#techno-shamanism

[the-blog-of-gog]

(via "Techno Shaman, Cyberpunk Magus, Japanese Kanji" Art Board Print for Sale by Burn-Ego)

[cherry-liss]

CHERRY~LISS | masterlist

hi~ im cherry~liss, call me cherri for short !! i like writing fanfics so if you have any requests in mind, im here to bring them to u!!

꘎♡━━━━━♡꘎

dream SMP:

C!Tommy

C!Tubbo

CC/C!Wilbur

CC/C!Ranboo

C!Technoblade

C!Nikki

C!Eret

CC/C!Dream

CC/C!Punz

CC/C!Sapnap

CC/C!BBH

CC/C!Quackity

etc.!!! *minors are C! and 18+ members are CC!* *if you ever request on MINORS, i will only do PLATONIC relationships <3. if any content creators OR people who are uncomfortable with ANY of my fanfics, i would gladly take it down!*

꘎♡━━━━━♡꘎

any anime/game characters from:

Genshin Impact

JJK/ Jujutsu Kaisen

Honkai: Star Rail

Honkai 3rd

BDS/ Bungou Stray Dogs

Oshi No Ko

Black Butler

Tokyo Ghoul

Death Note

Code Geass

Parasyte

Sailor Moon

Card Captor Sakura

Madoka Magica

Undertale

Chainsaw Man

MHA/ My Hero Academia

Shaman king

Demon slayer

HXH/ Hunter X Hunter

FairyTail

Lycoris Recoil

Spy X Family

Naruto

Cells At Work!

TSDS/ The Seven Deadly Sins

TPN/ The Promised Neverland

Angels of Death

AOT/ Attack on Titan

Bleach

Assassination Classroom

ATLA/ Avatar: The Last Airbender

꘎♡━━━━━♡꘎

if you ever request on MINORS, i will only do PLATONIC relationships <3 ex. Anya Forger from SXF, i would make it as, comedic side more than the romantic side. because Anya is a minor!

If people REALLY REALLY want a minor paired up with reader/y/n, then i would age up the characters!!

for people who are uncomfortable with ANY of my fanfics, i would gladly take it down!

please specify pronouns if needed!! if you request for a specific character from a show/etc. please add pronouns if possible <3 but if you don't, it's fine as well!!

if you want a specific scenario with chosen character, please specify as well!!

**I DON'T DO SMUT/NSFW!!** i will do n/b or she/her for y/n most of the time.

꘎♡━━━━━♡꘎

thank you for reading! have a good day/night~!

┊ ➶ ｡˚ ° ~ cherry~liss

[jbfly46]

CIA Techno Shaman Bruce Wayne 👌👌👌

[legionofmyth]

Palladium Books Presents: The Rifter #2 - Techno-Wizard Extravaganza

⚙️ Discover the magic-tech fusion of Techno-Wizards in The Rifter #2 by Palladium Books! Explore the incredible innovations and powers of Techno-Wizardry in this exciting overview. Don't miss out! 🎲 Watch now! #TheRifter #PalladiumBooks #TechnoWizard #TabletopRPG #Rifts

The Rifter #2 Unlock the secrets of Techno-Wizardry with our deep dive into The Rifter #2 by Palladium Books. This video showcases the incredible fusion of magic and technology, revealing the wonders and innovations of the Techno-Wizards. In a world where every edge matters, don’t let this chance slip through your fingers. Watch now and click the image to buy the book, and elevate your arcane…

[pissmoon]

I joined some random group chat for satanists on facebook and some guy who calls himself a 'techno shaman' and is into nfts is just starting drama with everyone over everything

[mamaangiwine]

Kinda sucks when you find a really cool blog that has some really interesting technomancy aesthetics or cybernatural artwork and then you see that they call themselves a "techno shaman" or some such nonsense.

[mariacallous]

The man who became a figurehead of the January 6 Capitol riot is planning to run for Congress in Arizona, and he may not even be the most extreme candidate on the ballot.

Jacob Chansley, a January 6 rioter known as the QAnon Shaman who wore face paint and horns to breach the Capitol, pleaded guilty to taking part in the riot. Last week, Chansley filed a statement of interest to run for a seat in Arizona’s 8th congressional district. Chansley, who has lived in the district for 30 years, tells WIRED that he is running his campaign single-handedly and does not plan to accept PAC money. Though he’s not eligible to vote under Arizona law because he is still serving part of his sentence, Chansley is able to run for Congress.

“When I heard that the seat was available, I prayed on it for a while, and the message I got from God was, ‘Do it,’” says Chansley.

In Arizona, Chansley’s decision to run for office is almost standard. Though Chansley may be viewed as a fringe candidate by many, he is not an outlier in a district and state where election deniers and conspiracists are already front and center in the 2024 election races.

Ever since former US president Donald Trump lost Arizona in 2020, the state has become the epicenter of election denial conspiracies and efforts to undermine democracy. The state was home to the Cyber Ninjas–run GOP recount that cost taxpayers millions, and its voters are represented by multiple far-right extremist GOP lawmakers, including state senator Wendy Rogers and US representative Paul Gosar, who have boosted wild conspiracy theories related to vote rigging. Former TV presenter Kari Lake, who has been touted as a possible vice presidential pick by Trump in 2024, continues to claim that the Arizona secretary of state race she lost by 17,000 votes in 2022 was stolen. Lake has also boosted racist “birther” conspiracies about former president Barack Obama and has pushed for journalists and political rivals to be jailed for unspecified crimes.

