#wolfart talks

[wolfram-but-art]

i have art block but i just had a burger (more like 2,5) so perfect in flavour combination and texture that i wanted to cry and life was so beautiful and all my worries went away it was like a spiritual experience this picture represents maybe 1/6th of what that felt like

[nande]

下駄工場の2階で眠ってた日田杉の古ーい廃材を彫ってオオカミを作り、そこに一筆描きしました。 明けて今日25日から始まる「狼展」に参加してます。 私は大分なのでいけませんが、会場のオリエンタルダイナーIGAOの前は桜並木なのでお花見がてら一杯やりつつ展示見るのもオススメです！ シカやイノシシが増えて色んなところで被害が出ている要因はシカ、イノシシの天敵であるオオカミが絶滅したこと。崩れてしまった食物連鎖、生態系、絶滅してしまったオオカミについて、また外来種のオオカミを日本の山に放って生態系のバランスを取り戻すなんてことも視野にいれつつ日本のオオカミについて思いを馳せる展示になればと思います。 まぁ何はともあれ色んな人のオオカミ作品を楽しんでいただけたら！ 南出は人生2度目の木彫で、作品として発表するのは初めてです。 手にとって見てもらえたらうれしいです。 木彫めっちゃ楽しかったっす！ あっ一筆描いてる時、なぜ一筆描きなの気づいたのだけど、森羅万象を描いてるんだと。 全てが一続きで影響し合っているということを交差しない一本の線で表現するしているんだと。 そんな一続きの生態系から切り取られてしまったオオカミの上にかつての一続きのエネルギーの流れを吹き込んでいるのだと！ あっすみません思いがけず長文。。。 とにかくよろしくどうぞ！！！ 以下情報です info- - - - - - - - - - - - - - - - 今は絶滅してしまった日本狼をテーマ、モチーフにして多数のアーティストが作品を出品し、合同展示会を『おおかみ展』 ⁡ 今年で第7回目の開催。今年も新作品が登場、桜が満開になる3/25土曜にはオープニングパーティも。 ーーーーーーーーーーー ⁡ 【 第七回狼展 】 at イガオ @igao ebis 恵比寿 150-0012渋谷区広尾1-11-2 03.5793.3778 2023年3月25日〜4月22日 （会期延長の可能性有） ⁡ 【 参加アーティスト 】 SHOGO IWAKIRI SUI THE TOKYO YUJI ODA MIGHTY MUMMY FROGS→ NANDE NAMPEI AKAKI MOWHOK UE(THE PARLOUR) REI INABA カトウシモン 荻野竜一 DANIELA GARZA KYOKO SEKINE TAKAI SHIOTA TAKERU AMANO and More ⁡ ーーーーーーーーーーー ⁡ 🐺opening party 3/25sat 16:00-22:00 🐺talk event 4/6thu 18:00~ 陶芸家大薮さん、イエローストーン国立公園の公式ガイドのスティーブンさんのトークセッション ⁡ 🔥Entrance Free DJs, Food and more... ⁡ #狼 #狼展 #wolf #オオカミ #おおかみ #おおかみ展 #ebisu #hiroo #shibuya #tokyo #japan #gallery #art #music #bar #partyspace #igao #arttokyo #恵比寿 #wolfart #instaart #instagood #watercolor #painting #arrival #🐺 #nande #oneline #一筆描き (Oriental Diner IGAO) https://www.instagram.com/p/CqLjXXRS_hX/?igshid=NGJjMDIxMWI=

[patchezpawz]

Finished commission for Krxstalss over on Furry amino ^^ My commissions are open! If you're interested in one, pls Dm me with what type of commission you're looking for and we can talk further. I take PayPal, Swish, da points and amino coins ^^ #dog #wolf #wolfartwork #wolfart #dogs #dogart #commission #commissionsopen #furryart #furry #furryartwork #furrydrawing #furryoc #originalcharacter #oc https://www.instagram.com/p/CSl-qcst-pF/?utm_medium=tumblr

[wolfyx8090]

