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Collateral Damage: Indigenous Voices - The Wire
"I believe that the sound art community is poised to begin to answer these questions. After all, we have transformed an art form that developed in Europe and the Americas into a global phenomenon through the power of sharing and the internet. I watched this take place after the explosion of MySpace in the early 2000s. This spirit of sharing has changed the nature of sound art to the extent that Indigenous artists have found a seat at the table. However, I believe that music lags behind in how it addresses representation of marginalised groups. I have gravitated from sound art to poetry because literature has more quickly adapted to the needs of communities and been more progressive in its criticism of past appropriations. Not only are we ready to answer these questions, but audiences are primed for politically sensitive and culturally appropriate Indigenous work. "
sound_art  appropriation 
6 weeks ago by jbushnell
Trump: the only 'real Americans' are white | The Guardian
Commercialization of the civil religion, rituals, and symbols started years ago. Trump’s appropriation of them is possible only because they have become commodities.

> Trump has hijacked the American civil religion, a concept that should serve as a basis for unity for citizens and used it in an attempt to further divide us along lines of race, party and religion in the name of political expediency.
politics  rhetoric  appropriation  racism 
july 2019 by mcmorgan
Listen Up, Look Sharp, Graphic Designers—Bauhaus Moving Image Proves Good Design Isn't Just About Communication | | Eye on Design
“As evidenced by a long-lost short film by Laszlo Moholy-Nagy”

“His sentiments around type and print are echoed across his vast output—painting, drawing, photography, collage, sculpture, film, theater, and writing—but one of its most fascinating distillations is in a recently rediscovered film, Tönendes ABC (ABC in Sound), from 1933. What the piece also conveys is a cheekier side to Moholy-Nagy’s practice, and a brazen approach to “appropriating” other people’s work.

ABC in Sound, a minutes-long experimental optical sound film was missing for more than 80 years, before being found at the BFI National Archive in London and identified as Moholy-Nagy’s for the first time by BFI curators. Its screening coincides with a wider László Moholy-Nagy London exhibition at Hauser & Wirth gallery, which is showing his 1930 film Ein Lichtspiel: Schwarz Weiss Grau (A Lightplay: Black White Grey); alongside works on paper, photographic pieces, and the mesmeric kinetic sculpture Light Prop for an Electric Stage (also 1930), which the aforementioned Lightplay documents in deliciously abstract modes.

The reason ABC in Sound remained undiscovered for so long is partially because, as it turns out, it’s not as original in concept as much of Moholy-Nagy’s other works. ABC in Sound existed, but not in isolated form, or credited to the artist: In 1936, the original nitrate for ABC in Sound was accidentally spliced to a copy of Oskar Fischinger’s Early Experiments in Hand Drawn Sound from 1931 by an archivist for a screening program at the London Film Society.”

[See also:

"Inspired by advances in sound recording and fascinated by the production of synthetic sound, Hungarian artist and Bauhaus professor László Moholy-Nagy (1895-1946) explored the idea of reverse-engineering an alphabet of sounds from the visual representation they produced by the grooves on gramophone discs. Taking this a step further, after the release of Rudolph Pfenninger’s Tönende Handschrift (Sounding Handwriting), he produced this film of ‘visual sounds’ which showed the image of the track that was passing through the sound head of the projector - so that the audience could directly compare the image with the sound that it made.

In later years Moholy-Nagy recalled that the soundtrack for Tönendes ABC “used all types of signs, symbols, even the letters of the alphabet, and my own finger prints. Each visual pattern on the sound track produced a sound which had the character of whistling and other noises. I had especially good results with the profiles of persons”. In this it differed from its companion piece, Oskar Fischinger’s Early Experiments in Hand Drawn Sound, which used purely abstract shapes in the same way; Moholy-Nagy even wittily uses the word ‘Handschfift’ printed onto his soundtrack. The films were shown together at the London Film Society on 10 December 1933 and the combined print donated to the newly formed BFI, where it was recently rediscovered.

Moholy-Nagy would have undoubtedly seen Fischinger’s film before he made his own. Fischinger’s many experiments with “ornamental animation in sound,” predated ABC in Sound. The films made by the pair are remarkably similar in concept, realization, and form (see screenshots from some of Fischinger’s experiments below): in each we hear synthetic sound, created by white patterns that appear visually along one side of the screen. The variations in the shapes of the lines generate the changes in the sounds—some of which seem quite beautiful, in a strange, non-human way; others more like bone-shaking blasts of a pneumatic drill; all—as was imperative for their creators—impossible to create using the conventional instruments of the time, or the human voice."]

[On YouTube:

"Missing for over 80 years, this experimental film by Bauhaus teacher and artist László Moholy-Nagy was found by BFI curators embedded in a reel of film that also contained Oskar Fischinger’s Early Experiments in Hand Drawn Sound.

László Moholy-Nagy (1895-1946) was a tenacious, restless creative who associated with various early twentieth century vanguard art movements. Teaching at the legendary Bauhaus school, which this year sees its centenary, his early optical sound films experimented with the formal properties of film and blurred the lines between sound and image and the act of hearing and seeing sound. Newly scanned at 4K, the restoration of ABC in Sound / Tönendes ABC will receive its world premiere at BFI Southbank on 18 June."]
film  sound  design  graphics  graphicdesign  play  tinkering  filmmaking  video  materials  type  typography  print  appropriation  audio  oskarfischinger  rudolphpfenninger  bauhaus  lászlómoholy-nagy  communication  classideas 
june 2019 by robertogreco
The Desi Instagram artist tackling cultural appropriation | Dazed
"Maria Qamar’s satirical art paints a harsh, and hilarious, reality of Asian culture – and it isn’t all bindi-wearing bliss

9 December 2015
Text: Nadia Husen

In a world of fast-growing multiculturalism, the line between appreciation and appropriation of cultures steadily blurs. As far back as 2003, Gwen Stefani donned a bindi in No Doubt’s “Just a Girl” music video, and stars have been following suit ever since. Both Selena Gomez and M.I.A have come under fire in recent times for cultural tourism in their music videos, the latter being forced to scrap hers altogether. In the mainstream, cultural appropriation is perhaps most obvious by the sheer number of bindi-adorned girls at music festivals like Coachella and Lollapalooza. Asian, black, Native American and other marginalised groups are persistently having their cultures appropriated by those who feel entitled to it, thereby perpetuating a harmful power dynamic.

