View allAll Photos Tagged provocation
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
U.S. is doubling down. Do we really want to fight two proxy wars against Russia and China at the same time?
www.wsws.org/en/articles/2022/08/05/hjgc-a05.html
US pledges to send warships through Taiwan Strait in standoff with China
Following U.S. House Speaker Nancy Pelosi’s trip to Taiwan, which deliberately provoked the greatest crisis in the region in a quarter century, the United States has announced plans for its next provocation: sending aircraft and warships through the Taiwan Strait.
The US will conduct “air and maritime transits through the Taiwan Strait in the next few weeks,” White House spokesperson John Kirby said.
In June, Fortune reported that Beijing told US officials that China sees the Taiwan Strait as its territorial waters, leading to the possibility Chinese military forces could seek to block a transit by a US warship, potentially leading to a military clash.
Kirby announced that the USS Ronald Reagan carrier strike group, which is operating in the waters outside Taiwan, will extend its deployment in the area.
The US announcement came amid a military standoff over Taiwan. After Pelosi’s visit, China carried out live-fire exercises in the waters on all sides of Taiwan, forcing the cancellation of flights and the re-routing of ships.
China deployed over 100 aircraft and over 10 warships in its largest-ever military drills in the Taiwan Strait. China fired at least 11 ballistic missiles, some flying directly over mainland Taiwan, and deployed drones that flew over Taiwan’s Kinmen Islands.
Over 900 flights involving 18 international air routes have been adjusted, and 66 flights have been cancelled.
The Global Times reported that the military drills “featured advanced weapons, including long-range rocket artillery, anti-ship ballistic missiles, stealth fighter jets and an aircraft carrier group with a nuclear-powered submarine, as well as realistic tactics that simulated a real reunification-by-force operation.”
For the first time, the Chinese drills included a “carrier group deterrence exercise,” the Global Times reported, and at “least one nuclear-powered submarine has been deployed.”
Both of China’s aircraft carriers were reported to have been steaming toward Taiwan, and either one or both participated in the drills.
Critically, China also fired missiles into Japan’s territorial waters, in what was interpreted as a message about its ability to strike US bases in Japan. The Global Times wrote: “The PLA exercise zones set in the northeast, east and south of Taiwan island are designated not only to blockade Taiwan and hit targets on the island, but also to prevent external forces like the US from intervening from its bases in Japan and Guam via the Philippine Sea.”
Japan, whose population overwhelmingly opposes militarism following Japan’s crimes in World War II and the US mass murder of the populations of the cities of Hiroshima and Nagasaki, is being swept into the US-led war drive against China. This year, officials pledged to double Japan’s defense spending, up to 2 percent of GDP, and politicians have proposed stationing US nuclear missiles on Japan.
Even as the US made clear it would continue its efforts to goad China into military conflict, White House officials asserted—which neither they nor anyone else believe—that Pelosi’s visit was meaningless.
Kirby, the White House spokesperson, said in a statement Thursday: “I want to reiterate, as I’ve been saying all week: Nothing—nothing—has changed about our One China policy, which is guided by the Taiwan Relations Act, the Three Joint US-PRC Communiqués, and the Six Assurances. And we say it that way every time because it’s exactly consistent.”
He added: “The provocateur here is Beijing. They didn’t have to react this way to what is completely normal travel by congressional members to Taiwan... The Chinese are the ones who are escalating this.”
Kirby’s claims were refuted in an article published in the Washington Post by Qin Gang, China’s ambassador to the United States, noting that: “In the past 18 months alone, the United States has made five rounds of arms sales to Taiwan.”
Qin concluded: “Just think: If an American state were to secede from the United States and declare independence, and then some other nation provided weapons and political support for that state, would the US government—or the American people—allow this to happen?”
Amid the ongoing military standoff, the US Senate is moving to formally abolish the One China policy, which is already a dead letter in practice.
The so-called Taiwan Policy Act of 2022, sponsored by Democratic Senator Bob Menendez and Republican Senator Lindsey Graham, would designate Taiwan a “major non-NATO ally” alongside Japan, effectively giving it diplomatic recognition and ending the One China policy.