Chief - male Straight Age: 8 Mate: deceased Advisor of the lost souls pack Chief was the leader of his pack. He was a wise and peaceful leader and never wanted to fight or start wars. His daughter is calypso and his mate, honey, died a few years ago to an illness. As he got older, the younger wolves in the pack urged him to start a war and take over a rival pack for their land. When he refused, the younger wolves banded together and attacked chief and injured him very badly and kicked him out of the pack. The younger wolves rushed into war and got themselves all slaughtered by the rival pack they attacked. Chief has many scars on his body from previous fights and the attack from the younger wolves from his former pack. With his old age he now walks with a limp as well. When he got overruled, his daughter calypso went with him and helped him recover from his injuries from the attacked and helped with keeping him fed while he was down. She struggled to do this alone. One day they met a wolf named birdy who also helped tend to his wounds and hunted with calypso to keep them all fed. He and his daughter banded up with birdy and started a small pack and together they all strived. With his knowlange of being an alpha, birdy made him her advisor to help lead her pack of lost souls. Chief is usually found alone keeping to himself, or with his daughter or birdy. You can also find him sometimes gazing at the sky as if he’s talking to his deceased mate, honey. He refuses to take another mate and doesn’t want to die, but is excited for the day he’ll see her again. Until then, he’ll help birdy lead her pack and watch over his daughter. 🏷 (ignore) #art #artist #artistsoninstagram #artwork #artsy #digitalart #digital #digitalillustration #digitalartist #digitalartwork #digitaldrawing #wolf #wolfart #wolfartist #wolfartwork #wolves #canine #canineart #furry #furryart #oc #originalcharacter #dog #dogart #drawing #draw #drawings #drawdrawdraw #explore #furryartist https://www.instagram.com/p/CeM39v9pUte/?igshid=NGJjMDIxMWI=

[quinducreations]

Can we talk about this lunar eclipse from the other night? I, for one, am super bummed that I missed it. How did I not know this was going on? How many of you got the chance to see it? Mind sharing some beautiful photos with me? 🌓🌒🌑🌘🌗 . . . #lunareclipse #bloodmoon #wolfart #wolfpainting #huntersfullmoon #fullmoonart #wolflovers #fullmoonpainting #artgram #fulltimeartist #arteveryday #wolfpainting #acrylicpainting #harvestmoon #bloodmoon https://www.instagram.com/p/Bs8RiO2g93N/?utm_source=ig_tumblr_share&igshid=qsr8oqkg6vnv

[overthinkingvideogames]

For most of us, traditional roguelikes are intrinsically inaccessible. They’re notoriously difficult, their design is complicated and often opaque, they can have more hotkeys than there are keys on the keyboard, and their ASCII-based visuals mean that it’s often unclear what’s happening on the screen. It’s these exact qualities, however, that ironically make roguelikes accessible and even appealing to blind or low-sight players.

Moritz Wolfart, who lives in Germany, has been blind since birth. He started playing games at age 10, when his older brother brought home a copy of the first Prince of Persia. His brother narrated the events for him, and together they made each decision in the game. “When we were playing, we were talking. All the time. We were telling stupid stories about the characters or the enemies. We also wrote songs!” Throughout his life, Moritz has played games with sighted friends gathered around a screen. While playing Oblivion, he was “the brain in the background who says ‘HEY, HE SOLD THE BEST SWORD.’”

On roguelikes and blindness.

[backtotheblanket]

Indigenous Rhetorics and Pedagogies Meet the 'Block Quote'

A big part of what my book advocates for is the inclusion and valuing of the American Indian cultural practice of “Talking in a Good Way” in the academy as a way to both explore different ways of thinking among non-Native students and of encouraging American Indian and Indigenous students to give ongoing life to a tradition that has much to offer to the world. However, this is not a suggestion that comes without challenges. Today, I’d like to address an aspect of Indigenous academic rhetorics that clashes with mainstream academic expectations. Historically, Indigenous orators were often trained to repeat verbatim stories taught to them by their elders. Dakota physician and writer Charles Alexander Eastman (1858-1939) wrote in Indian Boyhood:

Very early, the Indian boy assumed the task of preserving and transmitting the legends of his ancestors and his race. Almost every evening a myth, or a true story of some deed done in the past, was narrated by one of the parents or grandparents, while the boy listened with parted lips and glistening eyes. On the following evening, he was usually required to repeat it.

–Charles Alexander Eastman. Indian Boyhood (Kindle Locations 410-413).

