Trapers — traped .giffiti


You have to check out this Tum­blr: I absolutely love it.

Sam Buttery Plays Leigh Bowery In Taboo


In Jan­u­ary 1985 Leigh Bow­ery started the now infa­mous poly-sexual Thurs­day disco club night “Taboo”. Orig­i­nally an under­ground ven­ture, it quickly became London’s Stu­dio 54, only much wilder, extremely more fash­ion­able, and with­out the masses of celebri­ties – although these came flock­ing in later. For every­one step­ping through the doors it was a truly unfor­get­table experience.

Mark Davies wrote a book which later became a stage musi­cal with lyrics by Boy George, and music by George and Kevan Frost.


Set in an aban­doned Lon­don ware­house, the partly imag­ined story takes place in the loca­tion of what was the city’s most fash­ion­able night­club, the now-legendary Taboo (1985–87) of the title. Boy George is fea­tured as one of the club’s reg­u­lars. The show also focuses on George’s life prior to and after achiev­ing fame.

The show pre­miered in London’s West End at the Venue The­atre on Jan­u­ary 29, 2002. Now in Sep­tem­ber 2012, Direc­tor Christo­pher Ren­shaw revived the show in a “site spe­cific” form in Brix­ton Club­house in South Lon­don. The pro­duc­tion was based on the orig­i­nal show with book by Mark Davies, but included sev­eral changes to the orig­i­nal soryline.

In this revival, Sam But­tery plays iconic 80s per­for­mance artist Leigh Bow­ery in Taboo, the story of bill-topping per­form­ers who defined a gen­er­a­tion, includ­ing Steve Strange from Vis­age, the inde­fin­able phe­nom­e­non that was Leigh Bow­ery, the one-man entre­pre­neur extra­or­di­naire Philip Sal­lon. And then of course, there’s Boy George, trav­el­ling from squat to super-stardom  from rock to rock bot­tom. The show inter­weaves some fan­tas­ti­cal facts of the 80s with a clas­sic love story of ambi­tion, pas­sion and betrayal.


Watch below a doc­u­men­tary about the FABULOUS Leigh Bow­ery and the orig­i­nal Taboo for your enjoy­ment. Shown dur­ing the spring of 1986 while Leigh Bow­ery was run­ning his infa­mous night­club Taboo, this doc­u­men­tary put Leigh on the map. A witty, provoca­tive and inspir­ing film that includes a Bodymap fash­ion show, rare footage of Taboo, and inter­views with Michael Clark and Lana Pil­lay, this doc­u­men­tary also reminds us what Leigh was like before he met Lucian Freud.

The Art of Creative Coding

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Pro­gram­ming plays a huge role in the world that sur­rounds us, and though its uses are often purely func­tional, there is a grow­ing com­mu­nity of artists who use the lan­guage of code as their medium. Their work includes every­thing from com­puter gen­er­ated art to elab­o­rate inter­ac­tive instal­la­tions, all with the goal of expand­ing our sense of what is pos­si­ble with dig­i­tal tools.

To sim­plify the cod­ing process, sev­eral plat­forms and libraries have been assem­bled to allow coders to cut through the nitty-gritty of pro­gram­ming and focus on the cre­ative aspects of the project. These plat­forms all share a strong open source phi­los­o­phy that encour­ages growth and exper­i­men­ta­tion, cre­at­ing a rich com­mu­nity of artists that share their strate­gies and work with unprece­dented openness.

Aubrey Beardsley


Aubrey Beard­s­ley was born on 21 August, 1872, in Brighton, Eng­land. The fam­ily, of mid­dle and upper mid­dle class ori­gins, was often nearly des­ti­tute. He attended Bris­tol Gram­mar School for four years as a boarder, indulging in his tal­ents by draw­ing car­i­ca­tures of his teachers.

In Feb­ru­ary of 1893, Wilde’s scan­dalous play Salome was pub­lished in its orig­i­nal French ver­sion. An illus­tra­tion inspired by the drama was admired by Wilde and Beard­s­ley was com­mis­sioned to Illus­trate the Eng­lish edi­tion (1894).