In Chansley’s home district, a slate of candidates reflecting Arizona’s embrace of extremist ideologies have already declared interest in running for the seat left open by the retirement of US representative Debbie Lesko, a member of the far-right Republican Freedom Caucus in Congress who voted against certifying the 2020 election results.

Blake Masters, who ran for a US Senate seat in 2022 and lost, announced he would run for a seat in Arizona’s 8th district last month. During his Senate race, Masters was backed by money from techno-libertarian Peter Thiel, his former boss, as well as an endorsement from Trump, who told him to lean into claims of election fraud if he wanted to win the election. (Masters very much touted 2020 election denial conspiracies, but they apparently didn’t help him win.)

Masters, who published videos of him shooting guns as part of his 2022 campaign, will face a challenge for the GOP nomination from Abe Hamadeh. Hamadeh, a 2022 Republican candidate for Arizona attorney general, also lost his race in 2022 despite having Trump’s endorsement. Hamadeh was one of the loudest voices in Arizona falsely claiming that Trump had won the 2020 election, and he is still trying to have his own loss to attorney general Kris Mayes overturned.

Former US representative Trent Franks, Lesko’s predecessor, is also running again. Franks was forced to resign in 2017 after he offered female staffers millions of dollars to serve as surrogate mothers for him and his wife—and at least one aide was unsure whether Franks was requesting to impregnate her through sexual intercourse or in vitro fertilization.

Anthony Kern, an Arizona state senator who was also in Washington, DC, on January 6, and who has been accused of using campaign finances to fund his trip to the capital, has announced his candidacy for the congressional seat as well. Kern was captured on video entering a restricted area outside the Capitol, though there is no evidence he was violent or entered the Capitol itself, and he has not been charged for any crimes related to the riot.

Kern is, however, currently under investigation by the Arizona attorney general as one of 11 fake electors who signed documents in 2020 to claim that Trump had beaten President Joe Biden in Arizona, even though Biden actually won the state. Kern also took part in the sham hand-recount of ballots in Maricopa County in 2021.

Before becoming a lawmaker, Kern was fired from his position with the El Mirage Police Department for lying to his supervisor about repaying the cost of a tablet computer he had lost. He was placed on a list of Maricopa County law enforcement officials with a history of dishonesty or misconduct.

“The race in general is gonna be wild,” one independent researcher who tracks the far-right in Arizona under the moniker Arizona Right Watch tells WIRED. But, they add, they would still “take Chansley over Kern, who is totally corrupt and batshit.”

And even though the other candidates are possibly more connected politically, Chansley still thinks he has closer ties to voters in his home district.

“Several of the candidates running here in District 8 don’t even live in District 8. I’ve lived in District 8 for over 30 years,” he tells WIRED. “I’m largely doing it on my own. It’s just me and God, man.”

He’s currently working on a campaign website, and plans to begin knocking on doors to meet voters in the next couple of weeks. Chansley is also eager to take part in debates with other candidates. “That's where I think I'll shine,” Chansley says. “I'm ready to debate anyone and everyone that wants to try.”

When asked whether he would be attending a candidate forum being organized by a local community organization on Wednesday night, Chalsey says, “quite possibly.”

Chansley added that he doesn’t want any campaign donations, but says that if people want to support him, they can do so by buying merchandise on his website which includes T-shirts, mugs, and yoga leggings that feature him dressed in the notorious QAnon Shaman garb.

Despite having no experience, no money, no support, and no endorsements, Chansley is still optimistic about winning in 2024.

“I think my chances of winning are good, otherwise God wouldn't have asked me to run,” Chansley says.

[madmanwonder]

Age of the Barbarian AU Prompts

Franchises Affected: All

The "Age of the Barbarian", a time where the concept of right and right, the concepts of modern civilization and primal savagery are one of the same instead of two different concepts.

Where the strongest and smartest of men and women will prevail over the weak and stupid, where their might forged their power and wealth from the rich, copper blood and pungent death of their enemies are the coin and treasure of these savage but skilled warriors from the untamed, savage lands.

It doesn't have to happen in the past as even in the time where technology and civilzation replaced the wild lands and the "survival of the fittest" power structures of many premodern civilizations. We still in our heart and blood still hunger for conquer and fight our enemies.

Wanderer AU: You are a wander who decided to travel aross the land to earn themselves a fortune and fight the mightiest warriors and beast across the lands.

Raider AU: You are a raider who make a living in raiding villages and even kingdoms for any given reason from simple like greed to ambitious create your own petty kingdom built upon the ill-gain earning of your previous raids.

Shaman AU: You are a shaman who use the power of spirit to connect with nature, to use the power of the spirits to support your barbarian tribe in their pursit in plunder and glory in combat.

Warlord AU: You are the warlord of your own tribe due to your superior strength and peerless mastery of the way of combat able to use your cunning, strength and charisma to lead your own warband across the rugged, dangerous lands of the WIld Land to take on the weak, soft land of weakling from the south who look down on you for your barbarism and backward culture. Time to show them who's true warrior.

Barbarian King AU: You are the King of the Barbarian. Not because of the concept of royal inheritance or bloodline because you earn the right to be called King because of you conquer the rest of the tribes until you forge a mighty barbaric empire and rule under a mighty iron hand and bloody weapon.

Chosen AU: You are one of the chosen, a divine-touched warrior who been chosen by your people gods to spread their name and glory not only in speech but in combat where your divine-touched skills will capture the heart and soul of warriors who will forsake their paltry gods in name of your god

Techno-Barbarian AU: You are from future far far in the future where power armor, futuristic weapons, super soliders, and space exploration are the name but despite the change in the environment. You are still a barbarian at heart who use the current technologies to continue the lifestyle of the barbarian.

