President Obama has managed, with singular assistance from Congress and the courts, to mangle the Constitution through repeated abuses, attacks and evasions.
This is nothing new, as I’ve documented in my book A Government of Wolves: The Emerging American Police State. However, with his recent speech on the National Security Agency—a heady cocktail of lies, obfuscations, contradictions and Orwellian doublespeak—Obama has also managed to pervert and propagandize our nation’s history, starting with Paul Revere and the Sons of Liberty, likening their efforts to secure our freedoms to NSA phone surveillance. Frankly, George Orwell’s Winston Smith, rewriting news stories for Big Brother and the Ministry of Truth, couldn’t have done a better job of revising history to suit the party line.
“Rubber and roboted, all a control lotted, not one decides “it” for itself,” writes Chicago-based artist CJ Hungerman in a poetic description of his Random Robot Attacks, an ongoing collection of vibrant paintings and sculptures that feature small, cartoonish bombs—robotic projectiles—that Hungerman uses to represent the primal core of humanity.
The attacks may be random, but for Hungerman, the message is clear: humanity is on the verge of self-destruction, or is, at the very least, facing an existential crisis of apocalyptic proportions.
Hungerman discusses his energetic and thought-provoking work with Gadfly.
The reindeer pack is a shambles and causing him stress,
Rudolph’s fame got the best of him; he’s a drug-addled mess,
With a reindeer down he hired one named Snowdon,
But things went from bad to worse when a story was broken.
WATCH THE VIDEO.
Fifty years ago a young man by the name of Robert Zimmerman took a song to Studio A in New York City and after seven takes perfected what would turn out to be an anthem for that time. The Times They Are Changing is one of Bob Dylan’s most famous protest songs written under an atmosphere drenched in revolutionary prospects. The song was recorded on October 23 1963 and first …continue…
Last winter I hit the road in my pickup for a long road trip to get away from the east coast and explore the country. The rough plan was to take a meandering western route across the southern part of the United States, visit family outside of Los Angeles, make my way up through Canada to Alaska and eventually meander my way back east across the northern U.S. before returning home to Delaware. I packed my truck with my camera, about 30 books, an iPod full of music and, as a good friend suggested, a rubber ducky on my dashboard. What follows are a few of the highlights from ducky’s travels with me on the road.
Samy Sfoggia was born in 1984. She has a bachelor’s degree in History and studied Art and Photography. She works primarily with black and white negative film, scanned and digitally altered: assemblies, color inversion, drawings on the tablet. Her work is influenced by movies (David Lynch) and literature (Franz Kafka). She tries to represent the subconscious mind by creating fantastic imagery and by juxtaposing elements that seem to contradict each other. Her pictures are like frames of an unconscious deliberately incoherent and illogical. She tries to create the nightmare aesthetics.
Imitating Alexander Solzhenitsyn’s famous work on the gulag prison system in Soviet Russia, The First Circle, Jens Soering portrays himself in this book as prisoner 179212, serving a life term with no possibility of parole through anything but death. In this short and easy to read narrative he supplies an hour-by-hour survey of daily life in a medium-security prison in Virginia, while also identifying and commenting upon numerous public policy issues relating to the state of the typical prison system in the United States. His chronology of a typical day is enlightening and instructive for any interested citizen but it is only the structure for the greater policy issues which this book raises about the operation of America’s prison-industrial complex. READ MORE.
I am by no means an anthropologist, theologian or a historian, But my work is based on all these worlds, just like I’m equally interested in Science as I am in Art. The history of science, like that of art is not a simple progression from lower to higher, but a sequence of responses to the world, conditioned by historical circumstances, and having the central questions of nature always at its heart.
At this moment I’m interested in man’s ability to recognize his own and nature’s patterns. I’m trying to create a graphic novel of some sort that deals with these ideas and it’s also a lot about catastrophic storms.
Through his series Lost Archives, Fabio Sassi explores the deterioration of the fairytale world of paper due to the rise of the pdf. The stacks of paper remind us of the long evolution from clay tablet to printing press to computer screen. Fabio Sassi has had several experiences in music, photography and writing. He has been a visual artist since 1990 making acrylics using the stenciling technique on canvas, board, old vinyl records and other media. Fabio uses logos, icons, tiny objects and shades to create weird perspectives. Many of his subjects are inspired by a paradox either real or imaginary and by the news. He lives in Bologna, Italy. His work can be viewed at www.fabiosassi.foliohd.com.