thebonescollection:

#iggymosh

Quotes from Dodai Stewart’s article “On Miley Cyrus, Ratchet Culture and Accessorizing With Black People, Rohin Guha’s article “Iggy Azalea Bounces Backwards With Disappointing Clichés” and Jaya Bedi’s article “Beyond Bindis: Why Cultural Appropriation Matters”.

The #iggymosh is a critique of cultural appropriation. I’m making the argument that cultures are not costumes, people are not accessories and that appropriation of Otherised cultures is disrespectful. The crux of this critique is the idea that cultural signifiers such as the bindi on Indian women are symbols of Otherness, where these same signifiers on Western people are perceived as fashion statements. The colour of your skin can easily dictate the terms at which this signifier is received. My work references the histories of “Colonised Others” as having experienced a forced assimilation in which they were to actively reject their own cultural signifiers in favour of the Colonisers. It is therefore inappropriate for the Coloniser to then pick and choose the Other’s signifiers as fashion statements. The wearing of cultural signifiers by Western people often diminishes the meaning of the signifier and dehumanises the Other.

The research I’ve been doing explores decolonisation and the rejection of assimilation by these Others. Colonised Others are given no other option but to assimilate and appropriate Western culture in order to play the game that is not theirs (Mignolo). Being aware of the grammar of coloniality allows us to challenge it, and the datamosh work I create is about formulating a visual language for this rejection. My initial glitch work came from understanding my identity as an Anglo-Indian. I looked at myself as a glitch in the colonial system, and the critique I’m making is that biracial children are unexpected outcomes in a system of forced assimilation.

By datamoshing the videos, I am asserting my awareness of the digital/political system by being disobedient inside it. I am inserting the human into the code and creating errors, that the digital system doesn’t know how to compute. By doing this, I am in some way acting out decoloniality in a digital framework. The work itself aims to make us “aware of the medium, its structure and its politics” (Nick Briz) and have us feel uncomfortable and concerned by it, but simultaneously curious about its potential.

thebonescollection:

It’s live!!!

#iggymosh is live! Check it!

olaroman:

RIP Gabriel Garcia Marquez. You did so good buddy. So good.

This makes me really upset.

thebonescollection:

#iggymosh goes live in 44 minutes! Yay!

#iggymosh goes live in 44 minutes!! Woooooooo!!!!

Datamoshing all day makes Bones feel like 〰〰〰

bbbones:

Final #iggymosh sesh is going reeeeeeally gr8!

Getting pretty excited about this! It’s a pity that I broke my audio file so much that in iTunes, it plays for 1:20 but continues on the last second for another 30 seconds or so… Trying to stretch it in Audacity is a nightmare because it can’t read the file at the end! Ah well, exciting things to come etc, etc.

Final #iggymosh sesh is going reeeeeeally gr8!

Q

Anonymous asked:

Thank you for your thoughtful response to my question Ebony. You make a very clear argument, and there's obviously a lot more I can learn from your writing. I'm looking forward to reading more from you as you go on this journey of self discovery. Best wishes!

A

No worries! That’s what I’m all about. Hopefully one day you’ll get to choose from one of my 25 books and it won’t just be my shitty blogs, ha ha.

Trying to work on the final stages of #iggymosh but keep getting distracted by Pappy sitting in our garden. The plants don’t grow on that side.

actuallygrimes:

borngold:

somehow i slept on this last year and now it’s one of my favorite things

h/t to jesse locke

the intro is long but wait for it — song and video are so good

Keep forgetting about this photo but look at Pappys lil majestic face guys 😁 thanks @dom0donnell

Q

Anonymous asked:

You are crusading against the western appropriation of bindis, and yet admit how you are yet to fully embrace your Indian heritage. It's hard to take your well thought-out arguments, after reading your blog and seeing your appearance more as a trendy Australian, with a "bohemian" lifestyle, drinking, smoking, living out of home with your Australian boyfriend, rather than a proud Indian. I was wondering what you think of this observation?

A

I think this is a really interesting Tumblr message, and it addresses a lot of things that I’ve been concerned about for a long time. I think the first thing I need to do though is make it clear what it is I’m actually doing.

Firstly, I’m not necessarily crusading against the Western appropriation of the bindi, I’m simply critiquing it from the standpoint that the bindi is on the one hand a symbol of Otherness, and on the other, a fashion trend. The colour of your skin can dictate the terms at which this signifier is received, and this dichotomy is extremely interesting to me. My general critique is actually that cultures are not costumes, and that the histories of “Colonised Others” often show that these Others have gone through a forced assimilation at which they were to actively reject their own cultural signifiers in favour of the Colonisers. This makes it inappropriate for the Coloniser to then pick and choose the Other’s trends it wants to borrow signifiers from for fashion.

~ being a metropolitan gal ~ in melb-urn

What people can make with their hands is crazy/beautiful

(via jessicameza)

kimbino-bambino:

Donald in Australia

This could be one of my favourite photos ever

(via nationalkleinblue)