[jeremiekroubodagnini]

THE ROCKET-LIKE RISE OF LEE SCRATCH PERRY INTO THE CONTEMPORARY ART WORLD

© Reggae.fr / On The Roots Kevin Buret  - 2016.

Lee Perry: A Pop Artist

Altogether dancer, singer, musician, producer, eccentric, visionary, shaman and genius, Lee “Scratch” Perry is to Jamaican music, some would say, what Sun Ra is to free jazz, George Clinton to funk or Salvador Dali to painting. Born in 1936, in the small town of Kendal in Jamaica, Lee “Scratch” Perry participated in a concrete way in each of the important stages of the history of Jamaican music. A true pillar of reggae and dub, his innovations have left their mark on many other musical genres around the world, including: US rap; UK punk, jungle, ambient and trip-hop; Japanese electronic music; without forgetting European techno and avant-garde music. Today, Lee Perry is no longer of this world, in the flesh at least. He died late August 2021 at the age of 85. Nevertheless, his name unquestionably stays in vogue. It is still on the lips of pop stars like the Rolling Stones, The Orb, The Roots and Major Lazer, and we can also gradually hear it spreading in the contemporary art world.

The Black Ark: Sound and Image

Lee Perry always evolved into a very personal visual universe, starting with his legendary home recording studio, the Black Ark, at the origin of the most innovative sounds of the second half of the 1970s in Jamaica. Originally thought to be a sort of sanctuary for Rastafarians, the Black Ark was a very confusing place, whose walls were covered in cryptic inscriptions and floors served as dumping grounds for installations and other DIY projects, all of them being zanier than the next – a sculpture was even embedded inside one of the walls, says his ex-wife, Pauline Morrison, in People Funny Boy written by David Katz (2000: 324).

© Adrian Boot, circa 1977/ 1979. Part of JKD’s private photo collection.

This Baroque environment was part of the eccentric personality of the genius producer, embodied in an increasingly extravagant look and outfits over the ages: during his final years, he used to dye his hair and beard yellow, green of even pink, and he was decked out in completely fantastical clothes, personalised with pins and other fanciful objects. And when he was not wearing his famous golden baseball cap, adorned with glittering CDs, badges or religious illustrations, he was wearing a Native American feathered war bonnet or a wizard hat.

© Lee Scratch Perry painting in his studio in Switzerland (Blue Ark), 2018. Photo: Lorenzo Bernet. Courtesy: The Visual Estate of Lee Scratch Perry / suns.works.

© Lee Scratch Perry wearing his wizard hat in his studio in Switzerland (Blue Ark), 2019. Photo: Lorenzo Bernet. Courtesy: The Visual Estate of Lee Scratch Perry / suns.works.

It is more than clear Lee “Scratch” Perry was an artist with a capital A, a complete, total, full-time artist who did not switch to Rainford Hugh Perry (his real name) in private and who did not lock himself into a single box: the one of music. He did not play a role, he lived through his art full-time and was attracted as much to sounds as to visuals. Indeed, the latter played a significant role in his galaxy, in his symbolism, in his perception of the world. According to Perry himself, the image was the preferred channel for conveying messages (often subliminal), it was therefore necessary for him to be wary of them and to be able to reappropriate them. In some way, it can enable us to understand his involvement (conscious or unconscious) in the visual arts, which by the way was not recent. Indeed, reading his brilliant biography written by David Katz, we can easily realize that Perry had always been interested in his physical and cultural environment, the objects that surrounded him as well as the pop culture into which he loved to dig.

Even in the late 1950s, long before he began his musical career, when he worked in construction in Negril and drove bulldozers, Perry focused his attention on the noises associated with construction work and the energies of machines as they came into conflict with nature, one can read in People Funny Boy. He even reported an almost supernatural experience, resulting in his departure from this seaside resort located at the far western part of Jamaica to the capital Kingston in the early 1960s: “I get an overload from throwing stones down there for maybe two weeks. I started making positive connection with stones, by throwing stones to stones I start to hear sounds. When the stones clash I hear the thunder clash, and I hear lightening flash, and I hear words, and I don’t know where the words them coming from. These words send me to King-stone: to Kingston” (2000: 8).

Until the end of his life, stones occupied a pre-eminent place in his resolutely mystical universe. He regularly collected them, piled them up, carried them to various places, and even cooked them in a pot on the fire. In the late 1970s, that is precisely what happened, says Pauline Morrison, in their home in Washington Gardens, Kingston, which also housed his legendary recording studio.

“Pauline has claimed she was preparing a meal one afternoon when she noticed an odd smell coming from the kitchen. When she checked the pot, she found that Scratch had emptied the simmering contents into the mud of the yard, substituting a pan full of rocks in their place on the fire” (2000: 324). “If you see our house, this guy write all kind of shit on the wall, on the fence…” (2000: 323). And the Jamaican singer, Vicky Nelson, added, “my foot would be in paint, I would get rocks and all those nature things” (2000: 345).

As Pauline Morrison and Vicky Nelson suggest, Lee Perry also paid a great importance to writing and painting at the time of Black Ark. We must indeed go back very far in time to understand the links he developed with the visual arts and everything encompassed by this generic term: calligraphy, graffiti, assemblages, collages, installations, and painting among others. In short, everything that would make up his artistic inventory alongside his music. Lee “Scratch” Perry had always been a compulsive sketcher and graffiti artist, feeling a certain need to fill, if not to say overload, empty surfaces. From the end of the 1970s onwards, he even seemed to pay as much attention to the decoration of his studio as to musical production at times.

