Daymares

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[P]hotographer Arthur Tress, who, in the late 1960s and early ’70s, asked children to describe their fantasies and nightmares, then immortalizing them in staged photographs.

Tress was recruited to do a workshop with child educator Richard Lewis. “Every year he has a different theme,” Tress explained to Gothamist, “and one year he did children’s dreams, to get kids to write poems and paintings from their dreams. So he called me in to photograph his class. I was looking for mythological, archetypical, kind of nightmarish images.”

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Artist Arthur Tress via Huffington Post.

The Odd Convergence of Prophetic Science-Fiction and Civil War in the Ukraine

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A pro-Western, NATO-backed Ukrainian government faces a stubborn insurgency in the pro-Russian East. Fighting rages around Donetsk, with civilians dying in artillery fire and airstrikes, while Russian troops mass on the Ukrainian border.

[Fedor] Berezin, a 54-year-old former Soviet Army officer and Donetsk native, is now living inside a real-life version of his own story: He is deputy defense minister of the embattled “Donetsk People’s Republic”.

The plot twist? Berezin is also the author of Science Fiction duology, War 2010: The Ukrainian Front and War 2011: Against NATO.

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But Berezin’s novels are hardly a unique phenomenon.

In 2005, not long after Ukraine’s pro-Western Orange Revolution came Omega by Andrei Valentinov, describing three alternate history versions of the conflict. Then there’s The Age of the Stillborn by Gleb Bobrov, and Grigory Savitsky’s Battlefield Ukraine: The Broken Trident.

This is why Russian novelist Dmitry Bykov to call the Ukraine conflict “the writers’ war”.

Berezin’s own LiveJournal update about his new appointment began with the words, “I have found myself in an alternate reality”.

At a rally in Donetsk in late June, Berezin told the crowd that the obvious goal of the Kiev government was to drive all the Russians out of Eastern Ukraine – “to blatantly steal our land and give it to the Americans and the Europeans”. It sounds like a page from Berezin’s own novels.

By early July, Berezin’s tone had changed slightly, acknowledging to the Rossiyskaya Gazata that the civil war had turned out to be more terrifying than his fiction. Funny how that works.

Quoted text by Cathy Young from an article via Slate for the full fascinating article.

The Zombie Kama Sutra

Page from Zombie Kama Sutra by Ricky Sprague.rickysprague.comobscurinati.com

In the beginning, the Lord of Beings created men and women, and prescribed therefore about one million rules by which those men and women must necessarily regulate their living existence. Yet, these rules have not applied to the undead. For too long have these wayward, shambling, unholy creatures attempted to engage the acts of courtship, embracing, unions, seduction, and etc.

To that end are written these more than one thousand chapters, intended as a guide to those who have risen from the grave by whatever means, be it metaphysical, mystical, biological, or extraterrestrial. These important “rules to be dead by” shall provide to the zombie the proper knowledge in regards to conducting oneself in all manner of intimate relations.

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Page from Zombie Kama Sutra by Ricky Sprague.rickysprague.comobscurinati.com

From Part 1st, Chapter 1st: On Getting Your Kicks When Your Bucket Has Been Kicked.

MAN is divided into three classes, according to the size of his thingambob. UNDEAD man is divided into two classes, depending on whether or not he has retained all his limbs and brains.

WOMAN is also divided into three classes, depending on the depth of her you-know-what. So too is UNDEAD woman divided into two classes, corresponding to the number of remaining limbs and brains also.

The temperament of the undead is based most especially on the proximity to brains. The brain is the most important sexual organ. The undead crave brains. The undead are attracted to the brains of one another.

Page from Zombie Kama Sutra by Ricky Sprague.rickysprague.comobscurinati.com

Can’t…stop…laughing. Yes, I know I am going to Hell. I think I am alright with that.

Via Project Child Murdering Robot which has even more Zombie Kama Sutra awesome…!

The Turin Erotic Papyrus

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Painted sometime in the Ramesside Period (1292-1075 B.C.E.), the fragments above—called the “Turin Erotic Papyrus” because of their “discovery” in the Egyptian Museum of Turin, Italy—only hint at the frank versions of ancient sex they depict (see a graphic partial reconstruction at the bottom of the post).

The number of sexual positions the papyrus illustrates—twelve in all – “fall somewhere between impressively acrobatic and unnervingly ambitious”, one even involving a chariot.

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Adding this one to the Best of Pretty Awful category – just because of the part about chariots.

Via Open Culture.

This Land Is Mine: The Israel-Palestine Conflict in One Musical Number

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This Land Is Mine is a parody of “The Exodus Song”.

That music was sort of the soundtrack of American zionism in the 1960’s and 70’s. It was supposed to express Jewish entitlement to Israel.

By putting the song in the mouth of every warring party, I’m critiquing the original song.

Lyrics by Pat Boone, sung by Andy Williams
This land is mine
God gave this land to me

This brave and ancient land to me
And when the morning sun
Reveals her hills and plains
Then I see a land
Where children can run free.

So take my hand
And walk this land with me
And walk this lovely land with me
Tho’ I am just a man

When you are by my side

With the help of God
I know I can be strong.

Tho’ I am just a man

When you are by my side

With the help of God
I know I can be strong.

To make this land our home

If I must fight

I’ll fight to make this land our own.
Until I die this land is mine!

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Kinda puts it all in perspective…

Quoted text via Nina Paley via Films For Action.
Audio is a parody of The Exodus Song sung by , lyrics by Pat Boone.
Check out Nina Paley‘s site, which has an explanation of the historical identity of each of the characters, or Wikipedia for personal information on American animator Nina Paley herself.

The Robot Camel Jockeys of the Arabian Peninsula

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A robot jockey is commonly used on camels in camel racing as a replacement for human jockeys.

Developed since 2004, the robotic jockeys are slowly phasing out the use of human jockeys, which in the case of camel racing in Saudi Arabia, Bahrain, United Arab Emirates, and Qatar, often employs small children who reportedly suffer repeated systemic human rights abuses.

In response to international condemnation of such abuses, the nations of Qatar and the UAE have banned the use of human jockeys in favor of robots.

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The government of Qatar initiated development of the robots at the beginning of 2001.

At the end of 2003, the design, with a revised analysis, was tendered to Swiss robotics firm K-Team. Initial problems faced by the design team, led by Alexandre Colot, included the fact that the camels were conditioned to the use of human jockeys.

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Early designs confused or frightened the camels. The designs were modified to include more human-like features, including a mannequin-like face, sunglasses, hats, racing silks and even traditional perfumes used by human jockeys.

Due to their heavy weight (16 to 18 kg) and high cost, the Swiss product was ruled out and replaced by smaller, lighter (2 to 3 kg) and lower-priced models in Qatar and the UAE. The robots are remotely controlled by operators being driven alongside the race track in SUVs.

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Via Wikipedia.