Lisa Ivory (British, 1966) - Tambourine Man (2025)
RMH
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i don't do bad sauce passes
Game of Thrones Daily
I'd rather be in outer space 🛸
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Stranger Things
TVSTRANGERTHINGS
todays bird
cherry valley forever
Peter Solarz

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oozey mess
Cosimo Galluzzi
dirt enthusiast
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if i look back, i am lost

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blake kathryn

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seen from United States

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@love-tricks
Lisa Ivory (British, 1966) - Tambourine Man (2025)
motherfucking Jesse Eisenberg Jesus Christ Fuck dude Motherfucking facebook Movie bullshit Jesus Can you fucking Believe this Shit🤯🆘️ goddamn created facebook and fucking lawyers and shit right fucking winkleboss twins goddamn rowing the boat 🚣♂️🚣♂️fuck your shit I can’t even Fucking believe this shit have you seen this shit fuck I just watched this shit 😲😳👀fuck Jesse Eisenberg man😤😤 motherfucking spiderman spiderman🦸♂️🕸 you put in the time fuck put in the time⌚️🫡 motherfucking built shit with his bare hands💪 fucking best friend shit Jesse Eisenberg 🫂 no man I’ll just talk about the facebook movie all day 🗣 shit man you have to be so interested in the shit I have to say about the facebook movie fuck dude I just watched a year and a half ago🤌 🗣FUCK JESSE EISENBERG MAN🤬 he fucked over spiderman crazy winkleboss twins rowing 🚣♂️🚣♂️trent resin or did the soundtrack🎼FUCK THIS GUY WHO INVENTED FACEBOOK 🤬😡💩I don’t like dying💀🪦⚰️ I can’t think of who the fuck invented facebook💻 all I can think is the guy who played the guy who invented facebook🤔🤔 who the fuck invented facebook❓️❓️❓️❓️❓️❓️
MARK ZUCKERBERG‼️‼️‼️‼️‼️
The Death The Tower and The Chariot
remember to bury the dead with a phone, everyone. these days the ferry terminal at the river styx wants you to download a fucking app
“oooh i need junji ito to write me an essay” okay so youre a little baby so youre a little baby waby who needs mommys help
not junji ito. where did he come from. this is supposed to say chatgpt
i dont want a childproofed internet i am almost 30 fucking years old. give your kid an internet safety talk and stop making it the problem of every adult on the planet every time some cryptkeeper legislator gets the brilliant idea (via conservative lobbying) to push through yet another bill gutting our access to free expression + increasing the powers of the surveillance state + lining the pockets of Big Data in the name of Protecting The Kids they wont even feed. this shit is exhausting i can’t believe we’re going to be fighting about it for the rest of my life
obsessed with this comment i saw on a deftones song
Almée Couture | Spirit of the Forgotten
a maker's urge to delete it all 🔥
you've heard of death of the author, now get ready for death of the audience: where instead of basing your reaction on a thousand uninformed opinions online, you actually read the text and engage with it
girl help there's people on this post who can't actually read my text
#the way that this is literally how death of the author works lmao
OKAY i'm fucking sick of people who can't read leaving these comments so here we go, we're gonna read Barthes together. hold my hand
Barthes' 1967 essay The Death of the Author (La mort de l'auteur) loosely takes the form of a literary history: he relates the changing attitudes of criticism towards the text and of literature towards criticism down to his day. He is interested in what writing is, and thus, what a book is: "a tissue of signs," which the critic claims to be able to interpret. But Barthes argues that once the necessity of connecting the author to the book is removed, the critic has no work to do: "Once the Author is gone, the claim to 'decipher' a text becomes quite useless." This is a rejection of both the supremacy of the critic and the intentions of the author.
When Barthes says "critic," he doesn't mean "anyone who has encountered the text," however. He differentiates the critic from the "reader":
the reader is the very space in which are inscribed, without any being lost, all the citations a writing consists of; the unity of a text is not in its origin, it is in its destination.
For Barthes, the reader's understanding of the text is supreme because it weaves together the "tissue of signs" into a coherent whole, producing a singular interpretation. He concludes by advocating for the overthrow of the critical establishment in favor of individual interpretation: "to restore to writing its future, we must reverse its myth: the birth of the reader must be ransomed by the death of the Author." In other words, in order for us to allow readers their own experiences, we must stop prioritizing the critic -- not the reader, but the critic -- and instead allow the reader to engage the text.
We're gonna un-Barthes Barthes now, okay? Stay with me. Here's the context:
Barthes was responding to a stifling and rigid environment in which criticism was the sole province of the academic expert. As part of the deconstructionist wave, he wanted to upend the traditional hierarchy that dictated how a text should be understood and what it was for, instead prioritizing language and reaction.
He got his wish. We live in a world of reaction.
Gone is the tyranny of the formal critic; gone even is the formal literary education of the reader. Our "tissue of signs" is no longer the text, but an infinite mirrored hall of reactions to reactions to reactions in which the text diminishes into a vanishing point, as the Author once did on Barthes' literary stage.
We do not need to resist the tyranny of the academy. The academy has been destroyed. Adjunctification, the widespread corporatization of universities, the resulting devaluation of college degrees, the devastation of humanities departments in widespread shutdowns, and now the revocation of billions of dollars of government funding have left the academy on its knees. Public trust in academic expertise has declined so sharply that people on this very hellsite will tell you that if someone has an advanced degree in a specific field, that actually makes them less trustworthy.
And in Ozymandias' place, we have the reader.
The reader consumes a variety of "content" and regurgitates its reactions in a variety of "posts." It transmutes text into more text which further readers wriggle eagerly through, refining what might have had meaning into a rarefied fertilizer of emotion and echo. What it leaves behind becomes the literary history for new strata of reactions, nostalgia, and imitation.
This is the audience: an ouroboros of interpretation, a rat king of readership. It has no end but itself. Ultimately, it needs no text to function. In this world, the truly radical act is to disentangle yourself from the other worms and rebuild the edifice of meaning. This may require you to do such tasks as "read the actual book," but because we no longer have the support -- however oppressive -- of literary criticism to inform our reading, we must also learn how to read, explore the historical context on our own, and recover both the facts and the symbols from which the text is woven.
That is what death of the audience means: not a rejection of the critic in favor of language, but a rejection of endless language and infinite readers in favor of fact, history, and skill.
It's a pun, by the way: "La mort de l'auteur," spoken aloud, recalls Le Morte d'Arthur, a 15th-century collection of Arthurian legend which marked the turn away from the Middle Ages and into a nostalgic Early Modern period which valorized them. The Author becomes the mythic King; as myth, he can be severed from fact and dismissed.
Fact has now itself become the myth.
Fucking read.
The Pittsburgh Post, Pennsylvania, May 06, 1906
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rabid dog
(smugly) actually all narration is unreliable because language can only ever communicate through approximation
something lgbt is happening at the broken heart
Heisenberg to Ethan I think.