"Jean-Michel Basquiat himself called him a significant source of inspiration for his paintings"

Moreover, it is not surprising that at that time Lee Perry also commissioned art from Rastafarian artist Jah Wise to decorate the Black Ark. Indeed, he had the walls surrounding the studio decorated with huge, multicoloured murals painted by Robert Van Campbell aka Jah Wise.  A portrait of Haile Selassie was placed just above the door so that all would have to ‘bow’ to Jah upon entering or leaving; to the left of his head was Selassie in his feline form as the Conquering Lion of Judah.  Another wall had a life-size mural of the Super Ape, tree and spliff in hand, while the inside of the studio depicted African ancestors in chains and Rastafarian tri-colour flags.  As time passed, such images would be altered and re-cast as Perry sought to express different concepts; like the music that was coming from inside the studio, its illustrated walls would seldom remain static.  He also erected a sign with a ‘Management Order’ by the front gate, proclaiming that the premises included the site of a private house where women and children lived; all who sought to enter were to wait for official permission and once inside, were to refrain from using indecent language. (In People Funny Boy, French edition, 2012: 476-477).

© Adrian Boot, 1978. Lee Perry and his son, Mark (aka Omar), at the Black Ark. In the background there is a glimpse of the “Super Ape” painting done by Jah Wise. Part of JKD’s private photo collection.  

Lee “Scratch” Perry outside Black Ark Studios, Jamaica, 1977, premium footage from  the Don Letts Archive available on YouTube.

All things considered, Lee Perry’s artistic source of creation originated far away back in time and widely developed during the seething cultural period of the Black Ark. Back in the 1970s, Lee Perry was already considering himself as a multi-disciplinary Artist and was already in contact with avant-garde people not only from Jamaica but also from England (Don Letts, John Lydon from the Sex Pistols, The Clash etc.).

After the Black Ark was destroyed by fire on one morning in the summer of 1983, Lee Perry experienced a very long period of exile, first in England, then in Switzerland where he moved out at the end of the 1980s with his new and last wife, a sultry queen of the Zurich nightlife, born Mireille Ruegg, only daughter of a couple of Swiss restaurateurs, who would become his manager. It was then that he started to show more and more interest in art, in a more professional way shall we say, the collections of four-handed paintings executed with British visual artist, Peter Harris, first between 2007 and 2009, then between 2014 and 2015, constituting a very good illustration of the extent of his pictorial work.

The Meeting with British Visual Artist Peter Harris

“How does a 40-year-old white British artist meet up with a 70-year-old black shaman from Jamaica and make a real connection? I am not a Rastafarian black man from the ghettos of Trench Town, I am a lower middle class Catholic son of an absent submariner father who moved from place to place and, as a consequence, has no ‘roots’ to speak of. This has led to a lifetime of what I suspect will be an unachievable search for home. I have lived through a series of popular culture ‘father figures’ who have been inspirational guides such as Bob Dylan, Francis Bacon, Johnny Rotten and Picasso, and Lee is one I’ve been lucky enough to meet in person. […] Lee’s experience and understanding - or “overstanding” - of Babylon is very different to my version of it.  Lee’s version of Babylon might come from the Rasta’s view of western society as being corrupt, a world of ‘politricks’ and oppressors of Rastafarians. My version of Babylon is also about a society that oppresses our lives, but it is more about the unrelenting trajectory of existence.  It might go something like this: birth, school, dreams, peer pressure, music, drugs for fun, student loans, love, jobs, depression, pressure, holidays, insecurity, mortgage, drugs for escaping, children, stress, peer pressure, cars, responsibilities, doubts, reality, panic attacks, bills, new clothes. In it but not of it, pets, vet bills, gym, mid-life crisis, new haircuts, hair loss, beer bellies, guilt, cigarettes, alcohol, food, cancer, medicine, pensions, fear, death” (interview conducted with Peter Harris by JKD, 2014).

In February 2005, Lee “Scratch” Perry responded positively to a request from Peter Harris who wanted him to be in a film he was working on, called Higher Powers.  “I wanted different sorts of people who represented different kinds of higher powers,” Harris explains, “almost archetypal people.  It might be a powerful gangster outside the law or a police chief, to someone with a spiritual higher power, or someone who totally doesn’t believe in higher powers.  For the creative higher powers, or the visionary people, I thought of Ken Russell and Lee Perry” (2012: 898).

The concept was an appealing one for Perry, so permission was granted for Harris to film him at home on February 14th. The British visual artist interviewed him on various themes such as: destiny, faith, redemption, luck, love, doubt, etc. He then returned to London to edit the results. Subsequently, Peter Harris planned further filming sessions with Perry for the same film project. On October 1, 2007, Peter Harris' film, Higher Powers, was screened for the first time at the Lüneburg Art Hall in Germany. Perry appeared in the company of such controversial personalities as former gangster Dave Courtney, gay rights activist Peter Tatchell, Conservative politician Boris Johnson, Reverend Joanna Jepson (who has campaigned against the use of abortion for “eugenic reasons”), paranormal spoon-bender Uri Geller, Tibetan Buddhist monk Akong Tulku Rinpoche, and conspiracy theorist David Icke (2012: 910). Some years earlier, Harris had approached performers such as David Bowie, Siouxsie Sioux and members of the Stranglers, for ideas that he could turn into paintings; with a similar concept in mind, Harris returned to Switzerland in November 2007 to make a series of collaborative drawings with Lee Perry, ultimately inducting Perry into the world of fine arts. 

