You are now subscribed.
cargo.site
November 01 ‘22
- Consciousness begets a navigable but wildly false center (the navigability is both virtual and actual though it feels mostly actual).
-
Language is more often than not ambiguous — though it feels accurate.
- Our personal, emotional environment seems to be the world at any given time, but this is simply a trick, a cerebral phantasm — the world is untouched, unaffected and unrelated to our feelings.
1.
For a time we had a job as a lifeguard at a beach club. Daily, this situated us on a tall wooden seat in front of a vast water field whose terminus was the horizon — “horizon” really being the meeting of an imperceptible curve and the empty space of “the sky”. The fixity of our purpose-defined position combined with the limited nature of the human senses, drummed up quite an illusion of centrality.
(Consciousness always sits with its center in the foreground of a vague landscape. In similar fashion, our bodies are also always the center seat of any physical terrain — but ultimately neither topology has anything substantively comparable to the other. In both cases it is our consciousness that creates the propagative and illusory parallels. It is quite a knot to try and untie.)
2.
We used to work for an Interior Design firm. Presenting items (furniture, fabrics, sketches, etc.) to clients was a common occurrence. It was a tricky business as you were often not sure that clients were going to like what was being proposed. The principal designer (almost wholly unconsciously) had developed a manner of speaking which positioned any suggestion on a kind of pivot. If he was particularly unsure whether a client was going to like something (for our sake here let’s make it a chair) he would say, “in a weird way I think this chair is the best thing for the living room.” If the client responded unfavorably, our principal could say “yes, I know that’s what I meant by, in a weird way — I’ll have to find something similar but more appropriate.” Conversely, if the client responded favorably, he could simply say “I knew you were going to like it.”
This type of pivot and ambiguity is the basis for most interaction.
3.
In our high school years we lived in the deep suburbs (neither farms nor tall buildings, just houses as far as the eye could see). On many a Friday or Saturday evening it was common to meet up with friends at one of their houses. We would usually watch a movie, always horror. Sometimes though, there’d be a situation where the possibility of hooking up (or the like) would occur (by the way we write, it is likely obvious that this was seldom — but it did happen on occasion).
Not having a car or parents generally interested in picking us up, we walked home mostly. On nights where we had filled our head with gory, supernatural worst-case-scenarios, our walk home was full of nervous dread, each darkened driveway the possible concealment for some demon-possessed personage, as well, all passing cars seemed piloted by serial killers. However, on nights where something tender or romantic had happened the landscape of the walk home was completely different — things were possible, the future had illuminated prospects and even pleasure — dread never even entered our mind…
But the truth is, the landscape was the same on each night — it was only us who changed. That is, when we shift the world doesn’t shift with us — it only feels like it does.
For a time we had a job as a lifeguard at a beach club. Daily, this situated us on a tall wooden seat in front of a vast water field whose terminus was the horizon — “horizon” really being the meeting of an imperceptible curve and the empty space of “the sky”. The fixity of our purpose-defined position combined with the limited nature of the human senses, drummed up quite an illusion of centrality.
(Consciousness always sits with its center in the foreground of a vague landscape. In similar fashion, our bodies are also always the center seat of any physical terrain — but ultimately neither topology has anything substantively comparable to the other. In both cases it is our consciousness that creates the propagative and illusory parallels. It is quite a knot to try and untie.)
2.
We used to work for an Interior Design firm. Presenting items (furniture, fabrics, sketches, etc.) to clients was a common occurrence. It was a tricky business as you were often not sure that clients were going to like what was being proposed. The principal designer (almost wholly unconsciously) had developed a manner of speaking which positioned any suggestion on a kind of pivot. If he was particularly unsure whether a client was going to like something (for our sake here let’s make it a chair) he would say, “in a weird way I think this chair is the best thing for the living room.” If the client responded unfavorably, our principal could say “yes, I know that’s what I meant by, in a weird way — I’ll have to find something similar but more appropriate.” Conversely, if the client responded favorably, he could simply say “I knew you were going to like it.”
