Author: Goldpanner

Whatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely become its signature. CD distortion, the jitteriness of digital video, the crap sound of 8-bit—all of these will be cherished and emulated as soon as they can be avoided. It’s the sound of failure: so much modern art is the sound of things going out of control, of a medium pushing to its limits and breaking apart. The distorted guitar sound is the sound of something too loud for the medium supposed to carry it. The blues singer with the cracked voice is the sound of an emotional cry too powerful for the throat that releases it. The excitement of grainy film, of bleached-out black and white, is the excitement of witnessing events too momentous for the medium assigned to record them.

Brian Eno,

A Year With Swollen Appendices

(via mattfractionblog)

But here is the irony, here’s the thing that all the angry Black people know, and no calmly debating White people want to admit: The entire discussion of race in America centers around the protection of White feelings.

Ask any Black person and they’ll tell you the same thing. The reality of thousands of innocent people raped, shot, imprisoned, and systematically disenfranchised are less important than the suggestion that a single White person might be complicit in a racist system.

This is the country we live in. Millions of Black lives are valued less than a single White person’s hurt feelings.

White people and Black people are not having a discussion about race. Black people, thinking as a group, are talking about living in a racist system. White people, thinking as individuals, refuse to talk about “I, racist” and instead protect their own individual and personal goodness. In doing so, they reject the existence of racism.