The most profound form of terror is that which emanates from images of the overwhelming, cloying and insidious evil. It is subversion and degradation disguised in the power of action, its voice thrown upon a known devil as a temptation to divert one’ s gaze away from within. As one fights Satan he succumbs to his own temptations. The resulting catastrophic transformation is unconscionable, incomprehensible, and inevitable.
This is less a self-portrait than it is an intellectual selfie - a snapshot of the way I understand myself in the context of a fluid worldview.
Today’s snapshot expresses the treacherous landscape that convenes between the self and the globalized, digitized world. Globalization, of which urban sprawl is a mutually sustaining function, reflects the clutter of cities and suburbs on an international scale. Urban sprawl has always been an omen of the burgeoning frenetic society of abundance-consumerism, agnostic liberalism, and mass-replication. A vicarious world of images continues to expand, its temperature rising as it cements all nations into a hyper-intercultural aggregate. Within this new electrified medial soup, old gestalt relationships lose their credibility and composition faces constant threat from denaturing and recombinant forces. Through worldwide digital media, the image has been epigenetically transformed, denatured and decontextualized. Its online form, a total objectification, achieves a sort of “undead” immortality in a trope-cybernetic curatorial framework - the result of our own knee-jerk acceptance of a Faustian trade for interconnectivity. The online image is less part of a modern-democrat-consumerist fantasy of accessibility and transparency as it is the lifeless husk of a once-ruddy, sunlit culture; drawn and quartered across the superordinate non-system which it affectionately calls, the Internet.
It’s time to start anew.
I am building up from here, a new tower of transcription for my more developed of daily thoughts.
Like an Okizaki fragment, each post from here and now onwards shall be as coherent as possible where narrative order and rhetorical composition are concerned; although any over-arching statement may emerge only through the fundamentally successive structure of my stream of consciousness as it appears due to the framework of the posting mechanic on this site.
Here goes.
U trajno sjećanje na obješene u Dubravi, među kojima je bio i Bogdan Ogrizović, kipar Dušan Džamonja je 1960. godine samoinicijativno izradio skulpturu za Spomenik prosinačkim žrtvama koji se i danas nalazi u parku na tramvajskom okretištu u Dubravi, zagrebačkom kvartu u kojem je kipar živio prije rata. Važnost tog spomenika nije samo simbolička; riječ je o prvom apstraktnom spomeniku nastalom u spomen žrtvama fašizma u Hrvatskoj, ali i o jednom od prvih te vrste u Europi.
Jorge Alva is a 22 years old urban/architecture photographer from El Salvador based between Warsaw and Berlin. Growing up in a small country like El Salvador helped him develop an appreciation for beauty in the little things, paying attention to detail and never being afraid of new challenges. The struggle of learning is part of what makes him passionate about what he does.
Stanley Tigerman, Residential Buildings on the Tegel Harbor, Building No. 8, Berlin, Germany, 1986
Affonso Eduardo Reidy - Cross sections of Marques de Sao Vicente and Pedrogulho Housing developments - Rio de Janeiro, Brasil - 1952&1946