This type of pivot and ambiguity is the basis for most interaction.
3.
In our high school years we lived in the deep suburbs (neither farms nor tall buildings, just houses as far as the eye could see). On many a Friday or Saturday evening it was common to meet up with friends at one of their houses. We would usually watch a movie, always horror. Sometimes though, there’d be a situation where the possibility of hooking up (or the like) would occur (by the way we write, it is likely obvious that this was seldom — but it did happen on occasion).
Not having a car or parents generally interested in picking us up, we walked home mostly. On nights where we had filled our head with gory, supernatural worst-case-scenarios, our walk home was full of nervous dread, each darkened driveway the possible concealment for some demon-possessed personage, as well, all passing cars seemed piloted by serial killers. However, on nights where something tender or romantic had happened the landscape of the walk home was completely different — things were possible, the future had illuminated prospects and even pleasure — dread never even entered our mind…
But the truth is, the landscape was the same on each night — it was only us who changed. That is, when we shift the world doesn’t shift with us — it only feels like it does.
Sites in Use
Some designers have a tint — that is, similar to the way certain cities seem bathed in a particular light — there are designers whose work is fully touched by a specific chromatic atmosphere. Fà Bascompte is such a designer. It’s as if all her output gets run through some sort of amber vapor chamber — a process that both fleshily fuzzes and clarifies. Overall it brings to mind the introspective fogs and liquids of Pierre Huyghe.
Clara Ibach
Daniel Lefcourt
Bin Koh
Graphic Design
Style
Architecture
& Design
Art
Photo
@cargoworld @cargo.style @cargo.arch.design
@cargo.photo @cargo.art
Shops on Cargo
Goings-On(line)
An offering of pieces and projects from around the web.
John Ashbery, Meaningful Love, 2005
Lynn Hershman Leeson at Simian, 2022
ANREALAGE, Fall/ Winter, 2011-12
Darren Bader, Rose Salan et al at Anonymous Gallery, 2021
Jerzy Kawalerowicz, Night Train, 1959
Oracle
Each week we consult both the Tarot and the I Ching.
To submit your own question, send an email to oracle@cargo.site
General:
-
Look for answers to problems using the basic powers and tendencies of your intellect (do not seek out new ways of cognizing).
-
Keep in mind this sequence: All Good begins with genuine intimacy. Honesty about intimacy naturally begets responsibility (and leadership). Leadership requires a loving balance of discipline and freedom.
-
Give your full attention to organizing emergent features (the beginning details/stages) — as all emergence eventually becomes rhythm (which is much harder to manipulate — if at all).
﹡﹡﹡
Isabelle M asks: How does one keep their creative passion flowing while their financial future is so unknown?
Isabelle, what is most consistent in your conscious intellect? Are you organized? Organized to a fault? Pretty loose? What is your support structure like? Is there a structure? Are you trying to develop a support structure for your “creative passion”? (These are not rhetorical questions but sincere.)
Since “creative passion” is not general — it is a personal force or magnetism toward a particular idea or aesthetic or way of being — and a secure financial future is a kind of defensible space in which said "creative passion" wants to sit — fostering and protecting intimacy is going to be your main thing. Passion is not often related to organization — but it should be — like there is no freedom without discipline or limits. Establishing financial security for creative passion is sought and planned for — it won't just occur.
And jeez could there be a better line to directly answer your query?
Again you ask: How does one keep their creative passion flowing while their financial future is so unknown?
Answer: “In order to find one’s place in the infinity of being, one must be able both to separate and to unite.”
Every aspect of the world is inherently insecure (financially or otherwise) — after all we are some kind of standing wave in the shape of "apes" — padding around on an oblate spheroid floating in blackness — passionate care for the self (and then out of that) others, is the only way to proceed — in such cosmic insecurity.
