“If you have a household that can’t pay its debts, you tell it to cut back on spending to free up the cash to pay the debts. But in a national economy, if you cut back on your spending, then economic activity goes down, nobody invests, the amount of tax you take goes down, the amount you pay out in unemployment benefits goes up and you don’t have enough money to pay your debts.”
POLITICS
Save us from the saviours
“There are two main stories about the Greek crisis in the media: the German-European story (the Greeks are irresponsible, lazy, free-spending, tax-dodging etc, and have to be brought under control and taught financial discipline) and the Greek story (our national sovereignty is threatened by the neoliberal technocracy imposed by Brussels). When it became impossible to ignore the plight of the Greek people, a third story emerged: the Greeks are now presented as humanitarian victims in need of help, as if a war or natural catastrophe had hit the country. While all three stories are false, the third is arguably the most disgusting. The Greeks are not passive victims: they are at war with the European economic establishment, and what they need is solidarity in their struggle, because it is our struggle too.
Greece is not an exception. It is one of the main testing grounds for a new socio-economic model of potentially unlimited application: a depoliticised technocracy in which bankers and other experts are allowed to demolish democracy. By saving Greece from its so-called saviours, we also save Europe itself.”
– Slavoj Žižek (via jhnbrssndn)
Dear UK…
I don’t usually get political on this blog, but just to make it very clear.
If you vote Conservative, this entire country will slide into the shitter.
Love to you all.
x
Pablo Picasso
“What do you think an artist is? An imbecile who only has eyes, if he is a painter, or ears if he is a musician, or a lyre in every chamber of his heart if he is a poet, or even, if he is a boxer, just his muscles? Far from it: at the same time he is also a political being, constantly aware of the heartbreaking, passionate, or delightful things that happen in the world, shaping himself completely in their image. How could it be possible to feel no interest in other people, and with a cool indifference to detach yourself from the very life which they bring to you so abundantly? No, painting is not done to decorate apartments. It is an instrument of war.”
The Revolution for Everyday Life
“In an industrial society which confuses work and productivity, the necessity of producing has always been an enemy of the desire to create. What spark of humanity, of possible creativity, can remain alive in a being dragged out of sleep at six every morning, jolted about in suburban trains, deafened by the racket of machinery, bleached and steamed by meaningless sounds and gestures, spun dry by statistical controls, and tossed out at the end of the day into the entrance halls of railway stations, those cathedrals of departure for the hell of weekdays and the purgatory paradise of weekends, where the crowd communes in a brutish weariness? From adolescence to retirement each twenty-four-hour cycle repeats the same shattering bombardment, like bullets hitting a window: mechanical repetition, time-which-is-money, submission to bosses, boredom, exhaustion. From the crushing of youth’s energy to the gaping wound of old age, life cracks in every direction under the blows of forced labour. Never before has a civilization reached such a degree of contempt for life; never before has a generation, drowned in mortification, felt such a rage to live.”
Neighbours by Norman Mclaren (1952)
“I was inspired to make Neighbours by a stay of almost a year in the People’s Republic of China. Although I only saw the beginnings of Mao’s revolution, my faith in human nature was reinvigorated by it. Then I came back to Quebec and the Korean War began. (…) I decided to make a really strong film about anti-militarism and against war.”
—NM
“The term ‘pixilation‘ was created by Grant Munro, who had worked with McLaren on Two Bagatelles, a pair of short pixilation films made prior to Neighbours. While Neighbours is often credited as an animated film by many film historians, very little of the film is actually animated. The majority of the film is shot with variable-speed photography, usually in fast motion, with some stop-frame techniques. During one brief sequence, the two actors appear to levitate: this effect was actually achieved in stop-motion; the men repeatedly jumped upward but were photographed only at the top of their trajectories. Under the current definition of an animated short, it is unlikely that Neighbours would qualify as either a documentary short or an animated short.”
See also: Pen Point Percussion
Paul Greer 