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20171227

Kettlebell History Goes Back Much Further Than Russia (2016) Nick English.

In 1981, The Official Kettlebell Commission was formed [USSR], which advocated (but didn’t enforce) mandatory kettlebell training for all workers.

Felkar more or less agrees that Pavel’s marketing was extremely influential in spreading kettlebells as a fitness tool. She likens him to Eugen Sandow: he wasn’t the first guy to excel at bodybuilding, but he was a marketing genius who lay a lot of the groundwork for today’s world.

A civil servant missing most of his brain challenges our most basic theories of consciousness (2016) Olivia Goldhill.

Darwin Grosse’s Art + Music + Technology feels like an interesting podcast series. Listened to the chat with Michael Hetrick. Fun and nerdy.

Guerrilla Public Service Redux (~ 2017) a happy story of artist Richard Ankrom’s infra-art activities from 2001. A positive narrative. The same strategies of using uniforms to disguise guerrilla actions are still actively used.

Deep Decay – Into Diachronic Polychromatic Material Fictions (2017) Andy Weir. A difficult but informative text. Deep time Marxism feels like a fresh and fun approach/addition to the discussion. I should continue making melancholic downbeat electro (I’m dreaming of a drum machine).

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20170615

Photos of the Sound of Work -exhibition online. Feeling happy about the display. The brick dust on the floors is a justified part of the exhibition. It draws focus to infra-art. Still waiting for videos of our gig to come online.

Served as a camera assistant in M-Cult’s Shades of Agency seminar and came to the realization that artist cannot make “community arts” – Only communities can make community arts. If an artist is involved the result can be art “with” or “about” a community.. But the result is just “art”. Community arts can be produced in a relationship or by initiative of a facilitator but no artist is needed. Only communities can make (or choose not to make) community art. #ॐ

Learning about The Museum of Impossible Forms. The project is challenging. Framing a temporary project space as a museum feels tandy. Who are they trying to convince and why convince them by dressing the project as a museum? Museums are dead.. They only move when bashed with critique. Challenges make them appear vital – Ignoring them is the best way to silence them. I’ll have to read why exhibit at all? by Lotte Arndt to understand the motivations with the group better.