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Hipster Barbie Is Mocking You And Your Instagram Habits

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From her shots of clichéd latte art to perfectly filtered shots of sunsets, we're pretty sure that "Hipster Barbie" is mocking us on social media. 


Hipster Barbie -- whose official Instagram name is Socality Barbie -- is taking the Internet by storm. Tapping into our social media habits like no other, she nails our "fake" Instagram lives to a tee with every perfectly posed photo. Barbie even hashtags things the way we do (#blessed, #vscocam and #liveauthentic), while arranging artsy shots we all know we're guilty of taking.


And those "quote" captions? So. On. Point. Barbie, can we be you? 



When The Huffington Post spoke with Socality Barbie, the creator refused to reveal her identity beyond saying she was a woman and "Just some nobody who lives in Portland, Oregon -- only close friends and family know the identity." In "real" life, the creator says she photographs weddings and started Socality Barbie about three months ago. 


"I created SB purely for my and my friends enjoyment. It was a light-hearted and fun way to poke fun at all the people who used the 'Socality' and 'LiveAuthentic' hashtags. People were taking the same pictures in the same places and using the same 'inspirational' captions," said the creator. "How can you be authentic and inspiration when you follow the crowned? I thought using a mass-produced doll would be the best way to make that point." 


And oh, did she make that point. Take a look at more of Socality's Instagram perfection below and be sure to follow her on Twitter







H/T Wired


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A Lego Vatican Rises In Philadelphia

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A Catholic priest has built a small-scale version of the Vatican -- complete with nuns in black robes, Swiss Guards, and a tiny, waving Pope Francis.


Rev. Bob Simon, pastor of Pennsylvania's St. Catherine of Siena church, says that the project started off as a monumental challenge, and ended up being a journey of faith.



He said there have been two certainties in this 50-year-old life: he's always wanted to be a priest and he's always loved playing with Legos. As a child, he remembers seeing a small parish church being built right in his backyard. The bulldozers and machinery were exciting to him as a little boy. Looking back, he said he wonders if the experience of watching a church come to life didn't also draw him to the priesthood and the task of building a spiritual community. 


Simon built his first Lego Vatican in the 7th grade, a "crude" and "very simple" project that involved mostly red and blue bricks.


His most recent Lego Vatican is much more complicated. The facade alone weighs over 100 pounds, he claims, and he used more than 44,000 tiny lego cobblestones. St. Peter's Square is vibrant and bustling with tiny Lego people.


The process of building the piece, which took 10 months, had him thinking about the Vatican's original architects. The Piazza in front of St. Peter's Basilica was designed by Gian Lorenzo Bernini, to emulate the embrace of a mother's arms.


"I wanted to show this that the church extends this great welcome to everyone," Simon told The Huffington Post. As a result, he used Lego people of all stripes -- a robber, a sailor, and even an Elvis impersonator.



Simon said he would come home from a busy day and spend his nights laying down dozens of the same doorways, arches, and bricks. The repetitive nature of the work soon reminded him of the rosary. 


"It was a good time of prayer," Simon said. "It was one brick at a time, one niche at a time."


Simon's Lego Vatican is going on display at The Franklin Institute in Philadelphia, where Pope Francis is scheduled to take part in the World Meeting of Families on Sept. 26 and Sept. 27. It coincides with the museum's new Vatican Splendors exhibit, which showcases significant objects from the Catholic Church's history. 



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Paul McCartney, Fergie, Other Stars Record 'Love Song To The Earth'

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Music superstars have come together to stress the importance of protecting our environment. 


A group of artists, including Paul McCartney, Jon Bon Jovi and Sheryl Crow recorded "Love Song to the Earth" -- a new song dedicated to rallying people to climate action and supporting the U.N.'s efforts to get nations to agree on a universal climate agreement. 



The song was released on iTunes and Apple Music on September 4, but will have a wide release a week later, according to a press release. Apple, as well as artists, producers and directors involved in the song plan to donate their proceeds to environmental organization Friends of the Earth U.S. and the United Nations Foundation. 


Toby Gad, who helped write the star-studded track -- which comes out months before December's climate conference COP21 in Paris -- says he hopes the song will open people up to the importance of fighting climate change.  


“When the U.N. asked me to write a song about climate change I felt honored and inspired. So, my friends and I wrote ‘Love Song to The Earth’, focusing on a positive message about how precious our only planet is," Gad said in a statement. "I hope this song will broaden the audience for this urgent message and give the politicians emotional support for meaningful climate agreement in Paris 2015.”


Other stars who were featured in the song include Fergie, Colbie Caillat, Natasha Bedingfield, Leona Lewis, Sean Paul, Johnny Rzeznik, Krewella, Angelique Kidjo, Kelsea Ballerini, Nicole Scherzinger, Christina Grimmie, Victoria Justice and Q’Orianka Kilcher. A video is set to be released on September 11, and will include celebrities, scientists and others holding up messages of support for our environment. 


While the artists want to convey a sense of urgency in fighting climate change, Bedingfield, who also helped write the song along with Gad, John Shanks and Sean Paul, says the song is ultimately meant to uplift others in regards to the subject. 


“We wanted to write a song that is about how when you love something, you look after it,” Bedingfield said in a statement. "While we know about the environmental issues, we’re unsure if there is any hope. With this song we wanted to talk about the environment in a way that would help people feel empowered to do something rather than be paralyzed by fear.”


To learn more about Friends of the Earth, visit its website here. To learn more about the United Nations Foundation, click here


 


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Meet 'Beirut’s Banksy,' The Artist Who’s Transforming The City One Wall At A Time

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Artist Yazan Halwani peels political banners and posters off Beirut’s walls to make room for his murals. Born in the Lebanese capital, Halwani, 22, grew up against the backdrop of political logos stenciled on city walls and faded posters of politicians plastered on street corners, some left over from the civil war that lasted from 1975 to 1990.


In Lebanon, “people usually identify with sectarian or political symbols,” Halwani said. Frustrated with the political fragmentation and sectarian strife on and off the walls of Beirut, he decided to draw the public’s attention to cultural figures that “reunite Lebanese, and Arab citizens, without any divisions.” On walls and buildings in East and West Beirut (which were separated during the civil war), he paints large-scale portraits of Arab poets, musicians and actors, encircled by intricate Arabic calligraphy.



Born a couple of years after the war, Halwani is part of a generation of Lebanese youth pushing, in various ways, for greater unity in Lebanon. With his artwork, he strives to offset decades of political polarization that has resulted in cultural divisions and “a weakening of national identity.”


Referred to as “Beirut’s Banksy” by Arab media outlet Al-Arabiya, Halwani has also produced artwork for international street art events, and his work has appeared in Germany, Singapore and Paris. By taking his calligraphy outside the Arab region, Halwani says, he wants to instigate “cross-cultural conversations” and to inspire a “positive view of the Arab world.”


But it’s his work in Beirut that's garnering the world’s attention.


Political paralysis is nothing new in Lebanon's government, which is tenuously balanced according to the country's religious factions. But it has reached new heights: The country's parliament has failed to pick a president for more than one year, and its inaction and corruption leaves much of the country without regular access to services like electricity and water. This summer, more than 20,000 tons of garbage has accumulated on Beirut’s streets after a major landfill closed and the government failed to agree on an alternative dump or a new contract for its garbage collection company.


Residents began to protest, resulting in the YouStink campaign decrying their officials. Public frustration peaked last month, with the recent wave of protests in the capital being described as “the biggest show of civil disobedience” in a decade. 


Halwani marched in a mass YouStink rally in downtown Beirut on Aug. 22. 


