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Showing posts from 2018

Two Minutes: Content(ed)

As time passed, the outrage faded. In stead of incredulous, angry, or disparaging comments on bombings, violations of human rights, wars, corruption, lies and/or blatant exploitation, years of conditioning lead audiences (defined as: people who consume content, mostly on screens) to react to the hard work of content creators (independent of genre: over time, documentary and entertainment became so similar that it was impossible to tell them apart, not that anyone cared to anymore anyway) with "Thank you for your Content". 
Everyone stopped caring after a while and all production shifted to Let's Plays of Skyrim, now playable on Sneaker Screens™®. Everyone was content, and content. 
And yes, they do share the same root, which makes a strange kind of sense:

Two minutes: Human Resource

: You, basically. Also: me. Possibly, but not preferably: us. Term designed to dehumanise people and reduce their value to their utility as raw material to be broken down, packaged and sold under a different brand name. Yummy when green.

#memu: 5.2 / Future Perspectives for an Egyptian Street Art Scene

Note: MeMus was written from 2012-2015. Things have (again) changed since then. But I maintain that it is mainly an "export industry".

The current Egyptian street art scene is an export industry. Due to legal restrictions on the use of public space as a forum for expression which are vigorously enforced and a general atmosphere of hegemonic domination in the country, many of the artists who can, by choice or necessity, remain in the country, choose to work outside their local contents. Though this allows for a higher degree of experimentation stylistically, it also removes the street from the art, thus removing the unmediated interaction by a public in a sphere.

Though currently limited, the extensive use and cultural acceptance of street art as an art form opens a new horizon for the use and application of the practice to more mainstream artistic means. So far, it has not been used, except in erasing, in attempts at directly representing the government and remains exclusiv…

Two Minutes: Of and on Impunity

Every action has an equal and opposite reaction. Impunity is a case of the 3rd law of Newtonian motion being suspended, therefore, not only a feeling of personal imperviousness to the consequences of actions, but also freedom from the above-mentioned laws of physics, which, considering the egos usually involved, is not entirely impossible. While this may work in a subjective reality, one has to wonder whether it's really worth all the effort and energy of imposing this reality on everyone else.

Of course, everyone else does not enjoy the same impunity and is punishable for questioning the established narrative.

Activate quantum flux polarity generators. Go!

Also: Is impunity in any way related to puny?

Two Minutes: Why is everyone tired?

At the supermarket, paying for shopping. The cashier feels the need to convey how exhausted she is.
The bank: "We're sorry it took so long. Our people are dealing with a really heavy workload"
Talking to friends: "My body feels so tired… my mind is having a hard time keeping up."
On the street, a random person feels the need to inform me how exhausted they are. I reciprocate. It's the new hello, and we do have it in common.

Chronic fatigue is an indicator for depression.

tire (v.1) "to weary," also "to become weary," Old Englishteorian(Kentishtiorian) "to fail, cease; become weary; make weary, exhaust," of uncertain origin; according to Watkins possibly from Proto-Germanic*teuzon, from a suffixed form of PIE root*deu-(1) "to lack, be wanting." Related:Tired;tiring.



From: Kairo Koshary
We’re excited to announce #operationkoshary, a collaboration that brings together Koshary, culture and social entrepreneurship! 
Kairo Koshary, tak Theater Aufbau Kreuzberg and Mafish Studio have joined forces to bring you exclusive cultural content you can take home while supporting independent organisations in the Middle East and the EU. 
#operationkoshary begins on May 26th at the Kulturbrauerei with Kairo Koshary. We will be offering a limited series of 100 posters of Taheyya Kariokka, based on “In Taheyya we Trust/ ثقتنا في تحية”, a door painting on Wiener Str, by Caram Kapp of Mafish Studio. The posters also be available at tak Theater Aufbau Kreuzberg as of the beginning of June in the framework of a pop-up exhibition at the Performing Arts Festival, further Kairo Koshary events, and online.  Our first goal is to raise cash contributions for CILAS, an independent education institution in Cairo. You can find out more about them here:
How does…

Two Minutes: Gormless

For some reason, I've fallen in love with this word again recently. Learning that it basically means that a person thus addressed is basically a head(-less), Viking chicken does not lessen my love for it in any way, shape or form. It covers all the areas that mundane idiocy does not.

I can see it becoming the word of the year 2018, if we survive.

#memu: 5.1 / “Is he using the revolution to sell his art, or using his art to sell the revolution?” The Artist as a Unit of Culture

The following is what feels like a timely excerpt from Memetic Murals, 2016. 

The internet phenomenon1 of spreading street art directs attention not only to the topic, or cause, but also towards the person responsible for expressing it. International attention recreates the creative actor in the form of a constructed symbolic gure, required to represent amajority they sometimes do not even agree with, or belong to. Many of the chosen representatives are masters in their respective arts and in expressing their personal observations on larger societal developments. No matter if their perspective conforms with the current opinions or not, artists are considered open minded observers, eloquent representatives of their societies. What is often underestimated is that artists mostly represent a cultured, liberal elite in their country, no matter how much they identify with the causes within.

