Last night at the White House Correspondents’ Dinner (a.k.a. Nerd Prom), the President threw some hilarious punches … at CNN, FOX, Rick Sanchez, Jay Leno, Michael Steele (the Notorious GOP), and … the Jonas Brothers?  Hilarity.

“Thousands have lived without love, not one without water.” –W.H.Auden

Irena Salina’s award-winning documentary investigation into what experts label the most important political and environmental issue of the 21st Century - The World Water Crisis.

Salina builds a case against the growing privatization of the world’s dwindling fresh water supply with an unflinching focus on politics, pollution, human rights, and the emergence of a domineering world water cartel.

Interviews with scientists and activists intelligently reveal the rapidly building crisis, at both the global and human scale, and the film introduces many of the governmental and corporate culprits behind the water grab, while begging the question “CAN ANYONE REALLY OWN WATER?”

Beyond identifying the problem, FLOW also gives viewers a look at the people and institutions providing practical solutions to the water crisis and those developing new technologies, which are fast becoming blueprints for a successful global and economic turnaround. (Excerpt from main website)

Her sandaled feet tapped nervously on the linoleum floor, casually pausing to toy with the stains that decorated the haphazardly assembled tiles. She smirked at the persistent circles and blotches that refused to surrender to her soles.

A tug-of-war erupts between the acute sadness in her eyes and the subdued smile from her lips as she stares at horribly mismatched walls of the lobby: urine yellow behind the receptionist, vomit green to her right, and an angry sky blue to her left. Leaning back, she rests her freshly shaved head on the blister beige wall behind her.

They won’t understand, she thinks. I can’t even imagine how their reality can’t seem more imagined to them my so-called imaginary reality. She chuckles at her own verbal recursive loops between reality and the imagined.

The door opened, and a middle-aged man stepped out, smiling, escorting an elderly couple out. They were sobbing. And that made her tap her feet more. And the vomit green and blister beige suddenly became more saturated.

Crisp sports blazer. Slacks. White shirt. No tie. His chest hair creeping up from under his shirt, peeking out between the buttons, as if seeking other follicular acquaintances out there.

She sat still.

He smiled and beckoned her in.

She did not budge.

“It’s ok. Come on in,” he bellowed, with a criminally fraudulent smile. “Your father can come in, too – if you’d like.”

She quietly followed him into his office. It looked stale and smelled like formaldehyde. Well, that’s not entirely true since she has never really recognized the scent of formaldehyde. But if she had known, then that is what it would be – formaldehyde, sitting comfortably in the counselor’s office, its formaldehyde-smelling feet tossed casually onto the formaldehyde-smelling table … kicking back and relaxing … formaldehyde-style.

I feel dead , she thinks.

“So what is the problem?” he asks, after she sits down on a folding metal chair.

“There is no problem,” she retorts.

She does not tap her feet on the floor anymore. Instead, she sits upright, stiff, her eyes casually wandering over every formaldehyde-smelling inch of the room.

“Hello? Are you still with me?”

She barely heard his voice from within the insulated walls of her reveries.

“Hm?”

“Your father here tells me that you do not eat or talk to people. Do you think that’d be cause for concern?”

“I eat enough.”

“And talking to people around you?”

“If there is a need to say something, I will.”

“So you don’t think family is important?”

She looks at his dusty books tucked away into the sprawling shelves: God and Family … The Disciplined Child …

“That is not what I said,” she objects softly.

Work of Post-Art in the Age of Generative Reproduction

The flux creates, the chaos profligates. In the synaptic hallucination, art objects are resurrections of the iterations of the flux — a flux that uses the chaos as a zeitgeist to deconstruct ideas, patterns, and emotions. With the evolution of the electronic environment, the flux is superseding a point where it will be free from the chaos to transcend immersions into the ejaculations of the delphic hallucination. Work of Post-Art in the Age of Generative Reproduction contains 10 minimal shockwave engines (also refered to as “memes”) that enable the user to make heinous audio/visual compositions.

measuring chains, constructing realities
putting into place forms
a matrix of illusion and disillusion
a strange attracting force
so that a seduced reality will be able to spontaneously feed on it

Robel Kassa’s work investigates the nuances of pixels through the use of slow motion and close-ups which emphasize the Generative nature of digital media. Kassa explores abstract and frivolous scenery as motifs to describe the idea of cyber-intuitive hallucination. Using sensory loops, non-linear narratives, and neo-fascist images as patterns, Kassa creates meditative environments which suggest the expansion of space.

Andy Samberg with Adam Levine: Iran So Far Away … a love song to Iran’s Mahmoud Ahmedinejad. The lyrics after the jump …

(Meanwhile, DC City Council voted 12-1 today to recognize other states’ same-sex marriages. Slow but sure steps towards equal civil rights. Right on!)