“I think the current problem and the main motivation behind my artwork stem from the same reason,” says Halwani. “Sectarian political forces that are working in their own self-interest.”


Halwani won’t write political slogans on Beirut’s walls, though. By painting much less polarizing figures, he subversively proposes an alternative cultural and political narrative: one of unity and harmony.


“I think that what needs to be done on a political level cannot be summed up with a wall tag,” he says.  



Along the side of a building in the vibrant district of Hamra, Lebanese singer-actress Sabah peers out onto the street, smiling disarmingly, surrounded by a halo of interwoven Arabic letters that look like snowflakes from afar. Across an orange wall in the lively residential district of Gemmayzeh, Halwani painted beloved musical icon Fairouz, in black, white and grey.


“I want to replace corrupt politics with more positive cultural elements that show the real face of the country,” he says.


Halwani’s street art hasn’t always been propelled by such lofty ambitions. At the age of 14, he was drawn to French hip-hop songs and gangster films. “Everyone wanted to grow up to be a soldier or an actor, but I wanted to be a gangster like these taggers in New York,” he says. He started tagging his name on Beirut’s walls, in bright colors and big letters. Later, however, he experienced what he calls a “critical response” toward his own work. “I realized that what I was doing did not have a shred of identity. It had no relationship to Beirut. That’s why people ignored or destroyed it.”


Around the same time, Halwani borrowed a calligraphy book from his uncle. He quickly discovered that there was a discrepancy between the essence of calligraphy and that of tagging; the former was less about the artist and more about the words (often Quranic verses or folkloric proverbs.). “I was no longer interested in writing my name,” he says.


In fact, he was no longer interested in writing anything at all. The Arabic letters he places around his portraits often don’t make up legible words; they’re more like ornate crossword puzzles. “What I try to do is I try to evoke meaning without having to use the actual word ... I use calligraphy to create an Arabic visual language which can be understood by Arabic and non-Arabic speakers alike,” he noted.


Often, he seeks to paint murals that start conversations. On one of the walls in Concord Street is a portrait of a gray-haired man, his eyelids on the verge of caving in, his gaze despondent. His creased forehead is crowned with tufts of white and grey hair. The portrait is of Ali Abdullah, a homeless man who for years had set up residence in the nearby Bliss Street. In January 2013, Beirut’s harsh weather reportedly led to his death. The incident mobilized hundreds of Lebanese youth to launch initiatives to help the homeless.


“After two weeks, everybody forgot about him,” says Halwani. “I decided to repaint him, just to tell people that you do not need to help the homeless only when you hear a tragic story on the news.”



As Halwani was standing in a shopping cart, with blotches of black paint on his shorts and T-shirt, a worn out taxi pulled up by the curb. A teary-eyed driver called Halwani over, and said, “When I saw what you’re doing, I was really touched. I used to see this homeless man on the street.”


Three years later, Halwani is still touched by what happened next: Desperate to give something, anything, back to the artist, the driver offered him a ride. “All I have is this car. If you need to go anywhere, I’m ready to take you,” the driver told him.

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The Life Of Out, Proud Disco Legend Sylvester Comes Back To The Stage

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Real-life partners Kendrell Bowman and Anthony Wayne say that collaborating professionally on "Mighty Real: A Fabulous Sylvester Musical" was anything but a breezy experience.


"It was hell," Wayne told The Huffington Post in an interview. Still, he said the success of the show, which has played to enthusiastic audiences in New York, San Francisco and Washington D.C., has made their efforts worthwhile: "It's like a pregnancy. You go through the cramps, the contractions…but once [the baby] is here, you forget about everything."


"Mighty Real," which opened Off-Broadway in 2014, dramatizes the glitzy, all-too-brief life of Sylvester, the disco world's most legendary out-and-proud performer, using 90 minutes of his classic dance anthems. The role of Sylvester, who died in 1988 at the age of 41 after battling HIV/AIDS, is a seamless fit for Wayne, a Broadway veteran who also wrote the show's book and serves as co-director. Bowman, meanwhile, co-directed and designed the costumes, including replicas of Sylvester's signature fur coats and sequined tops. 


Now "Mighty Real" is heading south to Atlanta for a one-night-only performance at the Variety Playhouse Sept. 5, coinciding with the city's Black Pride festivities. Both Wayne and Bowman hope the ever-evolving show's Georgia performance brings them one step closer to a Broadway bow, which they hope will take place in 2016 with an expanded book and song list, but with the original Off-Broadway creative team in place.



From "Kinky Boots" to "Fun Home," queer themes have been a hot commodity on Broadway as of late. But Bowman and Wayne see their passion project as unique in that it portrays the real-life story of a gay icon as written and performed by gay men.


 "We still keep the Broadway-isms: the songs, the dance, the costumes, the music, the glitter," Wayne said. "But this is a real, true story, and it's been a long time since we've had someone from within our own community to tell our story, rather than an executive who just says, 'This is a great thing we can make money off of.'"


The show hasn't lacked in celebrity endorsement, either, finding fans in the likes of Missy Elliott and Naomi Campbell. Meanwhile, Wayne is set to collaborate with Vogue's Andre Leon Talley in refreshing the show's costumes for Broadway.


Bowman, for his part, said introducing audiences to the life of the late "Queen of Disco," whose work has influenced the likes of Boy George and Adam Lambert, makes him "feel good as a person."



"It's almost like giving back to a charity," he said. "When we tell people what show we're doing, they light up. For me to see older people in the audience who lived through the HIV/AIDS epidemic, and we can bring joy, hope and happiness into their lives for 90 minutes…it makes me feel like all the hard work we're doing is worth it."


Meanwhile, Wayne said playing the role of Sylvester for over two years has made him "evolve both as a person as well as an actor."


"In the '70s, here was this man in the music industry who was living his life very proudly and not trying to hide who he was," he said. "Sylvester didn't have the chance to continue his life, but people should come away from the show knowing they can overcome adversity and achieve anything they want to."


"Mighty Real: A Fabulous Sylvester Musical" plays Atlanta's Variety Playhouse on Sept. 5. Head here for more details. 


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Getty Is Quietly Charging Bloggers For 'Socially Awkward Penguin' Meme

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Around the spring of 2009, some nerds began adding macro text to a photo of a penguin on the Internet. According to Know Your Meme, this became what's now known as the Socially Awkward Penguin meme -- a format for sharing two-line stories on cringeworthy social encounters


You've probably seen it on Facebook, Pinterest, Reddit, Twitter, Imgur, Tumblr, BuzzFeed or some other Internet culture-obsessed place. And Getty Images -- which owns the rights to the original penguin photo -- is apparently none too happy about that. If you run a blog, you might want to be careful about posting SAP.



In a written statement, Getty confirmed to HuffPost that it has "pursued and settled certain uses" of the photo "in instances where it has been used without a license." (Disclosure: The Huffington Post is a Getty subscriber.) One affected blog, however, wants to get the word out.


GetDigital editors explained in a post on the site this week how Getty had contacted them about a three-year-old post featuring the SAP meme. After a few written exchanges, the image service requested €785.40 (around $875) in license fees -- about twice what the blog says it would regularly cost for a publication its size to use the image for three years. They paid the hefty sum out of court and deleted the offending images, but Getty had one more request. GetDigital said the company forbade them from talking to others about the copyright issue or else risk official legal action.


"Apparently this method is very successful," the editors wrote, "but of course it will not work on us." In addition to sharing their experience, the editors created a new SAP meme for anyone to use. 


Getty clarified in another written statement that, in copyright situations, it usually requests specific details of the settlement to be kept confidential. The company referred HuffPost to image licensing information available freely on its website.


