AB
This is a digital sketchbook.

I do things. I post them to my website some of the time. It is http://www.bseverns.com
AB
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"From time to time the Americans would indulge in genocidal fantasies as the solution to the problem of Cubans, what Albert Memmi suggested as the logical conclusion of the imperial imagination: “to imagine a colony without the colonized.” “Cuba would be desirable,” Nevada senator Francis Newlands commented, “if for a half hour she could be sunk into the sea and then emerge after all her inhabitants had perished.”"

Cuba in the American Imagination, Louis A. Pérez Jr. University of North Carolina Press (2008), p. 101

(for context, this quote concerns the immediate period after the so-called “Spanish-American” war (1898) - arguably the first “humanitarian” war in US history - where the US invaded Cuba under false pretenses and quickly established a military dictatorship after about a month of fighting)

"You just give me the word and I’ll turn that fucking island [Cuba] into a parking lot." —-Secretary of State Alexander Haig to Ronald Reagan

 "I am so angry with that infernal little Cuban republic that I would like to wipe its people off the face of the earth,"— Teddy Roosevelt to a friend

"[Cubans] possess the superficial charm of clever children, spoiled by nature and geography—but under the surface they combine the worst characteristics of the unfortunate admixture and interpenetration of Spanish and Negro cultures—laziness, cruelty, inconstancy, irresponsibility and inbred dishonesty."— Henry Norweb, U.S. ambassador to Cuba in the 40’s

All quotes from: Lars Schoultz, “Benevolent Domination: The Ideology of U.S. Policy toward Cuba,” Cuban Studies, 2010, Vol. 41, p1-19.

(via grammaticalfiction)
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euo:

“These people we wasted here today are the finest human beings we will ever know. After we rotate back to the world, we’re gonna miss not having anyone around that’s worth shooting.”
Full Metal Jacket (1987) dir. Stanley Kubrick
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"I have earned my place in heaven. It’s not even close."
Former NYC mayor Michael Bloomberg, reflecting on his life’s work. Read his interview in the New York Times about his new gun control initiatives. (via officialssay)
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"As the social is devalued along with rationality, ethics, and any vestige of democracy, spectacles of war, violence, and brutality now merge into forms of collective pleasure that constitute an important and new symbiosis between visual pleasure, violence, and suffering. The control/punishing society is now the ultimate form of entertainment as the pain of others, especially those considered disposable and powerless, has become the subject not of compassion but of ridicule and amusement. My emphasis here is on the sadistic impulse and how it merges spectacles of violence and brutality with forms of collective pleasure that often lend support and sway public opinion in favor of social policies and “lawful” practices that create zones of abandonment for youth. No society can make a claim to being a democracy as long as it defines itself through shared fears rather than shared responsibilities, especially in regards to young people. Widespread violence now functions as part of an anti-immune system that turns the economy of genuine pleasure into a mode of sadism that creates the foundation for sapping democracy of any political substance and moral vitality that might counter a politics of disposability more generally."
Neoliberalism and the Machinery of Disposability (via azspot)
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sunlightcities:

The Internet as a subway map. 
Read about it here on Slate. 
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nevver:

Earth-size planet in ‘Habitable Zone’ discovered
nevver:

Earth-size planet in ‘Habitable Zone’ discovered
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dinosaurparty:

(via $82 a Day Is the Average Savings for a Comfortable Retirement)
Oh god, by this metric, I can retire for a month.
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theatlantic:

Google Wants to Make ‘Science Fiction’ a Reality—And That’s Limiting Their Imagination

The future is vast, and scifi provides but a tiny porthole to see it.
Read more. [Image: Library of Congress]
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Americans Will Spend $20.5 Billion On Video Games In 2013
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prostheticknowledge:

Frederik De Wilde
Artist from Brussels inspired by science and technology in both form and production of art works:

Frederik De Wilde acts on the border area between science, technology and art. The conceptual crux of his artistic praxis are the notions of the intangible, inaudible, invisible. It is this interstitial territory that Frederik De Wilde explores in his various works. Sometimes on the side of the technological, and often in the perceptual, conceptual, social—human—register, De Wilde’s art is grounded in the interaction between complex systems, both biological and technological. Moreover, the indistinct, diffuse, ‘fuzzy’ arena where the biological and the technological overlap and commingle is a productive and favored ground for his projects/ projections.