This reterritorialization of the Israeli Separation Barrier as an internationalized space, one that is …

Two Minutes: Palestine

Remember this word. It is the name of a country. Today is the 70th anniversary of the day they call the Nakba. They do not celebrate this day, but their neighbours do, hiding behind a tall fence made of concrete. See also:

COG II: Whose story is this anyway (2)

Caram on Games (COG) is an occasional ramble in which I discuss computer gaming, gaming culture and how I perceive them, in an attempt to talk about a medium that I've always been passionate about, or at least enjoyed. Every part is an exploration of thoughts, meaning that it comes together as it is written- so while they may meander for a while, a point will eventually be reached. Maybe. After a lot of words, and sometimes numbers. You have been warned- there will be a lot of waffle and fewer pictures than befits a visual medium. Now you've been warned twice. Enjoy!

There is a problem with writing about video games. Every time I do, I can't help but feel that this segment should be called "letters from the Matrix", that I might as well be discussing the systems and gameplay that underpin what we still agree to be our "real" lives. Is there a point to discussing the flat economy of traveling through Tamriel, when there are trade wars and very real econo…

Two Minutes: A Dimension of Silence

There is no thing as "silence", except maybe in a vacuum. 
While it has many meanings, it is often interpreted as consent- after all, if you do not raise your voice, you are in agreement, are you not?
Sometimes, silence is the fallout of too much noise in your life.

When you lose trust in the words you speak, and feel they no longer convey the meaning they once did. At first, a self-imposed necessity, then a meditative retreat into self, it is the pain of not being able to say what you want to say, and when you do say, what you hear is not what you wanted to say.

It is observing, absorbing, maybe even reflecting- a personal silence is a state of listening, carefully, to the words and sounds others make, and wondering what your response would be. It is missing friends, and laughter, and times when it was easy not to be silent. It is wanting to be able to speak again, or risk never being heard.

It is realising that you no longer can be silent.

It is knowing when not to be, ha…

COG II: Whose story is this anyway?? (1)

Caram on Games (COG) is an occasional ramble in which I discuss computer gaming, gaming culture and how I perceive them, in an attempt to talk about a medium that I've always been passionate about, or at least enjoyed. Every part is an exploration of thoughts, meaning that it comes together as it is written- so while they may meander for a while, a point will eventually be reached. Maybe. After a lot of words, and sometimes numbers. You have been warned- there will be a lot of waffle and fewer pictures than befits a visual medium. Now you've been warned twice. Enjoy!
There is a great problem at the core of narratives in computer games: The authors desire to tell a story. On its own, this is not a problem. It becomes thus when confronted with the readers' desire to experience their own story in the authors story. In itself, even this is not a problem- a game's designer can plan many branching strands of a narrative that will accommodate different approaches to the story…

Translating Performance // Republish

This article was originally written in 2013 for the now-defunct platform "Preformance", developed with Noon Enterprises, the Goethe Institute and EPS51. I have removed links where no longer available. 
On the contextual promotion and staging of performances in another culture.The context of a production, and the reception of it, change depending on where it is performed. While this is true of any form of art, there are some considerations to be made when promoting and staging your performative production to an audience with a passing knowledge of the culture it sprang from. In the following, you will find a general outline to making a performance accessible to an international audience and to theatres outside the Arabic- speaking world.
The more specific the play is to a certain location, time and society, the more it becomes a code that needs to be deciphered by the recipient, sometimes even explained to them. A play about Egyptian society expects a fluency in the symbols, th…

Two Minutes: On the Dissident Louk DeSalam

For about five minutes, everyone knew his name. Then they did not remember.

Louk DeSalam, branded a dissident by the state, had, one day questioned the widely accepted wisdom that socks had to be burgundy on Wednesday and be labelled with the day of the week. He had been able to continue his subversive charade unnoticed for years, so the legend goes, by hiding his socks underneath his trousers. The day he finally snapped, fifty guardians had pursued him through the back alleys of the city, the chase ending on Square 83. After a brief, but impassioned speech, they piled on him, pulled the offensive sockware off his feet and led the barefoot anticitizen to Redefinition Context 12a. People posted the arrest on Media, but quickly desisted when they realised Media would not amplify the story- it was unimportant. And so it became unimportant to them.

Though he was forgotten, socks were now puce on Wednesdays. And Wednesday was now called Medwekken, which took some getting used to. And then…

RTLTR V: Kufi and Cigarettes

We are now in January 2018. After soliciting sketches form another graphic designer, the association got back in touch with me, not satisfied with the suggestions they received. My brief changed slightly, to include a graphical element, in addition to typographical branding. "Make it like Bosch, or Siemens". The trouble for me, from a graphic point of view, is that neither Bosch, nor Siemens, has a bilingual subtitle that needs to be included in the branding.
This is a challenge on several levels: the first one being that the client needed to be made very aware that they will be displaying their logo at small sizes and that there are only so many pixels in a logo that is 50px high. The same thing applies to print, though to a lesser degree- tiny print still has a higher dot density than most screens, can therefore smooth a font better. Most of this can be solved with vector graphics, but not all browsers support them.
The second one is that I have done some research into bi…