With the right Google search, the original image is easy to find. "An Adelie penguin struts its stuff" reads the caption for the photo, taken by now-80-year-old George F. Mobley for National Geographic. A handy "calculate price" button sits next to it -- GetDigital used this to estimate its dues -- with editorial fees ranging from a few hundred U.S. dollars to thousands. 



Internet memes, though, can pose sticky copyright questions. To whom does an image that's been recontextualized and rewritten a billion times, privately and publicly, really belong? Reuters does not seem to have pursued legal action against any of the many, many sites that posted the "McKayla Is Not Impressed" meme during the Summer 2012 Olympics. The production company behind the 2004 film "Downfall" filed a copyright claim in 2010 against all the YouTube videos repurposing a scene showing Hitler's rage. (Many of the videos remain online.) But later, the owners of two hugely famous memes -- Keyboard Cat and Nyan Cat -- won a lawsuit against Warner Brothers in 2013, which used their images in a video game called Scribblenauts. (The meme creators were eventually paid.)


Getty represents more than 200,000 artists who, it points out in the statement, "are entitled to be paid" just as the owner of Keyboard Cat (RIP). And, as always, we can probably blame 4chan -- the cesspool of filth and depravity that created many early Internet memes, likely including SAP -- for starting this whole mess. But the reality of creative copyright is often hazy -- just ask Pharrell -- and it stands to reason that any and all conversation around the subject should be welcomed.


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Controversial German Philosopher Says Man And Machine Will Fuse Into One Being

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 Peter Sloterdijk is Germany’s most controversial thinker and media theorist. He has dared to challenge long-established divisions in traditional philosophy of body and soul, subject and object, culture and nature. His 1999 lecture on “Regulations for the Human Park,” in which he argued that genetic engineering was a continuation of human striving for self-creation, stirred up a tempest in a country known for Nazi eugenics. At the same time, he himself has concluded that "the taming of man has failed” as civilization’s potential for barbarism has grown ever greater. His seminal books include “Critique of Cynical Reason” and his trilogy, “Spheres.”


At a recent Berggruen Center on Philosophy and Culture symposium on humans and technology at Cambridge University’s St. John's School of Divinity, The WorldPost discussed with Sloterdijk the end of borders between humans and technology, the cloud, singularity and identity in the age of globalization.


For years now, you have been arguing that a new type of being was coming into existence, as the human species fuses with its technological prosthetics -- “anthropo-technology.” In this new being, man and machine are becoming one integrated, operative system linked by information.


All these years later, our consciousness has expanded into the cloud and the cloud into our consciousness; we have also learned to read, write and edit the genetic code, giving us the knowledge to purposively amend millennia of evolution.


How does your concept of “anthropo-technology” differ, or how is it similar, to that of futurist and AI proponent Ray Kurzweil’s idea of “singularity”? Kurzweil sees not only an epistemic break with the past, but a new phase of evolution altogether that reaches beyond consciousness into being and biology.


The concept of “anthropotechnics” rests on the hypothesis that the current psychophysical and social constitution of the species Homo sapiens -- note the evolutionist emphasis of this classification -- is based substantially on autogenic effects. In this context, the term “autogenic” means “brought about by the repercussions of actions on the actor.” The human being -- especially in so-called “advanced civilizations” -- is the animal that molds itself into its own pet. While evolution means adaptation to a natural environment, domestication means, from the outset, adaptation to the artificial. 


What we call “civilizations” in moral and cultural-theoretical terms are, from the perspective of biological anthropology (which deals with the animal/human distinction), the result of a long sequence of auto-domestications. Tens of thousands of years before the Greek oracle could write the motto “Know thyself” above the place of encounter with the truth, the great mothers, chieftains and sorcerers had applied a different one to the lives of their own kind: “Tame thyself!” This led to what would become known much later as “education” -- in Greek paideia, in Latin humanitas, in Sanskrit vinaya, in Chinese wenhua and in German Bildung.


 



While evolution means adaptation to a natural environment, domestication means, from the outset, adaptation to the artificial.



 


The term “anthropotechnics” points to the fact that the process of the humans’ domestication by humans, which began very early on, retains an open future. Firstly, it describes the largely unconscious secession of humans from pure animality -- whereby they became not only members of the “symbolic species,” a “ritual animal” (as Wittgenstein remarked on occasion), indeed a mythological narrative animal, but also a technical creature. Secondly, it points to future possibility of conscious self-shaping through forms of training of the mind, through chemical modifications, perhaps even through genetic impulses.


The concept of “anthropotechnics” thus refers to the entire autopoiesis, or self-creation, of “mankind” in its many thousands of cultural specializations. It is empirical, pluralistic and egalitarian from the ground up -- in the sense that all individuals, as heirs to the memory of mankind, are free to surpass themselves.


Ray Kurzweil’s idea of “singularity,” by contrast, contains futuristic, monistic and elitist elements. Although “singularity,” according to its logical and rhetorical design, is meant to integrate mankind as a whole, it is evident that it could only encompass a tiny group of exceptional transhuman individuals.


Kurzweil argues that expanding our minds into the cloud and vice versa will create more diversity and less uniformity because we will have access to almost infinite information with which to fertilize our imagination and construct our personality. Do you agree with this line of thinking?


In speaking of the “cloud,” Kurzweil positions himself in a field that is preformatted by traditional philosophy. With his concept of the “objective spirit,” Hegel outlined the formal premise of a “cloud”: these consist in the “expressions” of the spirit, which have solidified into institutions. Institutions are programs for cultural transmission handed down to future generations.


It should not be especially difficult to develop the concepts of “spirit” and “institution” into the concept of the cloud. Clouds are liquidized institutions, as it were, in which the mass of prior experience that is capable and worthy of transmission is made available for later interested parties.


The difference between a cloud and a school reveals itself in the fact that in the former, the autodidactic (and eo ipso auto-domesticative) factor increases -- whereas schools, as prototypes of formal institutions, are principally heterodidactic (authoritative) and conservative (hetero-domesticative) in their structures.


 



We don’t know today whether the clear sky, or the cloud that covers it, is the information.



 


What clouds and schools have in common is that both wrestle with a nonsense problem: schools can never be entirely sure of passing on what is worth knowing, and cloud visitors are all the more incapable of distinguishing with certainty between nonsense and no nonsense. One part of the modern-postmodern situation is the instability of the difference between institutionalized and de-institutionalized knowledge.


 In this respect, one must take the cloud metaphor seriously in a literal sense: clouds cover up the clear sky. The current infospheric encasement of the human field is the continuation of the “objective spirit” by other means -- and today, those are digital means.


It had already become evident in the 19th century how far the “objective spirit” can transform into an ideology and communicative plague (propaganda). The first half of the 20th century belonged entirely to the conflict among (pre-digital) ideological clouds. The second half of the 20th century brought -- in the form of the Cold War -- a form of ceasefire in the war of clouds.


 



To counter the new empires of lie and perspectival distortion, a renewal of the idea of enlightenment is indispensable.



 


It is unforeseeable whether the hyper-cloud of the 21st century will end the regional immersion in institutionalized untruths that was typical of the 20th century. Nor do we know today whether the clear sky, or the cloud that covers it, is the information. 


Anyone who uses the word “cloud” in the singular risks falling prey to mystification. At present, once more, there are several cloud systems, and what we once called the Cold War now returns as the war of clouds. One of the nasty surprises of the incipient 21st century is that the demons of propaganda have returned in a digitally updated form. To counter the new empires of lie and perspectival distortion, a renewal of the idea of enlightenment is indispensable.