“I’d done a Self-Portraits by Proxy series before,” Harris explains, “in which every person who had affected my life and influenced me, I asked for an idea, and then made that idea into a painting, but with Lee, it was a bit different.  I called him up and said, ‘I’ve got these themes from the film, and I want you to give me the first image that comes into your head’; I’d say, ‘Luck,’ or whatever, and he would come up with some mad image, and I’d make it a drawing.  Then I took all the drawings to his place in Switzerland, and he said we should cut them up; he was remixing them, like a record, taking something from one drawing and placing it with another, and it was more like a ceremony, or an Obeah ritual, so he spent a lot of time trying on different hats and costumes, as if he was getting into character.  We started work at seven, and worked right through till four in the morning, and he had one CD that was just on repeat the whole time” (2012: 911).

On September 10th, Perry performed a special live dub set at London’s Tabernacle, with Adrian Sherwood at the mixing desk and live video animation behind him, as the climax of the “Higher Powers” art exhibition arranged by Peter Harris, which showcased the drawings the pair had produced in 2007, as well as a number of collaborative paintings they made together in Switzerland on August 15th 2009.  The artwork dealt with typical Perry themes, such as social injustice, religious dogma, the unequal distribution of wealth, sex, and personal vengeance; some of the paintings bore the man’s handprints and footprints as well, while both paintings and drawings were marked by Perry’s declamatory graffiti (2012: 920). Images of the painting sessions carried out jointly by Peter Harris and Lee Perry in 2007 and 2009 as well as footages from the Tabernacle exhibition are viewable in the documentary, Lee Scratch Perry's Vision of Paradise, directed by Volker Schaner in 2015, an excellent film which also retraces the unusual trajectory of Lee Perry and clearly reflects the great part that art played in his daily life.

Lee Scratch Perry’s Vision of Paradise by Volker Schaner.

And as for the hundred works of art that the two artists made together between 2014 and 2015, they draw their inspiration from the Bible, from the Book of Revelation in particular.“With its tales of evil deeds, redemption and the apocalypse. It is rich in imagery, metaphor and parables. A parable is not a literal thing. It would not make sense to our modern minds, informed by readily available facts, to take it so. Language and visual language are vehicles for getting at some ‘truth’ as truth is often inexpressible” (interview conducted with Peter Harris by JKD, 2014).

This meeting with Peter Harris was clearly a step forward for Lee Perry into the world of contemporary art.

“Ja Pay” © Peter Harris and Lee “Scratch” Perry, biro pen and permanent marker pen on paper, 42 x 42 cm, 2007.

“Zis Is Black Ark” © Peter Harris and Lee “Scratch” Perry, collage, biro and pencil on paper, 42 x 42 cm, 2007.

“Judgement Com Yow” © Peter Harris and Lee “Scratch” Perry, marker pen, oil, acrylic paint on canvas, 123 x 109 cm, 2009.

“Super Ape” © Peter Harris and Lee “Scratch” Perry, biro pen, marker pen, felt tip and gold leaf paint on paper, 30 x 42 cm, 2014-2015.

“Super Man in Space” © Peter Harris and Lee “Scratch” Perry, biro pen, marker pen, felt tip and gold leaf paint on paper, 30 x 42 cm, 2014-2015.  

The Rise of Lee Perry into the Contemporary Art World

A contemporary artist status confirmed by his induction into the Pantheon of sculptures made by Xavier Veilhan - using a 3D scanner - and held simultaneously in New York and Paris in the spring of 2015. During this double exhibition organised around music and simply named “Music”, the French visual artist wanted to pay tribute to the great music producers who had been shaping the soundtrack of our time, including Philippe Zdar, Pharrell Williams, Quincy Jones, Daft Punk, Rick Rubin, Brian Eno and Lee “Scratch” Perry. The latter therefore appeared in this impressive list of geniuses (around twenty in total), whose collectors are now snapping up statues made from a range of varied materials (from wood to metal through polyurethane resin).

“Lee Scratch Perry”, © Xavier Veilhan, “Music” exhibition, aluminium-filled polyurethane resin, plywood, acrylic paint, varnish, 122,5 x 62 x 86 cm, 2015.

What followed was a portrait (on paper this time) dedicated to him by the monthly art French magazine, Beaux-Arts, in 2017, on the occasion of the exhibition “Jamaica Jamaica!” held at the Paris Philharmonic (April 4-August 13, 2017), where the above-mentioned statue created by Xavier Veilhan was moreover exhibited.

© article published on 23 May 2017 by Magali Lesauvage in Beaux-Arts.

Lee Perry made the front cover of other art magazines, such as the Italian biannual, Kaleidoscope, in 2020-2021.

© Kaleidoscope, number 37, 2020-2021.

Finally, alongside all this, Lee Perry's visual artworks have been the subjects of numerous personal and group exhibitions around the world, starting with his very first solo exhibition held at the Californian gallery Dem Passwords from November 13 to December 11, 2010 under the name “Secret Education”.

© Dem Passwords, « Secret Education » exhibition, 2010.

Three other solo exhibitions were organised by this same gallery in 2013 (“Repent Americans” from April 20 to June 15), 2014 (“The Death of Baphomet” from August 29 to October 11) and 2016 (“Judgment Repentance God Order” from June 16 to July 30).