﹡﹡﹡
Complete Reading: This week we pulled the Four of Swords. The number four in the minor arcana indicates stability or steadiness. The suites of swords deals with intellect and consciousness. In combination, there is occasion to think about that which is stable in one’s own thinking or cognizing — like, if there is a particular problem, or a need of solution, answers may be found by looking at the most constant tendencies of your intellect. Are you too analytical? Are you not analytical enough? Is your intellect typically powerful?
Our first hexagram this week is #37, The Family (The Clan). We relate the following fairly often, as it seems important to say when undertaking an exercise utilizing a text that is at least 2000 years old. There are certain aspects of the I Ching that are irrelevant on the surface but wholly maintain their relevance in intention — like when it speaks of “the family” or “woman” and “man” (among other related things) it is speaking in a manner 2000 years old. But we have found zero distortion in the aphoristic content of the text overall. Like here with this hexagram, there are confident definitions about the roles of men, women and children in the household. On the surface it is silly to our age, to “A” even think in terms of head of household (as it is often healthiest when a completely shared duty — at least in intent) and “B” a head of household role is obviously not gender determined. So what can we take from here? With a line like “The family is society in embryo; it is the native soil on which performance of moral duty is made easy through natural affection, so that within a small circle a basis of moral practice is created, and this is later widened to include human relationships in general.” All Good begins with genuine intimacy (intimacy only can occur on a small scale). You must be honest with yourself first and foremost in this world, then with those closest to you. If you live by yourself with no friends or family (btw, the person writing this doesn’t speak to anyone in their family) you still have a certain inner structure that desires order from sincere rapport (this is intimacy). There were two changes this week, of which the specific notes are: honesty naturally begets responsibility (and leadership) and when leading an intimate group there must be balance between discipline and freedom.
Our second hexagram, the one that suggests how best to meet the challenges (or the changes) is #3, Difficulty at the Beginning. There is danger at the very beginning of processes as emergence becomes deterministic when rhythm eventually arrives (parenting and childhood is a good example here). Therefore it is important, when starting processes, to be highly aware — so yes, give your full attention to organizing emergent features BEFORE they eventually and definitely hit their rhythm. Also, included in this hexagram is a line of profound beauty/wisdom: “In order to find one’s place in the infinity of being, one must be able both to separate and to unite.”
cargo.site
October 25 ‘22
Behind the Target on highway 8 there’s a wooded area of about 100 acres square. It’s hemmed in on its east and west sides by two residential neighborhoods; the eastern one being a kind of slowly dying 90s suburb (beige stucco, proto Olive Garden architecture) whilst the one to the west, a shifting tract of trailer homes and makeshift bungalows. The north side comprises the southernmost part of the university — mostly storage annexes for ancient files and athletic detritus.
This empty forested region is known as “the dump” named for the amount of trash consistently left along its perimeter and the 6 “faceless bodies” found floating in “the pond” in the Fall of 2006.
The pond is a large, deep pool pretty much in the dead center of the dump; it’s full of alligators and water moccasins. The entire wet mud/sand acreage is populated by a thick density of bald cypress trees covered in Spanish moss.
The theory, as to why it’s never been landfilled and developed, is that the pond is prohibitively deep and conceals a complex water cave system — which makes the land thoroughly unstable.
There’s a shortcut/footpath that crosses through the dump from the Target to the back of the university. Personally we’d never known anyone to have crossed it, even though it’s the fastest way (on foot) to get from the dorms to the shopping complex.
❉ ❉ ❉
Last October, on a misty, muggy, Friday we hitched a ride to the Target with our roommate. She was going to work so it was only one way. Money was tight, and it was the start of the weekend. Not wanting to waste any funds on a paid ride, we decided to traverse the dump.
❉ ❉ ❉
In the vestibule, taking in the last bit of air conditioning, we filled our bag with the toilet paper, a six pack and a 40, and made our way outside, to the rear of the store. Bordering the decrepit asphalt lot, was an endless chainlink fence barely holding back a grim, chaotic wave of foliage. Next to some swollen, sinister pile of garbage bags and a yellow and black alligator sign there was a passable break. Without giving ourself time to deliberate, we ducked through.
