August 2012
101 posts
The Obama administration today gave Shell Oil the initial approval to begin controversial and dangerous oil drilling in the Arctic Ocean off Alaska, despite the fact that a critical oil-spill containment vessel is still awaiting certification in Bellingham, Wash. Until now, the Arctic Ocean has largely been off limits to offshore drilling. Shell Oil is expected to begin the initial phases of exploratory drilling in the Chukchi Sea as soon as it can get its drillship in place, in the heart of habitat critical to the survival of polar bears.
“By opening the Arctic to offshore oil drilling, President Obama has made a monumental mistake that puts human life, wildlife and the environment in terrible danger. The harsh and frozen conditions of the Arctic make drilling risky, and an oil spill would be impossible to clean up,” said Rebecca Noblin, Alaska director at the Center for Biological Diversity. “Scariest of all, the Obama administration is allowing Shell to go forward without even having the promised oil-spill containment equipment in place.”
” —Obama gives away American resources to foreign company with record of human rights violations and appalling record of oil spills and pollution. Via CBD (via climateadaptation)
our environment is fucked…politicians are not humans, they clearly don’t give a shit
hfml:
“Just because I’m poz doesn’t mean I’m a fearless mofo. I have to worry about criminalization, disclosure, I have to worry about people finding out that I don’t want to find out,” Chevalier tells me. In spite of these anxieties, the 28 yr-old artist speaks with a self-assurance that suggests he knows his work is onto something. HFML has led him to field questions from hundreds of anonymous viewers and users who ask him inane questions like “How do you deal with your AIDS?” and assume that he “got it because of mistakes” he’s made.
“I take it all very seriously. It’s a curious thing where my art starts to teach sexual health, such as with consent and disclosure,” he explains, adding that his audience doesn’t always know when he’s joking – he facetiously refers to his status and its consequences as “my AIDS” – but he knows from personal experience that the stigma faced by HIV positive people is all too real. His practice delves into the intersection of the luxuriously self-obsessed (“my selfish reason for making work”) and the defiantly personal. His “political reason” for making his excessively personal art practice “is to critique what people expect of poz people, to ask ‘what does it mean for me to give you everything and it still not be enough?””