![OBEY GIANT
The OBEY sticker campaign can be explained as an experiment in Phenomenology. Heidegger describes Phenomenology as “the process of letting things manifest themselves.” Phenomenology attempts to enable people to see clearly something that is right before their eyes but obscured; things that are so taken for granted that they are muted by abstract observation.
The FIRST AIM OF PHENOMENOLOGY is to reawaken a sense of wonder about one’s environment. The OBEY sticker attempts to stimulate curiosity and bring people to question both the sticker and their relationship with their surroundings. Because people are not used to seeing advertisements or propaganda for which the product or motive is not obvious, frequent and novel encounters with the sticker provoke thought and possible frustration, nevertheless revitalizing the viewer’s perception and attention to detail. The sticker has no meaning but exists only to cause people to react, to contemplate and search for meaning in the sticker. Because OBEY has no actual meaning, the various reactions and interpretations of those who view it reflect their personality and the nature of their sensibilities.
Many people who are familiar with the sticker find the image itself amusing, recognizing it as nonsensical, and are able to derive straightforward visual pleasure without burdening themselves with an explanation. The PARANOID OR CONSERVATIVE VIEWER however may be confused by the sticker’s persistent presence and condemn it as an underground cult with subversive intentions. Many stickers have been peeled down by people who were annoyed by them, considering them an eye sore and an act of petty vandalism, which is ironic considering the number of commercial graphic images everyone in American society is assaulted with daily.
Another phenomenon the sticker has brought to light is the trendy and CONSPICUOUSLY CONSUMPTIVE nature of many members of society. For those who have been surrounded by the sticker, its familiarity and cultural resonance is comforting and owning a sticker provides a souvenir or keepsake, a memento. People have often demanded the sticker merely because they have seen it everywhere and possessing a sticker provides a sense of belonging. The Giant sticker seems mostly to be embraced by those who are (or at least want to seem to be) rebellious. Even though these people may not know the meaning of the sticker, they enjoy its slightly disruptive underground quality and wish to contribute to the furthering of its humorous and absurd presence which seems to somehow be antiestablishment/societal convention. Giant stickers are both embraced and rejected, the reason behind which, upon examination reflects the psyche of the viewer. Whether the reaction be positive or negative, the stickers existence is worthy as long as it causes people to consider the details and meanings of their surroundings. In the name of fun and observation.
Shepard Fairey, 1990
[Taken from here.]](http://24.media.tumblr.com/tumblr_m4jmaf5iEN1qh8bl8o1_500.jpg)
The Black Keys’ performance of “Gold On The Ceiling” at the MTV Awards tonight was mostly just a shot of Johnny Depp playing guitar with occasional cuts to the band.
Interesting.
Dude can play, though.
“I mean, they say you die twice. One time when you stop breathing and a second time, a bit later on, when somebody says your name for the last time.” — Banksy (and “They”, I guess)
[video]
Factor in the last year’s worth of new material (and I’m sure I’m missing one or two), JMJ’s recent Tweets, and his short tour this summer… What do you get?
I’m thinking (hoping… praying…) a new album.
[NOTE: I guess ‘silence’ is a relative term.]
[video]
[video]
I’ve found that I am frequently the one that is too old and they are the ones that are too young. Where are you getting your data?
Love,
Nick As Fucking Fuck
OBEY GIANT
The OBEY sticker campaign can be explained as an experiment in Phenomenology. Heidegger describes Phenomenology as “the process of letting things manifest themselves.” Phenomenology attempts to enable people to see clearly something that is right before their eyes but obscured; things that are so taken for granted that they are muted by abstract observation.
The FIRST AIM OF PHENOMENOLOGY is to reawaken a sense of wonder about one’s environment. The OBEY sticker attempts to stimulate curiosity and bring people to question both the sticker and their relationship with their surroundings. Because people are not used to seeing advertisements or propaganda for which the product or motive is not obvious, frequent and novel encounters with the sticker provoke thought and possible frustration, nevertheless revitalizing the viewer’s perception and attention to detail. The sticker has no meaning but exists only to cause people to react, to contemplate and search for meaning in the sticker. Because OBEY has no actual meaning, the various reactions and interpretations of those who view it reflect their personality and the nature of their sensibilities.
