A silent protest in Love Park, downtown Philadelphia orchestrated by performance artists protesting the murder of Michael Brown in Ferguson. The onslaught of passerby’s wanting to take photos with the statue exemplifies the disconnect in American society. Simply frame out the dead body, and it doesn’t exist.
Here are some observations by one of the artists involved in the event:
I don’t know who any of these folks are.
They were tourists I presume.
But I heard most of what everything they said. A few lines in particular stood out. There’s one guy not featured in the photos. His friends were trying to get him to join the picture but he couldn’t take his eyes off the body.
"Something about this doesn’t feel right. I’m going to sit this one out, guys." "Com’on man… he’s already dead."
There were a billion little quips I heard today. Some broke my heart. Some restored my faith in humanity. There was an older white couple who wanted to take a picture under the statue.
The older gentleman: “Why do they have to always have to shove their politics down our throats.” Older woman: “They’re black kids, honey. They don’t have anything better to do.”
One woman even stepped over the body to get her picture. But as luck would have it the wind blew the caution tape and it got tangle around her foot. She had to stop and take the tape off. She still took her photo.
There was a guy who yelled at us… “We need more dead like them. Yay for the white man!”
"One young guy just cried and then gave me a hug and said ‘thank you. It’s nice to know SOMEBODY sees me.’
I’m just gonna keep reblogging this because this is truly how white America works. Like people have their weddings on plantations, Blackface was and still is a major source of entertainment and the biggest movie of all time was Gone With the Wind. White America will kill Black people and then smile and laugh and enjoy their day it sickens me that we’re treated this way.
I am sad to leave again, like a lot of us are when we go from where we came from. I hope that my family times give you a chuckle, and that your family is well. I hope to heaven that your family doesn’t talk about butts as much as mine does.
Kate Beaton’s home comics are a gem, and now they’re all in one place! I highly recommend you read every last one of them, because they’re hilarious and incredibly sweet.
Adam Savage is kind of an inspirational figure for me, and I’ll tell you why. We do different things, but I really admire listening to him as a craftsman at the top of his field with decades of experience.
What I like about Savage is his relentless need to “hack” the tools he uses, customizing existing things (like a simple Leatherman pouch in this video) into something that meets his needs perfectly. It’s the fine-tuning of his workflow so that there’s almost no delay between an idea striking and him moving to make that idea a reality. That line in the beginning of the video—where he describes the Leatherman pouch as slow, even though it’s “seemingly” fast to just about anyone else—really strikes a chord with me. I like to think of a guy who’s used multitools for a long time—multitool holders, too—has thought about how they work, and thought about what makes them good and what could make them better.
Another thing I find really interesting is his ability to at the same time work with extreme precision—the machinist’s layout spray and the fine pointer tool to make precise marks, for example—and also improvise on the fly—roughing out the bottom lip of the Leatherman holster and knowing he’ll need to allow some fluidity with the exact measurements when bending the metal. And it’s only through years of experience does someone gain that kind of ability, which means years of experimenting and, most importantly, getting it wrong to figure out how to get it right. There’s a lot of “let’s try this” and “oh wait, before we do that” kinda talk throughout, and I think it’s that flexibility of just “seeing what happens” is important for real breakthroughs.
Also, Spoiler Alert: HE GETS IT WRONG THE FIRST TIME! Yes, I wrote this while I was watching the video, so that was an interesting surprise, but it backs up what I wrote in the last paragraph: sometimes you have to get something wrong to figure out how to get something right. And it’s that kind of real-world knowledge you can only get through trial and error.
It’s interesting to think that a day (or two, considering he had to redo this one) of work went into something so seemingly inconsequential as a Leatherman holder. Not even the tool itself, but The Thing That Holds The Tool. And was it worth it? Couldn’t he have just been fine with the nice leather pouch the thing came with and dealt with the extra quarter of a second to unsnap the pouch when reaching for the tool? Yeah, probably. But think about how that time builds up over the years and how that ease of use improves the experience of making things without the minutiae of things adjacent to the process that ultimately slow the whole thing down. It can start with a little thing like a Leatherman holder and reach extreme lengths of a meticulously organized studio space like Casey Neistat’s. Not only that, but there’s the satisfaction of knowing that you took something and improved it specifically to fit you better. THAT’S cool.
Screen printed poster for the anime Ghost in the Shell. Released and sold by Mondo at San Diego Comic Con today to celebrate the 25th anniversary of this classic. Being a big fan of the film it was a great honor to work with this.
I just saw this at the Mondo booth, and my honest-to-God, out loud reaction, was, “Oh, come ON.”
Hey Killian, your stuff is killer, but I’m not made out of money over here. How about you cool it for a while, ok?