A path unfolded pretty distinctly, cutting clearly through the generally post apocalyptic Jurassic-ness. The air was rotted and thick — noisy with birds, some sort of clicking insect and distant frogs. Barely any sky was visible through the canopy.
After about 5 minutes of high alert walking, nervously brushing aside vines and errant parts of “webs” we thought it time for our 40. Beer in hand, we continued with relative confidence, sipping and stepping over trash and sticks. We estimated that it would take about 25 minutes to make our way across — more quickly than expected we were in short view of the pond — it was oily and black and didn’t seem to reflect the open, overcast sky above, as much as absorb it.
We stood about 20 feet from the muddy bank. Squinting trying make out any moving shapes; a few sinister surface bubbles but no overt movements. We threw a rotted stick into the water next to where the bank and path merged. Waiting silently — straining eye and ear. No gators. (No bodies.) Nothing except the occasional bird (the frogs were quiet now and there was no more of that clicking sound). Beyond the bank by a rusted car frame, the path curved back into the woods. We decided to run and not stop ’til we passed it.
We sprinted and stopped — generally unsure whether we should feel silly for being so anxious. We took a few gulps and carried on.
“Gimme a beer or I’ll eat your face.”
We looked around franticly, in ducking, self-defensive disbelief — not sure of what we heard or from where. But then repeated, in a high voice that sounded like a ventriloquist’s dummy:
“Gimme a beer or I’ll eat your face.”
Stupefied, we sighted a little “man” — maybe two and a half feet tall sitting on a wide branch above the trail. (He must have been hidden by the trunk of the connected tree.) He was thoroughly pale, shirtless, and wearing toddler-sized, filthy brown overalls. There was a dirty patch that looked like a cartoon frog on the chest pocket. His hands and feet ended with sharp unkept nails. His hair looked something like greasy, white angel hair pasta and hung a little past his shoulders. His teeth were like little shark teeth.
“It’s simple; gimme a beer or I’ll eat your face.”
In one quick obedient motion, we took our bag off our shoulder and reached in and broke off a beer. Then we thought better and held up the other five.
“Nope, I just want the one. Come on throw it up.”
We threw it and he caught it. He drank about half and let out a confident, refreshed sigh.
Then with his red rimmed, yellow-green eyes stared at us unblinking, seemingly enjoying our terror.
“Now this is the rule. I’m gonna let you go but I’m not gone; I’ll be hiding in the shadows of your mind. At some point I’m gonna reappear — you won’t know how or when, but it’ll be like in the reflection of a mirror or in a dream. When I do you gotta share this story, ya know like share my name — spread my legend.” He swept his arm dramatically, implying a large audience. Then he paused, took another long draft and in a voice half casual and half tough: “If you don’t, I’ll find you and when you’re sleeping I’ll eat your face — and worse. Don’t say anything ’til I make an appearance. Got it?”
We nodded senselessly and automatically muttered “wh, wha, what’s your name?”
“Bill; sometimes they call me Bath Salts Bill.”
He looked away like he was suddenly considering more important business. Then grumbled, “get outta here before I change my mind.”
We walked a few minutes in a kind of blackout, then ran, ran like there was a murderous, otherworldly, humanoid creature in the woods behind us.
We never told anyone.
❉ ❉ ❉
Last night we had a dream where a little, pale, stringy haired man was tapping at our window and waving a small sharp fingered hand.
🎃
Sites in Use
At first we were going to say something about “the unfinished nature of artist Thibault Hiss” but then were inclined to say something like “Thibault Hiss’ unfinished Nature.” But felt both were completely apt, the former correct for saying that Hiss’ style employs a feeling that his objects are fertilely shy of typical completeness — the latter being correct for saying that Hiss seems to be implying that Nature (writ large) is emergent and unfinished.
Ultimately Hiss gives amazingly successful form to what is soooo difficult to say (in word or concept) about the mystery of structure, bonds, emergence, meaning, waste and beauty.