The bill would provide Taiwan $4.5 billion in military aid, a figure in order of magnitude greater than current expenditures.
“Our bill is the largest expansion of the military and economic relationship between our two countries in decades,” Graham said, deliberately referring to Taiwan as a country.
Graham added: “If you put this on the floor of the Senate, it would pass overwhelmingly.”
The relentless efforts by the Biden administration to provoke a war with China represent an enormous danger to the population of Taiwan, China, the Asia-Pacific region and the whole world. In an effort to preserve US military and economic hegemony and suppress political opposition at home, the United States is putting all of humanity in jeopardy.
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
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
Tulane School of Architecture Thesis Projects 2009. Exhibit at the Ogden Museum. Photo of interior of Howard Library by Richard Sexton
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
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 ]
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
Day 1 of Sonic Acts Academy 2020. Cõvco at Sounding Provocations, Stedelijk Museum Amsterdam on 21 February. Photo by Pieter Kers.
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
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
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 ]
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
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 ]
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
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
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 ]
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]
Christopher "m00t" Poole at TED2010, Session 5, "Provocation," Thursday, February 11, 2010, in Long Beach, California. Credit: TED / James Duncan Davidson
Sign at entrance to America Tropical Interpretive Center on Olvera Street near downtown LA.
David Alfaro Siqueiros was a (self proclaimed) hardcore Marxist communist Mexican artist known for his highly political huge murals. He was deadly serious (to the point of involvement in a conspiracy to assassinate Leon Trotsky) and not the now widespread "Limosine liberal" dilatante who is only "communist to be cool".
America Tropical was painted in 1932 on the south wall of the Italian Hall (between Main Street and Olvera Street) and caused an immediate controversy. Clearly intended to be a provocation, it depicted a "non-european" male crucified in a tropical setting with drums. From the sketches and early photos in the Interpretive Center, the victim appears more African than Indigenous Mexican. However, the pose appears to be identical to a photo of a criminal that was crucified in Japan in the 1860s (in the Interpretive Center). In any case, not a "generic Caucasian".
Almost immediately the mural was covered with whitewash (literally and figuretively) and out of view for 80 years, until October 2012. Now in a protective enclosure, it was left in its badly faded
condition, as Siqueiros himself wanted when asked in the 1970s.
Still controversial: The docent told of a visitor who upon noting the crucification pose asked "So was Siqueiros a religious man?" Upon hearing "No, he was a Communist" the visitor left in a huff.
Périgordins en avance
Dans le cadre de fouilles dans le sous-sol russe jusqu'à 100m de profondeur, les scientifiques russes ont trouvé des vestiges de fil de cuivre qui datait d'environ 1000 ans.
Par provocation les Russes en ont conclu publiquement que leurs ancêtres disposaient
déjà il y a 1000 ans d'un réseau de téléphone en fil de cuivre.
Les Américains, pour faire bonne mesure, ont également procédé à des fouilles dans leur sous-sol
jusqu'à une profondeur de 200m. Ils y ont trouvé des restes de fibre de verre.
Il s'est avéré qu'elles avaient environ 2000 ans.
Les Américains en ont conclu que leurs ancêtres disposaient déjà il y a 2000 ans
d'un réseau de fibre de verre numérique.
Et cela, 1000 ans avant les Russes !
Une semaine plus tard, à Beynac, en Dordogne, on a publié le communiqué suivant :
"Suite à des fouilles dans le sous-sol de la mairie du Bourg, jusqu'à une profondeur de 500m, les scientifiques Périgordins n'ont rien trouvé du tout"...
Ils en conclurent que nos Anciens Croquants disposaient déjà il y a 5000 ans d'un réseau Wifi.
Ce n'est qu'un peu plus tard que Dieu inventa le vin de noix et le «Chabrol» afin d'éviter que les Périgordins ne deviennent les maîtres du monde...
Je sais je suis fou !!
