Art is Not the Evening News

Confronted with a huge
value of pleasure

Don't let that stress you out
You'll see it reflected somewhat in how I don't often respond, most people don't.
It might seem impolite, but ask yourself,
“You are so complex, you don't even respond to danger"
In case I didn't make that clear: don't ever ever respond in anger
or don't respond at all. Your mom was
honest and in agreement as much as possible -
There are some individuals out there who don't enjoy just winding people up,
calm and sincere.
We don't leave it to people's own consciousness to make the first step; we do
a nasty power move, mediocre and vulgar, such as telling you to do things
I just got ambitions and now sometimes when I get my Sim to respond to touch or voice commands with sentimentality, pathos
It encourages an extremely varied and nuanced investigation
He has entertained and the dude is crazy humble
Melissa (his Sim friend) really listens and they really respond to each other
It seems when I fix one problem in Sims 3 another pops up,

Why don't we know the art of our closest neighbours?
Don't you feel thrilled that the most outrageous artist in the world,
rather than responding to “My best friend hooked up with my boyfriend, and I don't know what I'm going to do,” with “Wow, that sucks”
will say, “I’ve been praying for you.”
Your hurting friend is sorry, too, but can't respond to "I'm sorry.”
Come on, you don't think they’re cute at all? a little charming?
You may also receive other replies, but I just wanted to offer my response

Our achievements in everything from art to rocket science may be merely an “I don’t want to talk to you"
a perfect argument, condition
when something happens to me and I don't respond
Some people don't respond well to the traditional equation-oriented presentation,
they start to respond too sensibly and intelligently

Keep your reasons for combining math and art conventional
because it's a pretty accurate comparison
plus numerous quite serious and important
If you weren't planning on the arrival of a bundle of joy, make sure you don't respond
Passing a value of false causes the script to halt until the response is “Wild in the Streets”
Let's stop pretending that public alcoholics and addicts don't harm those
who are sympathetic with the plight of the so called
If you don't know they are deceiving you, you approach
When you delay your response the vandalism worsens
And you should lose your job and should never do                 
these meanings to things, these sinister meanings that don't exist

You don't have to choose between being the subject or the object if all subjects react similarly

In fact, the empathic response is a skill,
By acing the art of the open-ended question you bond and teach at the same time.

PROVOKING A FEW SERIOUS QUESTIONS

1m35s: CUT TO POINT-OF-VIEW SHOT FROM BEHIND A BLACK PIECE OF CARDBOARD WITH CIRCULAR CUTOUT REVEALING RICK ROSS WEARING LOUIS VUITTON MILLIONAIRE FRAMES, RED VELOUR SWEATSUIT, HANDS TOGETHER IN RESERVED CONTEMPLATIVE FASHION, SITUATED IN WHEELCHAIR EMBELLISHED WITH RUSTIC UNFINISHED-STEEL SPINNERS, POSSIBLY SPOONS. ROSS MOUTHS THE PHRASE, “I GOT A CHOPPER IN THE CAR,” PRODUCES A GRUNTING FACIAL EXPRESSION AND SLOWLY TURNS HIS HEAD AWAY FROM THE CAMERA WHILE A LARGE RAT SCAMPERS ACROSS THE FRAME. 

The presence of the wheelchair in the video for "John" by Lil Wayne ft. Rick Ross – perhaps a nod to the late David Foster Wallace's 1996 masterpiece work of fiction Infinite Jest, which features a group of deadly Quebecois terrorists called "Les Assasins des Fauteuils Rollents" whose members lack functioning legs and are wheelchair-bound?

"Not all paradoxes have to be paralyzing."

David Foster Wallace - The Nature of Fun 
from Fiction Writer Magazine, September 1998.

WHY DID YOU WHY DID YOU DO

WOULD YOU CATCH ME IF I SAID THAT I'M OFF THE CHAIN

I'm the dude that cries,
Cries for happiness and cries for life

YO FLYING CAR

http://www.terrafugia.com/index.html

"GRT South of Kitchener" - A critical Perspective

 

In this short work by Conan Lai, footage taken at the front of a bus becomes a tool for exploring the dreadful experience that is public transit. So dreadful that you might actually feel like you're riding in slow-motion or going backwards, two effects which are applied to the central frame’s video, which is superimposed over the same footage of an otherwise normal, forward moving bus ride (the outer frame). These two frames, the reality of the bus ride and the representation of what it feels like are separated by a thin border also generated from the same footage. The border, however, has been obscured by heavy amounts of magnification. Our experience of the bus ride then seems to be the result of some process of magnification or abstraction, which really is just any attention to detail or thinking which occurs on the bus. 

It's interesting to look at this video from a geographical/historical perspective of the region. GRT not only serves Kitchener, but also the adjacent cities of Waterloo and Cambridge. This video was released at a time considered to be key in Waterloo's development: when the decision to implement LRT (Light-Rail Transit) was moved forward. Is this video nodding at Waterloo's booming growth in direct relation to Kitchener's economic and social plight? Consider the title of the work, "GRT South of Kitchener." In this video the bus is seen only travelling south (backwards), not North to prosperous Waterloo but towards the even more plightful Cambridge. Is the video's title an attempt at geographic accuracy? An intentional omission of 'Cambridge', a city name with too many negative associations in Southern Ontario to even spell out?

Cambridge-bashing aside, the individual elements "GRT", "South", and "Kitchener" bring to mind associations of a lower socio-economic class, those unable to afford a car and forced to ride the bus. When we consider this, we may realize: this is what it's like to ride the bus. A limited view of black pavement and grey sedans that doesn't seem to end. At around the 1:00 mark, the sequence from inside the forward-moving bus ends, reality is blacked out, and we are left with an extreme magnification on irrelevant details in the backwards direction which this train of thought propels us. In the last six seconds of the video, our handle on the real is completely unravelled and for a moment we are left with just our lens, our thoughts, and finally, only the magnified backwards movement of cars. Useless thoughts, errata, grey pixels.