Ultimately Hiss gives amazingly successful form to what is soooo difficult to say (in word or concept) about the mystery of structure, bonds, emergence, meaning, waste and beauty.
Raquel Rei
Kyong Kim
Jungle He
Printed Matter
2022 NY Art Book Fair
Graphic Design
Style
Architecture
& Design
Art
Photo
@cargoworld @cargo.style @cargo.arch.design
@cargo.photo @cargo.art
Shops on Cargo
Goings-On(line)
An offering of pieces and projects from around the web.
Christina Rossetti, A Life's Parallels, 1881
Kiyoshi Kurosawa, Pulse, 2001
William Malone, Fear Dot Com, 2002
Zachary Donohue, The Den, 2013
Maison Martin Margiela, Fall/ Winter, 1998-99
Oracle
Each week we consult both the Tarot and the I Ching.
To submit your own question, send an email to oracle@cargo.site
This week “Matthew A.” asks the oracle:
“How to sustain the magic of creative discovery while introducing the structure of recurring presentation?”
Perhaps there is an overdetermined logic innate in the question. It could be said that a spirit akin to the Queen of Swords (hidden, deep rationality) is pushing you to think that “creative discovery” is antithetical to “recurring presentation.” It seems less that joyful breakthroughs and repetition are separate states but more like you are lacking a certain modesty of spirit (this is not an insult). ALL aspects of your creative practice and self should be fueled by a unified commitment to personally understood joy. A shift towards more meaningful (magical) regular work will have to be introduced slowly — with a force of constant, personal commitment. At first the change may feel petty and even sad, but if you are serious and give it time you will be a powerhouse, nay a wizard of discovery and joy.
❉ ❉ ❉
This week we pulled the Queen of Swords. In tarot the suite of Swords carries a connection to all that is logical/rational within us — both good and bad (a clear sword cuts both ways). Queens represent power that is real but not overt; that is, deep control but from behind the surface. So in combination, the appearance of the Queen of Swords encourages one to think about some aspect of life influenced by hidden rationality. Are you working on a relationship or a project that seems overfed by a concealed but strong logic? Make sure to ping evenly with exterior and interior understanding(s) — one way is too relation-less.
Our first hexagram this week is #45, Gathering Together (Massing). It is only through a large group, collected by a mutually pious spirit that great works are achieved. A person of a thoroughly selfless spirit (that is, a genuine concern for the wellbeing of the many) is required to lead and gather such groups. However there is always a danger with large groups, that if selfishness starts to dominate, a whole lotta damage is caused. There were two changes this week, of which the specific notes are: it is sometimes humiliating to join a desired group but aligning yourself genuinely with the leader will yield positive results over time; also, in group settings develop an “unswerving devotion to duty” this will dispel distrust and inspire good faith.
Our second hexagram, the one that suggests how best to meet the challenges (or the changes) is #62, Preponderance of the Small. To be superlative is the most difficult thing. (“Superlative” here, meaning being admirable to oneself and useful to the greater good.) So yeah, being a great person means fixing to a long-term dignified goal — which will mean being steady in an unsteady world; such a person will at times look silly (or worse to the outside world). But this is the only path of a superlative human. “Thus the superior person… must always fix their eyes more closely and more directly on duty than the ordinary person, even though this might make their behavior seem petty to the outside world. The superior person is exceptionally conscientious of their actions… In all their personal expenditures they are extremely simple and unpretentious. In comparison with the person of the masses, all this makes them stand out as exceptional. But the essential significance of their attitude lies in the fact that in external matters they are always on the side of modesty.
CN252
Oct 11 2022
This week Printed Matter’s NY Art Book Fair returns. Due to pandemic/quarantine, it had been forced onto the web. But wonderfully, it is back in physical form.
Printed Matter NY Art Book Fair
548 W 22nd Street, New York NY 10011
------------------------------------
Thu Oct 13 6–9 PM (Opening Night)
Fri Oct 14 1–7 PM
Sat Oct 15 11–7 PM
Sun Oct 16 11–5 PM
Purchase opening night tickets here
Without alteration, for the past 25 years, we have been sincere admirers of Printed Matter’s production. In a world that always seems increasingly influenced by shallow, ignorant ephemerality (digital or otherwise) Printed Matter’s commitment to support significant art practices, made accessible and readily transferable by print, is more relevant than ever.