MARREZ VOUS BIEN ?ET SI C'ETAIT VRAI !!!!
As part of excavations in the basement until Russian 100m deep, Russian scientists found traces of copper wire dating back approximately 1,000 years.
Provocation by the Russians have publicly concluded that their ancestors had
already 1000 years ago a network of telephone copper wire.
The Americans, for good measure, also conducted searches in their basement
to a depth of 200m. They found the remains of fiberglass.
It turned out they were about 2000 years.
The Americans concluded that their ancestors already had 2000 years ago
a network of digital fiber glass.
And that, 1000 years before the Russians!
A week later, Beynac, Dordogne, was released the following statement:
"Following the excavations in the basement of the town hall of Bourg, to a depth of 500m, scientists Perigord found nothing at all" ...
They concluded that our Veterans Crisp had already 5000 years ago a WiFi network.
It was only later that God invented wine and nuts "Chabrol" to prevent the Perigord become masters of the world ...
Perigord por delante
Como parte de las excavaciones en el sótano hasta 100m de profundidad de Rusia, los científicos rusos encontraron rastros de alambre de cobre que data aproximadamente 1.000 años.
Provocación por parte de los rusos han hecho pública la conclusión de que sus antepasados habían
Ya hace 1000 años una red de cable telefónico de cobre.
Los estadounidenses, por buena medida, también llevaron a cabo búsquedas en su sótano
a una profundidad de 200 metros. Hallaron los restos de fibra de vidrio.
Resultó que eran alrededor de 2000 años.
Los americanos concluyeron que sus antepasados ya tenía hace 2000 años
de una red de fibra de vidrio digital.
Y que, 1000 años antes de que los rusos!
Una semana después, Beynac, Dordoña, se publicó la siguiente declaración:
"A raíz de las excavaciones en el sótano del ayuntamiento de Bourg, a una profundidad de 500 metros, los científicos Perigord encontrado nada en absoluto" ...
Llegaron a la conclusión de que nuestros Veteranos Crisp ya hace 5000 años a una red WiFi.
Fue más tarde que Dios inventó el vino y las nueces "Chabrol" para evitar el Perigord ser dueños del mundo ...
Sé que estoy loco!
Pero si era cierto??
Perigord avanti
Come parte di scavi nel sottosuolo fino a 100m russo profondo, gli scienziati russi hanno trovato tracce di filo di rame risalenti a circa 1.000 anni.
Provocazioni da parte i russi hanno pubblicamente concluso che i loro antenati avevano
già 1000 anni fa, una rete di filo di rame telefonico.
Gli americani, per buona misura, anche le ricerche condotte in cantina
ad una profondità di 200 metri. Hanno trovato i resti di fibra di vetro.
Si è scoperto che erano circa 2000 anni.
Gli americani hanno concluso che i loro antenati avevano già 2000 anni fa
una rete di fibra di vetro digitale.
E che, 1.000 anni prima che i russi!
Una settimana più tardi, Beynac, Dordogne, è stato rilasciato la seguente dichiarazione:
"Dopo gli scavi nel seminterrato del municipio di Bourg, ad una profondità di 500 metri, gli scienziati Perigord trovato niente" ...
Essi hanno concluso che i nostri veterani Crisp aveva già 5000 anni fa ad una rete WiFi.
E 'stato solo dopo che Dio ha inventato il vino e frutta a guscio "Chabrol" per impedire il Perigord diventare padroni del mondo ...
I know I'm mad!
Ma se fosse vero?
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 ]
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]
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
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 ]
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
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 ]
Cuban provocation in front of the United States Interests Section which is basically the US Embassy.
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]
Taken in the exhibition
Ghost
The show’s second act, Ghost, marks the collapse of hyperinflated 80s culture into an uncanny temperature change that presided over the 90s and early 00s. It traces an unsettling path through to the global financial crisis of 2008, a turning point in time between a century of old and new, at the dawn of a digital age of faceless audiences and invisible cyber wars.
