Human Nature: Justice versus Power

Human Nature: Justice versus Power
Noam Chomsky debates with Michel Foucault
1971

Well, may I first of all ask you not to make your answers so lengthy? [Foucault laughs.]
When you discuss creativity and freedom, I think that one of the misunderstandings, if any misunderstandings have arisen, has to do with the fact that Mr. Chomsky is starting from a limited number of rules with infinite possibilities of application, whereas you, Mr. Foucault, are stressing the inevitability of the "grille" of our historical and psychological determinisms, which also applies to the way in which we discover new ideas.
Fons Elders.


Noam Chomsky vs. Michel Foucault - (12:52)(1971)
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cees egas - steps

cees egas - steps (03:16)(2009)
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Mike Maxwell

Mike Maxwell: I often say my work comes as a re-education to myself, so yes their is often a theme to my work, as the work is generally based on whatever research projects I am working on in my personal life. For instance, I have done specific shows on Secret Societies, The Civil War, Sex, Science, and Religion. I'm getting to a point now where all of these topics are beginning to apply themselves to all my work as I study human behavior.
source: sezio

shootinggallery

shootinggallerynews

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bird brains

A Vending Machine for Crows
An Experiment in Corvid Learning

Josh Klein designed the machine so that when the crows searched for the missing peanuts, they pushed the coins out of a dish into a slot, causing more peanuts to be released into the dish. The Binghamton crows quickly learned that dropping nickels and dimes into the slot produced peanuts, and the most resourceful members of the flock began looking for more coins. Within a month, Klein had a flock of crows scouring the ground for loose change.
source: nytimes


Crow Vending Machine (03:45)


Rook with a hook proves bird brains are the equal of monkeys'

'Deceptive' scrub jays hide food

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Elisabeth Wedenig

Elisabeth Wedenig ist auch Reisende, Weltreisende. In dieser Ausstellung erinnern einige kleinformatige Arbeiten auf Taschentüchern daran, dass ein Teil ihres Werkes auf Reisen entstand. Die Werke zeigen fragmentarisch Wahrgenommenes und flüchtig Festgehaltenes, als handle es sich um Skizzen für ein Reisetagebuch. Die Taschentücher sind Fundstücke, objets trouvés, die hier zum Trägertextil kleiner Bilder in Mischtechnik werden: für den zwischen Ornament und Tier oszillierenden »Schafschlaf« ebenso wie für die »Madonna mit ohne Kind«. Textil und Bildmotiv stets wie in symbiotischer Beziehung – nur aus der Ferne erkennt man das Nächste. So fallen Bilder zu: wie Träume, wie kleine erleuchtete Augenblicke.
source: MUSA Museum auf Abruf

baeckerstrasse4

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Shayirha: The Chair!

“The Chair” is Shayirha’s first phyisical offspring. A very simple, yet strong, chair that has resisted collaps in the face of the heviest KFUPM weights =)
A big thank you is due to everyone who was responsible for the design and construction of this fantastic piece of art !!
( What is Shayirha ?! )



Shayirha: The Chair! (07:10)
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Nigel Cooke

Nigel Cooke’s paintings oscillate between extremes – he works on an epic scale but dwells on the minutiae of decay and dissolution, he paints with scientific accuracy but creates scenes that could never exist. Each canvas is composed with consummate skill but offers a less-than-reassuring encounter with entropy and excess. Thus, his paintings seem determined to short-circuit themselves, as if bent on self-destruction.
source: Mary Horlock - Tate Britain

blumandpoe

andrearosengallery

TateShots: Nigel Cooke (04:03)

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Indian Tomb - Fritz Lang

Fritz Lang's Indian epic is based on work he did forty years earlier on a silent version of Das Indische Grabmal. He and Thea von Harbou co-wrote the screenplay, basing it on von Harbou's novel of the same name. Lang was set to direct, but that job was taken from him and given to Joe May. Though Lang did not control the final form of that earlier version, it is one of his most revered films.

Released in 1921, the original version of Das Indische Grabmal had a running time of 3 1/2 hours. For the remake, Lang divided the story into two parts that each run about 100 minutes, a length modern audiences can more easily accept.
source: wikipedia


Indian Tomb (06:49) (1959)
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Kiwanoid

KIWA is an estonian pranxter multichannel meta-artist who blends the meaning of authorship on different levels. His practice (gallery installations, texts/books, music/sound, curating, bad & meta-painting, video, performance, conceptual projects in media and public space) make up one consistent text, a personal semiosphere, where one theme is expressed through different mediums. His art draws on pop-lifestyles and the counter cultures as well as cryptic texts, multimedia lectures, theories and practices in the field of micro-literature, pseudoidentities. His work is often described as "anarcho-pop", "metaphysical conceptualism" or "deconstruction of socio-symbolic net of current society".
source: artist page.

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Eva Struble

Eva Struble’s monumental paintings draw from the traditions of landscape,architecture, and abstraction. Taking inspiration from sources as diverse as antique Arabic miniatures and contemporary Asian construction, Struble’s motifs balance the odyssey of nature with the carefully ordered precision of design. Rendered with acidic hues and an exaggerated consideration of space and placement, Stuble’s landscapes resolve as affected dioramas, envisioning otherworldly tableaux through their compositional pastiche.
source: saatchi-gallery

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Dopludo Collective

The Dopludo Collective, a group of designers based in St Petersburg, Russia, is gaining a reputation for provocative street posters, using little more than text and strategic placement of work.
source: The Inspiration Room

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Maureen Gallace

Small, bucolic paintings slowly give way to perfidious abstractions that have relatively little to do with the vernacular structures of the New England landscape that they depict. Maureen Gallace’s paintings are welcomingly complex if you give them time.
Simple geometries rendered with slightly faulty perspectives comprise the barns, clapboard outbuildings and beach houses that occupy the middle space of her pictures.
Gallace is pictorially consistent, repeating a compositional format that includes stripped-down architectural structures centred in a middle ground. Her horizons are predictably located near the half-way point of her paintings. Her foregrounds are vacant, and swaths of open sky constitute the background. This formula provides her with an opportunity for painterly invention in colour, form, surface and contrast.
source: Michelle Grabner - Frieze Magazine 2006

kohngallery

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Tribus - Erik Roren

Tribus is a sculptural tag, a mass-produced object for the street. It is a work with such a strong and direct shape and color language that a signature is unnecessary. The expression is the signature and the link between the art pieces. The ambition is to get a direct contact with the viewer.
source: Erik Roren

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