For the past 3 years or so, Cargo has had the privilege of being supporters and collaborators of the digital end of their Art Book Fairs. This year, additionally, we are fortunate to be sponsoring the fair’s opening night. To mark this collaboration we will be giving all opening night visitors Cargo tote bags (’til they run out).
The design on the tote (one side reading “books and” the other “sites and”) points to a feeling we have about the necessity of a diversity of method and form, as regards a nutritive and healthy future (that is, books and sites and conversation and performance and protest and paint and math and film and digital generation and food and music and design and theory and…). We are directly inspired by Printed Matter’s model and consider it in dialogue.
On an envelope (to be found in each tote) are printed words which best express what we are trying to get at:
The implication here — sites and books (rather than sites or books or this or that —but this and that) without sanctimony, is a kind of plain, anti-monoculture, anti-corporate gesture. A shorthand message of support and general call-out for all that is poly and multi (whether in method or substance) — the multifaceted, the multicultural, the polymorphous, the versatile, the collaborative, the multi-situational, the poetic.
As well, it is a mild but sincere refutation against all that is mono and self-centered — the monopolies, the mono-perspectives, the single-channels, the walled gardens, the unimaginative, the cynically refined, the ferociously quixotic. So, please accept this tote as a token of solidarity with all well rounded, resourceful and lyrical responses to what is always forthcoming.
As well, it is a mild but sincere refutation against all that is mono and self-centered — the monopolies, the mono-perspectives, the single-channels, the walled gardens, the unimaginative, the cynically refined, the ferociously quixotic. So, please accept this tote as a token of solidarity with all well rounded, resourceful and lyrical responses to what is always forthcoming.
We hope you can attend!
Purchase opening night tickets here
Purchase opening night tickets here
Sites in Use
No one has eyes on the top, sides or back of their head — all only have the thoroughly specific, two-eyed (or less) circumstance. As well, no one can see through walls, predict the future or maintain a multitude of perspectives at a single time… We are highly limited creatures. This is why we appreciate the site and work of designer Josu Larrea. A feeling akin to intentional incompleteness pervades their output. The fragmentary, partial nature of their display is not done as a lure or a seduction but, it seems, is more like a moral stance. We couldn’t appreciate this more.
Sebastian Kommer
Johan Andrén
Villanos del Jazz
Graphic Design
Style
Architecture
& Design
Art
Photo
@cargoworld @cargo.style @cargo.arch.design
@cargo.photo @cargo.art
Shops on Cargo
Goings-On(line)
An offering of pieces and projects from around the web.
Patricia Highsmith, The Snail-Watcher, 1970
William Peter Blatty, The Exorcist III, 1990
Dominique Gonzalez-Foerster Exhibition at Schipper & Krome, 1999
Junya Watanabe, Fall/ Winter, 2006-07
Holly Dale, Blood and Donuts, 1995
Oracle
Each week we consult both the Tarot and the I Ching.
To submit your own question, send an email to oracle@cargo.site
The following reading was done whilst keeping Melinda (and her kind words) in mind.
All of us experience our lives as a center. This does not mean we have to be narcissists, but it is an understandable tendency.
However it is a tendency that should be blocked.
Perhaps think of it in terms of your own mind; if a negative part of your personality gets more attention than the rest — your better attributes will suffer. (If your mother’s alcoholism draws in all energy, at every family gathering, such a circumstance is a dangerous and unfair imbalance.)
Therefore, when participating in families, groups, or larger social structures we should strive to block undue/unbalanced attentions. This doesn’t mean that all roles are equally important all the time — a bus driver’s role at rush hour is, for the most part, more important than their passengers’, as they are serving a group of people. The driver is leading by serving. (An opposite to the matriarch example above.)
