I am trying to stall and wait for Windows Forms 2.0 to come out. But just in case I am forced to produce a smart client under .NET 1.1, these articles will be so damn relevant: “Component-Based Development with Visual C#,” “Using MSHTML Advanced Hosting Interfaces,” “Embed Win32 resources in C# programs,” “Create Desktop Widget Using Embedded IE Browser,” “Giving desktop applications a Web look” and ResHacker.
Another production project at FullOnBrawl.com is a campy sci-fi flick that requires thrilling headgear and ray guns to go with luscious space vixens with other-worldly space faces. The comedy is built right into these props that blatantly derive from suburban lawn sprayers and Kenner toys. I sincerely think we need another Plan 9 from Outer Space—and I mean a real Ed Wood movie without a nostalgic Hollywood budget and a sober, sane director/film historian. All the ingredients are in the Full on Brawl!
Brixton Graffic Show
Curated by Eddie Otchere
11 March to 22 April 2005
Annual group show of urban art
Launch Event: Thursday 10 March, 6.00-9.00pm
Venue: 198 Gallery, 198 Railton Road, Herne Hill, London SE24 0LU
Plans unveiled for Brixton Graffic Show 2005—Brixton’s celebration of urban art
For six weeks, 198 Gallery will be reverberating with the sights, sounds, colours, stories, art, images, textures, fashion, technology, photography and film that will create one of the most significant visual media events in Brixton and Greater London. This year’s Guinness® Foreign Extra Stout Brixton Graffic Show is the third major exhibition of Graphic urban art housed together in Brixton that celebrates contemporary photographic art, using techniques from the past and of the future.
Brixton Graffic Show has been developed by photographer Eddie Otchere. His vision has created a pan-urban collaboration that sees London, Berlin and Paris coordinating the development of a graffic visual vernacular with more than 15 other creatives across the capital, as well as some designers from other regions.
The official opening celebrations take place on the 10 March to coincide with the launch of the stunning Brixton Graffic Show publication, a printed visual concept meets the graphic pioneers of the show.
“Brixton Graffic Show is not just a group show, it’s a defining moment in the development and promotion of urban aesthetics and culture in the UK. We are confident that the show will challenge many people’s preconceptions about graffic art and will place many urban artists firmly within the UK and international arts scene as innovators of modernisms,” comments exhibition curator Eddie Otchere.
The time is ripe for such a major presentation of urban arts. 2004 marked the 20th anniversary of the ground-breaking book Subway Art: Britain and the rest of the world were introduced to the art of graffiti through photographs documenting the epic pieces of the New York urban graffic scene in the ’80s.
The Brixton Graffic Show located this year at the 198 Gallery on Railton Road. The choice of the gallery may be a departure from the alternative spaces of the previous incarnations of the show, but this is a venue with an unusual history, established in 1988 after the Brixton riots. Some of the fresh work on offer will be the extraordinary installations of Kofi Allen; the socially inspired work of Mau Mau; contemporary screen print-making by Adrian Wood; past and modern revisions of H.I.M. Haile Selassie I by Jahnoy Productions.
There will further stimulation for the eyes: the custom-made BMX paying dramatic tribute to urban transportation; the Arabic-inspired plates of Baraka; cutting edge contemporary illustration of Doze; thought-provoking graphics of Marok; workshops on the techniques exhibited with the Urban Vision arts and new media project. Subjects ranging from traditional photography to urban graffic art, arts to film; the first UK showing of Winstan Whitter’s art taken from the making of the epic skating film, Rollin’ through the decades. Films including Meat and H.I.M. Revisited will be screened as part of the exhibition.
Proceeds from sales will go directly to the fund for Mac-addicted graphic designers.
Supported by: Lambeth Arts Association of London Government Brought to you by Guinness® Foreign Extra Stout
NOTES TO EDITORS:
The Brixton Graffic Show is part of the “Brought to you by Guinness® Foreign Extra Stout” series. With its roots in Africa and the Caribbean, Guinness‚ Foreign Extra Stout is proud to support an initiative that connects us with Black British culture and diverse urban culture.
