Samar | ســـَمَرْ

War. Sand. Survival. And the architecture that forms afterward... Two thresholds for 2026 Read here: linkedin.com/pulse/sand-fir… via @LinkedIn

@punicist Very interesting-How can I calculate mine ?

I am North African. Even though I come from a Muslim background, and my native language is a dialect of Arabic, I have negligible Arab ancestry. That's because the Arab conquest of N. Africa wasn't a demographic colonization. We are natives who assimilated and became Arabized.

YOU ARE MY SUNSHINE: Legendary New Orleans clarinetist Doreen Ketchens serenades her grandson with a beautiful jazz tune 🥹❤️

My forever jam!

Fragment 021: Analog Accumulations A Visual Essay on momentum, cultural generation, and how we find our way back to making when the system feels too loud and the body feels too tired Image: artifact from my Future Ancestors series: ‘Not Cloud White’ 😉

@ReginaHarsanyi I’d argue kitsch isn’t the opposite of culture. Kitsch is culture under duress The simulacrum people reach for when their real cosmologies were stripped, looted, or algorithmically flattened

"Where there has been an avant-garde, generally we also find a rear-guard. the new urban masses set up a pressure on society to provide them with a kind of culture fit for their own consumption. To fill the demand of the new market, a new commodity was devised: ersatz culture, kitsch, destined for those who, insensible to the values of genuine culture, are hungry nevertheless for the diversion that only culture of some sort can provide. Kitsch, using for raw material the debased simulacra of genuine culture, welcomes and cultivates this insensibility. It is the source of its profits. Kitsch is vicarious experience and faked sensations. Kitsch changes according to style, but remains always the same. Kitsch is the epitome of all that is spurious in the life of our times. Kitsch pretends to demand nothing of its customers except their money. Kitsch is deceptive. It has many different levels, and some of them are high enough to be dangerous to the naive seeker of true light. Ambitious artists will modify their work under the pressure of kitsch, if they do not succumb to it entirely. The net result is always to the detriment of true culture in any case. These artists predigest art for the spectator and spare him effort, providing him with a short cut to the pleasure of art that detours what is necessarily difficult in genuine art. These artists' work, or kitsch, is synthetic art. If the avant-garde imitated the processes of art, kitsch, we now see, imitates its effects. This current interval, too great to be closed by all the infinite gradations of popularized "contemporary-ism" and "contemporary" kitsch, corresponds in turn to a social interval, a social interval that has always existed in formal culture, as elsewhere in civilized society, and whose two termini converge and diverge in fixed relation to the increasing or decreasing stability of the given society. There has always been on one side the minority of the powerful, and therefore the cultivated, and on the other the great mass of the exploited and [culturally] poor, and therefore the ignorant. In the end the [ignorant] will go back to kitsch when he feels like looking at pictures, for he can enjoy kitsch without effort."

@ReginaHarsanyi 🎯

Today, go around Art Basel and ask present artists “What did/do your parents do?” “Who paid your tuition?” “When did you start making art?” “Who are your favorite artists?”

@matdryhurst 😭🫠

Where do they find these people theguardian.com/commentisfree/…

@ReginaHarsanyi Wil this be recorded ?

Joining this workshop at 12pm EST is the first step to qualifying for a grant that supports using the Tezos blockchain as a material component. Don’t miss it!

What if adornment has always been interface technology? These Future Ancestors explore what happens when adornment becomes communication hardware. Prosthetics for ecological consciousness. Amplifiers for spiritual practice.

@VictoriaFutures We did plenty when I was at Coach … happy to share those with you !

What I’m really craving right now? A deep dive into every single snoopy brand partnership.

@VictoriaFutures 🤣🎯

I am just a girl standing in front LinkedIn begging folks to use their own brains and stop using AI to generate replies to posts.

@miminguyenmimi @yatreda @nguyenwahed ❤️‍🔥

WOW all four works from the 'Remembrance of Things Future' series by @yatreda are entering LACMA’s permanent collection a great start for their upcoming solo booth at Paris Photo art fair via @nguyenwahed 🖤DM us for the catalogue of the first-ever edition works or see you soon in Paris!!🖤

Digital Art crowd meltdown over Mamdani’s win = peak irony. “Decentralized empowerment”? Nah, just a tone-deaf gated club: colonialism on-chain, tech bros LARPing as revolutionaries while protecting capital! Yikes 🤮

@ZohranKMamdani LFG 🧡🧡🧡!

Thank you, New York City. Together we made history. Now let’s get to work. transition2025.com

@hiamag ♥️

من ذاكرة الأجداد إلى لغة الخوارزميات.. جلسة تصوير خاصة تجمع بين #الذكاء_الاصطناعي والفن مع الفنانة #سمر_يونس✨ اكتشفي التفاصيل عبر الرابط👇 hiamag.com/node/1789746 @Samaritual

In latest issue ♥️

@VictoriaFutures This 🎯🎯🎯

i won't and can't take substack that seriously because their "top list" of fashion writers are mostly all white women. another reminder that "top lists" of things are never the way to measure anything of value.

Last month’s deep dive open.substack.com/pub/samaritual…

@ystrickler Useful taxonomy 🎯♥️ but there’s a fifth position emerging that refuses these quadrants entirely: the artist-researcher-strategist operating through productive entanglement

What's the difference between an artist and a creator? An artist is a self-directed artistic expressor. They work for themselves and express what they want. There’s no one beyond their anxiety looking over their shoulder telling them what to do. A creator is a self-directed market expressor. Everything they do has a commercial aim at its core, but they answer to themselves and their audience. Rather than a traditional boss, they have an algorithmic one that implicitly and explicitly shapes their output. A commercial artist, or "a creative," is a contracted market expressor. Everyone who works at an ad agency or as an in-house designer fits into this bucket. This group is much better paid than anyone else because they fulfill a market-oriented purpose. Today this role is often called a “creative” — a dehumanizing phrase with roots in the advertising industry. An institutional artist is a form of contracted artistic expression. Think of an artist being asked to produce a Biennale commission or a piece for a museum. They are being contracted for their voice in a defined way. You have to have “made it" to be part of this quadrant. These segments also show us how and by whom each gets paid: Role: Artist Who pays: Patrons, foundations, collectors How: Grants, residencies, commissions, sales of work Role: Creator Who pays: Audiences, platforms, sponsors How: Memberships, merch sales, rev shares, sponsorships Role: Institutional artist Who pays: Museums, public arts, universities, nonprofits How: Commissions, grants, honoraria, stipends, exhibition fees Role: Commercial artist or Creative Who pays: Employers, agencies, brand clients How: Salaries, day rates, project fees, retainers The artist is the least compensated because there’s no outside entity contracting them to produce their work. Commercial artists and creatives are the highest paid because there are. Creator incomes range across a huge curve defined by the size of the internet. Institutional artist funds are the hardest and often stingiest to get. This map gives us a sense of the cultural position and access to funding for each of these segments of the creative universe and the differences of each.