Specifically this week, it is advised, when encountering either leading and/or following, don’t be analytical about it; let your intuition be your guide. If it feels right to lead, lead. If it feels right to follow, follow.
❉ ❉ ❉
This week we pulled the Ace of Cups. The suite of cups relates to feelings, one’s emotional response to the world. The appearance of an ace card (in either of the four tarot suites: cups, wands, coins or swords) indicates the purest expression of a particular suite. So here, with the Ace of Cups we have an indication that you should follow your intuition this period. Do not analyze this week; if a decision feels right, follow it.
Our hexagram this week, #17 Following, had no changes. This means how we enter the week will be, for this most part, how we exit it. This hexagram brings together two lovely/important notions: adaptation and leadership. It is often thought that only an aggressive, domineering energy can bring about influence — this is perhaps true for short term campaigns; but long term impact is brought about by a leadership that is wholly of those being lead, of the people. To lead is to serve: that is, leadership is simply the singular appointment of the common good — there are no magic people; what is perceived as special or magic in a leader is perhaps just rarity — very few people are capable of being compassionately adaptive to the concerns of a group. Sincerely selfless people are the only true leaders — all others are just getting away with it — but only for the time being…
CN251
Oct 04 2022
Subsequent to an afternoon fight with a significant other — in and out of awareness of a refrigerator’s hum (and a general, low-grade ringing in our ear) — within the first third of a massive repeating shadow — a few hours before inescapable, recurring coma — on a device overrun by criminal-level Munchausen by proxy syndromes…
❉ ❉ ❉
It seems the level of complexity possible to achieve by the human brain (on a species level) is in direct proportion to the degree it needs said complexity to survive in its environment. That is, we are only aware to the level it is required; no more, no less. There are obviously margins here (and of course we are part of some sort of slow morphological occurrence) but compared to what we can imagine an “advanced” or more complex version of a human could be, there’s a clear limit.
“Importantly” 🙄 we don’t see this as a placed condition (like by a god or whatever) — our qualities, both mentally and physically, are conspicuously of the environment.
As well, the “evolutionary” gears here are not necessarily progressive (causal but not progressive — causality is, more often than not, confused with progress). “Evolution” seems more a compensatory and balance-attempting process than anything like a genuine/discernible forward movement…
❉ ❉ ❉
In the late, middle third of the massive repeating shadow, the refrigerator still intermittently hums. Somewhere in the house, Sleep can be heard, gently flicking the bubbles out of their syringe. Our face and arms are blue in the laptop light.
To the left, out the window, a gray feathered bird is sitting alone on a fence in the dark of the backyard — it seems to signify a time of personally foundering relation.
Printed Matter
2022 NY Art Book Fair
This year on Thursday, October 13th the Printed Matter Art Book Fair returns in physical form! In celebration of this sincerely joyful event, Cargo is giving out free totes to all visitors on opening night!
NB: All proceeds from opening night tickets benefit Printed Matter’s robust and important non-profit efforts. Necessary information here.
Sites in Use
Pace and space! These characteristics are just sooo deep with designer/photographer Jonas Gerber.
Consider his Wolkenbericht/Cloud Report (especially in his site’s context). What better, what more beautiful, subject for pacing and spacing could be had than that of clouds in sky, rhythmed by sensitively placed typography? It’s practically transcendental.
Studio Matauko
Miguel Ángel Acosta
Miki Perse
Graphic Design
Style
Architecture
& Design
Art
Photo
@cargoworld @cargo.style @cargo.arch.design
@cargo.photo @cargo.art
Shops on Cargo
Goings-On(line)
An offering of pieces and projects from around the web.
Charlotte Smith, To Night, 1795
Rute Merk Exhibition at Vacancy, 2022
Lady Dilke, The Shrine of Death, 1886
Takashi Miike, Audition, 1999
Undercover, Witches Cell Division, 2001
Oracle
Each week we consult both the Tarot and the I Ching.
To submit your own question, send an email to oracle@cargo.site
