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Two Minutes: Creative Industry

There are two definitions implied here: the industry of creatives, which occasionally results in things that may be termed art (even if it is cleaning the floor), the act of producing something creative.
A second reading might be a capitalist mode of production, in which creative people produce exponential amounts of content that is, or is not, creative, to retain their relevance and the attention of audiences. 
The question attached to that is: once "creatives"understand their work mainly as a form of labour, through which they earn money, and themselves as a factory, are they still producing "art", or is it design? This leads us to the difference between art and design, but that's a discussion for another day. 

Outrage(!), The Aubergine

If we live in the age of outrage, it is incumbent upon us to somehow embody that outrage symbolically. Following an anti-hate strawberry, and a long acquaintance with Watermelons, serendipity and some friendship led me to… Aubergines. So, I introduce the slow evolution of one Outrage!, the Aubergine.



Twominutes: A week in pink

I have a new favourite pen: Chalk Markers.
The guy at Overkill gave me a dirty look when asked whether they had something so… impermanent. in stock. I got comments from friends and family that I was at last cleaning my windows (window, please. I'm too lazy to clean around the windows to reach them, write on them, then clean them).

Anyway: I spent a week writing short & spontaneous ditties about weekdays on my window. This is how it went down:

Twominutes: Swipe left and ignore

Life had become much easier: Carefully conditioned over generations, people no longer made the active effort to ignore what disturbed them. Years of medial overload allowed them to look directly at something and pick out only the details that pleased them, or conformed to their worldview.

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 led audiences (defined as: people who consume content, mostly on screens) to react to the output of content creators (independent of genre) exclusively 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: https://www.etymonline.com/word/content

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?
https://www.etymonline.com/word/impunity
https://www.etymonline.com/word/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: https://www.etymonline.com/word/tire?ref=etymonline_crossreference 

#OperationKoshary

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: http://www.ci-las.org
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.

https://www.etymonline.com/word/gormless


#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: https://caramk.blogspot.de/2015/12/memus-israeli-separation-barrier.html

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…