Not con­tent with art alone, Beard­s­ley expressed an intense desire to trans­late the French text after Wilde found the trans­la­tion by his inti­mate, Lord Alfred Dou­glas, to be unsat­is­fac­tory. This assign­ment was the begin­ning of celebrity but also of an uneasy, and at times unpleas­ant, friend­ship with Wilde, which offi­cially ended when Wilde was tried and con­victed of sodomy in 1895.


Beardsley’s fame was estab­lished for all time when the first vol­ume The Yel­low Book appeared in April 1894. This famous quar­terly of art and lit­er­a­ture, for which Beard­s­ley served as art edi­tor and the Amer­i­can expa­tri­ate Henry Har­land as lit­er­ary edi­tor, brought the artist’s work to a larger public.

It was Beardsley’s star­ling black-and-white draw­ings, titlepages, and cov­ers which, com­bined with the writ­ings of the so-called “deca­dents,” a unique for­mat, and pub­lisher John Lane’s remark­able mar­ket­ing strate­gies, made the jour­nal an overnight sen­sa­tion. Although well received by much of the pub­lic, The Yel­low Book was attacked by crit­ics as inde­cent. So strong was the per­ceived link between Beard­s­ley, Wilde, and The Yel­low Book that Beard­s­ley was dis­missed in April 1895 from his post as art edi­tor fol­low­ing Wilde’s arrest, even though Wilde had in fact never con­tributed to the magazine.


The film Af­ter Be­ards­ley at­tempts to de­pict to­day’s world through Be­ards­ley’s eyes and in his draw­ing style. Show­ing Be­ards­ley’s bet­ter known draw­ings, so­me of which ta­ke on a dif­fe­rent gui­se la­ter in the film. Writ­ten and drawn by Chris James.


A Million Times By Humans Since 1982


Humans since 1982 are based in Stock­holm. Their claim is to arouse curios­ity by cre­at­ing mate­r­ial hints of how the world might be. Both born in 1982, Per Eman (Swe­den) and Bas­t­ian Bischoff (Ger­many) founded their stu­dio in 2008 dur­ing their Mas­ter grad­u­a­tion at HDK Gothenburg.

Their “Sur­veil­lance Light”, was ini­tially shown at Stock­holm Fur­ni­ture Fair in 2008. It was well received not only in the design and art press but also in polit­i­cal blogs and mag­a­zines. The pres­ence in media brought Humans since 1982 together with Brus­sels based gallery Vic­tor Hunt.


Dur­ing their grad­u­a­tion the­sis in 2009 they devel­oped their projects, “Cel­e­brat­ing the cross” and “The clock clock”. Whilst “Cel­e­brat­ing the cross” was per­ceived ambigu­ously and polar­ized jour­nal­ists and reader on reli­gious and polit­i­cal blogs, “The Clock clock” evoke unan­i­mous pos­i­tive reac­tion. For their the­sis, Humans since 1982 received a price for the best grad­u­a­tion work at HDK and were received by Wall­pa­pers grad­u­a­tion Direc­tory. With “Cel­e­brat­ing the cross” they were nom­i­nated by Li Edelkoort for Design­huis’ “Euro­pean Talent”.


A Mil­lion Times” is a new project by humans since 1982. It’s sim­i­lar to their The Clock Clock project, this time they’ve used 288 clocks which can be con­trolled by an iPad. Humans since 1982 will present their kinetic work “A mil­lion times” at Design Days Dubai / Vic­tor Hunt Gallery from 18. — 21. March 2013.

8 BiT VoMiT’s 1° Birthday Party!



8 BiT VoMiT is a series of New Media art and music events founded by Graphic designer, DJ and artist Olya Lev­is­tova and Social Media and Pro­mo­tion enthu­si­ast Tanja Korobka. It has been cre­ated by Lon­don Chip Swarm with a mis­sion to grow chip­tune scene.

Lose your­self in explo­sive elec­tronic beats brought to you by Mind­pi­rates, 8bit Vomit, Chip swarm and DIY Church with a gath­er­ing of DJs and live acts from all over Europe. Dance your heart away and free your soul in a mix of indus­trial, noisy and loud sounds with visu­als by NZNZ, Gab­ifront, and Wario.

