<?xml version="1.0" encoding="UTF-8"?>
<rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:wfw="http://wellformedweb.org/CommentAPI/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
	xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
	>

<channel>
	<title>Drain Magazine</title>
	<atom:link href="http://drainmag.com/feed/" rel="self" type="application/rss+xml" />
	<link>http://drainmag.com</link>
	<description>Online Arts Journal</description>
	<lastBuildDate>Wed, 15 Feb 2012 03:57:13 +0000</lastBuildDate>
	<language>en</language>
	<sy:updatePeriod>hourly</sy:updatePeriod>
	<sy:updateFrequency>1</sy:updateFrequency>
	<generator>http://wordpress.org/?v=3.2.1</generator>
		<item>
		<title>GWOTEM</title>
		<link>http://drainmag.com/gwotem/</link>
		<comments>http://drainmag.com/gwotem/#comments</comments>
		<pubDate>Fri, 30 Sep 2011 23:22:51 +0000</pubDate>
		<dc:creator>avantika</dc:creator>
				<category><![CDATA[Art Project]]></category>
		<category><![CDATA[Content]]></category>
		<category><![CDATA[ISSUES]]></category>
		<category><![CDATA[POWER]]></category>

		<guid isPermaLink="false">http://drainmag.com/site/?p=432</guid>
		<description><![CDATA[J.M. Badoud In search for the words to express the symbolism of contemporary U.S. military service, I reconstructed the Global War on Terrorism Expeditionary Medal (GWOTEM) Ribbon. President Bush established this award to recognize overseas military service in the fight against terrorism since September 11th. Like the Purple Heart, Silver Star, Iraq Campaign and the many other medals, the GWOTEM Ribbon is proudly worn on the chest of each soldier’s Class A uniform. I ponder all that the stripes represent. Commercial paint companies provide a seemingly endless vocabulary to help us clearly express ourselves. Free paint samples systematically patterned after the GWOTEM ribbon reveal an interpretive narrative with each curious brand of patriotism. &#160; Global War on Terrorism Expeditionary Medal by Behr, (21.5”x5”) 2009 [Dreaming Blue, Star Spangled, Little Dipper, Yellow Brick Road, Daredevil] &#160; War on Terrorism Expeditionary Medal by Benjamin Moore, (10.5”x2”) 2009 [Marlboro Blue, Patriot Blue, American White, American Cheese, Million Dollar Red] &#160; Global War on Terrorism Expeditionary Medal by Walt Disney, (15”x3.25”) 2009 [Oh Brother Blue, Cast a Spell Blue, Mirror Mirror, Main Street Lights, Deep in the Woods] &#160; Global War on Terrorism Expeditionary Medal by Glidden, (9.5”x3”) 2009 [Ripple Effect, A.S.A.P., Faint Reflection, [...]]]></description>
		<wfw:commentRss>http://drainmag.com/gwotem/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Paper Army</title>
		<link>http://drainmag.com/paper-army/</link>
		<comments>http://drainmag.com/paper-army/#comments</comments>
		<pubDate>Fri, 30 Sep 2011 22:50:28 +0000</pubDate>
		<dc:creator>avantika</dc:creator>
				<category><![CDATA[Creative Writing]]></category>
		<category><![CDATA[POWER]]></category>

		<guid isPermaLink="false">http://drainmag.com/site/?p=429</guid>
		<description><![CDATA[Camille Meyer This Woman from Boston was unable to get a boyfriend so she decided to create an army to get him for her. She was not good at making things either but she did know someone that was. She stole her dear friend Thomas’s thesis, which anyways, after six years she presumed he would never going to finish. The Woman arrived at her friend’s office on a sunny afternoon when, owing to the pleasant weather, Thomas was likely to be out. The secretary let her wait in his office. The Woman did not have to look for his manuscript. It was stacked between two piles of books on his desk. She lifted it off the desk and placed it in her handbag. The Woman scribbled a hasty note and left it on the keyboard so that Thomas would know she had stopped by. “I can no longer wait,” she told the secretary. She walked home via Staples in order to buy the material for her army. They will fear her because she assembled them. Thomas’s words were necessary to animate her men. She sat facing the computer at her desk. Thomas’s thesis was on her left, the new paper [...]]]></description>
		<wfw:commentRss>http://drainmag.com/paper-army/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Permission Granted</title>
		<link>http://drainmag.com/permission-granted2/</link>
		<comments>http://drainmag.com/permission-granted2/#comments</comments>
		<pubDate>Fri, 30 Sep 2011 20:55:51 +0000</pubDate>
		<dc:creator>avantika</dc:creator>
				<category><![CDATA[Content]]></category>
		<category><![CDATA[Essay]]></category>
		<category><![CDATA[ISSUES]]></category>
		<category><![CDATA[POWER]]></category>

