Monterey Bay Aquarium

Love Begins
Keni

No title available
đ©” avery cochrane đ©”
Mike Driver

JVL

oozey mess

if i look back, i am lost
EXPECTATIONS

⣠Chile in a Photography âŁ
2025 on Tumblr: Trends That Defined the Year
he wasn't even looking at me and he found me
we're not kids anymore.
Show & Tell

romaâ

Kiana Khansmith
PUT YOUR BEARD IN MY MOUTH
ojovivo

izzy's playlists!

seen from Malaysia
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seen from Finland
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@endlessandrea
Lisa Robertsonâs roman-fleuve of reading and stolen time â Claire Foster
"The primary pleasure for a readerof Robertson is always in thinking about reading, and for Lucy, her readerly pleasure is 'in pausing. I noted and ruffled every tiny texture as it arose, whether in my mental sensation of reading, or in my body as I cellularly assimilated the words . . . I was reading my body.' My reading heart turned soft as one of Lucyâs rags upon meeting this passage that begins as a description of duration and blooms into an ethics of love:
I tried to linger with my amorous incomprehension, to slow my attention so as to better savour the most intricate linguistic constructions and transitions as well as their attendant desiring states, which, love-like, kept shifting. With this hard-won slowing came the conviction that to truly savour a book, to savour love . . . one could not read slowly enough. The waking world must be replaced with love. The experience of duration became its own mystical pleasure. Did love ever arrive? Poetry arrived, and what is the difference.
Geplantes Vergesellschaftungsverbot: Der lange Kampf gegen Gemeineigentum
Wie gerÀt Kunst in die Liebe?
In the last couple of years, London's SHERELLE (@iamsherelle)has torn through the dance music world like a tornado. Everything she does is h
Soo good
Sketches and excerpts from Red Therapy's 1978 pamphlet. It's so good!
Another admin reveal đ¶âđ«ïž
Reading Phil Neel's Hellworld (part 1)
The great host of the Red Medicine podcast is reading Phil A. Neel's new book Hellworld and writing about it. Introduction to the series under this link.
Peter Weiss im GesprÀch mit Harun Farocki, 1979
helping me cope with the heeeaat
From Mijke van der Drift's and Nat Raha's Trans Femme Futures
"Care entails life-giving and sustaining activities, an absence of which may entail abandonment into abjection, or towards (slow) death. Care ethics proposes a materialism to make bodyminds and lives come to âmatterâ in the sense of social and cultural worth. It brings into focus activities of care work to counter transphobic or transmisogynist or xenophobic or racist denigrations. These are concrete interactions with living beings or the spaces we inhabit, rather than simple statements of âcareâ or solidarity. Thinking reflectively about our care practices in relation to separability, we can consider who is with us in these moments, and who is missing, of enacting or receiving care. We typically provide or receive care within classed, racialised, familial, or institutional or community- oriented settings; or we are employed or solicited to provide/receive (paid) care work (potentially) across these lines. (Collective care may create forms that are an exception, or partly an exception.) In addition, as Sophie Lewis argues, typical kinship is often inadequate for meeting our desires for care, especially in the contexts of home-lessness and precarity, histories of (ongoing) settler colonialism, and of transphobic, queerphobic and sexist violence. Thinking through care and abolition helps to bridge structural divides, even if those divides arenât completely overcome in the process. Our ethical orientations can both reproduce and counter separability, reproducing, and/or dissolving the order of racial capitalism (in local, or direct, ways). Materialism, Marxism, and Marxist feminism emphasise the importance of our actions in the world â the transformations they produce, the norms they reproduce â even when they are without economic value, or seem unimportant in the context of capitalist norms. After all, neoliberalism wouldnât hold up if we didnât obey its commands, some of which are imperative, some moral â hence, the power in the idea to âbecome ungovernableâ. In discussing complicity and femmeness, we acknowledge that all of us get tied into neoliberal expectations â but thinking care through femmeness encourages looking out for each other in these contexts, and registering how these expectations divert our actions away from the things, people or worlds that nourish and shape our lives. In its multiplicities, care is a resource that we can reorientate towards supporting our worlds, our friends, our lovers, and even passing strangers, to exist and thrive. It is one tool to challenge the disposability of marginalised people, to undo stigmas that deem some people more worthy of life than others. The ethos of prison abolition proposes that no one is disposable; practices of care nourish life in the face of disposability. We are conscious of the need to move beyond practices focused on survival, and towards interconnected care practices for humans and non-humans, working towards our collective flourishing. Good care can be the ground for exploring desires and growing worlds, nourished by love and budding with possibility. Our actions manifest possibilities of social transformation by tending the social contra capitalism."
How dominant practices rooted in ableism exclude tactile knowledge and Blind perception in museums.
"Let us change our approach and try to interpret exclusion from the visual arts no longer as a deficit, but as recognition that Blind and visually impaired people have specific non-visual knowledge. Based on this, curation, architecture, and ways of perceiving can be directly changed, as demonstrated recently by the Schwules Museum in Berlin. In 2023, it presented the exhibition âqueering the cripâcripping the queer,â a historically oriented exhibition that focused on the intersection between disability and gender. A focus group with Blind experts was involved in the initial conceptualization. The team implemented a tactile guidance system, supported by an audio guide, that led visitors through the entire exhibition. The audio guide contained descriptions of objects and rooms, as well as texts on the walls. Paintings and historical photographs were translated into tactile models and many videos entailed audio descriptions."