"these many art exhibitions around the world have coincided with the new curatorial team responsible for the visual estate of Lee “Scratch” Perry and headed by Lorenzo Bernet (...) this new, fresh and dynamic curatorial team seems to come up with creative and innovative ideas"

In that same year, Lee Perry also did an art show in New York, from June 29 to July 29, 2016 as part of a collective exhibition entitled “A Being in the World” and held at Salon 94 on the lower east side of Manhattan. His pieces of work were thus exhibited alongside those of a very heterogeneous panel of artists, including the African-American self-taught artist and former slave, Bill Traylor (1854-1949), and Maia Ruth Lee (born in 1983 in South Korea).

© Dem Passwords, « Judgement Repentance God Order » exhibition, 2016.

Then, Lee Perry multiplied international shows: at the Swiss Institute in New York in 2019, at the 2021 São Paulo Bienal, at the Museum of Contemporary Art of Rome in 2022, and at the Cabinet Gallery in London as well as at the 2023 Art Cologne international art fair, just to name a few. In total, Lee Perry actively took part in no less than fifteen international exhibitions between 2016 and 2023, and almost half of them in the last couple of years, which is the guarantee of a rocket-like rise on the contemporary art scene. Regarding this latter point, it is crucial to emphasize that these many art exhibitions around the world have coincided with the new curatorial team responsible for the visual estate of Lee “Scratch” Perry and headed by Lorenzo Bernet, a Zurich-based gallerist, curator and art dealer who is also the man behind the suns.works gallery. Therefore, it might be no exaggeration to say that this art world rocket rise relates to this new, fresh and dynamic curatorial team that seems to come up with creative and innovative ideas.

“Flood Sun” © Lee Scratch Perry, collage, markers and acrylic on wooden board, 60 x 100 cm, 2020. Courtesy: The Visual Estate of Lee Scratch Perry / suns.works.

“Genesis” © Lee Scratch Perry, collage and acrylic on paper, 70 x 50 cm, 2020. Courtesy: The Visual Estate of Lee Scratch Perry / suns.works.

“Pisces and Aries (Yin Yang)” © Lee Scratch Perry, collage and acrylic on canvas, 170 x 140 cm, 2020. Courtesy: The Visual Estate of Lee Scratch Perry / suns.works.

It is also important to underline the presence of some of his drawings, paintings, collages and other installations in the collections of art aficionados like Sir Raymond Douglas Davies aka Ray Davies (former songwriter and lead vocalist for the legendary British rock band the Kinks), English record producer Adrian Sherwood (Coldcut, Depeche Mode, Primal Scream, Sinéad O'Connor, Lee “Scratch” Perry, Dennis Bovell), Mexican producer, remixer and composer Camilo Lara, and the British artist couple formed by Tim Noble and Sue Webster, as well as prestigious institutions such as the Bonnefanten Museum in Maastricht (NL). Others should soon be included in the permanent collections of the National Gallery of Jamaica as well as the Smithsonian Institution in Washington which currently investigates, along with the National Museum of African American History and Culture, Afrofuturist expression through art, music, and activism among others: an exhibition (March 23, 2023 – August 18, 2024) in which Lee “Scratch” Perry appears next to avant-garde jazz legend Sun Ra and the leader of African American Funkadelic style George Clinton - the threesome being tied to raw, original and pioneering Black aesthetic forms. And again, one owes this real tour de force to the new curatorial team headed by Lorenzo Bernet!

“Blue Ark (studio view)” © Lee Scratch Perry, 2016-2021. Photo: Camille Spiller. Courtesy: The Visual Estate of Lee Scratch Perry / suns.works.

“Blue Ark with TV Sculpture (studio view)” © Lee Scratch Perry, 2016-2021. Photo: Camille Spiller. Courtesy: The Visual Estate of Lee Scratch Perry / suns.works.

“Blue Ark (studio view)” © Lee Scratch Perry, 2016-2021. Photo: Claude Barrault. Courtesy: The Visual Estate of Lee Scratch Perry / suns.works.

Last but not least, the resale of some of his artworks at auctions needs to be mentioned too, let alone the fact that Jean-Michel Basquiat himself called him a significant source of inspiration for his paintings, according to multi-disciplinary artist Lee Jaffe as well as the Gagosian Quarterly (Winter 2021 Issue).

A whole set of signals which suggests a more than bright future for Lee “Scratch” Perry in the modern and contemporary art world.

“Vanity Struck Me in My Tooth”, © Lee Jaffe in collaboration with Jean-Michel Basquiat, acrylic on Cibachrome print, 203 x 122 cm, 1983.

“Avenge” © Peter Harris and Lee “Scratch” Perry, marker pen, oil, acrylic paint on canvas, 124 x 95 cm, 2009. This work of art has been bought by Adrian Sherwood; it can be seen in the video below shot in 2022 in the deck-out living room of the producer.

Horace Andy : Tiny Desk (Home) Concert.

Books :

People Funny Boy: The Genius of Lee “Scratch” Perry, David Katz, 2000, Canongate Books, 538 pages.  

Lee “Scratch” Perry: People Funny Boy, David Katz, 2012, Camion Blanc, 990 pages (French edition).

 People Funny Boy: The Genius of Lee “Scratch” Perry, David Katz, 2021, Orion Publishing Group Limited, 688 pages (revised and expanded English edition).

Lee Scratch Perry: Black Ark, Andreas Koller & Lorenzo Bernet (Ed.), publication expected in July 2024, Edition Patrick Fey, 600 pages (500 illustrations).

Films :

Lee Scratch Perry’s Vision of Paradise, Volker Schaner, 2015, 100 min.

