Yes, slightly nauseating; what did it matter, since she too was a bit nauseating, she was well aware.
— Clarice Lispector, “The Imitation of the Rose”; from The Complete Stories (tr. Katrina Dodson)

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YOU ARE THE REASON
Cosimo Galluzzi
One Nice Bug Per Day
he wasn't even looking at me and he found me
KIROKAZE
h

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Claire Keane
Fai_Ryy
PUT YOUR BEARD IN MY MOUTH
Stranger Things
"I'm Dorothy Gale from Kansas"
NASA
Keni
🩵 avery cochrane 🩵

pixel skylines

JVL
Aqua Utopia|海の底で記憶を紡ぐ

PR's Tumblrdome

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@sickeros
Yes, slightly nauseating; what did it matter, since she too was a bit nauseating, she was well aware.
— Clarice Lispector, “The Imitation of the Rose”; from The Complete Stories (tr. Katrina Dodson)
the moth inside me (sodaraptor, 2025)
We all have our own bespoke epistemologies and life stories where we believe we’re in this epic battle between good and evil that have become so incongruent with one another due to the random rapid need to justify the ends for the means or to make ourselves feel better about what we did out of survival. There comes a time where we need to let go of that.
But at the same time fuck all of you
i love how everything is now kind of siloed into one place, eliminating privacy and creating paranoia, brainrot, visual overwhelm, and cognitive clutter, while simultaneously being fragmented across multiple systems, making things hard to locate, access, and connect to meaningfully
Simone Weil
From Gregory Bateson, "A Theory of Fantasy and Play," in Steps to an Ecology of Mind.
This paper is mostly about metalanguage and "framing statements" that change the context for how communication is to be interpreted. Janet Malcolm referenced it in an essay about psychoanalysis, and it sounded as though it might be useful in describing the limitations of generated text and AI models, which can't grasp "paradoxes of abstraction" and thus represent the sort of halting of communication's "evolution" that Bateson mentions here.
Communication, in Bateson's analysis here, is not reducible to "logical types" but rather necessarily involves ambiguity, situations where frames both do and don't hold simultaneously. Generative models don't work that way, so they are poised to push us toward "an endless interchange of stylized messages, a game with rigid rules, unrelieved by change or humor." Their generation of language is probabilistic but never intentionally multivalent or irresolvable.
The appeal of using generative models can be understood as a means of escaping communication, and all the ambiguities and risks of interpersonal entanglement it entails — of having to get caught up in frames and play with other people and to never know if you are on the same page. Chatbots are always on the same last page, where language is dead.
bifo berardi, precarious rhapsody
imagine how awkward it must have been to be a king right at the tail end of your civilization's retainer sacrifice period. sorta hesitantly making plans to have the pit installed in your tomb and looking around trying to gauge the vibe
Kohleria tigridia is a bat-pollinated species native to Central America and the Andean regions of South America. It’s thought that their large, bowl-shaped flowers offer echo information for bats to orient to the location for easier pollination.
Collages of Thousands of Strangers Convey Vast Scale of Memory and Death
Jacques Derrida, Antonin Artaud: Forsennare il Soggettile
Chelsea Wolfe - Cold (New song, live)
Chelsea Wolfe - The Way We Used To
To detach yourself elegantly from the world; to give contour and grace to sadness; a solitude in style; a walk that gives cadence to memories; stepping towards the intangible; with the breath in the trembling margins of things; the past reborn in the overflow of fragrances; the smell, through which we conquer time; the contour of the invisible things; the forms of the immaterial; to deepen yourself in the intangible; to touch the world airborne by smell; aerial dialogue and gliding dissolution; to bathe in your own reflecting fragmentation...
— Emil Cioran, from The Book of Delusions