		<guid isPermaLink="false">http://drainmag.com/site/?p=529</guid>
		<description><![CDATA[Emma Cocker This text is a reflective meditation on the power of a form of invitational yes that can be witnessed at play within certain art practices; an interruptive and potentially dissident species of affirmation that has a specifically inceptive function, for provoking a form of thinking and being differently.[1] This yes is an act of recognition, of being able to attest to or accept the existence of what had previously remained hidden or undeclared. It is the speech act of the witness whose testimony cannot deny what they have seen, that cannot be denied. Or else it can be experienced akin to the clearing at a film’s denouement when things suddenly fall into place; a flash of inspiration or illumination visualized as a light bulb being switched on, the Eureka moment of discovery or breakthrough. Yes signals a state of having found it, of having attained the telos sought. Yet, yes might also describe a gradual awakening or sensitizing towards that which has been ignored or unnoticed or has hitherto remained invisible; a sense of raising awareness or the finding of something that had not been consciously pursued. Another yes then, akin to the nascent clarity forming from within [...]]]></description>
		<wfw:commentRss>http://drainmag.com/permission-granted2/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>On Psychedelia</title>
		<link>http://drainmag.com/on-psychdelia/</link>
		<comments>http://drainmag.com/on-psychdelia/#comments</comments>
		<pubDate>Fri, 30 Sep 2011 03:59:20 +0000</pubDate>
		<dc:creator>avantika</dc:creator>
				<category><![CDATA[Interview]]></category>
		<category><![CDATA[POWER]]></category>

		<guid isPermaLink="false">http://drainmag.com/site/?p=519</guid>
		<description><![CDATA[Andy Roche interviewed by Alexander Stewart Interview conducted in person, January 16, 2009 Transcribed by Chelsea Tonelli Knight My first encounter with Andy Roche’s work was in the fall of 2004, when he presented an in-progress version of his film Born to Live Life at the School of the Art Institute of Chicago, where we were both in graduate school at the time. Andy prefaced his film with some thoughts on charisma and psychedelia, topics central to his work. Interspersed throughout his talk were a handful of video clips that he used to build a framework for his film – an excerpt from John Boorman’s Zardoz, a clip of Harvey Sid Fisher performing one of his Astrology Songs in a weird, local-access-cable-level, lounge-act, Klaus Kinski glaring intensely during the raft scene in Werner Herzog’s Aguirre The Wrath of God, and a section from Sun Ra’s Space Is the Place. When he finally screened Born to Live Life, which is probably most concisely described as a psychedelic documentary about Andy’s friend, the comics artist Victor Cayro, I knew I was having one of those moments, perhaps best relegated to some kind of interview with a critic in honor of a dead [...]]]></description>
		<wfw:commentRss>http://drainmag.com/on-psychdelia/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Duration</title>
		<link>http://drainmag.com/duration-by-dianna-heise/</link>
		<comments>http://drainmag.com/duration-by-dianna-heise/#comments</comments>
		<pubDate>Thu, 29 Sep 2011 23:46:52 +0000</pubDate>
		<dc:creator>owen</dc:creator>
				<category><![CDATA[Art Project]]></category>
		<category><![CDATA[POWER]]></category>

		<guid isPermaLink="false">http://drainmag.com/site/?p=547</guid>
		<description><![CDATA[Diana Heise Duration is a single channel digital video and an experiment in database structure that explores the effects of militarism. The piece uses moving images that were photographed on gun missions during the Vietnam War. With inspiration from structuralist film, the images in the video are organized by the length of time that the camera was recording, the moments between on and off. As I was interviewing members of the military, I found that there is a language of nomenclature and equipment terms that were commonly used. To further explore this system, the sound design is a repeated alphabetical list of helicopter names. Duration, 8mm film transferred to DVD, single channel digital video, color, sound, 6.5 minutes, 2009 Diana Heise’s artistic practice investigates violence, fear and peace through the use of video, photography, performance, installation, film, writing, sculpture, public intervention and sound. Her work has been exhibited in galleries and festivals internationally, including at the Brooklyn Museum, the Film Anthology Archives, Soho20 Chelsea Gallery, the George Eastman House, Des Moines Art Center and Cinemazzurro, Ancona Italy. She is a recipient of a Fulbright Fellowship in the Creative and Performing Arts, a Performance Art Fund Grant from the Franklin Furnace [...]]]></description>
		<wfw:commentRss>http://drainmag.com/duration-by-dianna-heise/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Power/Collaboration</title>
		<link>http://drainmag.com/powercollaboration/</link>
		<comments>http://drainmag.com/powercollaboration/#comments</comments>
		<pubDate>Thu, 29 Sep 2011 02:57:20 +0000</pubDate>
		<dc:creator>avantika</dc:creator>
				<category><![CDATA[Creative Writing]]></category>
		<category><![CDATA[POWER]]></category>