The project is managed by Artefacts Edutainment in partnership with 198 Gallery. 198 Gallery was established in 1988 after the Brixton riots to provide an exhibition venue for black artists; now it supports and promotes the work of culturally diverse artists working with a wide range of media and issues.
To interview the Curator Eddie Otchere please contact 198 Gallery. The exhibition is open 11am – 5pm Monday to Saturday.
The Urban Vision programme works with young people living in the borough of Lambeth, introducing the world of digital media techniques.
Artists in the exhibition: Anissa-Jane, Kofi Allen, Christian Badger, Jennie Baptiste, Doze, Rebecca Harman, Thabo Jaiyesemi, Marok, Mau Mau, Eddie Otchere, Reach, Trini&Blest, Winstan Whitter, Adrian Wood
FURTHER INFORMATION: For further information, please contact 198 Gallery on 020 7978 8309 or firstname.lastname@example.org
ry198 Railton RoadHerne HillLondon SE24 0LUTel: +44 (0)20 7978 8309Web: www.198gallery.co.uk
Wired Magazine’s Chris Anderson is yet another of my token whites I use to convince my friends—my friends with strong African features—and my associates who still suffer from mental colonization that dreams of stardom and captive audiences that “love” you are bullshit coming from the asses of colonial powers with mind-control media creating artificial scarcity. Back in October of 2004, Chris wrote an article called “The Long Tail” and proclaims:
People are going deep into the catalog, down the long, long list of available titles, far past what’s available at Blockbuster Video, Tower Records, and Barnes & Noble. And the more they find, the more they like. As they wander further from the beaten path, they discover their taste is not as mainstream as they thought (or as they had been led to believe by marketing, a lack of alternatives, and a hit-driven culture)…An analysis of the sales data and trends from these services and others like them shows that the emerging digital entertainment economy is going to be radically different from today’s mass market. If the 20th- century entertainment industry was about hits, the 21st will be equally about misses.
I began to understand this phenomenon when I began to look at the hit counts for kintespace.com back in 1998. I discovered that thousands more people were looking at kintespace.com than were those willing to send “fan” mail. That was my first clue that fanaticism is a relic of the “hit-driven culture” that Chris Anderson writes about.
My friends and acquaintances often play a little game. They wish to create products that they themselves fucking hate but they think they will sell because people are stupid and they need to be seduced “for their own good.” What my white token implies here is that the market for which they are preparing no longer exists. At best, it is controlled by such narrow political interests as Wal-Mart, Viacom and Chris Douridas. The seduction for which they are preparing makes them look all whored up in garish makeup. Don’t make me break out the book of Ezekiel on you macho harlots!
The risk my peoples run is that they might waste their lives trying to be something they are not only to find that times have changed and it might pay more to be yourself than to get all house-nigger-ready. Perhaps the emperor has no clothes and his house nigger has no house. Perhaps not… Y’all keepin’ real and all good?
I know this Blog post is definitely a miss but at least I haven’t played myself. I keep me here with me so I can tell me the truth.
The Flaccid Penis Mobile
George Orr and his lady friend dash off to another paragraph in the 1980 Adaptation of Ursula K. Le Guin’s The Lathe of Heaven. This must have been a futuristic vehicle back in 1980—which was really the late 1970s. I don’t know my automotive design history to place this car in context so I’ll just call it a piss-yellow, flaccid penis mobile.
This must be the money shot in accord with the whole tech-hippie liberal media aesthetic. It’s like an 8track tape player on wheels. And the bright yellow reminds me of how revolutionary and novel plastic consumer goods were in the 1970s as most plastic retail objects were bright red or bright yellow.
A bright yellow Hummer would not be the contemporary “conservative” Republican improvement over this spectacle—far from it! We can call those Hummers Neanderthal penis mobiles running on dinosaur Viagra.