Many people who are familiar with the sticker find the image itself amusing, recognizing it as nonsensical, and are able to derive straightforward visual pleasure without burdening themselves with an explanation. The PARANOID OR CONSERVATIVE VIEWER however may be confused by the sticker’s persistent presence and condemn it as an underground cult with subversive intentions. Many stickers have been peeled down by people who were annoyed by them, considering them an eye sore and an act of petty vandalism, which is ironic considering the number of commercial graphic images everyone in American society is assaulted with daily.
Another phenomenon the sticker has brought to light is the trendy and CONSPICUOUSLY CONSUMPTIVE nature of many members of society. For those who have been surrounded by the sticker, its familiarity and cultural resonance is comforting and owning a sticker provides a souvenir or keepsake, a memento. People have often demanded the sticker merely because they have seen it everywhere and possessing a sticker provides a sense of belonging. The Giant sticker seems mostly to be embraced by those who are (or at least want to seem to be) rebellious. Even though these people may not know the meaning of the sticker, they enjoy its slightly disruptive underground quality and wish to contribute to the furthering of its humorous and absurd presence which seems to somehow be antiestablishment/societal convention. Giant stickers are both embraced and rejected, the reason behind which, upon examination reflects the psyche of the viewer. Whether the reaction be positive or negative, the stickers existence is worthy as long as it causes people to consider the details and meanings of their surroundings. In the name of fun and observation.
Shepard Fairey, 1990
[Taken from here.]
preserved-forest asked: nice blog.
Thanks, dude.
D'Angelo's full GQ 'Comeback Interview'. -
I may start believing in God again because he finally answered one of my prayers.
I hold this band in a very precious light. They were the first band that I truly “fell in love with” (way back in 2003/2004), which ultimately lead to my miserable life as a musician/wanna-be-music-guru (if you can even call it that).
With that being said, I’ve noticed that a lot of musical outlets and listeners alike have grown very cynical and overly-critical of Mars Volta’s work since roughly 2006. They went from being the ultimate critical dark horse to the musical pariah of the blogging world. I never understood why; I felt they got better with time… Deloused In The Comatorium was, in a word, the greatest thing I had ever heard in my entire life; Frances The Mute was one of the most ambitious records of the last 20 years (in my not-so-humble opinion); Amputechture made me want to jump out of my skin with excitement; The Bedlam In Goliath… Lord Jesus, enough said; Octahedron was, well, an incredible evolution in sound and development for a band that is constantly evolving and developing; now I’m sitting here listening to Noctourniquet, wondering what is left for them to achieve. They have their ‘artsy’ record(s) [Deloused/Fraces], they have their ‘heavy’ record(s) [Amputechture/Bedlam], they have their ‘acoustic’ record [Octahedron, sorta], and they have their ‘accessible’ record [Noctourniquet]. As much as I hate to fit this particular band in with the cliche molds of modern music, I can’t help but ask… So, uh, what the fuck could possibly be next? I’ll take more of the same, but I know Omar Rodriguez-Lopez won’t.
The most unpredictable band in contemporary music just became that much more unpredictable with their most accessible record! Who the fuck saw that coming?! Fuck me!
If Mars Volta did one thing right, they showed that they weren’t afraid of showing listeners the ultimate work-in-progress that they are; they weren’t afraid to put their flaws on display and they weren’t afraid to break the mold when most people weren’t ready to open themselves up to something completely out of the ordinary.
I like to think that, with the sudden surge in enthusiasm for ‘indie music’, The Mars Volta and their body of work would only be that much more appreciated with every day that goes by, but that doesn’t seem to be the case. They were very clearly ahead of their time with Deloused and Frances The Mute, but not this far ahead of their time because they still seem to be the most understated, hardest working band in “the business”.
I guess my question for you is… What do you think of The Mars Volta as they stand right now?
Holy.
Fucking.
Shit.
It is impossible for this band to disappoint me.