With everyone from actress Zendaya to fashion designer Dries Van Noten weighing in with an opinion, one self-defined ‘Desi artist’ (where Desi means a person of Indian, Pakistani or Bangladeshi origin who lives abroad) encompasses all aspects of her culture ­– not just the shiny, pretty sticker for your forehead. Born in Pakistan, Maria Qamar of @hatecopy moved to Canada as a child. A natural artist, she began to depict the realities of growing up in two cultures in pop art and posted the results on her Instagram, rapidly gaining a following as other Desi women – myself included – identify with her bittersweet truths. I spoke to Maria to discuss her witty and provocative art ahead of her second exhibit, Shame Shame, in Toronto.

How did you first start drawing your pieces?

Maria Qamar: I actually had to hide the fact I was doing it. After I drew my first piece, ‘Burnt the Rotis’, I told my mother, ‘Oh, you know those drawings I was making at home, and you were asking what I was doing? OK, well I’m painting them now and the job search is going great too.’ But now my mum is getting very bold and savvy; she wants me to make this a full-time business.

So why did you choose pop art as your artistic style? Have you always drawn in that style?

Maria Qamar: Not really. A lot of it was testing the waters of different styles. It was kind of a long process getting to where I am now. And then more recently it was all about finding the style – ­that took my whole life. I didn’t actually know that this style I already drew was very similar to pop art, so I’m very comfortable drawing it.

It seems to be a very organic process, then?

Maria Qamar: Yeah, I can honestly draw in that way so I’m more comfortable drawing my ideas into the pop-art scenario than I would be (doing it in a) realist or abstract (way). I think of something that’s not Desi-related, an easily imagined scenario. I usually draw the characters first, and then I think about what they could be thinking at the time.

“We’re overshadowed by tradition and obligation and things that we can’t relate to because we’re not in it” – Maria Qamar

There are so many women and girls relating to your art because it’s very real to them as well as humorous. With all the recent focus in the media on cultural appropriation, what made you decide to hit back with your “Is This Gori Wearing a Bindi Again?!” piece? (‘Gori’ is a word used by Indians to describe white girls.)

Maria Qamar: As I said, I draw the images first, and then think about what to write. In this case it had to be something that puts them on the spot. It’s like, ‘Are you fucking kidding me?’ I got fucking angry.

Your Instagram seems to be a space of community because it unites people who share similar experiences, such as the understanding that fairer skin is more valued in Asian culture, and the pressure to marry. These are the things you have to live through to really understand.

Maria Qamar: It is really funny, because the whole point of this pop-art Indian thing was so that I could take the most American – the most western thing – I could find, which were American romance comics or novels. I wanted to take the most iconic thing, which is the soap opera, and blend them together. Right now it feels like I’m taking their shit and throwing it back at them, saying, ‘Here it is, you made this. This is all you.’

Is anyone offended by your art?

Maria Qamar: A few people have been offended by me more than the work itself because they know I was born in Pakistan and they have their own opinions of what they think I might be. So they bring in factors that have nothing to do with the work. They look for a divide. ‘Well, OK,’ I say. ‘Look, it’s doing well. I’m making work that I really love. What’s wrong with it really?’ People are always looking for a fight, so my response to those things is that it’s Desi art. I don’t have an agenda. You relate to it, you laugh at it, and people love it.

Some of the topics you discuss in your art are more taboo, particularly in Asian culture. Your piece for marriage equality entitled ‘Uncle Pride’, for example, would certainly be considered forbidden by traditional types. Why do you choose to portray such messages?

Maria Qamar: Because I’m not like that. I’m not like that and I exist and I’m doing OK. It wasn’t ever supposed to be a rebellious thing, which is the concept of the show as well. I’m not trying to be rebellious for the sake of being rebellious and to piss everybody off and step on the toes of my family. It’s just that people exist differently in the west. We just do. We’re raised just like Americans or what-have-you in the west, but we’re overshadowed by tradition and obligation and things that we can’t relate to because we’re not in it. We don’t know. Yeah, we’re going to go out and hold hands with a guy or make out in public because these things are allowed here, and that’s all we know. It’s funny that it’s seen as rebellious, and, yes, I have a feeling that what I’m making might be a little bit offensive, with my parents in my head going, ‘Shame, shame, shame, you shouldn’t be doing this.’ But you know, why not? I just let it simmer, and the people who laugh with me, laugh with me.

So the art is very much as personal as it is public?

Maria Qamar: Yes, you get a taste of like Desi-American or Desi-Canadian culture – any Desis who are not living in India – because it’s just like somebody who’s from a place where if you’re caught kissing your husband, you could go to jail. So for somebody looking at the Instagram from there and seeing me do what I do, that would be like, ‘Oh my God, that’s crazy,’ but that’s the norm here. We’re all just out in the open. We’re all cool about it."
culturalappropriation  nadiahusen  mariaqamar  appropriation  culture  2015  desi  multiculturalism  culturaltourism  mia  zendaya  driesvannoten  selenagomez  gwenstefani  nodoubt  marginalization  power  colonialism 
april 2019 by robertogreco

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