Derek Jarman’s last feature and magnum opus, Blue (1993), offers a profound evocation of the artist’s final days, marrying comforting connection with disconnection from the world, warmth with coldness, as Jarman poetically narrates his approach towards death. Newly commissioned, immersive sound installations from Laura Grace Ford and Nick Ryan highlight the strange frequencies of an age that saw the emergence of trance music and readily accessible sampling machines. Ford’s installation explores the sonic textures of the city to uncover those hiding in the black spots that neoliberalism has failed to assimilate, while Ryan’s voices form a call-and-response, as visitors become spectator, spectacle and a ghost in the machine. Works from Jeremy Millar and Gavin Turk unsettle with a paradoxical clash of ghostly presence and absence, familiarity and otherness. Cornelia Parker’s map, scorched with a heated meteorite fragment, tells a tale of apocalypse for the end of the millennium and the fear of the unknown.
Contributing artists include A Guy Called Gerald, Barry Adamson, Hamad Butt, Adam Chodzko, Kevin Cummins, Graham Dolphin, Tim Etchells, Angus Fairhurst, Paul Finnegan, Laura Grace Ford, Ghostwatch, Lucy Gunning, Paul Heartfield, Susan Hiller, Matthew Holness & Richard Ayoade, Stewart Home, Derek Jarman, Michael Landy, Richard Littler (Scarfolk), Jeremy Millar, Haroon Mirza, Drew Mulholland, Pat Naldi & Wendy Kirkup, Cornelia Parker, Steve Pemberton, Nic Roeg, Nick Ryan, Scanner (Robin Rimbaud), Adam Scovell, Sensory Leakage, Reece Shearsmith, David Shrigley, Iain Sinclair, Kerry Stewart, Tricky, Gavin Turk, Richard Wells, Rachel Whiteread and Words & Pictures.
[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]
Minverva Cuevas - Mejor Vida Corp. (Better Life Corporation) (1998-)
The Mejor Vida Corp. (Better Life Co.) began as a series of public interventions, nourished by a mixture of provocation and hope, in reaction to the context of Mexico City. Items like free subway tickets, barcodes reducing the price of food in the supermarket, letters of recommendation and student identification cards were distributed around the city. While these interventions were not planned as an experiment, they evolved into one: a social and political experiment conducted in the arena of everyday life. As the MVC web page was being created, MVC developed a corporate structure, in which its activities were divided into categories such as Products, Services, Campaigns, echoing those commonly found in commercial websites.
The most conspicuous aspect of the project is that its products are distributed for free, and despatched anywhere in the world without charge. This practice of handing out gifts without any philanthropic intention signifies an opposition to the notions of commodification and profit. MVC does not conceive of itself as a charity, dispensing help or solutions to everyday problems. Instead, it analyses specific issues in diverse social and economic contexts within the capitalist system, frequently targeting its corporate and institutional monsters, activating the practice of gift giving as premise for the articulation of exchange – a human exchange, social and non-commercial.
photo: Kristof Vrancken / Z33
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
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 ]
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
Taken in the exhibition
Ghost
The show’s second act, Ghost, marks the collapse of hyperinflated 80s culture into an uncanny temperature change that presided over the 90s and early 00s. It traces an unsettling path through to the global financial crisis of 2008, a turning point in time between a century of old and new, at the dawn of a digital age of faceless audiences and invisible cyber wars.
Derek Jarman’s last feature and magnum opus, Blue (1993), offers a profound evocation of the artist’s final days, marrying comforting connection with disconnection from the world, warmth with coldness, as Jarman poetically narrates his approach towards death. Newly commissioned, immersive sound installations from Laura Grace Ford and Nick Ryan highlight the strange frequencies of an age that saw the emergence of trance music and readily accessible sampling machines. Ford’s installation explores the sonic textures of the city to uncover those hiding in the black spots that neoliberalism has failed to assimilate, while Ryan’s voices form a call-and-response, as visitors become spectator, spectacle and a ghost in the machine. Works from Jeremy Millar and Gavin Turk unsettle with a paradoxical clash of ghostly presence and absence, familiarity and otherness. Cornelia Parker’s map, scorched with a heated meteorite fragment, tells a tale of apocalypse for the end of the millennium and the fear of the unknown.
