights reserved.
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
You need to take your lovely lady to see the Celine Dion Show headlining at Caesars Palace in the Colosseum. If you do this, and you also take your lady to Spago by Wolfgang Puck for late dinner after the show, your lovely lady will be more likely to let you take her shopping here. Especially if you can impress your lovely lady with your expert game play at the Caesars Palace Blackjack and Craps Tables. What do you think...
Street art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues. The term gained popularity during the graffiti art boom of the early 1980s and continues to be applied to subsequent incarnations. Stencil graffiti, wheatpasted poster art or sticker art, and street installation or sculpture are common forms of modern street art. Video projection, yarn bombing and Lock On sculpture became popularized at the turn of the 21st century.
The terms "urban art", "guerrilla art", "post-graffiti" and "neo-graffiti" are also sometimes used when referring to artwork created in these contexts.[1] Traditional spray-painted graffiti artwork itself is often included in this category, excluding territorial graffiti or pure vandalism.
Street art is often motivated by a preference on the part of the artist to communicate directly with the public at large, free from perceived confines of the formal art world.[2] Street artists sometimes present socially relevant content infused with esthetic value, to attract attention to a cause or as a form of "art provocation".[3]
Street artists often travel between countries to spread their designs. Some artists have gained cult-followings, media and art world attention, and have gone on to work commercially in the styles which made their work known on the streets.
Call me Snake offers an optimistic provocation – ‘imagine what could be here’ by Judy Millar. On a walk into the city October 3, 2015 Christchurch New Zealand.
The work is comprised of vibrant graphics of Millar’s looped paintings, which are adhered to five intersecting flat planes, and draws inspiration from the forms found in pop-up books. The colourful piece will add a dramatic and rhythmic counterpoint to the city’s current urban landscape — a mix of flattened sites, construction zones and defiant buildings that have stood through the quakes. The work employs theatricality, playfulness and visual trickery, whereby the viewer is unsure about the work’s flatness or three-dimensionality; and it has been designed to offer a different perspective from each angle. The bright colours interrupt the grey of the work’s surrounds, and as buildings pop up around it,
SCAPE 8, New Intimacies curated by Rob Garrett was a contemporary art event which mixed new artworks with existing legacy pieces, an education programme, and a public programme of events. The SCAPE 8 artworks were located around central Christchurch and linked via a public art walkway. All aspects of SCAPE 8 were free-to-view.
The title for the 2015 Biennial – New Intimacies – came from the idea that visually striking and emotionally engaging public art works can create new connections between people and places. Under the main theme of New Intimacies there are three other themes that artists responded to: Sight-Lines, Inner Depths and Shared Strengths.
For more Info: www.scapepublicart.org.nz/scape-8-judy-millar
Call me Snake offers an optimistic provocation – ‘imagine what could be here’ by Judy Millar. On a walk into the city October 3, 2015 Christchurch New Zealand.
The work is comprised of vibrant graphics of Millar’s looped paintings, which are adhered to five intersecting flat planes, and draws inspiration from the forms found in pop-up books. The colourful piece will add a dramatic and rhythmic counterpoint to the city’s current urban landscape — a mix of flattened sites, construction zones and defiant buildings that have stood through the quakes. The work employs theatricality, playfulness and visual trickery, whereby the viewer is unsure about the work’s flatness or three-dimensionality; and it has been designed to offer a different perspective from each angle. The bright colours interrupt the grey of the work’s surrounds, and as buildings pop up around it,
SCAPE 8, New Intimacies curated by Rob Garrett was a contemporary art event which mixed new artworks with existing legacy pieces, an education programme, and a public programme of events. The SCAPE 8 artworks were located around central Christchurch and linked via a public art walkway. All aspects of SCAPE 8 were free-to-view.
The title for the 2015 Biennial – New Intimacies – came from the idea that visually striking and emotionally engaging public art works can create new connections between people and places. Under the main theme of New Intimacies there are three other themes that artists responded to: Sight-Lines, Inner Depths and Shared Strengths.
For more Info: www.scapepublicart.org.nz/scape-8-judy-millar
OVER HALF A MILLION PEOPLE took to the streets of London on Saturday 26th March. They were marching against the Con-Dem government’s cuts. It was one of the biggest protests this country has ever seen. Every single trade union was represented on the protest and they were joined by anti cuts campaigners, pensioners, students and the unemployed.