Perhaps a better phrase than artificial intelligence would be “intelligent artifice”; and for humans in this future, “artificial humans.” In other words, the “authentic self” and being-in-the-world is no longer separated from our tools. It is “the world-in-being” as well as vice versa?


“Artificial intelligence” is a hybrid term for the long-familiar phenomenon that in artifacts (tools, works and institutions), the intentions of the producers survive almost independently of their products. That is precisely what was expressed in Hegel’s concept of objective spirit. What is objective is the intelligence invested in tools, works and institutions by their producers, which subsequently separated from them to be absorbed and applied by other intelligences (subjective spirit, pupils, users).


Now, Cecil Rhodes’ dictum “Expansion is all” only applies to the sphere of the political with significant qualifications. For the current worlds of money and information, by contrast, it is all the more valid. The spheres of artificial intelligence and intelligent artificiality develop of their own accord an expansionist constitution that has increasingly permeated all aspects of existence. In this sense, existence in the technical world per se is characterized by ever-greater artificialization. Modern and postmodern humans not only live in the “house of Being” (as Heidegger called language), but increasingly in the abode of the technosphere.


Identity in the Age of Globalization


 


You have noted that, since the rupture that gave birth to modernity, human civilization has moved from the era of “humanism and the nation state” to “ecology and globalization,” from the “agrarian patriotism” in which identity is tied to the earthy virtue of place to the “global self.” What is the locus of identity for the global self if it has been de-territorialized? Not in the heavens, but in the cloud? 


 More than a few contemporary thinkers have defined the 20th century as an age of global mobilization. Actually, this period -- or rather, that beginning with the Industrial Revolution of the 18th century -- saw the dissolution of the immemorial alliance between humans and territory (Oswald Spengler spoke of culture and landscape) that had defined the age of agrarian sedentarism. Thus begins the adventure of post-sedentary life forms -- and eo ipso of liquidized identities. These not infrequently appear in a costume of nomadic romanticism. It feeds off the notion that the moderns’ constant state of transit is accompanied by the return to a deeper truth about human beings.


In this respect, the philosopher Vilém Flusser probably hit the mark when he stated that humans do not necessarily belong to a territorialized nation (a “home”). This was exemplified by the Judaism of the diaspora era -- but they need at all times and in all places a suitable home in which to anchor themselves existentially. Homelessness constitutes a worse fate than statelessness. What we call a residence is the place in which one gains relief through habituation.


This (Heidegger-inspired) interpretation of the human being as a residential being corresponds to the concept of “connected isolations” developed some decades ago by the American architectural firm Morphosis to describe the modus vivendi of post-sedentary “society.” The phrase points to the modern challenge of creating a balance between isolation (literally: island formation) and connectivity (context formation).


Isn’t the dialectic of yearning for belonging in such a vacuum of community creating a backlash? We see it today with religious fervor and nationalism all around. Is this a search for the security of identity and recognition in the “womb” of the volk, or your “bubbles” which are the containers of identity and meaning? What ought to be the response to this new tribalism?


The same applies to the traditional tension between the will to independence and the will to belong. So-called “new tribalism” is a virtually inevitable reaction to the progressive individualization of modernity. It tries to generate synthetic social bonds where the natural ones have been broken. Only future historical experience can show whether such bonds can be produced without regressive fictions.



'New tribalism' is a virtually inevitable reaction to the progressive individualization of modernity.



 


The most malign form of regressive political factionalism manifests itself today in the new terror tribes, which are termed, in some cases rightly, a return of fascism. Fascism (as it emerged in Europe in the shadow of World War I, as a rejection of demobilization) is a martial tribalism whose ambition is to reform the whole of “society” on the model of a combat league.


Order and Chaos in Modern China


 


Finally, a question on East and West in this context. You have argued that the “excess reality” mobilized by modern energies outstrips any narrative of origins and continuity that can tie a globally synchronized world together. The steady disruption of these energies has led to persistent asymmetry and disequilibrium, a lack of balance. “All that is solid melts into air.” All attempts at re-founding legitimacy and narratives of origin are frustrated.


Thus, there is only a kind of corrosive entropy away from order that saps “cosmological confidence.” I wonder how true this is in China? You might say the Chinese Communist Party (like the “institutional civilization” that preceded it throughout many dynasties) sees its main task as resisting the flow of entropy by seeking to establish and maintain equilibrium -- a political rudder, so to speak, to keep the ship from capsizing amid the swells of unleashed modern energies.


To do so, it aims above all to prevent any counter-hegemony (or worse, no ideological hegemony) from arising out of the chaos by grafting the narrative origins of the present system’s legitimacy and continuity -- Mao -- to the narrative of China’s millennia-long Confucian and Daoist cosmology. This bound the Chinese together as a civilization long before the nation-state and mass media.


 



There is great disorder under Heaven, and the situation is excellent.
Mao


 


Unlike the West, in China today there seems to be a kind of inner-civilizational confidence -- not a lack of cosmological confidence -- that prevails. Perhaps the West is only experiencing something new that China has experienced over and over again for 2000 years -- many episodes of upheaving change over centuries have led to an obsession with order.


China, perhaps, has learned to maintain civilizational continuity after perennial bouts of disruption. In more recent times, remember Mao: “All under the heavens are in disorder; the situation is excellent.” Mao was the deluge. Now China authorities are attempting to refound legitimacy and continuity by linking the future to the past. Circular time still maintains in China, and so does balance against asymmetry.


Might all this suggest that in the East, the old patterns of symmetry, balance and circular time remain? Perhaps the “myth,” the noble lie close enough to the truth, still works in China? Maybe the modern West is just too young yet to gauge the whole picture?


As a non-Sinologist and admiring observer of the “Chinese phenomenon,” I tend to be restrained with judgments about the course of events in that part of the civilization universe.


It seems to me, however, that my statements about the growing asymmetries in the process of modernity are also applicable to China. China may have averted a demographic disaster in the last half-century, but its contribution to environmental disasters -- local and global -- seems immense.


 



It could be that in the longer term, China will form the decisive counterweight to the Jurassic Park of Western modernity.



 


For the political and cultural intelligence of the future, one can say with a degree of certainty that, in the coming century, it will develop a conceptual system of coordinates based on the difference between the sustainable and the non-sustainable. It is reasonable to assume that China’s vote will be of increasing importance in this context. The rest of the world will learn to see China not only as the paradigm of cunning despotism, but also as a civilization that affords the principles of symmetry, balance, circularity and continuity an appropriate status -- in contrast to Western nations, which are less and less in control of their great experiment with asymmetry, imbalance, irreversibility and discontinuity. It could be that in the longer term, China will form the decisive counterweight to the Jurassic Park of Western modernity. 


At the same time, it cannot be overlooked that China itself has incorporated many motifs from the Western civilization of asymmetry. These, as China’s political leadership has evidently recognized, contain a high explosive potential. In light of this, it is a sign of the civilization-critical wisdom of tomorrow to remain alert as a “comparatist” of the Western and Eastern paths.


This interview was translated by Wieland Hoban and is part of the WorldPost Series on Exponential Technology.


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Check Out The Perfect Symmetry At China's World War II Parade

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Here's a sight for sore eyes. 


China held a military parade in Beijing's Tiananmen Square on Thursday, commemorating the 70th anniversary of its victory over Japan in World War II. The event was widely seen as a way for China to flex its muscles in the international arena.


Photos revealed a highly aesthetically pleasing event, with bright colors, sharp lines and perfect symmetry contrasted with the red stands, from where Chinese officials, foreign dignitaries and members of the public watched the parade. 