More at his website here
[h/t - Data is Nature]
prostheticknowledge:

Frederik De Wilde
Artist from Brussels inspired by science and technology in both form and production of art works:

Frederik De Wilde acts on the border area between science, technology and art. The conceptual crux of his artistic praxis are the notions of the intangible, inaudible, invisible. It is this interstitial territory that Frederik De Wilde explores in his various works. Sometimes on the side of the technological, and often in the perceptual, conceptual, social—human—register, De Wilde’s art is grounded in the interaction between complex systems, both biological and technological. Moreover, the indistinct, diffuse, ‘fuzzy’ arena where the biological and the technological overlap and commingle is a productive and favored ground for his projects/ projections.

More at his website here
[h/t - Data is Nature]
prostheticknowledge:

Frederik De Wilde
Artist from Brussels inspired by science and technology in both form and production of art works:

Frederik De Wilde acts on the border area between science, technology and art. The conceptual crux of his artistic praxis are the notions of the intangible, inaudible, invisible. It is this interstitial territory that Frederik De Wilde explores in his various works. Sometimes on the side of the technological, and often in the perceptual, conceptual, social—human—register, De Wilde’s art is grounded in the interaction between complex systems, both biological and technological. Moreover, the indistinct, diffuse, ‘fuzzy’ arena where the biological and the technological overlap and commingle is a productive and favored ground for his projects/ projections.

More at his website here
[h/t - Data is Nature]
prostheticknowledge:

Frederik De Wilde
Artist from Brussels inspired by science and technology in both form and production of art works:

Frederik De Wilde acts on the border area between science, technology and art. The conceptual crux of his artistic praxis are the notions of the intangible, inaudible, invisible. It is this interstitial territory that Frederik De Wilde explores in his various works. Sometimes on the side of the technological, and often in the perceptual, conceptual, social—human—register, De Wilde’s art is grounded in the interaction between complex systems, both biological and technological. Moreover, the indistinct, diffuse, ‘fuzzy’ arena where the biological and the technological overlap and commingle is a productive and favored ground for his projects/ projections.

More at his website here
[h/t - Data is Nature]
prostheticknowledge:

Frederik De Wilde
Artist from Brussels inspired by science and technology in both form and production of art works:

Frederik De Wilde acts on the border area between science, technology and art. The conceptual crux of his artistic praxis are the notions of the intangible, inaudible, invisible. It is this interstitial territory that Frederik De Wilde explores in his various works. Sometimes on the side of the technological, and often in the perceptual, conceptual, social—human—register, De Wilde’s art is grounded in the interaction between complex systems, both biological and technological. Moreover, the indistinct, diffuse, ‘fuzzy’ arena where the biological and the technological overlap and commingle is a productive and favored ground for his projects/ projections.

More at his website here
[h/t - Data is Nature]
prostheticknowledge:

Frederik De Wilde
Artist from Brussels inspired by science and technology in both form and production of art works:

Frederik De Wilde acts on the border area between science, technology and art. The conceptual crux of his artistic praxis are the notions of the intangible, inaudible, invisible. It is this interstitial territory that Frederik De Wilde explores in his various works. Sometimes on the side of the technological, and often in the perceptual, conceptual, social—human—register, De Wilde’s art is grounded in the interaction between complex systems, both biological and technological. Moreover, the indistinct, diffuse, ‘fuzzy’ arena where the biological and the technological overlap and commingle is a productive and favored ground for his projects/ projections.

More at his website here
[h/t - Data is Nature]
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"It is never too late to give up our prejudices."
Henry David Thoreau (via moralanarchism)
'Noah' screenwriter attempts to explain why everyone in his movie is white. "The race of individuals doesn't matter."
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"Making the unemployed miserable arguably increases labor supply, as workers become less choosy and more willing to take whatever job they can find. But the US labor market in 2014 isn’t constrained by supply, it’s constrained by demand: given what firms can sell, they have no need for as many hours of work as workers are willing to give. So make the long-term unemployed more desperate; so what? They can’t do anything to increase the amount of work demanded, and in fact their reduced purchasing power reduces labor demand."
Supply, Demand, and Unemployment Benefits (via azspot)
http://cir.ca/s/F8c