No amount of police provocation against peaceful protesters or headlines in papers about violence can obscure that this was a massive working class demonstration.
And its power came from numbers and the social power they represent. It was a determined but angry protest. Millions of workers fear for their jobs and millions more are right to believe that the Tories are out to destroy their communities.
Magnificent
This government, held up by it’s Lib Dem collaborators, knows and cares nothing about the pain it causes, after all the majority of the cabinet are millionaires and two thirds went to private school.
The marchers’ message was clear—not one cut and not one job loss. And they are right: why should workers and the poorest in society pay for a crisis they did not create?
There doesn’t have to be a single cut or job loss. Greg Philo published an important article in the Guardian newspaper recently. He highlighted the fact that the personal wealth of the richest 10% of the population in Britain is £4,000 billion.
A one off tax of 20% on the wealth of this group would raise £800 billion and would wipe off Britain’s debt in one fell swoop.
With this in mind it’s crazy that Ed Miliband and New Labour are arguing that some cuts are necessary and that it’s the pace of the cuts that’s the problem. There’s no need to make cuts at all!
Saturday’s demonstration was magnificent, but it alone will not be enough to force Cameron and his cronies to make a U-turn. The Socialist Workers Party believes that if we are going to stop the Tories in their tracks, we will need further mass protests—and more importantly, strikes involving hundreds of thousands of workers.
And we are not alone. On Saturday the leader of Unite (Britain’s biggest union), Len McCluskey, told those at the rally “This is only the start. We need a plan of resistance including coordinated strike action.”
Strike
Again when Mark Serwotka (the general secretary of the PCS) addressed the march he said, “Imagine what a difference it would make if we didn’t only march together but took strike action together.”
It’s time to turn those words into action. Already some unions, including the NUT, PCS and UCU are moving to joint action on pensions at the end of June—this could see 700,000 teachers, civil servants and lecturers on strike together.
That would be a good start, and would put pressure on the government, but we could really finish Cameron if the GMB, Unison and Unite also called their members out. We would see 5 million on strike—that would signal the end of Cameron.
Now we are all back at work, there is no time to waste. Union meetings need to be called as soon as possible and every union section/branch/region needs to be passing motions calling on their unions to call joint strike action now.
The message is simply that we marched together, now it’s time to strike together.
Article: Socialist Worker www.socialistworker.co.uk
This artistic provocation seeks to estimate the orders of magnitude of critical ecosystem services fundamental to all planetary life processes. It is common to use economic metaphors, which entail specific understandings of value, to describe our relationships with society, the world, and the biosphere. Today’s prevailing economic conventions are unable to recognize the intrinsic value of the ecosystems on which all life depends. In cultures overdetermined by concepts from economics, we are left without adequate discursive instruments to socially or politically address the importance of ecosystem contribution to life on Earth. This experiment consists of 1 square meter of wheat, cultivated in a closed environment. Critical inputs such as water, light, heat, and nutrients are measured, monitored, and displayed for the public. This procedure makes palpable the immense scale of ecosystem contributions and provides a speculative reference for a reckoning of the undervalued and over exploited “work of the biosphere.”
Philipp Gartlehner of the Ars Electronica Center planted barley with the heilp of the Life Support system and after three months, the harvest was ready to be brought in. The cost for growing one square meter of barley indoors accounted for the massive amount of 430 Euro. Another reason why we really have to take care for our ecosystem.
Photo: Ars Electronica - Robert Bauernhansl
Tim Noble & Sue Webster
Red silicone rubber, steel, wood, light projector
Taken in the exhibition
Monster
Opening The Horror Show!, Monster begins by delving into the economic and political turbulence of the 70s and the high octane spectacle and social division of the 80s. Against a backdrop of unrest and loud uprising, it charts the origin story and ascent of the individuals who will go on to disrupt, define and destroy British culture, while exploring the monsters which plague society today.