The approximately 90-minute long spectacle was the largest military parade in Chinese history, according to CNN, and featured 12,000 troops from more than 15 countries, 200 fighter jets, and 70,000 doves and balloons. Over 41,000 people, most of whom were from the military, took part in the event, The Guardian noted in its live-blog. 


The impressive show didn't come without strings attached, however. To ensure clear skies in the otherwise heavily polluted country, the government closed down Beijing's international airport for three hours on the day of the parade and limited the number of private vehicles that could enter the city starting two weeks prior to the event, The New York Times reported Wednesday. The government also cut off entries and exits to the streets and closed down subway stations the night before the parade, leaving many residents and tourists stranded overnight and unable to return home, according to a CNN video shot on Tuesday.


Thirty foreign dignitaries, including Russian President Vladimir Putin, U.N. Secretary-General Ban Ki-moon, South Korean President Park Geun-hye and Sudanese President Omar Hassan al Bashir, attended the event. Japanese Prime Minister Shinzo Abe did not go, per The Wall Street Journal, and The Huffington Post reported Wednesday that almost all European leaders declined to attend. Former U.K. Prime Minister Tony Blair was seen in the audience, however, according to The Guardian. U.S. President Barack Obama also declined his invitation, but sent Max Baucus, the ambassador to China, in his place. 


See more photos of the event's perfect symmetry below:












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Wim Wenders Wants You To Give 3D Cinema A Chance

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Wim Wenders is a name that signals an immediate flow of love and admiration from cinephiles and road movie fans. From the road films that defined much of his career, including 1975's "Alice in the Cities" and Palme d'Or winner "Paris, Texas," to his most revered masterpiece, 1984's "Wings of Desire," to documentaries "Buena Vista Social Club" and 2011's "Pina," one of the first 3D arthouse films, the filmmaker has made sure to continually reinvent himself throughout his 40-plus years in the business. Whether it was embracing the spontaneity of filming on the road, adopting HD video or implementing 3D into his work in unconventional ways, Wenders' creative appetite has always been satiated by the unexplored.


His upcoming drama,"Every Thing Will Be Fine," starring James Franco and Rachel McAdams, is attempting to change the conversation and reception of 3D filmmaking, something Wenders is a strong advocate of. "I have to talk so much about convincing people it will be worth it because it’s in their mind that 3D is not for them, especially in the art house," Wenders told The Huffington Post.


The filmmaker sat down with HuffPost to discuss his hopes for the medium while reflecting on his career, which is currently being celebrated at IFC Center's monthlong touring retrospective. "Wim Wenders: Portraits Along the Road" will screen 12 films, including 11 restorations of his classics and rarities, in New York before traveling across 15 states. Here's our full conversation with Wenders:




This retrospective is so exciting, since it’s touring across the country. Traveling through America has been a major theme in your work.


True. It reminds me, the first time I traveled with my films was in 1978. We went through the entire Midwest at a dozen universities. That was the first time I toured with any of my films in America. We actually had the prints in our truck. Lots of Q&As. Stayed in lots of fancy, or not-at-all fancy little hotels, because you didn’t have all that much money at the time. At the time, we traveled with a three-pack of “The American Friend," "Kings of the Road” and “Wrong Move.”




So much of your filmography focuses on the wanderer searching for themselves throughout their travels. What first drew you to the the misfit traveler and how do you think it’s evolved over the course of your career?


I didn’t start out like that. I was a little unhappy because I felt I was, strangely, imitating other movies. My very first film, “Summer in the City,” looked like a Cassavetes movie. “The Goalie’s Anxiety at the Penalty Kick” looked like a Hitchcock film. And the next one, “Scarlet Letter,” looked like a historic epic. Then I said, “Wait a minute. If this is what it’s all about, filmmaking to imitate other movies, that’s not for me, then.” I really wanted to find out what I could do on my own without any model. That’s when I shot -- I said, “If this movie’s going to be one that nobody else could have made except me, then I’d continue filmmaking.” That became “Alice in the Cities” and that was my first road movie. And I really discovered it innocently on my own. I think I didn’t know you could make a film on the road, traveling and changing as it went along. That was a big discovery. I kept shooting like this for almost a decade on the road. That became, in a way, my trademark. At least for a while.


Were you conscious of it becoming your trademark at the time?


No. I felt like a fish in the water because I finally knew something that really corresponded to me and that I felt I didn’t owe to anybody else. And you know, road movies are really a modernized version of Westerns. I’d grown up with Western movies, I loved them. But of course I wouldn’t want to shoot any because today a Western would be a historic film. And I’m not so much friends with horses. I like cows and I like rock ‘n’ roll. Road movies, they just combined everything I liked: driving, traveling, listening to music and sort of going into the unknown. I didn’t know it was going to be a trademark. Then I think it was critics and the audience who sort of classified it.   



How do you feel about that? Would you prefer your work to not have labels?


As soon as you realize you’ve been classified, you want to get out of that. So I did get out of that, but I still made another road movie. I think I made the ultimate road movie in 1991 with “Until the End of the World” where we traveled once around the globe in many, many different cars and ships and trains and planes. Then I realized there were other kinds of movies to make.


What you said about going into the unknown in your films, did that at all reflect your approach to making them?


I like the kind of filmmaking where you as a filmmaker and your team would sort of make an experience and go on an adventure, and not just pretend to have an adventure. I think the audience knows if the filmmakers really are on an adventure or produced an adventure. I was much more in favor of going for the adventure with my team and actors, and being involved in it. I always felt this was more intoxicating than pretending. That’s why I’ve been doing a lot more documentaries lately over the past 20 years, because it seemed in the documentary field it was easier to uphold that maxim to have an adventure.


You’re also an avid photographer. That medium has changed so much as digital photography has become ubiquitous and entire films are being shot on iPhones. What do you think of those changes in relation to filmmaking?


It would’ve been unimaginable 20, 30, 50 years ago that you would say people walked around with phones that had cameras in them and give them access to any encyclopedia and movies and music. I mean, it was science fiction. I actually showed that phenomenon in my only science-fiction film in “Until the End of the World.” People were running around with these mobile phones that had screens on them and they actually saw their own dreams on them -- we’re not quite there yet. Today, it’s amazing: every person is tied to their machine. It’s scary. So making movies on these machines now is natural. I’m also teaching films and my students and I make lots of movies on iPhones. I’m aware of the medium, and at the same time it’s still a little painful for me when I see people using it to actually watch movies that were made with an intention to show images that were supposed to be seen on the screen. But then again, [points to his Apple Watch] I can go tinier. 



Would you watch a movie on there?


I wouldn’t for the hell watch anything else, but sometimes news. It’s scary that it gets even smaller.


But you have embraced some new technology, such as 3D.


I always loved technology. I was always a geek. I was the very first filmmaker who adopted high-definition video. “Until the End of the World” was the very first film that used digital cinematography, period. And “Buena Vista Social Club” was the first all-digital documentary out in theaters. And “Pina” was the first 3D film. So I always loved technology when I had the impression it allowed us to do things we weren’t able to do before. Sometimes that’s true, sometimes that’s not. 


Looking back on your career, what would you had done differently if you had access to advanced technology at the time?


I don’t know. I’ve always tried to work on the cutting edge of what was possible. Sometimes the cutting edge was also a strange link to the past. Like “Wings of Desire” was shot in black and white. The director of photography [Henri Alekan] was 80 years old and had started his career in the silent movies. But on the other hand, it was cutting edge in terms of how you can move cameras. We invented cranes that didn’t exist yet and Steadicam didn’t exist yet. We moved the camera in ways that nobody had seen before. But at the same time, it was very old-fashioned aesthetics. So sometimes it’s a mixture of what’s possible and what one would like to conserve of the past.