My late adopted Southern Cheyenne grandfather of nearly twenty years, Eugene Blackbear, Sr., whom I fondly refer to still as Namšem (“my grandfather” in Cheyenne), stressed the importance of this practice in the endless hours we spent together over the years telling, listening to, and sometimes recording, translating, and transcribing his stories. When stories that have been transmitted to storytellers by others who came before them are told, they are often bookended with speech from the speaker’s voice him or herself, but retained as discrete pieces of discourse that quote the original authoritative voice as closely as possible. To do otherwise in the oral tradition can be considered disrespectful in some Indigenous communities—paraphrasing demonstrates a lack of valuing what was handed down. This carries over in the stylistic practices of many Indigenous writers in the academy in what might be seen as an overuse of ‘block quotations’, but what is indeed part of Indigenous rhetorical traditions now manifested in our written work.

I am not the only one who has made this observation. Anishinaabe-Métis FMNI rhetorics scholar Gail Mackay also makes this claim in her 2017 dissertation from the University of Saskatchewan, Finding Indigenous Rhetorical Survivance and Sending It Forward. She says of Cree writer Maria Campbell’s Halfbreed:

The line following this identification of Cheechum [grandmother] is the first direct quote of her speech. This brings into focus a very important characteristic of Cree counselling text that is foundational to the power of the teaching potential of Halfbreed: the idea that Cheechum is one of two narrators. The use of two narrators is a convention found in recorded Cree historical, factual, prophetic and counselling texts. Wolfart (2000) notes that ‘Cree texts seem to have a high proportion of directly quoted speech’ (145-146). Further repetition of quotatives accentuate the fact that the story is another person’s first person narrative. The secondary storyteller adds commentary in a) the form of parenthetical asides, b) the use of third person, and c) the use of direct speech that authenticates the orally transmitted dialogue (Ahenakew & Wolfart, 1987, p. xiii-xiv; Wolfart, 1998, pp. 171-174, Wolfart, 2000, p. 145-146). Maria, the first narrator in Halfbreed uses all these devices to subtly incorporate Cheechum’s voice. The book began as a search for peace of mind and it is culturally appropriate to recall elder’s discourse and weave it into the narrative to achieve this effect. (Mackay 134-35)

This rhetorical device adds to, not detracts from, auctoritas in traditional Indigenous discourse, and we need to make room for it in the academy, even when permissions fees become necessary in order to make allowances for this at the professional level at which publications are involved. However, I think this is something we need to start thinking about in the context of the American Indian and Indigenous studies classroom. In what ways can we as teachers not merely take this convention into account, but actively utilize it and the pedagogies that underlie it in what we do?  How can we construct assignments and activities that engage rote memory as a positive rather than the negative it has become in some educational thought while teaching about it as a practice in context with our existing course content? How can we utilize drawing on authorities in writing or in multimodal discourse in ways that align with the traditional use, meant to be respectful from cultural perspectives?  

I’m interested in your thoughts on this.

[sini-kick]

So it's aparently mental health awareness month. So yeah, I don't know what to say about a lot of these issues, but I know a lot of people in my life that I love that are affected or have been affected by these varieties of affliction. So I don't know if this means much, but I want everyone around me to know that I'm free to talk and help out whenever and in any way I can. If you ever feel scared or just want someone to talk to, I'm more than willing to help out in anyway I can. I've felt alone and bothered before, and I went through some pretty tough stuff by myself. I know it can seem terrifying to ask for help sometimes, but genuinely I will have no judgement, be as open minded and help out as much as I can. No matter how significant or insignificant of a character I'am in your life, I'm here to help. . Also on a side note, Jesus Christ the white faber castell marker sucks, I need to get an actually good white marker or paint pen. . . #mentalhealthawareness #mentalhealthawarenessmonth #characterconcept #characterdesign #etherealart #ethereal #lowbrowart #lowbrow #popart #illustration #negative #wolf #wolfart #wolfsketch #goldpen #whitepen #gellyroll #gellpen #pen #help #suicideawareness #broken #sketch #sketchbook #panicattack #mentalhealth #mentalillness #mentalillnessawareness

[sarah-zust]

education

2018-ongoing HSR Rapperswil landscape architecture

2016 uu-utrecht university - summer school the posthuman glossary, prof. rosi braidotti

2015 european graduate school saas fee summer institute of art

2014-2018 university of arts zurich, switzerland
 master of fine arts

2011-2013 willem de kooning academie rotterdam, the netherlands bachelor of fine arts

2012-2013 codarts - dance academy rotterdam, the netherlands artistic field research for BFA thesis

