Greece is rebelling in the streets and the halls of government.
Spaniards are following suit in the streets – government’s not onboard but it may not matter.
The Euro is tottering and NATO is a lot shakier than it wants to admit (it’s in denial).
Sanctions are failing. Banksters fear jailing – or poverty or the guillotine.
Control is slipping here at home – it’s desperation that’s making the PTB escalate repression.
Times, they are a-changin’
This, via Monksworks, from Thomas Merton:
Let me say this before rain becomes a utility that they can plan and distribute for money. By “they” I mean the people who cannot understand that rain is a festival, who do not appreciate its gratuity, who think that what has no price has no value, that what cannot be sold is not real, so that the only way to make something actual is to place it on the market. The time will come when they will sell you even your rain. At the moment it is still free, and I am in it. I celebrate its gratuity and its meaninglessness.
The rain I am in is not like the rain of cities. It fills the wood with an immense and confused sound. It covers the flat roof of the cabin and its porch with insistent and controlled rhythms. And I listen, because it reminds me again and again that the whole world runs by rhythms I have not yet learned to recognize, rhythms that are not those of the engineer.
BillMoyers.com– The third and final year of Moyers & Company comes to an end on January 2 and I am writing to assure you that this time it’s the real deal. You may recall that we had originally raised the funds in 2011 for a two-year series but when I announced last fall that the end was near, thousands of you wrote imploring us to reconsider. My long-time funders came forward with a renewed commitment to a third year of support. How could I say no?
But as the end of the third year approaches it’s time finally to sign off.
Politicians discussing climate change until the very end
Isaac Cordal is famous for tackling big political issues through a tiny medium. In his series “Waiting for Climate Change,” Cordal created a set of ephemeral and partially submerged installations to draw attention to rising sea level change. Laced with black humor, these grim and apocalyptic scenes show the consequences of inaction and apathy to environmental issues. The theme of rising floodwaters and drowning are themes repeated throughout his work that reference both climate change and the state of our sinking society.
To capture his skepticism of authority, Cordal usually depicts his tiny figurines as politicians and businessmen in the process of needlessly trapping themselves in unpleasant situations. In “Follow the Leaders,” Cordal warns onlookers of the dangers in blindly following the wills of the rich and powerful. Like miniature clones, the identical statues were created in the likeness of middle-aged, white collar, white men, each desperately clutching a briefcase as they huddle together or drown to death in a mindless mass.
Be sure to watch the slideshow at the link
The Tyee, By Andrew Nikiforuk,
Winnipegger Mia Feuer’s art reflects the ‘sculptural’ transformation of Alberta’s landscape.
Reviewers alternatively call the Washington, D.C. exhibit dystopian, eerily beautiful, or a “nightmarish manifestation” of environmental ruin.
In particular, many are attracted to the ominous black skating rink that occupies the rotunda. The plastic rink may or may not be a metaphor for oil’s grip on Canadian politics.
Others are awed by a giant (40-feet by 40-ft. by 30-ft.) sculpture that hangs over the rink. Composed of a riot of suspended trees, oil field junk, tar paper and black birds, it resembles some strange, Harry Potter-like hallucination.
It’s all viewable at the venerable Corcoran Gallery of Art in the U.S. capitol, where politicians are still debating the future of the controversial Keystone XL pipeline that would transport bitumen to U.S. Gulf Coast refineries. (Word is that Canada’s U.S. ambassador Gary Doer, a fellow Manitoban and a Feuer fan, hasn’t yet peeked his head into the gallery.)
Winnipeg-born sculptor Mia Feuer calls her bitumen-inspired creation “An Unkindness,” after a gathering of ravens. She says that artists have a duty to respond and reflect upon the times we live in.
“We just can’t all be making beautiful things,” Feuer says.
More at the link
Will art that is not just striking but provocative lead to answers? (VIDEO)
A brilliant video marketing campaign.
Street performance art at its best.
In April, 2013, the newly-refurbished Rijksmuseum in Amsterdam, Holland, decided to celebrate the return to the museum of Rembrandt’s great painting, “The Night Watch” (1642): they brought the characters in the picture to life and placed them in a busy shopping mall.
Translation of the sign at the end of the video: “Our heroes are back”.
Kingston Daily Freeman
Toshi Seeger was an activist and organizer, mother and wife, film-maker and manager. Sometimes the right partner can make all the difference.
Without her, there’d be a lot less Pete in the world. She kept him Forever Young.
Aside from our age’s particular flavor of the culture we are all indoctrinated with, there are two major ‘cockleburs’ embedded in most of us: our family and our work. Family covers so wide a scope as to be almost unsuitable for discussion here, but there are many aspects of work which are germane to almost everyone.