adverbian

The Arrangement.

The Arrangement is 1,000 years old by the current day. They have done each other's jobs countless times. So they both absolutely know that the differences between angels and demons and between heaven and hell are no more than cosmetic. They both have had plenty of time to realize and accept that.

It was okay for S1 to throw in some extra panic and posturing when everything was going to shit and Gabriel and Hastur kept popping up, but I always assumed they still knew, deep down, that they were more alike than different and that their respective head offices were more alike than different. (The book makes this even more apparent when they each consider defecting to the other side).

After that finale, I'm wondering how much he even read

WHY is the fucking AIR out here TOUCHING ME

IT'S TIME! featuring the beautiful art of notsoappropro (who is the expert on drawing driders in compromising positions, hehe)

The Ignoble Invasion of Prince Proculo is officially out for pre-order, with worldwide links below:

Instagram poets could never!

Aside from Duchamp’s readymades, I love “Bride Stripped Bare By Her Bachelors Even”. Pictured below, the work invokes a complex machine, one my professor spent a great deal of time studying. Eventually, he reached his conclusion. My professor had been pranked. He believes “Bride Stripped Bare” is a joke about masturbation, hidden to all except those study it excessively.

As a lover of art, there are many complex and technically impressive works being created today, which both embrace different artistic traditions and break from them. To ignore those is to ignore contemporary art.

Here, OP is raging against conceptual art, which stimulates thought and challenges tradition. He wants his followers to believe that art has “degenerated”, because the West has “degenerated”. OP is intentionally engaging with fascist ideas of “degenerate art”.

If OP wanted to be accurate, he would seek to restore the Salon System, the Beaux Arts Academy, and classical training in the arts. The collapse of this specific system allowed for Modernism to evolve. Of course, that’s not what OP is talking about. He’s evoking beauty as a moral standard, telling his followers to “restore Western tradition”, to fight against aesthetic “degeneracy” in culture.

(By the way, Duchamp is commenting ON MODERNISM with “Fountain”. Duchamp submitted the work to the Society of Independent Artists’ salon in New York, who would accept any work by any artist, for a small fee. In part, Duchamp is saying, “Is this what you Modernists want? A urinal? Look me in the eyes and prove this is not art.”

Duchamp had other readymades, like his snow shovel, where if you actually look at the photos, the handle is square and the bowl is way too flimsy. Why would manufacturers make a snow shovel with a squared-off handle? It’s impossible to hold! Duchamp slapped the “readymades” label on all these items and the hoity-toity art people who were so good at looking at things didn’t see it (probably because they’d never had to do labor like shovel snow imo, amongst other things).

And they’re different! If it was a real “readymade” he could have just bought some more at his local hardware store, but no. He changed them in OBVIOUS WAYS.

See the triangle of holes?

Here’s the one from the Tate Modern:

Oh hello, cross-holes. Fancy seeing you here.

SFMOMA’s edition has the triangle holes, but it also has a line of holes at the top that are completely different from either other version.

Here’s one from Moderna Museet. Line and a circular set of holes!

Duchamp definitely intentionally made these different on purpose. It’s a “readymade” but it’s not, really, each of these is a specific custom creation.

It’s not even clear if he made it! He wrote a letter to his sister claiming that a female friend sent it to him, and he just enrolled it in the art exhibit under his own name. There’s also a possibility that that female friend was himself, since he later had a female pseudonym of Rrose Sélav.

and sometimes that message is

“die mad about it.”

here's a list of things that are still here, that you can access anytime:

the book

the radio adaptation

season 1

season 2 (grab the bits you like and ignore the rest if necessary)

the bits of season 3 you did like (ignoring the rest may feel more difficult here but it is achievable i promise)

all the fanworks that exist already, whether they were created pre-tv adaptation, post-s1, post-s2 or post-s3

all of david and michael's interviews and other promo about the show pre-s3

the fans that are currently active in the fandom

the memories you've made in the fandom

and here's a list of things we can look forward to:

more fanworks/fanwork events, because people are still creating and will continue to do so

getting to know new good omens friends, whether they're new to the fandom or just new to you

in that vein, welcoming new fans to the fandom (it may not seem likely but new people will continue to seek us out!)

the final ineffable con and all the craziness and content that will come from that

people continuing to discover your fanworks, old and new

the moments where you'll start to feel the finale, the show in general and/or the fandom becoming easier to engage with again

No one can convince me that the Crowley and Aziraphale we all know— the real ones, not the strangers of the finale— would ever choose our destruction (or their own, for the matter). They would understand on a personal, molecular level how vital it is to keep going and how important it is to be yourself in spite of the oppressive systems that do their damndest to shape us. They wouldn’t give up— not ever.

So fuck this finale, fuck the idea that it’s too late and fuck anyone who says otherwise, frankly.