Something to think about:The Earth is 4.6 billion years old. Let’s scale that to 46 years.
We have been here for 4 hours. Our industrial revolution began 1 minute ago.
In that time, we have destroyed more than 50% of the world’s forests.
This isn’t sustainable.
Me: I'm actually reading an article from The Economist on my phone about Kazakhstan and Uzbekistan's mock elections. What are your thoughts on the topic?
Old Dude taken aback: I don't know.
Me: Well then why don't you read the news instead of chastising teenagers on their phones?
‘Accra House Music’ Take On Elecricity Crisis and Highlight Electronic Music in Ghana At Recent Art & Music Event.
There is a wave of social awareness and political consciousness sweeping through various sectors of Accra’s young and artistic, reflected in their work, through the various mediums they utilize. From poets to photographers, dancers to DJs, creatives in the city are channeling everything from their sociopolitical frustrations to their keen areas of interests into their performances and presentations, using both tradition and technology to express their newly developed cultural narratives. Entities like ACCRA HOUSE MUSIC, Accra Dot Alt and the Accra Theatre Workshop are all prime examples of platforms that are largely responsible for and play an instrumental role in the existence of these creative spaces.
Held in a venue provided by the Alliance Francais branch in the city, ACCRA HOUSE MUSIC hosted an art and dance showcase that centered on various themes and presentations that included electronic deep house music with resident DJs Steloolive and Jason Kleatsh, a modern dance performance done in collaboration with the Accra Theatre Workshop, and a contemporary art performance featuring artist Serge Attukwei Clottey that highlighted the #dumsor power crisis the city is going through (which has seen people take to the streets of Accra in protest).
If you were in Accra or nearby and missed out on this, we suggest you follow ACCRA HOUSE MUSIC and Accra Dot Alt for more similar events in the near future. And of course, Chale Wote 2015 is almost here!
Black People Are MAGIC
There is a fallacy going around that the drone derives its name from the droning sound that it produces when it flies. This little piece of untruth has been remarkably tenacious. In fact, pilotless aircraft are named for drone bees, which are male non-workers—hatched, it so happens, from unfertilized eggs—who serve a single purpose: to impregnate the queen, after which, they die. Like mechanical drones, drone bees work singularly and, arguably, mindlessly. “The drone,” wrote a reader of the British Bee Journal, in a letter to the editors, which appeared in 1906, “was designed for a definite purpose.” In sacrificing his free will, and his life, writes the reader, the drone serves a noble cause, and therefore “ought to have his little niche in the Temple of Fame.”
However, as a quick perusal of an etymology dictionary such as the Wordsworth Concise reveals, the original drone does take its name from “the droning sound it makes.” To be precise, the word “drone” originated from the Anglo Saxon word dræn, which means to hum. Therefore the mechanical drone, which is so often erroneously thought to be named after its sound, was named after something that, by coincidence, was named for its sound.
This is deeply ironic, because even though the drone’s etymological association with sound is coincidental, the sound of the drone is one of its most important features. For those who live in areas where drones are operational, their primary—and in some cases only—interaction of the drone is through sound. “The buzz of a distant propeller is a constant reminder of imminent death,” writes David Rhode in The Drone War. In Gaza, where drones can be a constant presence, the machines are called zannanas, meaning a ‘bee’s buzz.’ Wasseem el Sarraj described them in an article in The New Yorker as “patrolling prison guards,” explaining that “there is no escape, neither inside the house nor from the confines of Gaza.”
The authors of the Stanford-NYU human rights report, Living Under Drones, which is so far the most comprehensive report on the civilian impact of drone warfare, found that the sound of drones has a profound impact on the mental health of civilians. In the accounts of people that the researchers interviewed, the sound of the drones was often invoked. When people hear the sound of a drone, explained one resident of Waziristan, “Children, grown-up people, women, they are terrified… . They scream in terror.” The drone, all too often heard but not seen, represents itself with its sound.
Canada Research Chair (Tier 1) in Digital Humanities and Social Justice The Faculty of Liberal Arts and Professional Studies seeks to appoint a Tier 1 Canada Research Chair (CRC) in Digital Humanities and Social Justice. The successful candidate will be a senior academic at the level of Professor with an outstanding international reputation as a research leader, responsible for furthering scholarly intensification at York, and attracting and cultivating a cohort of collegial and student intellectual endeavour in the field and exploring interactions across disciplines. S/he will be a world-class scholar in the study of digital media, communities, and/or cultures as they impact, emerge out of, or respond to questions of social justice. With a dynamic, substantial and ongoing record of scholarship supported through competitive external funding, the candidate will support York’s strategic prioritization of interdisciplinary and intermedial research that forges a just and sustainable world. Research may focus on but not be limited to intelligent, interactive, mobile, social, or networked technologies; digital methodologies, cultures, modes of perception, or expression; and/or the ethical and intellectual consequences of living in and with the world’s technological conditions, locally, globally, today, and/or across time. The successful candidate’s research will address key critical and theoretical intersections of digital humanities and social justice and the modalities for understanding these intersections from a contemporary or historical perspective. Ultimately housed in the Departments of English, History and/or Humanities, the appointed scholar will foster international collaboration, pedagogy, and public access to research in digital humanities and social justice.
Sumah, 15, works in a small electrical repair shop in central Kolkata. This particular area of the city is known for its informal sector of recyclers who work on a myriad of electrical appliances, often breaking equipment down to its raw components for reselling, repair or reuse.
Image by Sean Gallagher, via Instagram. India, 2013.
Gallagher’s 2013 project focuses on Toxic Businesses: India’s Informal E-Waste Recyclers at Risk.
These remind me of Mage: The Ascension.
whats the name of the artist(s)
- I couldn’t find the piece name or the artist but a reverse image search takes me to this feminist astrological website where this art is featured.
- Bladerunner by Oliver Wetter
- reverse image lookup did not have any luck finding a source for this image.
- Again, reverse image lookup did not lead to an artist source.
- by Jaxon Keller
- by Michael Komarck
- Again, no clear source on this piece. I was taken to Hasani Claxton’s work, but I’m not certain this is theirs.
- Couldn’t find an artist source.
- by Nigel Quarless
- by Casey Parkhurst
#1 is Julie Dillon, "Planetary Alignment - 2010." Find more of her work here: http://www.juliedillonart.com/gallery/gallery/6456485
Earthseed. To the stars.