list of electronic music genres, in order of most to least environmentally friendly
- witch house, moon powered
- vaporwave, steam powered
- space rock, solar powered
- ambient, wind powered
- psychedelic trance, mind powered
- drum and bass, are the bass farm raised or wild caught?
- acid house, too many chemicals
- industrial, very heavy carbon footprint
The effect of the cultural bomb is to annihilate a people’s belief in their names, in their languages, in their environment, in their heritage of struggle, in their unity, in their capacities and ultimately in themselves. It makes them see their past as one wasteland of non-achievement and it makes them want to distance themselves from that wasteland. It makes them want to identify with that which is furthest removed from themselves; for instance, with other peoples’ languages rather than their own. It makes them identify with that which is decadent and reactionary, all those forces that would stop their own springs of life. It even plants serious doubts about the moral righteousness of struggle. Possibilities of triumph or victory are seen as remote, ridiculous dreams. The intended results are despair, despondency and a collective death-wish.
The first architectural gesture is acted upon the earth: it is our grave or our foundation. A plane against a surface of variable curvature, the first frame is an excavation. But perhaps this is just the bedrock of western thought. Unlike our western architecture whose first frame confronts the earth, Japanese architecture raises its screens to the wind, the light, and the rain. Partitions and parasols rather than excavations: screens emphasize the void.
—Deleuze and Guattari, A Thousand Plateaus. (via groansofcreation)
Modernism and postmodernism are not chronological eras, but political positions in the century-long struggle between art and technology. If modernism expresses utopian longing by anticipating the reconciliation of social function and aesthetic form, postmodernism acknowledges their nonidentity and keeps fantasy alive. Each position thus represents a partial truth; each will recur ‘anew’, so long as the contradictions of commodity society are not overcome.
—Susan Buck-Morss, The Dialectics of Seeing. (via bustakay)
What strikes me is the fact that in our society, art has become something which is related only to objects and not to individuals, or to life. That art is something which is specialized or which is done by experts who are artists. But couldn’t everyone’s life become a work of art? Why should the lamp or the house be an art object, but not our life?