ted larsen

http://www.tedlarsen.com/index.cfm

andrey molodkin

http://www.russiandreams.info/ru/photographer/molodkin

Aleksandra Mir

http://www.aleksandramir.info/

the future is dynamic

some contemporary (utopian) visions

http://www.dynamicarchitecture.net/

http://www.freedomship.com/

Dan Smith

Wells's First Utopia: Materiality and Portent

by Dan Smith

yelena @ Slash Seconds

http://www.slashseconds.org/issues/003/003/articles/ypopova/index.php

http://www.altertopian.com/Site_3/Cover.html

http://www.kollectiv.co.uk/

Talked to Nigel Rolfe.

He said the most successfull things are those in which you are in... loosing yourself..

mentioned http://www.markusvater.com/

and Tadeusz Kantor

http://en.wikipedia.org/wiki/Tadeusz_Kantor

Douglas talked to me about collage as a medium and way of work.... it's print destination....

reference:

Hannah Höch

Raoul Hausmann

Don't really want anything to do with dada, nor surrealism, but do see similarities in my work :(

good stuff

looking at http://www.simonandtombloor.co.uk

As long as it lasts project is very relevant to my thinking

http://www.simonandtombloor.co.uk/page15.htm

Comrades of Time

The present is a moment in time when we decide to lower our expectations of the future or to abandon some of the dear traditions of the past in order to pass through the narrow gate of the here-and-now....

In order to move further down the narrow path of the present, modernity shed all that seemed too heavy, too loaded with meaning, mimesis, traditional criteria of mastery, inherited ethical and aesthetic conventions, and so forth. Modern reductionism is a strategy for surviving the difficult journey through the present. Art, literature, music, and philosophy have survived the twentieth century because they threw out all unnecessary baggage. At the same time, these lightened loads also reveal a kind of hidden truth that transcends their immediate effectiveness. They show that one can give up a great deal—traditions, hopes, skills, and thoughts—and still continue one’s project in this reduced form. This truth also made the modernist reductions transculturally efficient—crossing a cultural border is in many ways like crossing the limit of the present....

The present has ceased to be a point of transition from the past to the future, becoming instead a site of the permanent rewriting of both past and future—of constant proliferations of historical narratives beyond any individual grasp or control.

Boris Groys Comrades of Time

http://www.e-flux.com/journal/view/99

http://www.utopia.ru/