How else do you want to innovate moving forward?


I’m a big defender of 3D cinema and I’m shocked and sad about what is actually being done with this fantastic medium, and how much is going to the dogs because there’s not enough good stuff produced with it. A lot of people are now turned off and think a 3D movie by definition must be garbage. I just shot the first intimate drama in 3D in “Everything Will Be Fine.” [...] There’s this huge prejudice against one of the greatest inventions in the history of cinema. Now the industry is either ruining it or not accepting it as language. They just use it as effect and that drives me crazy. I really, really hope it still has a chance to catch on and be used by documentary filmmakers, authors and independent filmmakers. I don’t know why everybody is shying away from it. Everybody thinks it can only be used for effect.



Is that why you chose to use it in a drama?


Yeah, because I was convinced it is a medium that gets you much closer to people. It’s a medium that you can use for very intimate purposes. Acting in front of a 3D camera is a whole new territory. In most 3D films you see, almost all of them, there is no real serious acting happening. Most actors in 3D movies are caricatures. Even somebody as great as Johnny Depp as a pirate is just caricature. But 3D acting is really unbelievable because they see so much more and see so precisely. They see every tiny moment of over-acting, they see every mistake. They’re almost like x-rays, you see through to people’s souls. That is a propensity that is not really being discovered in cinema. 


Will you use it again in your next film, “The Beautiful Days of Aranjuez”?


As long as it’s still possible. I’ve now shot five films already in 3D. Well, two features and three short films. “The Beautiful Days of Aranjuez,” that’s the third feature now in 3D but I didn’t count it in because I’m still editing it. It’s a drama. Only two people. It’s the last dialogue of a man and a woman before the end of the world. 


Jean-Luc Godard is one of the only other art house filmmakers to use 3D besides you.


Yes. And he used it in his very own way. You can always count on him to be quite … destructive at the same time, on the medium.


You wouldn’t employ 3D in the ways he did in “Goodbye to Language”?


I think it’s a great medium for narrative film, and his film is more like an essay film. And “Pina” was really a documentary. I think really as a narrative medium, it still needs to be discovered.


 This interview has been edited and condensed.


"Wim Wenders: Portraits Along the Road" is now playing at IFC Center in New York. Head to their website for the full schedule.


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Through Your Lens: These Furry Felines Around The World Will Warm Up Your Heart

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The WorldPost's "Through Your Lens" series brings you mesmerizing photos taken by social media users in different countries around the world every week.  


Cats may be known for their quick reflexes and flexible bodies, but they're probably most universally valued for one thing -- their companionship. The photos below show our favorite cats are heavily involved in our daily lives. You'll see them perching atop a fence playing with an elderly man in Ireland or lounging in an outdoor chair in Tokyo. They'll also respect your me-time. You'll also see them wandering alone, perching on rocks by the sea in Greece or crawling across rooftops in Italy.


Instagram users from all around the world submitted photos of adorable cats against equally stunning backdrops. Whether you're a cat or a dog person, we're sure these photos of these adorable kitties will warm up your heart.



London, England



Hydra, Greece



Chefchaouen, Morocco



A photo posted by Sham (@shamitlon) on



Vietnam



Ireland



Paris, France



A photo posted by Hew Morrison (@hewmorrison) on



Scotland



Athens, Greece



A photo posted by Ren (@_rennbird) on



Italy



Moscow, Russia



A photo posted by Rebecca (@hayyrebby) on



Cuba



A photo posted by C a n K. (@rasitcank) on



Istanbul, Turkey



A photo posted by Burak Özgen (@excphoto) on



Tokyo, Japan


 


Check out the WorldPost on Instagram for more vibrant photography and tag your Twitter and Instagram photos with #WorldPostGram so we can feature them in our next post. 


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Photographer Takes Haunting Photos Of Beautiful Abandoned Places

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Polish photographer Anna Mika knows how to get the most out of an abandoned setting. The crumbling buildings in her work look beautiful and inviting, despite the creepy nature usually associated with vacated spaces. 


Mika told The Huffington Post that her photos are mainly of mines, hospitals, factories and palaces in Poland, Germany, France and the Czech Republic. "I graduated with a degree in history and love the architecture of the older buildings," said Mika. "My favorite thing to photograph is hospitals, because in some place you can find hospital stuff and patient cards still! I like it when things are still there -- like furniture or photos."


In one of Mika's photos of St. George's church in the Czech Republic, it seems like some ghosts were left behind. "An artist [Jakub Hadrava] made [these sculptures] to save this church. Everyone who visited left some money to rescue the church from destruction."  



While Mika says she wants people to see the beauty in each building, she also wants them to remember the locations for what they once were. 


"People forget the history of older places. Everyone is looking for something new --new connections, gadgets, relationships, etc," says Mika. "I think it is worth reminding people where they come from, reminding them of the history of their cities, their factory, coal mines. These places are still beautiful -- even if they are almost gone.


See more of Mika's beautiful work below: 



H/T Bored Panda


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Black-And-White Nude Photos Are 'Part Fat, Part Feminism, Part F*ck You'

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Warning: This post contains nudity and may not be appropriate for work.



Substantia Jones' striking black-and-white photographs depict familiar art scenes -- partially or fully nude individuals, lounging, sitting, hugging and cuddling. What sets Jones' images apart from countless other nude photographers, however, is the fact that all of her subjects are proud and self-proclaimed fat people. 


Jones is the bold mind behind The Adipositivity Project, a photo-centric initiative to promote acceptance of all human shapes and sizes and spark dialogues regarding body politics. The aim is to circulate positive images of nonconforming bodies to break down the negative reactions instilled in too many of us by mainstream media forms. Jones does this by taking beautiful photos of people who are happy, fat and happy to be fat. 


"Photography is a tool commonly used and manipulated to convince people -- particularly women -- that they're unworthy in their natural state," Jones explained in an interview with Vice, "that they need to swallow what the $66 billion a year U.S. weight loss industry is feeding them. The Adipositivity project is about taking that concept and subverting it, using photographs to promote self-love and ask people to embrace their natural state."



The photographs below, mostly taken in 2010 and 2011, depict bodies in their natural state, graced with wrinkles, sprinkled with dimples, draped in shadow. Flesh folds over, hairs run wild, stretch marks seep freely into skin. They're human bodies, no touch-ups, no apologies. 


Most of Jones' subjects find her; she gets more requests than she knows what to do with. "Some are participating to show the world they've achieved body love," she told The Huffington Post in an email. "Some are using the shoot to help them get to that place of self-acceptance. Others just wanna say 'fuck you' to a culture dominated by sizeist bigotry and weight-loss propaganda fueled by the angst industrial complex."


For more of Jones' work, check out The Valentines Project, which focuses on images of couples in love. In Jones' words: "Fat people deserve love and sex and a good, deep hit of the happy, just like everyone else."


On that note, check out the stunning images from The Adipositivy Project here. 



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Meet Street Art Chilango, Mexico's New Wave Of Mural Painters

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MEXICO CITY (AP) — Mexico's mural art is getting a modern makeover.


Former graffiti taggers and graphic designers have joined together in a cooperative called "Street Art Chilango," painting walls with popular Star Wars characters and hyping their work on social media.


Founded in March 2013 by Jenaro de Rosenzweig and Alejandro Revilla, the group's name uses the slang term 'chilango' for things from Mexico City.


And their murals aren't only on brick-and-mortar walls.



Rosenzweig, who goes by his artist name Jenaro, vigorously promotes the team's artworks on social networks and the group's website, streetartchilango.com. The group has garnered more than 165,000 "likes" on Facebook, 72,000 followers on Instagram, and 9,000 followers on Twitter.


