Dive inside the dark underbelly of pizza.

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Out of the mist of the rainforest rises a lone sign of humanity, or so we think: a looming skyscraper filled only with restaurants. Thousands of chefs—of all species—populate the building, creating inspired, unique cuisine such as pickled cop cars or fan favorite blood ketchup (of what or whose blood, we are unsure, but it is surely delicious!). And what better site for a 21st century cooking show than a tower of nothing but eateries?

Our protagonist in this culinary series from Will Benedict and Steffen Jørgensen is the Average Chef, an everyman played by Achilles Ion Gabriel, who is just trying to get by, swiping on YouTube tutorial after YouTube tutorial, buying ingredients from local humanoid snail Monsieur Bulot, and attempting to one up his main competitor, Café Wha?, run by none other than Casey Jane Ellison. With aliens making Drano-based concoctions and psychics divining new recipes, there is certainly something for everyone in this gastronomic high rise and plenty of new kitchen tricks to learn from this otherworldly cooking show.

4 Minutes, 11 seconds
By Will Benedict & Steffen Jørgensen

Achilles Ion Gabrielas Chez Shit Casey Jane Ellison as Café Wha? Lily McMenamyas Degrees of Disgust Julie Verhoevenas Sugar is Coke Nate Youngas Mother! Jake Wotherspoonas the Snailien

MusicWolf Eyes Additional musicBrenmar SoundRasmus Zwicki

Camera
Jason Last
Valentin Naffetat
David Leonard

Tutorials
Søren Aagaard
Brandi Milloy
Nicko's Kitchen
Learn Channel
Annoying Orange
420_xXx_w33d_pr0duct1ons[HD]
Martyn Cruise
Jakeanddar
Robert Kjaer Clausen

Additional Text
J.M. Coetzee
Sean French

Expired

This week, Wark zeroes in on cultural theorist, Sianne Ngai, who offers a new set of aesthetic categories reflective of our performance-driven techno capitalist world — Zany, Cute and the Interesting.

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It seems we’ve lost our heads — no need for a brain when we’ve got thumbs that type and swipe, seeking out knowledge from a glut of online information too expansive for any one mind to hold. And with the head has gone that stalwart of critical consciousness, the public intellectual. Instead, as media theorist McKenzie Wark terms it in is book of the same title, we have General Intellects — thinkers, who, when constellated, create a collective picture of our world.

No individuals and no minds, big data is the big opportunity to give up on storing information and instead knowing how to find it, and better yet, use it. General intellects are guides to this brave new world, helping us understand how to be and see our own bodies and societies under technological capitalism.

Leaping from Sianne Ngai who considers a new set of aesthetic terms, to Chantal Mouffe who proposes new means of gaming conflict in the political sphere, to Paul B. Preciado, whose work explores the ways bodies are produced by images and hormones and who calls for a vanguard that intervenes microscopically.

Recommended reading: General Intellects by McKenzie Wark

4 Minutes, 47 seconds
by DIS
Featuring McKenzie Wark

Produced byRuy Sanchez Blanco Director of PhotographyBrendan Stampf Editing and VFXManu Barenboim with music byAaron David Ross GafferBrad Burke AudioHarris Karlin Hair & MakeupAkihisa Yamaguchi Body DoubleMalte Zander

Expired

Mothers. You can’t live with them. You can’t live without them. Literally. A talk show exclusively focused on the fraught relationships of mothers and their daughters.

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Mothers. You can’t live with them. You can’t live without them. Literally. Casey Jane Ellison’s surreal unscripted talk show Mothers and Daughters (MAD) sits mothers and their daughters down to help them explore their own, often underrepresented, connections. The three-part series launches with Casey having an honest discussion with her own, actual mother. Full of unexpected twists and turns, MAD critically asks what it is to have, become, and be a mother.

MAD is an interrogation of family, of legacy, and of what it means to create and birth an entire human being. By putting on display her own relationships and maternal evolution, Casey Jane Ellison hopes to help cure the often fraught maternal connection for mothers and daughters the world over. Casey asks us to think outside the narrative of familial conflict we’ve been fed and to reconsider the nature of this most essential biological connection — in order to free us all.

Created by Casey Jane Ellison
10 Minutes, 35 seconds

StarringCasey Jane Ellison
FeaturingEllen Ellison, Jayne Goldsmith, Laura Aka
Directed byDavid Leonard Editing and Sound DesignAnthony Valdez Director of PhotographyMason Howard Second CameraJake Frankenfield
Song10k by Ian Isiah
Thanks to

Claire Tabouret
Karma International
Michelle Badillo
Jake Swinson
Sasha Markova

Original Works of Art Featured

Claire Tabouret
Vivian Suter and Elisabeth Wild

The Seasteaders documents the first Seasteading Institute conference in Tahiti, talking with Seavangelists to get firsthand account beliefs and visions for an aquatic future.