This article is the English, revised and expanded version of my paper published on Reggae.fr on 30 November 2023. © Jérémie Kroubo Dagnini (JKD).

[the-blog-of-gog]

(via "Cyberpunk Viking Chief, Horned Helm, Unique Pattern" iPhone Case for Sale by Burn-Ego)

[protoslacker]

[W]e are prosthetic devices for these machines. We are their eyes and ears in the world. We provide the code. We provide the constraints. We build the hardware. It is a relationship of mutual benefit. It’s not entirely clear that our contribution will always be creative—in the sense that our primate hand will be on the tiller of existence as it has been—but certainly we are part of this equation of transformation that is making itself felt.

Terrence McKenna at The Library of Conscuousness. PSYCHEDELICS IN THE AGE OF INTELLIGENT MACHINES April 22, 1999

Terence's last public appearance before falling seriously ill to brain cancer a month later. A techno-centric evening (alternately titled Shamans Among the Machines) in which he explores the inevitable merging of humanity with its AI offspring.

My Internet connectionhas been on the fritz for about a week. I discovered a sound file of this lecture on my computer, It's amazing the lecture is nearly 25 years old.

[anxiousnerdwritings]

Here it is, the moment you've waiting for the roster of marvel comics characters!!!❤️🧡💛💚💙💜

Power Pack:

Alex Power

Julie Power

Jack Power

Katie Power

Pet Avengers:

Lockjaw

Redwing

Throg

Hairball(Speedball's cat)

Lucky the pizza dog

Jeff the Land Shark

Zabu

Lockheed

Marv

Runaways:

Nico Minoru

Molly Hayes

Karolina Dean

Victor Mancha

Chase Stein

Alex Wilder

Gertrude Yorks

Old Lace

Agents of Smash:

Hulk

She-Hulk

Red Hulk

A-Bomb

Skaar

Thunderbolts:

Jolt(Hallie Takahama)

Fixer(Paul Norbert Ebersol)

Moonstone(Karla Soften)

Songbird(Melissa Gold)

Ghost(Ava Starr)

Atlas(Erik Josten)

Citizen V

Mach-IV

Meteorite

Techno

Avengers Academy:

Finesse(Jeanne Foucault)

Hazmat(Jennifer "Jenny" Takeda)

Mettle(Ken Mack)

Repitl(Humberto "Berto" López)

Striker(Brandon Sharpe)

Veil(Madeline Maddie Berry)

Young Avengers:

Hawkeye(Katie Bishop)

Ms America(America Chavez)

Patriot(Eli Bradley)

Stature(Cassie Lang

Wiccan(Billy Maximoff)

Hulking(Theodore Altman)

Speed(Tommy Maximoff)

Kid Arachnid(Miles Morales)

Viv vision

Ms Marvel(Kamala Khan)

The Totally Awesome Hulk(Amadeus Cho)

Iron Heart(Riri Williams)

Nick Fury's Howling Commandos:

Frankenstein's Monster

Werewolf By Night(Jack Russell)

N'Kantu(The living Mummy)

The Man-Thing

Blade(Eric Cross Brooks)

Alpha First:

Vindicator

Puck

Snowbird

Shaman

Aurora

Sasquatch

Dr.Heather Hudson

All this is just part 1 of marvel comics characters, part 2 will be coming soon, if you wanna learn more about them go to Marvel.com or go to CBR and type in "Marvel heroes" or if possible if you have Disney+ go to the marvel section,they have lots of resources or since you have Tumblr,go type anything Marvel related and try to find out more about them,but be warned,stuff about them change or aren't 100% accurate

P.S: Take your time and happy writing ❤️🧡💛💚💙💜

Awesome! Thank you for taking time to do this!!💚 Can’t wait for part 2 but of course take as long as you need🥰.

I definitely see some characters I’m not familiar with so thank you for bringing them to my attention!

[legionofmyth]

Palladium Books Presents: The Rifter #2 - Blood Shaman O.C.C.

🔮 Uncover the dark secrets of the Blood Shaman O.C.C. from The Rifter #2 by Palladium Books! Learn about the rituals and powers of this unique class in Rifts Dimension Book One: Wormwood. Don't miss this deep dive! 🎲 Watch now! #TheRifter #PalladiumBooks #BloodShaman #TabletopRPG #Rifts

The Rifter #2 Rifts Dimension Book #1: Wormwood Enter the arcane world of the Blood Shaman O.C.C. from The Rifter #2 by Palladium Books. In this video, we explore the dark powers and ancient rituals of this formidable class from Rifts Dimension Book One: Wormwood. Knowledge like this is rare in the wastelands—don’t miss out. Watch now and click the image to buy the book, and harness the mystic…

[spaceintruderdetector]

