May 4, 2025
Oof.
seen from Thailand
seen from Australia
seen from Thailand
seen from China
seen from United States
seen from China
seen from Singapore
seen from United States
seen from United States
seen from France
seen from United Kingdom
seen from China
seen from United States
seen from United States
seen from Thailand
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seen from Taiwan
seen from Netherlands
seen from United Kingdom
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Oof.
I'm so thankful for my AMAZING mutuals (and even better, my 30+ followers), I'm going to get my (free) O/F up as soon as possible. I hope you enjoy (or even better tell me HOW you enjoyed) this in the meantime <3
(Pls ignore the badly done black cutout, I don't have a good backdrop yet (>_<) )
Objectivation and Performativity
What is an "ob-ject"?
A so-called "object" is a perceived lack within a given dimension that indicates the absence of its own essential substance, while also subsisting as the form and content of an entity in the imagination.
In Lacanian psychoanalysis, the dimensions that are dealt with are called real, symbolic, and imaginary. A dimension is a domain of both speech and meaning, linked to both vocables and phonemes alike.
Moving on to the topic of gender: When observing human behavior, what Judith Butler coined as "performativity" makes the concept and functions of gender into just such an object. For Judith Butler, gender is precisely what is missing from human activity in both form and content, and anything that may be called a "performance" acts around this construction if it is something concretely perceptible at all. So in reality, gender is a lack that is detected within a certain dimension that defers to the responsibility of an agent. And this deferral acts back upon the emptied entity in a moment, and reconstitutes its boundaries into an object. This is how I define "objectivation".
Therefore, as object, this lack called "gender" objects to its own disappearance through performativity. The humor-value of the masquerade is subsequently a result of what Lacan refers to as jouis-sens, or jouissance of the unconscious, because the lapse of logic which makes any kind of gendered "spectacle" into something comical or entertaining is derived from the faultiness of the two separate lacks in their direct connection to one another within the unity of a singular agent. (I think, anyway). It is interesting that it must fall back on this disappearance of heterosexist paradigms of behavior in order to be a positive manifestation of culture.
— 3/18/2022
The image object truly does not exist, which means not only that it has no existence outside my consciousness, but also that it has no existence inside my consciousness; it has no existence at all.
/<§ /10/. The community of essence between physical imagination and /[21] /ordinary phantasy presentation with respect to “mental images”>/
15 Now the situation is certainly more complicated in the case of physical imagination than it is in the case of ordinary phantasy presentation, but we do find that both have something essential in common: In the case of physical imagination, a physical object…
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No one loves broken toys. I am that broken one. Plush teddy bear with hole in the chest. That teddy bear wants to play with the Boy but can't say a word. She just sit in the dark corner and wait when the Boy notice her.
"THE African Americans. THE Latinos. THE women. Objects. You use "the" in front of objects, not people Donald Trump"
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Les hommes sont-ils plus féministes pour leurs filles que pour leurs femmes ?
Les hommes sont-ils plus féministes pour leurs filles que pour leurs femmes ?
Et si les hommes étaient plus “féministes” pour leurs filles que pour leurs femmes ?
C’est la question que soulève un article du New York Times intitulé Pourquoi les hommes veulent épouser des Mélanias et élever des Ivankas en s’appuyant sur l’exemple de la famille Trump.
“Les hommes ne veulent pas les mêmes choses chez leurs femmes que chez leurs filles. Modifier la répartition genrée des…
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Pas applaudie aux Oscars à cause d'un pantalon, Jenny Beavan s'en fiche et a réagi
Pas applaudie aux Oscars à cause d’un pantalon, Jenny Beavan s’en fiche et a réagi
Jenny Beavan, la femme primée aux oscars qui n’a pas été applaudie a réagi (et c’est très bien) | afp
Sélectionnée 10 fois aux Oscars*, Jenny Beavan a remporté l’Oscar des meilleurs costumes pour le film Mad Max : Fury Road, mais pas les applaudissements du public à cause de son allure non conforme à cette soirée qui sent bon le Chanel No 5.
“Mais d’où sort-elle celle-là ?”
“Elle est montée sur…
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