Contributing artists include A Guy Called Gerald, Barry Adamson, Hamad Butt, Adam Chodzko, Kevin Cummins, Graham Dolphin, Tim Etchells, Angus Fairhurst, Paul Finnegan, Laura Grace Ford, Ghostwatch, Lucy Gunning, Paul Heartfield, Susan Hiller, Matthew Holness & Richard Ayoade, Stewart Home, Derek Jarman, Michael Landy, Richard Littler (Scarfolk), Jeremy Millar, Haroon Mirza, Drew Mulholland, Pat Naldi & Wendy Kirkup, Cornelia Parker, Steve Pemberton, Nic Roeg, Nick Ryan, Scanner (Robin Rimbaud), Adam Scovell, Sensory Leakage, Reece Shearsmith, David Shrigley, Iain Sinclair, Kerry Stewart, Tricky, Gavin Turk, Richard Wells, Rachel Whiteread and Words & Pictures.
[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]
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
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 ]
by Tech. Sgt. Benjamin Rojek
Defense Media Activity
5/4/2012 - FORT GEORGE G. MEADE, Md. -- Walking almost 90 miles, 36 Airmen completed the Air Advisor Memorial Ruck March from New York City to Joint Base McGuire-Dix-Lakehurst, N.J., April 26-27.
The march, which started at One World Trade Center and ended at the Air Advisor Academy, was in remembrance of the deaths of nine U.S. air advisors in Afghanistan.
On the morning of April 27, 2011, an Afghan Air Force lieutenant colonel walked into the Afghan Air Command and Control Center at the Kabul Air Command Headquarters and, without warning or provocation, opened fire, killing eight active-duty U.S. Airmen and a retired U.S. Army lieutenant colonel. Those nine service members came from various bases and specialties, but were working together for a common mission: advising the Afghan military.
"It was a unique situation," said Lt. Col. J.D. Scott II, the march coordinator and chief of core knowledge at the Air Advisor Academy. "It didn't happen for a particular base. It didn't happen for a particular squadron or base or even for a particular (Air Force Specialty Code).
"Because of that, remembering their sacrifice may not have been captured as a whole," Scott continued. "The individual would have been honored at their base, but the mission of the entire of the team would not have been recognized."
Since all of the nine went through the Air Advisor Academy, Col. John Holm, the academy's commandant, decided that would be the place to honor their sacrifice as a team, Scott said. Holm made plans to create a physical memorial, but a plethora of obstacles made it impossible to complete the memorial by the one year anniversary of the tragic event. One of the obstacles was funding.
Holm and his team came up with idea of a ruck march to both honor the fallen air advisors and act as a fundraiser to help build the physical memorial. Scott was put in charge of organizing the march and, in just two weeks, succeeded in gathering people from Dover AFB, Del., to Eielson AFB, Alaska, for the march. Each marcher knew at least one of the nine fallen air advisors in some way.
"Master Sgt. Tara Brown and Maj. Phil Ambard both lived three and four doors down from me in the dorms," said Tech. Sgt. Brian Christiansen, a photographer with the 145th Airlift Wing in Charlotte, N.C., who was deployed to Kabul, Afghanistan at the same time as the air advisors. "Both were incredibly friendly people. And I met several of them (the morning of the shooting) as I walked into my building and opened the door and they walked out."
Those personal connections to the fallen service members and their families drew the 36 marchers together, Scott said.
"They were coming in from all over," he said. "That's kind of representative of the nine that we lost. They came from all over the Air Force to serve a single mission as an air advisor. So the marchers that were honoring them came from all over the Air Force to remember them."
Each paid their own way to New York City to honor their fallen friends and show their families that they haven't forgotten their loved one's sacrifice. The event also drew in another 14 volunteers to help with everything from transportation to food to health and care coverage.
