QWERTY Left-Hand Word List
- March 22nd, 2015
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For Passwords you don’t have to let go of your mouse for
Archive for March, 2015
For Passwords you don’t have to let go of your mouse for
“Exulansis” is my new favorite word that I’ll probably never get to use.
So privacy is now explicitly a luxury available only to the highest bidders. Not that this is new, but it’s out there for anyone to see.
Schneier on Security: AT&T Charging Customers to Not Spy on Them.
At last something that might interest me as much as GTA…
Well that would explain a lot…
Bob Anzlovar
Bob Anzlovar (°1961, Wichita Falls, United States) is an artist who works in a variety of media. By demonstrating the omnipresent lingering of a ‘corporate world’, Anzlovar tries to create works in which the actual event still has to take place or just has ended: moments evocative of atmosphere and suspense that are not part of a narrative thread. The drama unfolds elsewhere while the build-up of tension is frozen to become the memory of an event that will never take place.
His artworks are given improper functions: significations are inversed and form and content merge. Shapes are dissociated from their original meaning, by which the system in which they normally function is exposed. Initially unambiguous meanings are shattered and disseminate endlessly. By putting the viewer on the wrong track, he creates with daily, recognizable elements, an unprecedented situation in which the viewer is confronted with the conditioning of his own perception and has to reconsider his biased position.
His work urge us to renegotiate art as being part of a reactive or – at times – autistic medium, commenting on oppressing themes in our contemporary society. By rejecting an objective truth and global cultural narratives, his works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.
His works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. Bob Anzlovar currently lives and works in Boulder.
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