2009 - 2011 university of arts zurich, switzerland
 bachelor of arts in product and industrial design, specialization style & design

2005-2009 apprenticeship as a structural engineering draftsman at hotz partner ag professional baccalaureate, specialisation arts

awards / art residencies

2018 AVINA-Fonds 2015 O&O subsidy - centrum beeldende kunst, rotterdam nl

2014 “künstler-original-lithografie 2014”, pro horgen, horgen ch

2013 fine art threshold award of the city of rotterdam, rotterdam nl

2013 project funding “king of ubu” (a-peg/helibase), arts council england uk

2012 1 monatige art residency (helibase) bei das gift, berlin de

lectures / artist talks / jury member

2017 jury member fine art threshold award of the city of rotterdam, nl

2015 an introduction to dadaism, happenings and fluxus. lucerne university of applied sciences and arts, ch

2015 artist talk at open studio borgerstraat (art rotterdam 2015), rotterdam nl

2014 jury member fine art threshold award of the city of rotterdam, nl

exhibitions/performances

2017 feminarien, writing & reading collaboration, raumstation.cc, zurich ch

2017 fabulations, sound-performance, toni areal, zurich ch

2017 shifting powers (rocks), performance, ›stumble bumble fail fall hurt‹ symposium, heidelberger kunstverein, de

2016 shifting powers (scale), performance, palaeontology museum, zürich ch

2016 shifting powers (water),performance lecture,zhdk at raum station,zürich ch

2015 “we shall fight on the beaches” - asthenia, romantso, athens gr

2015 partners gallery, rotterdam nl

2015 as parallel lines, the gravity of our words will never fully coalesce, wolfart projectspace, rotterdam nl (solo)

2015 EXHIBITION - saas fee summer institute of art 2015, saas fee, ch

2015 performance with bart de hartog during “THE RIDE”(art rotterdam 2015), rotterdam nl

2015 guest artist at open studio borgerstraat (art rotterdam 2015), rotterdam nl

2014 participating artist in suchan kinoshitas “TIMELINE”, zürich ch

2014 “künstler-original-lithografie 2014”, pro horgen, horgen ch

2013 epiphyten, sound-performance-installation, remise, zürich ch


2013 willem de kooning academy graduation show 2013, rotterdam nl

2013 teff - open studio; pre-graduation show 2013, codum, rotterdam nl


2013 “a temporary selection of an infinite process #1“, saftlevenstraat, rotterdam nl


2012 90 minutes of corrections (performance) wdka open day, rotterdam nl

2012 experimentele kapsel borrel (happening) codum, rotterdam nl


2012 helibase 2, art residency at das gift, berlin de


2012 guerilla film screening (happening), grotekerkplein, rotterdam nl


2012 helibase 1.5 in domino effect (group show) motorcade flashparade, bristol uk


2011 helibase 1, blaak 10, rotterdam nl


2011 ping pong op de wdka (happening) blaak 10, rotterdam nl


2010 blickpunkte (group show) in the forest, horgen ch

art direction

2013 sound direction (helibase 3) “king of ubu”, southbanks, bristol uk

2012 art direction assistent, vis-a-vis, “haRT“ (theater production)


2012 art direction assistent, ivan barbosa, “CABO“ (film production)

organisation involvements

director of rubus.biz (plant shelter, plant propagation, plant distribution, plant installations) since february 2017

co director of femianrien (decolonial/non-phallocentric writing and reading collaborative) since february 2017


co director of “helibase“ (sound, performance, installation; collaboration with shaun badham,uk) since may 2011

other experiences

2013 - 2017 product photographer/graphic designer at mono (mono.ch), zürich ch

2012 - 2013 volunteer/shop assistent, print room, rotterdam nl

2013 internship at jan willem van der schoot - art direction/set design in theater/film

2012 freelance work for maatschappij voor volksgeluk (museums nacht/BAR)

2011 - 2013 peercoach exchange students, willem de kooning academy

2012 - 2013
freelance work for longstreet bar zurich (ch), photographer „dia de los muertos“ / mixtape


2008 - 2009 freelance journalist for the online magazin twoleftfeet.ch, women-snowboarding

.

[wolfram-but-art]

Here is an ask: You should draw one of the tf2 mercs like one of these, for the memes 🤑🙏‼️

only did one but i think it's still good

[wolfram-but-art]

anyone know how to get a bug from underneath a huion tablet's screen