All This Talk About Guns

NYT

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Here’s a crop of the front page of The New York Times. Take notice of the first item in the Times’ news feed: one dead in a shooting at a high school in Kentucky.

A teenager takes a gun in to a school with at least one death and this sort of occurrence has become so common that it’s a news feed item. That it doesn’t get the same front-page graph as a Senate vote on who-gives-a-fuck-the-world-is-ending-because-of-you-idiots.

Growing up in the ’90s, I didn’t have to spend time in school with lockdown procedures. I would hear of them, though—from the Cold War or World War II. Which, at least the students feel like their government would try and prevent something like a school getting bombed.

Now we have students being trained in case their peers walk around with an AR-15 one day. And there are about eight things the government could be doing to help this situation, but they just don’t. I think that even the most aware Americans are far, far down this tragic and absurd rabbit hole, and history will not be kind to this particular aspect of our society.

Posted to Social at 09:41 on 23 January 2018

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The Eternal Question

One of my favorite classes in college was a philosophy of art class. Classes primarily consisted of sitting around and subjectively debating various aspects of art theory. The recurring question was always the most fundamental: What is art?

The great and maddening aspect of art is that it may be a word without definition—which, in and of itself, is a pretty fucking cool concept. If it is the product of human creativity, then is napalm art? A Predator drone? The atomic bomb? (Some would say yes to all of this.)

Every definition of art can be endlessly debated in college courses, while every now and again a piece comes along that grabs the attention of the public, challenging the notion of art in the mainstream. Yet while all of this is conceptual fun and game, a far more nefarious social proposal is entering the debate: that art is, above all, a market.
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Posted to Social at 11:29 on 22 January 2018

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Moving Around

Working list of every street I can remember living on for at least 90 days.

Posted to Personal at 13:24 on 18 January 2018

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One Note At A Time

Demos

I call my primary sound project asterisk because it’s not meant to be a solo act or a band, but rather creating sound collaborations with a variety of musicians. I’ve been outlining a concept for a follow up to At Risk and the structural demo is finally complete.

Posted to Personal at 19:37 on 17 January 2018

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One Side Of The Sword

Margaret Atwood’s thoughts on the #MeToo movement about sum it up. It’s nice to see some justice in this broken world. This social media-oriented notion of of public shaming is not without concern though; tactics of extrajudicial trials can be used against anyone.

One thing I’ve noticed throughout this process is how our entire country, at an almost subconscious level, has become top-down minded. Black Lives Matter is a social movement whose concern is about the unfair and institutionalized violence against one specific group by another, yet somehow it’s the movement represented by Reese Witherspoon that gets the consistent, positive media attention. This is not to say the #MeToo campaign is unimportant, but rather that it’s indicative more of an America that focuses attention on the wealthy and white than one that actually cares about the welfare of women or minorities in general.

As it’s a women’s movement, it’ll have to be the various female voices that hash out the evolution of process and progress. But it’s a sad sign for revolution—and an ironic one if we’re talking about smashing the patriarchy—if even our notions of social justice in America have become trickle-down oriented. We’re in a bad way if the rich embody our aspirations from skin to soul.

Posted to Social at 14:03 on 15 January 2018

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Welcome to Distorted Perspective. A brief introduction—

—Colin Smith. Born 1982. Some punk rock kid turned multidisciplinary artist & graphic designer-type. An Alaskan in Oregon by way of New England, Georgia, Texas and California looking for hope in the wind. Working in the various languages of truth, systems and identity.

I create works of assembly—by taking a variety of disparate components in any medium and attempting to build a cohesive whole, I look to mimic the disorder and confusion in our imperfect, ever-evolving social structures. I work in a variety of mediums yet try to speak through all of them in the same language.

Contact

E-Mail: colin at distorted perspective
Instagram: @aglowinthestatic, @colin.smith.art

Exhibitions

* - Denotes group show

Elsewhere

Jacob Edwards, a softer world, Carey Young, Matt Dorfman, Neasden Control Centre, void(), Jordan Swartz, Leica Blog, Carola Di Poi, The Baffler, Ai Weiwei, Brand New, Noele Lusano, Dane Pollok, McSweeney's, Artsy, Heidi Uhlman, Design Observer, LOKI, 99% Invisible, Rob Morton, William Basinski, Constellation, Matthew Woodson, AFRU, In B#, This Isn't Happiness, {ths}, Banksy, Morning Breath, Sarah Symmonds, Chapo Trap House, AWAKE, Hyperallergic, Jessica Clary, Manual, Contemporary Art Daily, Jeanne Fries, Shea Serrano, Robert Singler, process.life, Digg, Jacobin, Alex Webb, Jenny Holzer, Art21, Jeremy Okai Davis, David Carson

Colophon

Distorted Perspective was registered in 1999; it has taken many forms since. Work from the project galleries is 2009-2017. All original content is © to Colin Smith. Do not republish without a linked byline.

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