Meet the crea­tures of tomor­row to have a night of future fun with: COMPANY FUCK (AU / DE), MIDI MAN, Del_F64.0 & Zus­tand D. (DE), BEN BUTLER AND MOUSEPAD, SANTISIMA VIRGEN MARIA, DR. NEXUS and EYE, DJ OLIO (EE), DJ MICHAEL ANISER (noisekölln/epitaph). VIDEOGAMEZONE BY Qubodup (Joyride­labs).

Free mix­tapes, can­dyfloss, deco, and more. Sup­ported by and MINd­PI­rates


TV Party: The Sublimely Intolerable Show

Glenn O’Brien’s TV Party blew the dust out of New Yorker’s air ducts for four odd years from 1978 to 1982. The hour-long live, unscripted show took advan­tage of New York’s early-ish cable access world — a world man­dated by a deal that cable net­works could have their lit­tle monop­o­lies as long as the pub­lic was granted free access to a cer­tain per­cent­age of air­time. It’s a deal still going on all across Amer­ica today, and after watch­ing a lit­tle TV Party, you’d be a damn fool not to get involved. You see, TV can be fun, and you can make it! As for TV Party — essen­tially a show­case for what O’Brien and friends thought of as cool — it’s not for every­one. But those who like bizarro tele­vi­sion, the down­town New York scene of the day, or cult movies and TV with a cap­i­tal C (Liq­uid Sky or Robin Byrd’s porno talk-show, for instance) will get a seri­ous kick from this exper­i­ment in ‘social­ist TV’ — the TV show that’s a party, but it could also be a polit­i­cal party.

The Sub­limely Intol­er­a­ble Show aired Jan­u­ary 8th 1979, with O’Brien (writer, Warhol-ite and once New Wave gad­about) loosely hold­ing the reins — flog­ging the horse or let­ting it stum­ble down rocky inclines, how­ever he, his guests, audi­ence or callers saw fit. Aired in black and white, the night’s guests included Comp­ton Mad­dox and John Moses play­ing weird gui­tar tunes, Klaus Nomi singing opera, and Andy Sher­noff cov­er­ing the Beach Boys, (backed by Tish and Snooky of Manic Panic fame). Down­town direc­tor Eric Mitchell plays a clip of his movie Kid­napped while plug­ging the New Cin­ema The­ater, direc­tor David Sil­ver and Kate Simon do ‘White Peo­ple Talk About Reg­gae,’ and finally Deb­bie Harry, Chris Stein (also of Blondie and later offi­cial co-host of TV Party) and Richard Sohl help O’Brien with the viewer call-in seg­ment while pass­ing a joint.

Accord­ing to O’Brien’s TV Party web­site, David Let­ter­man once told Paul Scha­ef­fer on air that “TV Party is the great­est TV show any­where, ever,” and for those of us now corn-fed on the GMOs that are Two and a Half Men and their ilk, it’s hard to argue. The show thrives on O’Brien’s heart­felt dif­fi­dence (hard to man­age, true) and an anything-can-happen dan­ger­ous­ness that’s impos­si­ble to fake. It appears effort­less because in many ways it was, semi-professionals aided and abet­ted, and total ama­teurs did lit­tle things like; oper­ate cam­eras and run sound. In fact the first five or ten min­utes of Sub­limely Intol­er­a­ble have no sound at all, noth­ing but ran­dom pops (as peo­ple scurry to fix the prob­lem) and (also accord­ing to the TV Party web­site) Jean-Michel Basquiat typ­ing super-graphics like “Oh no! No sound! Fuck!” Top-notch scen­ester enter­tain­ment makes up for defi­cien­cies O’Brien encour­aged. Mad­dox and Moses’s pre-ironic ironic num­bers bub­ble dan­ger­ously, with O’Brien and Deb­bie Harry et al danc­ing in lab coats. Klaus Nomi’s unearthly soprano aria and equally alien demeanor are stun­ning and bizarre. Sher­noff is cool enough — while point­ing out how even the most insipid Beach Boys song comes with a super-sharp chord pro­gres­sion — and direc­tor Mitchell seems baf­fled and is baffling.