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Jacob Hurwitz-Goodman and Daniel Keller’s film The Seasteaders documents the first Seasteading conference in Tahiti, talking with Seasteading evangelists like controversial author Joe Quirk and Seasteading Institute executive director Randolph Hencken to get firsthand accounts of the Seasteader’s beliefs and visions for an aquatic future. While much remains to be worked out, not least of all the fundamental problem of the place of “shesteaders,” the Seasteaders hope they can float on changing tides as they colonize the world’s waters.

Founded in 2008 by Patri Friedman with financial backing by Peter Thiel, the Seasteading Institute envisions a fluid world, where governments are selected in an open market and climate change can be “hacked.” Seeing rule by the majority as ineffective and oppressive, the Seasteaders propose a libertarian future of floating microgovernments, where user-citizens can detach and rejoin at will and law looks less like constitutions and more like software. To implement their plan for a nautical future, the Seasteaders have begun working with the government of French Polynesia to build the first floating islands in a special economic zone off the coast of Tahiti, after facing largescale public opposition in Honduras.

The French Polynesian government is preparing the legal framework for "SeaZone" and the government is expected to submit a set of legislation creating the SeaZone in the first half of 2018.

A film by Jacob Hurwitz-Goodman and Daniel Keller
28 Minutes, 36 seconds



Audio MixPoint Blue Studios Additional EditingSpencer Ashby Glacier footageJoe Taheny Filmed and edited byJacob Hurwitz-Goodman With music byDavid Rosman
Artist concept of sustainable domes and power-grids: The Seasteading Institute and Gabriel Scheare, Luke & Lourdes Crowley, and Patrick White

Special Thanks To

Randolph Hencken and The Seasteading Insitutute
Laurie Brown and Eric Keller
Jim O'Neill
L'édito d'Alexandre Taliercio on Radio1 Tahiti


About TextDrew Zeiba

Explaining the ruthlessness of capital to children, Babak Radboy peels away the skin of our society to reveal the skeleton of money propping it up and proposes a brave new world where money breathes along with us.

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The ultimate test of your own understanding is to be able to explain a concept to children. Circle Time is educational television for a new age, teaching kids (and us all) about the complicated social machinery of our technocapitalist world.

You’ve got to spend money to make money — and nothing is better at making money than money itself. Paid for our time and spending our time to get paid, wage labor is a self-perpetuating exploitative machine, turning our bodies into profit machines that fuel the accumulation and consolidation of wealth for the very few of the managerial class. But if living is turned into nothing but the generation of value, how might we make a system of value — a currency — that resembles us as living, dying, reproducing creatures? Explaining the ruthlessness of capital to children, Babak Radboy peels away the skin of our society to reveal the skeleton of money propping it up and proposes a brave new world where money breathes along with us.

Recommended Reading:

8 Minutes, 41 seconds

FeaturingBabak Radboy Director of PhotographyAlex Gvojic ProductionRory Muhlere Set Design byAnd Or Forever Editing bySam Reiss ACSam Reiss GripTim Widdop PAChris Angel Audio byDiego Reiwald Hair and Makeup byAkihisa Yamaguchi Illustrations byKristin Wong Animated byDV Caputo Sound byAaron David Ross Music byPoddington Bear
Kids
Minnie, Liv, Matthew, Brandan, Andre, and Royce

About TextDrew Zeiba

Reparations take the worked over and sanded down myth of the American Dream and make it rusty and worn.

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Reclaimed wood, heritage chairs, antique buffets — there is undoubtedly a romantic idealism in the impulse to decorate space with the resuscitated remnants of a “timeless” past. As a catalogue from upscale furniture showroom Restoration Hardware puts it: “salvaged wood is intrinsically better.” Better to buy brand-new family heirloom that feels like it could’ve been your grandmother’s — even if you can’t name a family member one, two generations back.

Refurbishing is a chance to make it right, and as Ilana Harris-Babou proposes in Reparation Hardware, it’s an opportunity to recognize the condition of failure that is America so we might imagine a place that hasn’t happened yet. Like the “restored” furniture that dots the home with signs of success, the American Dream is suspended between romantic past and idealized future. Its seeming inevitability makes sleek and new a violent, fractured reality that is undone by reparations of lost wealth. Reparations take the worked over and sanded down myth of the American Dream and make it rusty and worn. Built on oppression and exploitation, the reality of the United States cannot continue to be smoothed and stained over; its legacy bears marks into the present that must be repaired and repaid to be reclaimed.

Watch American Experience: Reconstruction: The Second Civil War directed by Llewellyn M. Smith for PBS

Restoration Hardware Youtube Channel

Read Revolutionary Hope: A Conversation Between James Baldwin and Audre Lorde originally published in 1984 in Essence magazine.

4 Minutes, 5 seconds
By Ilana Harris-Babou



About TextDrew Zeiba

Info

The future of learning is much more important than the future of education. As more and more people learn to read each day, the world gets closer to the post-literate. We need new ways of accessing the knowledge we crave.

DIS is a streaming platform for entertainment and education — edutainment. We enlist leading artists and thinkers to expand the reach of key conversations bubbling up through contemporary art, culture, activism, philosophy, and technology. Every video proposes something — a solution, a question — a way to think about our shifting reality.

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