Jean-Paul Sartre, Nausea

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Jean-Paul Sartre, Nausea
everytime I remember that lesbian couple that have a marble statue of the two of them embracing and sleeping on a bed together over where their graves will be because the artists didn’t believe they would be able to be married before they died, so what they couldn’t have in life they could have in death, I fucking breakdown
memorial to a marriage; patricia cronin
“on july 24th, 2011- the first day that same sex marriage was legal in new york state, particia cronin and deborah kass got married. that same year the marble ‘memorial to a marriage’ was replaced with a bronze version. rainwater pools in the space between their two sculpted bodies, and falling leaves catch on the metal in the autumn. the two women sleep peacefully through snow and ice, and the scorching days of summer. over time the hands of cemetery visitors will wear down the bronze, burnishing it into a smooth shine. one day this will mark the final resting place of the two women. and someday people will have to remember that there was a time, long ago, when this was a memorial to a marriage that two women never thought they’d have.”
- Caitlin Doughty, on the Death in the Afternoon podcast
Clarence Holbrook Carter, 1983
EarthManZee aka Zee Abundance (Australian, based Australia) - Revenge of the LOL Cat, 2012, Photomontage
https://instagram.com/wifenyc?igshid=1xpw7wysowtej
Pantone predicted this.
and now, perhaps the most vital work I will ever do: using colordistance to objectively prove which David Bowie outfit most closely matches a given sea slug. congratulations to ceratosoma trilobatum, the coral family of colors, and also to me, for peaking early pic.twitter.com/ZaMypDB8dx
— Hannah Weller (@hannahiweller) February 6, 2019
Shakhrisyabz suzani, Uzbekistan, from the Rippon-Boswell’s Vok sale · Hali
Turns out, a lot of it, actually.
How much of the internet is fake? Studies generally suggest that, year after year, less than 60 percent of web traffic is human; some years, according to some researchers, a healthy majority of it is bot. For a period of time in 2013, the Times reported this year, a full half of YouTube traffic was “bots masquerading as people,” a portion so high that employees feared an inflection point after which YouTube’s systems for detecting fraudulent traffic would begin to regard bot traffic as real and human traffic as fake. They called this hypothetical event “the Inversion.”
In the future, when I look back from the high-tech gamer jail in which President PewDiePie will have imprisoned me, I will remember 2018 as the year the internet passed the Inversion, not in some strict numerical sense, since bots already outnumber humans online more years than not, but in the perceptual sense. The internet has always played host in its dark corners to schools of catfish and embassies of Nigerian princes, but that darkness now pervades its every aspect: Everything that once seemed definitively and unquestionably real now seems slightly fake; everything that once seemed slightly fake now has the power and presence of the real. The “fakeness” of the post-Inversion internet is less a calculable falsehood and more a particular quality of experience — the uncanny sense that what you encounter online is not “real” but is also undeniably not “fake,” and indeed may be both at once, or in succession, as you turn it over in your head.
RIHANNA British Vogue (2020) | © Steven Klein
Monika Buch (Spanish, b. 1936), Composition, 1972. Nails and acrylic on panel, 40 x 40 cm.
Spanish Flu, 1918. Family Portrait.