Punk prophet Jamie Reid opens the show by conjuring his Monster on a Nice Roof (1972), painting a prescient picture of the dark skies gathering over Britain. Chila Burman’s If There is No Struggle, There is no Progress - Uprising (1981) and Helen Chadwick’s Allegory of Misrule (1986) refigure social discontent and anxiety in the image of horror, as the socio-political and monstrous collide. In a jarring dislocation of British cultural identity, Guy Peellaert’s David Bowie, Diamond Dogs (1974) and the otherworldly creatures captured by Derek Ridgers’ nightlife photography point to the emergence of the cultural provocation and rebellion that defined an era. Monster revels in a resoundingly British spirit of nonconformity, with a spectacular display of Pam Hogg’s new Exterminating Angel (2021) and works by Somerset House Studios artist and designer Gareth Pugh and the late visionary Leigh Bowery. Elsewhere, Noel Fielding’s Post-Viral Fatigue (2022) shows how the imagery of horror resonates still in our Covid-ravaged contemporary reality. As the nightmarish and otherworldly fills the gallery, a newly commissioned mural by Matilda Moors sees the walls dramatically clawed at by a monstrous hand.
Contributing artists include Marc Almond, Bauhaus, Judy Blame, Leigh Bowery, Philip Castle, Chila Burman, Helen Chadwick, Monster Chetwynd, Jake & Dinos Chapman, Tim Etchells, Noel Fielding, Mark Moore & Martin Green, Pam Hogg, Dick Jewell, Harminder Judge, Daniel Landin, Jeannette Lee, Andrew Liles, Linder, London Leatherman, Don Letts, Luciana Martinez de la Rosa, Lindsey Mendick, Peter Mitchell, Dennis Morris, Matilda Moors, Tim Noble & Sue Webster, Guy Peellaert, Gareth Pugh, Jamie Reid, Derek Ridgers, Nick Ryan, Steven Stapleton, Ralph Steadman, Ray Stevenson, Poly Styrene, Francis Upritchard and Jenkin van Zyl.
[Somerset House]
The Horror Show! A Twisted Tale of Modern Britain
(October 2022 - February 2023)
Somerset House presents The Horror Show!: A Twisted Tale of Modern Britain, a major exhibition exploring how ideas rooted in horror have informed the last 50 years of creative rebellion. The show looks beyond horror as a genre, instead taking it as a reaction and provocation to our most troubling times. The last five decades of modern British history are recast as a story of cultural shapeshifting told through some of our country’s most provocative artists. The Horror Show! offers a heady ride through the disruption of 1970s punk to the revolutionary potential of modern witchcraft, showing how the anarchic alchemy of horror – its subversion, transgression and the supernatural – can make sense of the world around us. Horror not only allows us to voice our fears; it gives us the tools to stare them down and imagine a radically different future.
Featuring over 200 artworks and culturally significant objects, this landmark show tells a story of the turbulence, unease and creative revolution at the heart of the British cultural psyche in three acts – Monster, Ghost and Witch. Each act interprets a specific era through the lens of a classic horror archetype, in a series of thematically linked contemporaneous and new works:
Each of the exhibition’s acts opens with ‘constellations’ of talismanic objects. These cabinets of curiosities speak to significant cultural shifts and anxieties in each era, while invoking a haunting from the counter-cultural voices in recent British history. Alongside these introductory artworks and ephemera is an atmospheric soundtrack, conjuring the spirit of the time with music from Bauhaus, Barry Adamson and Mica Levi.
Monster, Ghost and Witch culminate in immersive installations, combining newly commissioned work, large-scale sculpture, fashion and sound installation, with each chapter signed off with a neon text-work by Tim Etchells. The Horror Show! offers an intoxicating deep-dive into the counter-cultural, mystic and uncanny, with the signature design of the three acts courtesy of architects Sam Jacob Studio and Grammy-winning creative studio Barnbrook.
[Somerset House]
Donate a nipple for art!
Written in this way seems a joke but it isn't at all.
I came up with this idea at first as a provocation to some friends but then it developed into artistic destinations so I started considering it.
This is my idea, I want to public photos of your nipples on my photo blogs. Actually only one of them. A lot of people consider this part of the body as a taboo (not everybody of course) generally linked to religious heritage.
This is a dumb thing. Free your mind from your taboos and free your nipples. Obviously I won't expect a big adherence from women but anyone who wants to see his own nipple portraited and exposed in a photo blog (and eventually if I'll get the permission in a photo exhibition) send me by messenger or by SMS a photo of a nipple. The photo should be well done and resoluted, you can indulge in it with your fantasy making it up, beautifying it without hiding it, it should be clear.
Obviously I can take the photo for you just in case you live near me. I don't feel like going out with this hot temperatures