White Peo­ple Talk About Reg­gae rides a dan­ger­ous edge; the audi­ence mocks, Simon and Sil­ver seem defen­sive talk­ing about the ‘music of uplift­ment,’ and then a joint starts mak­ing the rounds. The joint stays for the ‘viewer call-in’ seg­ment which always closed the show. It’s emblem­atic of the off-the-rails genius of the show. Sure, the tech­no­log­i­cal aspects are junk, and per­for­mances or inter­views hit-or-miss, but let­ting uncen­sored live callers on the air is pure gold. O’Brien and crew are unas­sum­ing in their great­ness — they’re the cool kids at school who’ll actu­ally accept you (even though you know you’re a total geek) just because they’re self-secure — shin­ing as they wade through call after call ques­tion­ing their sex­ual prac­tices and eth­nic­ity. This stuff is not for the eas­ily offended, but it’s a tes­ta­ment to the power of a slick hand will­ing to let the chips fall wherever.

The first 10% of this show sums up what we don’t get on TV any­more. Tech­ni­cal dif­fi­cul­ties. TV Party was live and impro­vised, and this meant casual dis­as­ter. This early episode gets off to an artis­ti­cally ago­niz­ing start–the sound per­son is late, over­dos­ing on drugs or both. Or it was the bro­ken down equip­ment. Once the sound kicks in the show gets lively. Comp­ton Mad­dux, a droll singer song­writer, is backed up by Deb­bie Harry and Glenn; the unique futur­ist soprano Klaus Nomi does one of his post-modern arias; Adny Sher­noff, of the Dic­ta­tors, plays the Beach Boys’ “Be True to Your School” backed up by pom pom girls Tish and Snooky, the Manic Panic design­ers. Down­town leg­end direc­tor Eric Mitchell announces the open­ing of the now famous New Cin­ema the­ater and shows a clip from his film “Kid­napped” with Arto Lind­say, Dun­can Smith and Anya Phillips. Brit direc­tor David Sil­ver and pho­tog­ra­pher Kate Simon do the “white peo­ple talk about reg­gae” seg­ment. Blondie’s Chris Stein and Deb­bie Harry and the Patti Smith Group’s Richard Sohl drop in to smoke a reefer and take calls from all the cra­zies in cable land. Chris explains all this isn’t chaos, it’s art.

Simply Divine Cut-Out Doll Book

Max Capacity: Net Necromancer

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Glitch video/GIF artist Max Capac­ity work pushes the grainy VHS cut-ups and early home com­puter bit con­straints of 1980s cyber­punk into the dig­i­tal realm. Net­work Awe­some and Radosaur Pro­duc­tions inter­viewed him for Tumblr’s Sto­ry­board effort. “Max Capac­ity: Net Necro­mancer

We love the work of artist Max Capac­ity. I will ven­ture here to say that his ani­mated GIFs are post­mod­ern, com­bin­ing in them glitch artpixel art, movies and stuff I can­not even start to describe. The fact that he uses the name Max Capac­ity is prob­a­bly not a coin­ci­dence as he has a lot of work to show up for. I can spend hours jump­ing from his Flickr site to his Tum­blr site to his YouTube chan­nel check­ing out his uni­verse of pro­lific cre­ation. You have to visit Max Capacity’s sites.


The Effect of Color

Color is one of the fun­da­men­tal ele­ments of our exis­tence, and defines our world in such deep ways that its effects are nearly imperceptible.

It inter­sects the worlds of art, psy­chol­ogy, cul­ture, and more, cre­at­ing mean­ing and influ­enc­ing behav­ior every step of the way. Most fas­ci­nat­ing are the choices we make, both sub­con­sciously and con­sciously, to use color to impact each other and reflect our inter­nal states.

Whether in the micro-sense with the choice of an arti­cle of cloth­ing, or the macro-sense where cul­tures on the whole embrace color trends at the scale of decades, color is a sig­ni­fier of our motives and deep­est feelings.