So Feed The Beast 2013 is open and there are so many amazing cakes it would be impossible to fit them into just one post. Thought it would be a good place to start with the showstopper cake by The Tattooed Bakers (see bottom image) – a Devil Horse cake dripping in rum, literally. The beast had Kraken Rum pouring from it’s nose into a font which was surrounded by skulls. It was cut open by the mighty Kraken Hunter and guests at the opening party were invited to help themselves to it’s red velvet cake insides, and those who wanted a top up could simply place their glass under the stream for supply of The Kraken Rum. It took Eddie & Rich over 200 hours to complete, shown in the stunning attention to detail.
More posts to follow – you still have two more days to get along to…
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Nonknowledge (as per Bataille) is what I call deep subjectivity. This is an open state of being, not seeking to control things in order to feel empowered, but working with what exists and learning to master natural forces. The old style of Rhodesian type knew how to do this and even to attain mastery by being open, but the modern type knows it not.
This notion of the subjective is entirely different to what Judeo-Christian cultures refer to as subjectivity. What they intend to mean is the dross of life that can be readily dismissed. They tend to put women as a group and life experience into this category. These are then subconciously entitled, ‘NOT WORTH KNOWING’.
To only desire and cling to what is proclaimed as already known seems to me to be to embrace the grossest sense of squalor. Why cling to debris like a drowing…
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The Big Other as the Expressive Autonomy of Normative Statuses
“In dealing with the big Other, it is crucial to be attentive to the interplay between the anonymous field and the subject impersonating it”.
—Žižek, Slavoj. (2012).
The Žižeko-Lacanian notion of the Big Other has often been invoked as a kind of reproach to all normative statuses, whether they express an autonomous convention or a contingent individual case of difference from the norm (Žižek 2012, p. 76; Žižek 2001, p. 53; Žižek 2000, p. 76). Accordingly, it has been suggested that the mere repetition of assertive gestures can approximate efficacy by making a particular, unforeseen, and ontologically ungrounded interpretation stick (Žižek 2012, p. 370). In the course of this essay, I will offer a reading of individual intentionality and social normative statuses, and the participatory horizon these two…
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From The Good Men Project
Cultural appropriation is a term that isn’t often heard in daily conversation, which means it’s inevitably misunderstood by those who feel attacked by feminists, sociologically-informed bloggers, and others who use the term.
Many a white person sporting dreadlocks or a bindi online has taken cultural appropriation to mean the policing of what white people can or can’t wear and enjoy.
Having considered their fashion choices a form of personal expression, some may feel unfairly targeted for simply dressing and acting in a way that feels comfortable for them.
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I wrote this for the wonderful Curiocity, London’s finest pocket-sized trivia-and-map-packing magazine. Issue E, with a pilgrimage theme, is available at all good London bookshops.
On Bayswater Road at Marble Arch is a small convent, unlikely home to a ‘cloistered community of benedictine contemplatives’, aka nuns. In the basement chapel, the walls are covered with ancient relics – skin, bone, bits of fingernails – from some of the 350 Catholic martyrs who were hanged on the three-sided Tyburn Tree during the Tudor wars of religion. Behind the altar of this ghoulish Martyr’s Shrine is a replica of the Tyburn gallows itself.
Giro, The Nazi Dog
One of London’s best known ‘secret’ sites, this little stone on Carlton House Terrace marks the grave of Giro, beloved pooch of (Hitler-opposing) German ambassador Leopold von Hoesch. Giro died while the German Embassy was at No 8-9 (now the Royal Society)…
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Erotic Grotesque Nonsense (herein shortened to Ero Guro) was a cultural movement which climaxed in 1920s and 1930s Japan, though it was revived in 1960s cinema, and in contemporary art and manga. Eroticism and Grotesque-ry are its key themes, though below the surface its Nonsensical-ity is debatable. This entry examines these themes in fine art before the Taisho period, as a premonition to the movement. Subsequent entries will cover the different revivals, as well as the implications of the digital age, and the potential paradox of photography.
Ukiyo-e (pictures of the floating world) depicted the transient beauty of the landscape, historical tales, kabuki and courtesans. Mediums included painting and the more reproducible woodblock prints, which brought art as entertainment to the masses. Focusing on the grotesque, violent prints allowed viewers to learned about their Feudal history. Focusing on the erotic, Shunga (Spring as a euphemism for sex) prints were very…
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