		<guid isPermaLink="false">http://drainmag.com/site/?p=498</guid>
		<description><![CDATA[Elizabeth Lopeman &#38; BT Shaw Question: In terms of collaboration, is one role or other inherently more powerful? How does power, then, affect the creative process (or not)? The Rules: 1. There are two writers: Writer One and Writer Two, hereafter referred to as WO and WT. 2. WT rolls a 20-sided gaming die to determine the value of n. 3. WO composes a paragraph of no fewer than n+50 words and no greater than n+100 words. 4. With the text generated by WO, WT must write a corresponding text using only 1) words found in WO’s original paragraph and 2) anagrams of no more than three contiguous words from the original text. If used, anagrams must appear whole and complete in WT’s text. 5. WO and WT offer independent reviews of the experience. *** WO: Elizabeth Lopeman N=4 Only the smoke of an electrical fire smells like this So I go up to a West Side rooftop hoping the wind will clear my nose Crisp autumn wind and sun. Dusk settles first on Montauk. I anticipate the morning like a fire’s spell Padding barefooted on the green, where intersecting blades of grass submit to frozen sleep. Next year this [...]]]></description>
		<wfw:commentRss>http://drainmag.com/powercollaboration/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Great North</title>
		<link>http://drainmag.com/great-north/</link>
		<comments>http://drainmag.com/great-north/#comments</comments>
		<pubDate>Wed, 28 Sep 2011 02:54:16 +0000</pubDate>
		<dc:creator>avantika</dc:creator>
				<category><![CDATA[Creative Writing]]></category>
		<category><![CDATA[POWER]]></category>

		<guid isPermaLink="false">http://drainmag.com/site/?p=495</guid>
		<description><![CDATA[Vanessa Norton Alicia thought of the name as an unlucky coincidence. The owner of The Book Saloon, Ripley, had been the sole proprietor in Eugene to offer her a job. Had other shops been more receptive, she might have refused his offer on account of name alone. But Alicia was flat broke, and having seized her car’s engine, there was little she could do to get any further from the desert. Sixteen hours to the South, in the burning interior of Death Valley, Alicia&#8217;s mother, Alice-Ingrid, dropped frozen jalapeno poppers into the steel fryer tub at The Badwater Saloon. She had tended bar since the days before the National Park and the tourists—when it serviced mostly truckers weary of the interstate. These were the men—Alicia assumed—who had peed in the bathroom at home. When the last one stood over Alicia&#8217;s single bed as she woke, his side-tilted front tooth glistening, she hadn’t been clear-headed enough to ask where he&#8217;d come from. And what was the difference either way. Now, she lived alone in Oregon. The sopping wet weather made everyone dress like they were on a camping trip. No one tried to be sexy. Even the Book Saloon&#8217;s owner, Ripley, [...]]]></description>
		<wfw:commentRss>http://drainmag.com/great-north/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>POWER</title>
		<link>http://drainmag.com/power/</link>
		<comments>http://drainmag.com/power/#comments</comments>
		<pubDate>Tue, 27 Sep 2011 22:23:13 +0000</pubDate>
		<dc:creator>avantika</dc:creator>
				<category><![CDATA[Content]]></category>
		<category><![CDATA[Introduction]]></category>
		<category><![CDATA[POWER]]></category>

