black metal commenters are obvi an extremely mixed bag but no one else talks like this
RMH

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Jules of Nature

Kaledo Art
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Peter Solarz
Claire Keane

@theartofmadeline
he wasn't even looking at me and he found me
NASA

PR's Tumblrdome
Cosimo Galluzzi

Janaina Medeiros

oozey mess
will byers stan first human second

roma★
d e v o n

tannertan36
I'd rather be in outer space 🛸

titsay

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@antirelation
black metal commenters are obvi an extremely mixed bag but no one else talks like this
people say child pornography “isn’t porn” for ultimately the very same moralistic reason they say pedophilia (as child sexual abuse) “is about power, not desire”: an attachment towards a privileged object [desire/sexuality, pornography] which they aim to sterilize—from bad elements [power, violence] perceived as contaminating it, as polluting it—and therefore as exterior to it—in order to prevent or alleviate its structural critique. it’s the denial [verleugnung] for me.
these opinions should never be taken seriously; what’s hilarious, though, is to read them from the hands of people seemingly engaged, for example, in porn studies or psychoanalysis—then it’s intellectual dishonesty, and it pisses me the fuck off.
on pornography: consent can only be present as part of a given film’s narrative, it is not a material object on the screen which we can point to—but if one’s willing to engage with sexuality as a real that exceeds the moving image we need to look no further than one of our beloved classics: 1972’s blockbuster deep throat, about which linda boreman claims we’re “watching [her] being raped”—a truth that doesn’t contradict in the slightest—and why should it?—another one: that we are watching (also) a pornographic film—a film that exists, functions, circulates (and, of course, sexually arouses) as pornography regardless of the fact that she was being sexually violated and we’re watching it—so why exactly should child pornography be excluded from the blessing of being encompassed by the category of porn on the basis that it is sexual abuse material? that it is pornography should mean solely that it can be comprehended by porn studies as an object of analysis, with particular—informal—conditions of production and a specific—underground, black—market, among other factors and specificities.
but it won’t be—because no one wants to compromise the hard-won legitimacy of an academic field and its social currency, and yet everyone in the world with a smartphone and internet access can also, today, have access to the (abusive, sexually violent, pornographic) material under discussion and many, many do… plus, no one wants to actually make the claim that sexual violence is absent from pornography’s formal economy, so i don’t know what the fuck it’s being defended here—besides our own (libidinal, intellectual) complicities and the lies it takes to conceal them, of course.
this all brings to mind kadji amin’s critique of queer theory: its (liberationist, antinormative) political ethics often weakens its methods of historicization by ideologically restricting what objects of analysis should be centered as properly and legitimately queer (because of their political value for queer theory) in opposition to those objects that should be discarded as historically retrograde or taken as unworthy of analytical attention—the difference between a daddy/boy bdsm sexual dynamic deserving of liberationist defense and a pederast/adolescent sexual dynamic that ought to be historically forgotten. what i take to be one of amin’s central points, though, is that approaching social reality under such an epistemologically limited lens might prevent one from perceiving those moments in which the good, modern object and the bad, antiquated object are one and the same, or in which their forms begin to blur—or the very (libidinal) inevitability of this blurring: pederastic relations never died, and even less the power asymmetries and violences sexually driving current queer relations.
people say child pornography “isn’t porn” for ultimately the very same moralistic reason they say pedophilia (as child sexual abuse) “is about power, not desire”: an attachment towards a privileged object [desire/sexuality, pornography] which they aim to sterilize—from bad elements [power, violence] perceived as contaminating it, as polluting it—and therefore as exterior to it—in order to prevent or alleviate its structural critique. it’s the denial [verleugnung] for me.
john cale for hood by air
i thought euphoria’s ending was terrible but i gotta say: pretty meaty to an afropessimist reading if one’s willing to really take it there.
We owe it all to them.
To repeat the message louder: musicians, journalists, radio stations, listeners, record companies, streaming sites, discos; anyone remotely involved with popular music, you probably owe a big chunk of it to black musicians.
it’s true. at the same time, these kinds of informational memes only go viral due to racial masochism; it’s the way non-blacks sublimate racial guilt relative to antiblack structural conditions we’ve already accepted as insurmountable. to say that “we love them” is not exactly significant if one’s not willing to do what it takes as part of this (supposed) historical debt to the beloved one. and is it a debt when one can choose not to pay?
In “Die Thälmann-Kolonne”, the song of the German Communist volunteers in the Spanish Civil War, made famous by the Ernst Busch recording, the surprising feature is the way the word “freedom [Freiheit]” occurs at the end of the strophe: “…wir kämpfen und siegen für dich / Freiheit! [we struggle and fight for thee / Freedom!”]. The symmetry of the entire strophe and its melodic line leads us to expect a longer last line; its unexpected brevity, one sole word instead of the whole verse, not only gives an effective pitch to the melodic line, cutting short the temptation to sentimentality, but also fully expresses the abrupt, open character of freedom itself as a break in the causal network: freedom occurs where a void opens up in the symmetric closure of an edifice.
Slavoj Žižek, from For They Know Not What They Do: Enjoyment as a Political Factor
George Brecht, Poem (For R.M. Rilke), ca. 1962-1964, MoMA, New York, NY [The Gilbert and Lila Silverman Fluxus Collection] [© 2018 Artists Rights Society (ARS), New York / VG Bild-Kunst, Germany]
I think the "pre" and "post" parts in "preposterous" should cancel each other out but everyone else seems to find my idea completely erous
ᴍᴀʀᴠɪɴ ɢᴀʏᴇ Los Angeles, 1973.
Tony Ward (c.1990) for In Touch For Men This issue was a hot commodity in 1990/1991 due to Anthony being featured on the cover. He was dating Madonna and appeared in her Justify My Love video.
“…the essential function of the universe, which is a machine for the making of gods.”
— Henri Bergson (via inthenoosphere)
“Stanislavsky had an exercise for his actors. He would give them an everyday sentence like, ‘Bring me a cup of tea’, and ask them to say it forty different ways, using it to beg, question, mock, wheedle, be imperious, etc. My question, ‘Is there an Indian way of thinking?’, is a good one for such an exercise. Depending on where the stress is placed, it contains many questions—-all of which are real questions—-asked again and again when people talk about India. Here are a few possible versions:...”
—-Ramanujan, “Is There An Indian Way Of Thinking?”
sadism is so cringe (to me).
Seiichi Niikuni (新国誠), Visual Word Poems, 1969-1973
was one of the foremost pioneers of the international avant-garde concrete poetry movement, creating works of calligraphic, visual and aural poetry. He is recognized as one of the most important poets of recent times in Japanese and German textbooks.