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Jeff O'Brien | Twitter | Email
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The Music Appreciation Society presents Revolution
May 4, 2013, 7:00 - 9:00 PM
Free
Djavad Mowafaghian World Art Centre
Simon Fraser University
149 West Hastings Street
VancouverFrom the literal turning of a vinyl LP as it plays, to dramatic aesthetic transformations in the field of culture, to outright political protest, music is often a conduit and medium for the expression of revolution. These expressions also cross different measures of scale, from a personally transformative encounter with a particular song to a socially galvanizing piece of music that inspires popular resistance. Please join us for a panel discussion and music listening event exploring the theme of revolution.
Panelists include: Raymond Boisjoly, Stan Douglas, Lief Hall, Donato Mancini, and Cecily Nicholson.
The Music Appreciation Society (TMAS) is a make-believe secret society dedicated to the public appreciation of music. The primary activity of TMAS is to promote the discussion of music, especially popular music, in an art context.
The Music Appreciation Society is an ongoing collaborative project of Vancouver-based artists Brady Cranfield and Kathy Slade.
This event is supported by SFU’s Vancity Office of Community Engagement.
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G R I M E S: I don't want to have to compromise my morals in order to make a living
i dont want my words to be taken out of context
i dont want to be infantilized because i refuse to be sexualized
i dont want to be molested at shows or on the street by people who perceive me as an object that exists for their personal satisfaction
i dont want to live in a world where im gonna have to start employing body guards because this kind of behavior is so commonplace and accepted and I’m pissed that when I express concern over my own safety it’s often ignored until people see firsthand what happens and then they apologize for not taking me seriously after the fact…
I’m tired of men who aren’t professional or even accomplished musicians continually offering to ‘help me out’ (without being asked), as if i did this by accident and i’m gonna flounder without them. or as if the fact that I’m a woman makes me incapable of using technology. I have never seen this kind of thing happen to any of my male peers
I’m tired of the weird insistence that i need a band or i need to work with outside producers (and I’m eternally grateful to the people who don’t do this)
im tired of being considered vapid for liking pop music or caring about fashion as if these things inherently lack substance or as if the things i enjoy somehow make me a lesser person
im tired of being congratulated for being thin because i can more easily fit into sample sizes from the runway
im tired of people i love betraying me so they can get credit or money
I’m sad that it’s uncool or offensive to talk about environmental or human rights issues
I’m tired of creeps on message boards discussing whether or not they’d “fuck” me
I’m tired of people harassing my dancers and treating them like they aren’t human beings
I’m sad that my desire to be treated as an equal and as a human being is interpreted as hatred of men, rather than a request to be included and respected (I have four brothers and many male best friends and a dad and i promise i do not hate men at all, nor do i believe that all men are sexist or that all men behave in the ways described above)
im tired of being referred to as ‘cute,’ as a ‘waif’ etc., even when the author, fan, friend, family member etc. is being positive
(fyi)
waif |wāf|
noun
1 a homeless and helpless person, esp. a neglected or abandoned child: she is foster-mother to various waifs and strays .
• an abandoned pet animal.
cute |kyo͞ot|
adjective
1 attractive in a pretty or endearing way: a cute kitten.
• informal sexually attractive.
I’m tired of people assuming that just because something happens regularly it’s ok
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i have so much love for everyone who has been cool and amazing. I have the best job in the world but I’m done with being passive about any kind of status quo that allows anyone to suffer or to be disrespected
Grimes world tour is officially over, the visions album cycle is officially over, and I’m now taking the time to overhaul everything and make it better
much love to every fan - stuff can be lame sometimes but its really cool to have this support <3 i dont want to live in a world where…
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The End of a Free Cooper Union
xcfdsa
Today, a representative of the Cooper Union board announced that they will be reducing all…
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Corporate Brick - Signed, 2013
Concrete, Ceramic Cast Nose, RIT dye, Etched Signature, Worker’s Hand
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Claire Fontaine, Change, 2006
Remembering Foucault, however, we would also need to decipher the link between notions of creativity in reconstituting workers as infinitely self-enhancing assets or “human capital.”15 While this can only be touched on here, creativity as a complex of overt and implicit presuppositions about the relation between labor and value does not just generalize the “creativity” of capital in relation to labor. It also marks the point where management intervenes in labor, where management is internalized. The mobilization of the entrepreneur is guided by creativity both as a productive norm at work and a way to transcend the constraints of labor, while of course not escaping the demands of value.
Creativity thus marks the joint between self-management and self-exploitation, autonomy and heteronomy. The capacity of creativity to be easily internalized as a workplace norm renders it the form of governmentality that obtains specifically in the workplace, even as the entrepreneur can principally operate anywhere, most visibly in the cultural field and as a labor template for the no-longer-autonomous artist. Creativity thus functions as a springboard for capitalist populism, assuring every exploited worker and discontented artist that their interests are no different from those of capital. These interests signally coincide in the performance of labor that is inventive, fulfilling, and that would be a joyful experience whether or not there was money involved. “Mimesis of the Hardened and Alienated”: Social Practice as Business Model | e-flux
Duchamp’s infrathin/slim as delineator of the space between self-management and self-exploitation. (or for the art historians, is this not Bifo Berardi after ‘Kant after Duchamp’?)
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Margart Thatcher was a divisive, free-market fanatic who raised taxes on the poor and supported human rights abusers around the globe.
Full stop.
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#wu-tang’s noodle house (at Wu-tang’s Noodle House)
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Whalley, 1975
A Super-8 time lapsed film shot in 1975 driving through the Whalley area of Surrey, BC, Canada. The film has been slowed down to near normal driving speed.
Source: Randy Mennie on Youtube, found via Ethneos Fog
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