SugaredLemon

26.f community art facilitator visual anthropologist-ish street art enthusiast ultimate frisbee player francophonephile vinyl junkie

[lake-lady]

[animatedglittergraphics-n-more]

[rtkmnky505]

Lun

[passionpeachy-deactivated202312]

How To Find A Sea Unicorn (prints)

[markvomit]

[sugaredlemon]

Many people have imagined this scenario over the years, of course, usually while high. But recently, a number of philosophers, futurists, science-fiction writers, and technologists—people who share a near-religious faith in technological progress—have come to believe that the simulation argument is not just plausible, but inescapable.    

http://www.newyorker.com/books/joshua-rothman/what-are-the-odds-we-are-living-in-a-computer-simulation?intcid=mod-latest

[sugaredlemon]

“We become less patient. When moments without stimulation arise, we start to feel panicked and don’t know what to do with them, because we’ve trained ourselves to expect this stimulation — new notifications and alerts and so on.”

http://www.nytimes.com/2016/06/12/fashion/internet-technology-phones-introspection.html?hp&action=click&pgtype=Homepage&clickSource=wide-thumb&module=mini-moth&region=top-stories-below&WT.nav=top-stories-below&_r=0

[sugaredlemon]

[robhorninginternalexile]

From Byung-Chul Han, The Burnout Society

This claim that we are depressed because we are “tired of becoming ourselves” seems like a rebuke to the “never being, always becoming” school of liberation. But it’s more a rejection of the “self as brand equity” position. It suggests how the capitalist demand to always be productive, or, if you prefer, the neoliberal expectation that we will convert our lives into capital that must always be systematically grown, seizes upon the ideal of self-expression and strips it of its dignity.

The point, perhaps, is that self-expression is not inherently ennobling, it is not automatically a morally approvable end in itself. Self-expression requires contextualizing; under certain conditions it is able to become a rewarding aim. Under other conditions, it’s a crappy, endless job.

The idea that conformity is more rewarding and more subversive than entrepreneurial self-fashioning continues to gain steam. It seems to promise the end of the self as capital, of identity as a perpetual spur to the expression of it in various legible, capturable ways. It seems to promise that you will be able to produce something other than yourself in the world. 

[arabellesicardi]

I Tried Smell.Dating and It Didn't Stink

A new dating service matches you based on your b.o.

New thing for Racked, was very fun to do.

[sugaredlemon]

hah, funny to find out about another smell dating user

[sugaredlemon]

(via https://www.youtube.com/watch?v=JnylM1hI2jc)

Came across this in talk between Sarah Henderson and Faye Ginsburg. Reminded me about my recent investigations into posthuman communication. 

[weshitparacetamol]

focus in on your weirdness, your passions, and your fucked-up damage, and be yourself as truly as you can. Express that with as much craft, discipline, and rigor as you can; work as hard as you can to build a career out of that, and then you’ll create a career that you love and that’s true to yourself, as opposed to doing what you think other people want and burning yourself out when you’re older.

Molly Crabapple on making a career that fits you.  (via weshitparacetamol)

[uutpoetry]

[sugaredlemon]

code as poetry

[theparisreview]

First and foremost, writing poems should be a pleasure.

Philip Larkin, The Art of Poetry No. 30 (via theparisreview)

I’ll keep this in mind as I work on my Reading and Writing Electronic Text midterm this week...

[arabellesicardi]

Jericho Brown!

[sugaredlemon]

critical theory and pokémon

[sugaredlemon]

[sugaredlemon]

Aesthetics can be understood as the system of a priori forms determining what presents itself to sense experience. It is a delimitation of spaces and times, of the visible and the invisible, of speech and noise, that simultaneously determines the place and the stakes of politics as a form of experience. Politics revolves around what is seen and what can be said about it, around who has the ability to see and the talent to speak, around the properties of spaces and the possibilities of time. — Jacques Rancière, The Politics of Aesthetics Questions of representation are central to the practice of graphic design. An understanding of who we are speaking for, and who we are speaking to, is the starting point of any design brief. It is through this role of mediation, expressed as aesthetic form, that design enacts its power and responsibility. However, this mediation often happens uncritically, guided by a designer’s intuition, stylistic trends, and the instrumental framework of marketing and PR concerns. A multiplicity of factors, conscious and unconscious, play into a designer’s aesthetic choices of imagery, typography, composition and colour. And as much as some might argue to the contrary, none of these choices are neutral. In the case of colour, Pantone Inc. holds incredible influence with their increasingly marketed and mediatised Colour of the Year campaigns. Purportedly determined through a prescient reading of the cultural zeitgeist (by a select cabal of colour specialists), it is important to understand that the company, and the industry it serves, have their own specific interests and agendas that drive these selections. Pantone’s choice of “Rose Quartz” and “Serenity” as the 2016 Colour of the Year is the most insidious move by this colour-industrial-complex since “Blue Iris” in 2008. As with “Blue Iris”, Pantone has once again mined the subcultural landscape and used their monopoly within the creative industries to propagate their colour properties to the world.