https://archive.org/details/Mondo.2000.Issue.03.1991

Special Guest Editorial - William S. BurroughsOur Readers WriteCongressional Bill would Suspend ConstitutionPushing the Rollercoaster Reality Envelope - Louis M. BrillFiber in the Valley - Denise CarusoStreet Tech - Gareth BranwynPXL 2000 - Brian GoldbergDurk and Sandy Explain it all to You - St. JudeThe War on Drugs and FIJA - Robert Anton WalsonFlow like a Dragonfly, See like a Bee: a Drug-Free Expansion of the Senses - Nick HerbertDo G-men Dream of Electric Sheep? - R. U. Sirius & George GleasonCivilizing the Electronic Frontier: an interview with Mitch Kapor & John Barlow of the Electronic Frontier Foundation - David Gans & R. U. SiriusSynergy Speaks: Goodbye Banks, Goodbye Telephones, Goodbye Welfare Checks - Michael SynergyFreaked by Phrack: an interview with Craig Neidorf - John Perry BarlowA Message to You From Legion of Doom Member "The Mentor"On the Road to Chaos in East Berlin - Morgan RussellThe Worlds Oldest Secret Conspiracy: Fronted by Steve Jackson Games, Inc. - Gareth BranwynGuess Work: an interview w/ Ausust Bequai - Gareth BranwynPhreaks R Us: an interview w/ Hacker Publishers Emmanuel Goldstein of 2600 & Rop Gonggrijp of Hack-Tic - R. U. Sirius & George GleasonDeborah Harry: 21st Century Girl - Tresca Behling, R. U. Sirius & St. JudeDangerous AttireCybernetic Jewelery - Wearable Microsystems - Vernon ReedBoom or Bust - Justine HJeff Designs - Bart NagelHats by Pine - Bart NagelWhat Computers can for for the Fashion Designer - Willard Van de BogartCovert Design & Holographic Clothing: a look at the 21st Century Fashion - Mark HeleyPlastic People - R. U. Sirius & in conversation with Dr. ForshanFuture Food as conceived - Erez with Joshua Ets-HokinShadow World of Heavy Metal Part 3 - Gracive & ZarkovFrank Zappa for PresidentEscape from New York / Talking Hearts & Severed Heads: an interview with Tima Weymouth & Chris Franz - R. U. SiriusBitin' Off the Funk with George Clinton - Rickey VincentHouse Music: the Best Techno-Shamanic Cultural Virus so far - Mark HeleyTune In, Turn on the Acid House with Psychic TV - Philip H. Farber with DjenabaMuzak: the Concept of Manipulation through Music - Genesis P. OrridgeDeee-Lite: Like Tapping into the Soul of a Deep Program - St. JudeThe Primal Venting of Buttheads: a Post Punk Dialectic - Antonio LopezButthole Hacker: We Talk to Gibby, Mostly about his Computer Graphics - Bart Nagel & R. U. SiriusTaking Toys from the Boys: an interview with Rebecca Allen - Jas. MorganSIGGRAPH Gallery: the Wizards of Light & Motion Collected - Jas. Morgan & Christopher CaseChaos & Catastrophe: an interview w/ Ralph Abraham - Rebecca McClen & David Jay BrownQuantum Randiness: Mathematica Author Stephen Wolfram & Physics Genius Saul-Paul Sirag in conversation - Jas. Morgan & Efrem Lipkin assisted by John Zaitz, George Gleason & Jeff MarkDrugs for Sex: Real Aphrodisiacs - Leila Mellow-WhipkitA Word (or Two) on Aphrodisiacs from Dr. Ward Dean interviews - John MorgenthalerAttitude: File Under "Bad" - John ShirleyGreatest Hist from Timothy Leary's Greatest Hists - R. U. SiriusHolidays in Cambodia? - Richard P. GreenfieldMONDOzines - Mike GunderlowSim City, A Cybernetic PlaygroundCracking Mac Software for Fun and Profit: Words from an Expert

[littleakatsuki]

The Moon's Feast

IF AS TRUE A STORY AS I AM ABOUT TO TELL YOU, began an afternoon when the uneven cobblestone paths of the city of Oromoas came to be marked by a turning kaleidoscope of colours beautiful and blasphemous, then the silence was long, insufferable, and a prison to Marquis, the voice of the crowd having been long since lost to him; then indeed have it in mind that he was a short man of five feet eight inches with an elegant style even when he was at work thieving. Also he was barefoot, and at present in the heart of Charmers Cast where the air was full of magic, cool and sweet. And somehow Marquis had gone from an hour to possibly three in and amongst a gallimaufry of competing ads fading in and out and perched atop buildings like gargoyles—HICCUPS, HICCUPS, HICCUPS some screamed—others gliding past or over people, offering fourth dimensional colouration, a distortion in the visual world that flickered at the edges of his vision in waves of curves and angles, lines of light, a sense of artificial personality lurking from whence a little spark of code had sprung, truth and illusion even harder to untangle. But if anything, Marquis was in Charmers because of the obvious line it cast between what was real and what was a lie. The festivities of the moon’s feast had brought Mudalans from far and wide, including many Ar and Rad from across the Viridian sea, as well as those of the neighbouring Uniakke tribes. Visitors surfed the streets with the curious inquisition of children, spellcasts dashed the air, false mages yelled come hither in a way that was full of life, as life was good for profit. The merchant stallmen were still goading and enticing loaded pockets with silk tongues—it was clear that the last seven years had not touched on the desert city.

And: indeed, the Mudalans were quite remarkably without the bloodshed and agonizing conflicts that existed in the west. Its economy, already huge, was growing at the fastest rate of any major nation. She was a paradise built in hell. In times of crisis, the place to flock to. Man, beast, goblin—whoever was attracted by the desert felt that they were returning to tribal, or more shamanic forms of intoxication, where magic generated a primal engagement with nature. The intensity of the shared experience bound the people with a powerful initiatic sense of group identity, that expressed itself in distinctive visual, conceptual, and magical forms. Oromoas was ancient, good and wise, and perhaps too cramped by techno-enhancements, but there was always something more to be said about her. She was dear to Marquis for a reason. He surveyed and measured the streets and found them pleasing to the eye. His home had the best of interests to go along with its people. And there were fewer places left in the world more rooted in the ‘Old Ways’ of which he was still privy.