		<guid isPermaLink="false">http://drainmag.com/site/?p=938</guid>
		<description><![CDATA[This issue of Drain attempts to expose the cultural faciality of power, as well as manifestations of power as simulacra, which obfuscate traditional inquiries into its construction. If power connects the virtual and the actual, how does cultural creativity channel or destabilize this connectivity? The corporate-academic-entertainment-military-industrial complex and its front-end, the global information machine floods us with images, and images of images, to cause sensory overload, and yet at the same time, acute sensory deprivation. Most of all, power entrenches a visual literacy that allows us to see only its style, leaving us unable to access other ways of seeing and becoming. How can we parody this visual literacy, and the speed, cadence and grammar of this power and its affects? If the simulation of power is necessary and absolute, can creative acts and molecular politics slip through the surveillance and desensitizing of territorializing systems? This issue of Drain presents artwork, papers, and other creative works to actualize answers to these questions and re-channel them into different connectivities, ways of becoming and conceptual production. &#160; IN THIS ISSUE Feature Essay The Clutter Assemblage – Ian Buchanan Essays Permission Granted – Emma Cocker CLEAN &#8211; Looking at War – Chris Revelle [...]]]></description>
		<wfw:commentRss>http://drainmag.com/power/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Criminals (Rio de Janeiro)</title>
		<link>http://drainmag.com/criminals-rio-de-janeiro/</link>
		<comments>http://drainmag.com/criminals-rio-de-janeiro/#comments</comments>
		<pubDate>Tue, 27 Sep 2011 06:07:25 +0000</pubDate>
		<dc:creator>avantika</dc:creator>
				<category><![CDATA[Art Project]]></category>
		<category><![CDATA[Content]]></category>
		<category><![CDATA[POWER]]></category>

		<guid isPermaLink="false">http://drainmag.com/site/?p=892</guid>
		<description><![CDATA[Cyríaco Lopes Criminals (Rio de Janeiro) is made of altered images of criminals taken from the Brazilian press. They are the soldiers of an undeclared civil war, victims and perpetrators, actors of an environment that learned to live with a murder rate similar to countries at war. In this work, the news media becomes a theater of violence and eroticism as these Rio de Janeiro marginal-heroes are posed like stars for the paparazzi at a police press conference. The series is somewhat of a portrait of my hometown and favorite place on earth, so beautiful and sexy, so unjust and dangerous. &#160; Selections from the series, Criminals (Rio de Janeiro), photographs on aluminum, 2008 &#8211; ongoing. &#160; Cyriaco Lopes is a visual artist who has exhibited extensively on an international scale. Note worthy exhibits include &#8211; shows at The Contemporary Art Museums in Baltimore and Saint Louis, El Museo del barrio and Apexart, NYC (U.S.A), Artforum 3, Freiburg, (Germany), Art Cinema OFFOff, Gent, (Belgium), and Casa Degli Artist, Milan, (Italy). In his native Brazil his work appeared at the National Museum of Fine Arts, The Museums of Modern Art in Rio and Salvador and the São Paulo Art Museum (MASP). [...]]]></description>
		<wfw:commentRss>http://drainmag.com/criminals-rio-de-janeiro/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Necropolis</title>
		<link>http://drainmag.com/necropolis/</link>
		<comments>http://drainmag.com/necropolis/#comments</comments>
		<pubDate>Mon, 26 Sep 2011 04:23:39 +0000</pubDate>
		<dc:creator>avantika</dc:creator>
				<category><![CDATA[Feature Artist]]></category>
		<category><![CDATA[POWER]]></category>

		<guid isPermaLink="false">http://drainmag.com/site/?p=829</guid>
		<description><![CDATA[Roi Kuper &#160; Deserted army camps become local archeological sites within a culture that invests heavily in training, defense, and war. Abandoned constructions become monuments which exploit the environment, leaving in their wake decay and ruins. This archeological journey parallels with research conducted within a diversity of areas such as: investigations into unresolved crimes, a pathological post-mortem of remains, sociological and anthropological findings. This offers testimony to a specific culture and time, and a metaphysical exploration of the mythical importance of the army within Israeli society. Kuper exposes artificial and natural architecture that is functional and dysfunctional, spacious and confined, calculated and abandoned. A new aesthetic emerges from a nomadic reality which leaves concrete shadows of a disturbing nature. &#160; Selections from Necropolis, 1996-2000 (B&#038;W prints 126 x 126 cm. / 50 x 50 cm.) &#160; Born in 1956, Israeli photographer Roi Kuper has been working since the mid 1980′s, philosophically exploring the nature of photography. http://roikuper.com/]]></description>
		<wfw:commentRss>http://drainmag.com/necropolis/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
	</channel>
</rss>

