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DO NOT INTERACT if you interact with problematic media (Wizard So-So: Fun Magical Adventure, The Waste Land by T. S. Eliot, CDC press reports, etc.)
About me
Obsessed with fratricide
I love you
which of my pretentious music major favorite xmas songs is YOUR favorite?
come all ye worthy gentlemen
gabriel fram heven king
wassail wassail all over the town
a wassail a wassail throughout all this town
wexford carol
riu riu chiu
a la media noche
o regem caeli | natus est nobis
hodie christus natus est (yeah the chant)
the entire ledisi xmas album
(I had more wassail songs but it'd get confusing,, also i skipped the cherry tree carol because there's two versions of that song and one of them is very not good)
Anyway i promise i also like normal music
Thinking about how wild it is that enshittification starts as a way for the rich to squeeze the populace for more money but ends up infecting everything so even luxury products decline in quality. They’ve got more money than fucking God now and for what? Literally they can’t even buy fun nice stuff for themselves because they killed craft.
Anyway this post is about Dhaka muslin but it’s also about everything.
Nearly 200 years ago, Dhaka muslin was the most valuable fabric on the planet. Then it was lost altogether. How did this happen? And can we
guess it's time to post agha shahid ali's poem about dhaka muslin
how far down in your 2024 wrapped playlist does the first black artist appear?
1
2-5
6-10
11-20
21-40
41-60
61-80
81-100
none (embarrassing)
last year when i posted this people melted down and went out of their way to misinterpret the purpose of this exercise and just say insane racist shit; the goal is to get you to reflect on whether or not you engage with black music and black art and artists, and if you seem to avoid doing so, to ask yourself why that is
if you would like, feel free to share the song/artist in the tags to share recs! always easier to begin or continue diversifying your listening habits with suggestions :)
bro last night was a metaphor for penetration
EXIT Bowl (2024)
Why does it feel weird and intimate to mention that someone was in even the most innocuous of your dreams? Sorry my subconscious decided to think about you for a second. You were a curator at an ice cream museum that was also my second grade classroom. If you even care.
lrb i don't think we're harsh enough on New Criticism honestly having been forced to do it for four years straight. the difficulty making this case is always that NC masquerades as a pedagogical programme but (like all such attempts) is an ideological one; the exclusions that it makes (of context, of history, of political import & consequences, etc) are described on 'pure' methodological grounds but are defended on consistently reactionary ones. because to read a text as 'timeless' in this manner is to deprive it of what makes it matter or speak at all. it's classroom solipsism, it says nothing of import to anyone by design, it's defensive position #1 whenever someone wants to discuss racism or misogyny in a canonised work. the claim so often rests on some version of "let the text speak for itself" which is of course artistically nonsense and politically obscurantist. everything is ideological; you can't strip this and if you ignore it then all you've done is espouse whatever ideology is dominant & therefore invisible to you. which is ofc not always or exclusively the same as the Author of whom Barthes speaks, but more than incidentally there is overlap
among other things — like the fact that very few of the people who throw around the phrase “death of the author” (whether or not they “support” it, whatever that means) have actually read Barthes — it’s worth keeping in mind that “La mort de l’auteur” / “The Death of the Author” is clearly a polemic: parts of it are overstated/hyperbolic because it’s intended as a provocation against mid-century literary-critical practices grounded in authorial intention and biography — even New Criticism, Barthes says, often only served to “consolidate” (consolider) “the empire of the Author” (l’empire de l’Auteur), an empire that we’re clearly still living in now. the point is to make visible the importance of actual reading (which is, of course, historically situated, but which is also endlessly open because endlessly repeatable) — as so many people after Barthes have said, texts only have meaning when people read them. the point is to reject the imposition of “an ultimate meaning” (un sens ultime) on texts in order to
lib[é]re[r] une activité que l’on pourrait appeler contre-théologique, proprement révolutionnaire, car refuser d’arrêter le sens, c’est finalement refuser Dieu et ses hypostases, la raison, la science, la loi.
[liberate an activity that we could call counter-theological, properly revolutionary, for refusing to put a stop to meaning is ultimately to refuse God and his hypostases, reason, science, law.]
beyond that, if you’re not distinguishing between “the Author” and “the author” you’ve missed Barthes’s point. the Author is a social position that confers a specific interpretive authority on the person who occupies it such that their life, statements, interpretations, ideas, etc. serve as the grounding for the (singular and literally authorized “meaning of the text”. the author — lowercase — is nothing more or less than “the one who writes” (celui qui écrit). the Author precedes the text such that the text is only a vehicle for “the ‘message’ of the Author-God” (le «message» de l’Auteur-Dieu). the author, in contrast, only exists insofar as a text exists (because there’s no author without the actual act of writing) — “author” is a statement of a factual relationship between author and text, nothing more.
Barthes’s sensitivity to historical context elsewhere in his work (the essays collected in Mythologies, for example) should signal to us precisely that this isn’t an absolute rejection of the author, but rather an affirmation that the author is not the guarantor of meaning in the way the Author is. once we’ve separated ourselves from the idea that authorial intention provides the (sole) meaning of the text, the author and “authorial intention” can become what they are — part of the context in which meaning is created through reading, the process through which the reader “holds” (tient) all the different pieces (of language, of other literature, of history, of society) that make up the experience of reading a text (which, Barthes argues, is all a text is, after all).
being deconstructed probably feels good as fuck for a genre
“You want to be brothers-in-arms, to have him to yourself… to be shipwrecked together, (to) perform valiant deeds to earn his admiration, to save him from certain death, to die for him - to die in his arms, like a Spartan, kissed once on the lips… or just run his errands in the meanwhile. You want him to know what cannot be spoken, and to make the perfect reply, in the same language.”
— Tom Stoppard, The Invention of Love
“Perfect Lover I” & “Perfect Lover II” by Can Sun
Website of Morty C. Pictures of cartoon comic books and/or zines
Buy these stupid little things
Not the dog. The books tho ^^
you'll notice yourself smiling with delight over things you once paid no attention to -
Robert Mangold, Untitled (holiday card), (color linocut on ivory Japanese paper), 1989 [The Art Institute of Chicago, Chicago, IL. © Robert Mangold / ARS, New York]
even if it didnt last