"We have the muscle of the social network and the brains to put the artists to work," said Jenaro.


In April 2013, he launched the hashtag "#streetartchilango" so that anyone using Instagram could plot street art locations on the site's interactive Google map.



"People embraced it and started using it," he said. Suddenly, "I started meeting every artist there is."


As the virtual map attracted attention, Jenaro also designed a Mexico City walking tour that visits many of the online locations. The group still organizes tours nearly every weekend.


Though many of them started as graffiti taggers, group members can now earn a living from splashing walls with their paint.


In recent weeks, Street Art Chilango artist Andrik Figueroa Barreto, who signs his work as Andrik Noble, has produced several Star Wars-themed murals, including a 60-foot-long storm trooper mural at the Mercado Michoacan. "I don't have any studio. Everything is in the street," said the artist, whose hands, T-shirt, and shorts were covered in paint smudges of a dozen different colors.



Business owner Pascual Medina Ortiz smiled as he pointed out a spray-painted image of Princess Leia on the front of his shop in the Condesa neighborhood. "Now a lot of people are coming just to see the art."


Two miles away, fellow Chilango artist Beatriz Avila Haro sat on scaffolding 10 feet in the air as she applied strokes of black to a white wall.


Ricardo del Razo, the architect who commissioned that project, said the 12-foot-tall mural will show a woman pressing a pencil to the drawing board, "devising how to solve problems."



Murals and street art have a long history in Mexico. Beginning in the 1920s, Diego Rivera, David Siqueiros, and Jose Orozco painted public buildings with social and political messages, establishing murals as a pre-eminent Mexican art form.


"So painting walls was already cool in Mexico," said Jenaro.


The group's next step comes in November at the Art Basel festival in Miami, where Jenaro and Avila aim to display a mural to an international audience. "We are going to create new stuff that will blow the whole world's minds open," Jenaro said.



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This Is What It's Like To Grow Up Queer

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From the mind of photographer Dave Naz comes "Identity: In & Beyond The Binary," an insightful and candid short film where people across the queer spectrum share their stories about growing up and coming to live as their authentic selves.


"Identity" initially started as a photography project. However, after Naz heard the featured individuals sharing their stories, he knew that he needed a video camera to capture their thoughts and words too.


"I got that camera, and the result was an interesting & insightful glimpse into their lives," Naz said in a statement. "I hope the project will help promote tolerance and help to continue the discussion. There are so many personal and revealing stories people can connect with."


The individuals interviewed in "Identity" include Buck Angel, Michelle Austin, Birdmountain, Matty Boi and Jonelle Brooks, among others. Check it out above.


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Wiz Khalifa, Fetty Wap And OMI Had The Internet's Most-Streamed Songs Of The Summer

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Labor Day is behind us, which means you woke up this morning to an onslaught of headlines reflecting on exactly what type of summer we just had. You probably didn't see much about the season's signature song, because that was declared null and void way back in July. Still, we had to be listening to something while pre-gaming for BBQs, lounging by the pool and drowning out Donald Trump's drivel, right? 


Right. In fact, here are a few lists of precisely what you were listening to, released by primo music-streaming services. 


YouTube
(Most frequently streamed songs in the U.S., including official music videos and fan uploads)


1. Silento – "Watch Me (Whip/Nae Nae)"
2. Fetty Wap – "Trap Queen"
3. Wiz Khalifa (feat. Charlie Puth) – "See You Again" 
4. Taylor Swift (feat. Kendrick Lamar) – "Bad Blood"
5. OMI – "Cheerleader" (Felix Jaehn Remix Radio Edit)
6. The Weeknd – "The Hills"
7. Mark Ronson (feat. Bruno Mars) – "Uptown Funk"
8. T-Wayne – "Nasty Freestyle"
9. Omarion (feat. Chris Brown & Jhene Aiko) – "Post To Be"
10. Fetty Wap (feat. Monty) – "My Way"


Google Play


(Most frequently streamed songs between Memorial Day and Labor Day)


1. Wiz Khalifa (feat. Charlie Puth) – "See You Again"
2. Fetty Wap – "Trap Queen"
3. The Weeknd – "Earned It" (from the "Fifty Shades of Grey" soundtrack)      
4. Walk the Moon – "Shut Up and Dance" 
5. Ed Sheeran – "Thinking Out Loud" 
6. Flo Rida (feat. Sage The Gemini & Lookas) – "GDFR"    
7. OMI – "Cheerleader" (Felix Jaehn Remix Radio Edit)
8. Skrillex and Diplo (feat. Justin Bieber) – "Where Are Ü Now" 
9. The Weeknd  "Can't Feel My Face"
10. The Weeknd – "The Hills" 


Spotify


(Most frequently streamed songs globally, from June 1 to Aug. 31)


1. Major Lazer (feat. MØ and DJ Snake) – "Lean On"
2. OMI – "Cheerleader" (Felix Jaehn Remix Radio Edit)
3. Wiz Khalifa (feat. Charlie Puth) – "See You Again"
4. The Weeknd – "Can’t Feel My Face"
5. Jason Derulo – "Want To Want Me"
6. Skrillex and Diplo (feat. Justin Bieber) – "Where Are Ü Now"
7. Avicii – "Waiting for Love"
8. David Guetta (feat. Nicki Minaj, Bebe Rexha & Afrojack) – "Hey Mama"
9. Fetty Wap – "Trap Queen"
10.Kygo – "Stole the Show"


 


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Guys, 'Star Wars' Isn't A Blockbuster Franchise, It's Poetry

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Look, if you have a soul, you might feel guilty sometimes about participating in the hype machine -- tweeting first look photos and casting rumors, giving major conglomerates free advertising so they can suck up more of your money into their heartless vacuum of greed. But, you know what, give yourself a break because capitalism isn't your fault and "Star Wars" is poetry


No, really. Here's a video that filmmaker Pablo Fernández Eyre spent a lot of time on, cataloging the mirror images that echo across the films. As one fan commented on the montage, "Wow... This changes eveything [sic!] ... Or at least it feels like it. Great job!"



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The Diamond In This Engagement Ring Helped One Family Escape Nazi Germany

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Derek Doneen, a 28-year-old documentary filmmaker from Los Angeles, spent a year saving for an engagement ring before he told his parents about his plan to propose. His mom mentioned that there was a diamond in the family that he could use for his girlfriend Jenna's ring instead.


Derek didn't know it at the time, but the stone was part of an heirloom necklace that had been passed down in his family for generations, starting with his great-grandparents -- Jews that escaped Nazi Germany in the 1930s -- and continuing on to his grandma, his mom and finally to him.


“Even when my mom first said that, I was thinking I probably want to do my own thing and start my own traditions," he told The Huffington Post. "Once I heard the story about the necklace, [I felt otherwise]. The fact that I’m starting a new family with something that symbolizes so much for my family is really special.”



The Story of the Ring  


Derek's great-grandfather Friedrich Salzburg, a prominent attorney, and his great-grandmother Greta Ann Salzburg were living in Dresden, Germany in the 1930s. By 1933, the situation for Jews in Germany was worsening, and the family began losing friends and clients. So in October 1935, they formally applied to leave the country. But it was several years before their request was pushed through and they were able to flee to Italy. 




There was one stipulation though: they couldn't take anything with them except the clothes on their backs. 


"They had to renounce essentially all of their assets, their homes, everything really," Derek said.


The day they were granted permission to emigrate, the Salzburgs bought as much jewelry and as many precious stones as they could afford -- small, valuable items that were easy to hide. 