The marchers were broken up into four teams, each set to march three legs of 7.3 miles. During their leg, each marcher carried a ruck sack with a paver stone inside, each stone engraved with the name of a fallen air advisor and to be laid at the memorial on JB MDL.
Holm and his nine-person team kicked off the march at 9:11 a.m. April 26. However, rather than just start off near ground zero, the colonel wanted to do something more for his fallen comrades.
"We wanted to honor them by doing something significant, and to me starting at the top of the World Trade Center was it," Holm said. "We had those ruck sacks on the entire tour. It was all symbolic and important to us in our own personal, different ways. For me, it was probably the biggest single gesture we could do short of opening up (the academy's) memorial ourselves."
The significance of the march touched a lot of people along the way, starting with the One World Trade Center steel workers, who gave the Airmen a standing ovation as they marched through the structure. Other people along their route also showed their appreciation by stopping to give hugs, encouragement, thanks and even money toward the memorial.
As they traveled by foot from New York to New Jersey, state and local police departments provided escort, each district calling the next to inform them of what the Airmen were doing, Holm said. The marchers were even given a chance to rest and eat at the fire departments in both Elizabeth, N.J., and Jersey City, N.J. It was a sign of support of both the Airmen marching and the fallen air advisors, he said.
When the fourth team finished their last leg, the marchers were 1.1 miles from the construction site of the Air Advisor Memorial on JB MDL. All 36 marchers gathered together in formation and made their way through the base gate. What met them there was surprise to all.
"Security forces closed down the road and gave us police escort in," Scott said. "There were numerous amounts of people from the front gate to the memorial lining the street on both sides, just cheering us on in.
"The fact that the base community just embraces us and cheered us in on those final steps, it's very inspiring," he added.
It was an emotional moment for Christiansen as well. He was present at the base when the air advisors were killed and attended their dignified transfer ceremony. However, each person was laid to rest in different locations around the U.S., so he never got to have closure.
Christiansen said the real impact came when he saw the road signs leading to the installation. "That's when it really started to hit in not that we're all going to do this, but this is for real. We've done this for the families, we've done this for our fallen brothers and sister. It was pretty easy to get caught up in the emotion there.
"The ceremony of laying the bricks down was really powerful," he added. "It brought some serious closure."
For Chaplain Maj. Eric Boyer, who said the opening prayer for the stone laying ceremony, it was a bittersweet chance to pay tribute to two of the officers that he had a connection to.
"It makes me proud to know that their sacrifice will be honored and will be remembered," he said. "Every Air Advisor who comes through the academy here is going to recognize the price that has been paid by their predecessors."
Prior to entering military service, Boyer knew Lt. Col. Frank Bryant from their hometown of Knoxville, Tenn., where he served as Bryant's wrestling coach.
Boyer also served as squadron chaplain for Maj. Jeffery Ausborn while at Joint Base San Antonio in 2011, but had already changed duty station's to JB MDL when he got the word about Ausborn's death. His biggest regret was not being able to preside over his funeral service.
"It meant a lot to me to be able to say something to honor his memory here, since I wasn't able to speak at his memorial ceremony back at his home station," he said.
While the ruck march and stone-laying ceremony brought some closure for Christiansen and others, the construction of the memorial itself is still ongoing. However, between the pledges for the marchers, donations received during the march as well as T-shirt and brick sales, Holm estimated that the team has raised almost $10,000 toward the memorial just through this one event.
"We have that feeling that we did the right thing just by honoring our comrades, regardless of what money we raised," Holm said. "That was a tremendous feeling."
The Air Advisor Memorial is scheduled to be unveiled July 27. For more information on the memorial, visit www.airadvisormemorial.org
Michael Sandel at TED2010, Session 5, "Provocation," Thursday, February 11, 2010, in Long Beach, California. Credit: TED / James Duncan Davidson
Frank Durán - CNC / G Code talk.
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 ]
Group 3_
Alejandro Candela, Georgina Muñoz, Carlos Paz, Berenice Jimenez, Laura Antelo, Gabriel Manriquez
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 ]