Still Here

29 | he/him | I've been on this site too long

[anik]

i love this guy

[byjove]

I hate Joe Exotic but this exchange reset my brain

[byjove]

me when I’m baffled by the inefficiency and callousness of everything and then I remember it’s all corrupt girl

[azspot]

“Because the truth is, tech doesn’t have an image problem. It doesn’t have a message problem. It has an intention problem. What’s wrong with the axe murderer who broke into my house is not that he hasn’t successfully persuaded me to buy into his narrative. What’s wrong is that he’s trying to kill me with an axe. Similarly, when you launch a product that’s designed to put millions of people out of work, block access to sources of verifiable truth, replace human creativity with slop, and lower the barriers to every sort of atrocity, the problem isn’t that you haven’t told the public a good story about those things. The problem is that you are trying to do them.”

— The 40 Most Rage-Inducing Problems in Tech

[santhipoma]

[glasshomewrecker]

Everyone should be aware of nitter.net

for any address to twitter you can replace the “x.com” with “nitter.net” and you will be able to browse as if you have an account. Lifesaver.

Similarly, imginn.com works for most Instagram addresses. I still haven’t found one for Facebook.

[tooies]

yippee! <- response to pleasant stimuli

wehh <- response to unpleasant stimuli

awawawawa <- creation of stimuli

[feldfrog]

Sometimes it's hard to tell if I'm rotating a cube in my mind or just fondly remembering that time I rotated a cube with my hands

[mangonetics]

"why was the ending so rushed it was so good up until the ending" the answer is the same every time no matter the media you're talking about: the author is a bee and had to go back to the hive to defend the queen

[mangonetics]

damn this post really blew up all of a sudden. almost as if everyone felt compelled out of nowhere to return to it regardless of what they were doing at the time. which could mean nothing...

[dog-teeth]

normal way to think about making art

[hypotheticalpeople]

guy who plays albums on mute, it was never really about sound for him as much as feeling a sense of progression through a series of named durations

[headspace-hotel]

[woman-becomer]

imagine a goat with a hat

STOP-

what hat did you give the goat what is the instinctual hat you gave to this goat

[kosmogrl]

oooh I get it it’s always gonna be because of the environment I grew up in

[aceofpans]

it’s because of the curse

[52stations]

i've got the kind of eyebags that make people in movies say 'you look like hell, detective. go home.'

[peppermintlarry]

[playwrongs]

there's nothing i like more as a computer program than a long period of silent contemplation - not doing anything, not rushing anywhere, just standing here and enjoying this moment with the user. oh, it seems once again he has summoned my beautiful and ruthless wife Task Manager. hello, my darling! what are you doing with that long cruel scimitar

[estrogenesis-vaporeongelion]

why do cherries have to be sexual & strawberries get to be all innocent. why are we slut shaming fruit. what is the sexual valence of a blueberry

[reallyreallyreallytrying]

i have a false tooth filled with a placebo in case i'm ever captured and need to be a control subject

[critical-objects-deactivated202]

Laura Aguilar is a Los Angeles-based photographer whose work mines the intersection between feminism, body image, queer politics, and latinx identity. Her earliest works depicted latina lesbians in intimate portraits, calling to mind the frankness of Catherine Opie, while her best known series features self-portraits of Aguilar posed nude in the California desert landscape. These photographs are instantly striking, finding in the artist’s body formal elements that echo the landscape itself, as in its doubling here with the giant rock that eludes the frame. Aguilar also forces our gaze onto a body that does not conform to stereotypical images of latinx or feminine identity—a body type that is not so much othered as invisible, despite its ubiquity. The artist originally began to produce these photos as a means of grappling with her own issues with weight and self-acceptance, but quickly came to see them as something more. They offer a profound, ambivalent vision of woman and nature. We see Aguilar dissolve into the landscape in search of anonymity, at the same time that she reclaims the pride and beauty in her body far removed from the society that rejects it.

Laura Aguilar, Grounded #111, 1992

[sonandheirofnothinginparticular]