"And that’s what they brought with them with the idea that they could sell them and at least have something to start a new life," Derek added. 



Not long after their arrival in Italy, the Salzburgs discovered that the country was no longer a hospitable place for Jews. 


"By this time, Italy began using the same race laws as Germany, specifically against Jews," Friedrich wrote in a journal documenting the experience. "Therefore, we had to abandon the idea of Italy and decided to settle in California."


Instead of going through the drawn-out, formal emigration process yet again, the Salzburgs boarded a Japanese cruise ship and headed for the West Coast of the United States in 1938. 


After settling down in Berkeley, California, they sold all of the jewels that they had smuggled over with one exception: the diamond necklace that would one day be passed down to Derek and Jenna. 


“My instinct is that they sold what they needed to sell and kept it because it held significance and sentimental value," Derek said. "They had enough to start over and were able to get their feet on the ground."


Years later in 1964, Greta Ann gifted the necklace to her daughter-in-law June Salisbury, whom she was very fond of. Later, June passed it down to her daughter Ann -- Derek's mother. 



“You could make the argument -- maybe not in a one-to-one kind of way -- but in an indirect way that it’s because of that diamond they were able to smuggle out that I’m even really here today," Derek told HuffPost. "It allowed them to get out of the country and start a life and a family here that eventually led to my mom and me.”


The Proposal


Fast-forward many years to the beginning of 2014, when Derek's mother handed down the necklace to him so he could begin his new life with Jenna. One of the diamonds was removed from the original necklace to create a stunning engagement ring. (Derek later had the necklace redesigned -- keeping it as close as possible to the original -- and gave it to Jenna on their wedding day.)



In June 2014, Derek used the money he had originally saved for the ring and put it toward a surprise trip back to Cannes, France -- the same place he and Jenna had fallen in love when they studied abroad there years earlier. 


Derek pulled out all the stops. He brought her back to the location of their first date and prepared a sunset beach picnic with wine and cheese. Of course, Jenna said "yes!"



Afterwards, Derek told Jenna the story of the ring's rich history. Needless to say, she was honored and moved.


"It's a lot of pressure!" Jenna said with a laugh. "Because it's so irreplaceable. It's so, so cool and I love it so much. I would never want any other diamond. It happens to be an incredibly beautiful diamond, but regardless of that, the significance is the most important and coolest thing about it." 



Check out more photos of the couple's big day below






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These Tiny, Super-Realistic Paintings Are Even Better Than Emojis

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Is it a fleck of dirt? A crumb from breakfast? Karen Libecap's hyperrealistic paintings are so tiny you might miss them -- but that doesn't mean you shouldn't pay close attention to the artist's awesome handiwork.


Libecap uses watercolors and colored pencils to recreate historical scenes, photos of beloved animals, book covers and icy beverages -- each smaller than a thimble.



"It's my relaxing therapy away from the demands of the commission work," she told The Huffington Post, referring to her day job as an artist who paints house renderings and portraits. So she's versed in the meticulousness needed to render realistic scenes.


Doing so in tiny form has been a hobby of Libecap's since elementary school, when she wrote stories in the smallest print she could forge, illustrating them with bite-sized scenes.



Though she enjoys working on miniature portraits, she admits human subjects tend to look wonky at that size. "One extra dot on a tiny painting and it no longer looks like them," Libecap noted.


Instead, she focuses on animals -- such as Grumpy Cat and hedgehogs -- and inanimate objects. Currently, she's at work on a series of tiny album covers, each measuring 1.25 by 1.25 inches. We can't wait.








Shark week. #jaws #sharkweek #shark #klibecap #tinypainting #miniatureart #dailypainting

A photo posted by Karen Libecap (@klibecap) on






Any relation? #gorilla #ape #tinyart #tinypainting #klibecap #miniatureart #arts_help

A photo posted by Karen Libecap (@klibecap) on





"Fred" #skull #tinypainting #miniaturepainting #miniatureart #klibecap

A photo posted by Karen Libecap (@klibecap) on




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Are You Ready For The Biggest Living Festival Of Drag, Music And Love?

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On Sept. 20, 2012, a groundbreaking drag festival -- called Bushwig -- forever changed the landscape of the performance scene in the Bushwick neighborhood of Brooklyn, New York.


The Huffington Post first brought you the story of Bushwig in conjunction with our series "Queer New World" that documented the explosion of drag culture in Northern Brooklyn.


Co-founded by drag artists Horrorchata and Babes Trust, the festival has grown exponentially from roughly 30 performers its first year to what is expected to be over 150 in it's fourth run -- this weekend Sept. 11-13.



"Bushwig is an event that not only acknowledges and honors its predecessor, Wigstock, but also forges new ground with the electric energy of a community living in Brooklyn and beyond," artist and performer Untitled Queen previously told The Huffington Post. "The festival becomes an equal opportunity stage for performers to come together amongst their peers and a huge audience and blow everyone away." 



What's new this year? Well, for one, Bushwig's founding mothers have moved the festival to a new venue, leaving behind the neighborhood staple of Secret Project Robot for the Onderdonk House --  a massive outdoor space that will give Bushwig an authentic festival feel in a very different way than years past.


"The legacy of Bushwig is still forming," Babes Trust told The Huffington Post. "I was recently upstate for the first time and it hit me how much I long to be in the countryside but how, as a queer person, it makes me feel alienated and judged. It brings back memories of growing up in suburbia and to mind how places like Fire Island -- which are safe havens -- are really only fully accessible to the rich."

 

Trust added, "I hope Bushwig, as a family, could perhaps fill this void by opening a more accessible queer space and bringing these two things that I love -- drag and nature -- together. Creating space outside of the four walls of a club or a bar -- that would be rewarding."



As each year passes, Bushwig continues to grow and expand into a vision of the massive drag festival that Babes Trust and Horrorchata talked about during the project's early stages. Just two short years ago Horrorchata told The Huffington Post that she wanted "to make it huge! I want it in a park with more stages, live music, more drag queens, DJs and to bring in local Brooklyn shop venders. That's just a dream -- but dreams can come true and we are the future" -- and now many of these plans for the future have become a reality.


With so many of these aspects of festival culture included within the 2015 installment of Bushwig, it really seems that dreams are, in fact, coming true for the performers navigating the Queer New World of Northern Brooklyn... and we can't wait to see what happens next.


Bushwig will take place Sept 12-13 at the Onderdonk House in Brooklyn, with the warm-up "Bushwig Ball" slated for Friday, Sept. 11 at Lovegun. Head here for tickets and more information.


Check out more photos of the performers below, all courtesy of Maro Hagopian.




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Nihilisa Frank Is Here To Make You Shed Heart-Shaped Tears Into A Rainbow Abyss

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Remember Lisa Frank -- the legendary '90s illustrator who brought us tuxedoed teddy bears tucked into rainbow ice cream sundaes, best friend dolphins who chill in the shape of a heart, and intergalactic aliens with cute outfits and rave bracelets?


Remember the fact that we all die alone?



Nihilisa Frank is the brilliant Tumblr account sprinkling some hearts, stars, rainbows and butterflies atop your existential dread. Because nothing says "my soul is a black maelstrom" like a baby panda. 


In case you had any doubt, Nihilisa Frank is unaffiliated with Her Majesty Lisa. I reached out to the artist's camp to gauge their thoughts on this unusual pairing of flying unicorns and endless nothingness. I'm not holding my breath, however, because doing so would be, like all things in this futile existence we call life, pathetic. 


Get ready for your new favorite Tumblr to cry yourself to sleep to. Your dark, dark soul has never been so full of neon. 











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