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Aqua Utopia|海の底で記憶を紡ぐ
hello vonnie
dirt enthusiast
h
NASA
trying on a metaphor
Jules of Nature
cherry valley forever

Kaledo Art
will byers stan first human second
almost home
I'd rather be in outer space 🛸

pixel skylines

oozey mess
Lint Roller? I Barely Know Her
noise dept.
he wasn't even looking at me and he found me
Alisa U Zemlji Chuda
occasionally subtle
seen from United States
seen from United States
seen from Russia

seen from Malaysia
seen from Nigeria
seen from United States

seen from Malaysia

seen from Germany
seen from United Kingdom
seen from United States

seen from United States
seen from United Kingdom

seen from United States
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seen from United States
seen from United States
seen from Türkiye
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@anarchivewithqualities

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Ayn Rand presents Harry Potter and the Sorcerer's Stone.
Everything Now
The System Only Dreams in Total Darkness
Late to the Party: Reading ‘Brief Interviews with Hideous Men’ for the first time

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Oof.
Mount Eerie, A Crow Looked At Me
“Garfield Minus Garfield is a site dedicated to removing Garfield from the Garfield comic strips in order to reveal the existential angst of a certain young Mr. Jon Arbuckle. It is a journey deep into the mind of an isolated young everyman as he fights a losing battle against loneliness and depression in a quiet American suburb. “
"SUR-FAKE" (Paris, 2015)
« Mankind, which in Homer’s time was an object of contemplation for the Olympian gods, is now one for itself. Its self-alienation has reached such a degree that it can experience its own destruction as aesthetic pleasure of the first order. » Walter Banjamin, The work of art in the age of of its mechanical reproducibility (1935)
« Si jadis, comme chez Homère, l'humanité était pour les dieux de l'Olympe un objet de spectacle, c'est aujourd'hui pour elle-même qu'elle l'est devenue. Désormais, le sentiment de sa propre étrangeté a atteint un point tel qu'elle peut jouir de son propre anéantissement comme d'un plaisir esthétique de premier ordre. » W.Benjamin, L’oeuvre d’art a l’époque de sa reproductibilité technique (1935)
This research echoes the SUR-FACE project. It is placing the screen as an object of "mass subculture", alienating the relation to our own body, and more generally to the physical world.
Link to tweet.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Douglas was way ahead of the curve in interpreting the effect that digital media and cyberspace would have on the human condition. Through his books Media Virus, Present Shock and Throwing Rocks and The Google Bus – Douglas has given astonishing views into the color of our new world. On this podcast we talked a lot about what Team Human (the concept) means, looking back on the past and our experience in it and how our the very nature of our consciousness is changing right before our very eyes. Douglas is one of the great thinkers of our time, enjoy. INTRO RANT: The quality of action within love Douglas Rushkoff is a writer, documentarian, and lecturer whose work focuses on human autonomy in a digital age. He is the author of fifteen bestselling books on media, technology, and society, including Program or Be Programmed, Present Shock, and Throwing Rocks at the Google Bus. He has made such award-winning …
On a special edition of #NovaraFM Xtra Ash Sarkar, James Butler and Aaron Bastani discuss the inauguration speech of Donald Trump, the 45th President of the United States.
Good discussion.
The activist writer, who has died aged 48, bridged aesthetics and politics and had struggled with depression
“Last week the writer Mark Fisher took his own life. His on/off struggle with depression was something he wrote about with courageous candour in articles and in his landmark book Capitalist Realism: is There No Alternative? Fisher argued that the pandemic of mental anguish that afflicts our time cannot be properly understood, or healed, if viewed as a private problem suffered by damaged individuals. Rather, it was the symptom of a heartless and hopeless politics: precarious employment and flexible work patterns, the erosion of class solidarity and its institutions such as unions, and the relentless message from mainstream political parties and media alike that “there is no alternative” to managerial capitalism. That this is as good as it gets – so deal with it.”

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“He took something that has been characterised as a modern epidemic and moved it from a medical context to a social one, emphasising that we live at a time when class consciousness and collective politics are at a historical low, and when the promotion of cruelty, selfishness and self-blame have become integral to the maintenance of the established order.”
Juliet Jacques pays tribute to Mark Fisher aka k-punk, who died on Friday 13th January, 2017. Our thoughts are with Mark's family, friends and colleagues at Repeater. It feels particularly cruel to have lost Mark Fisher at this moment, when his passionate and incisive voice is needed more than ever. A rare example of a popular British academic, Mark was renowned for his work on culture, politics, and mental health, from the Cybernetic Culture Research Unit in the late 1990s, through his influential k-punk blog of the mid-2000s, to his publications with Zero and Repeater Books, most famously Capitalist Realism (2009), but also Ghosts of My Life (2014) and most recently The Weird and the Eerie (2017) Mark was notable for confronting life’s harshest realities head-on, offering an unflinching analysis of neoliberalism and how it enforced its hegemony by colonising the minds of its subjects. His work on depression epitomised his approach: he took something that has been characterised as a modern epidemic and moved it from a medical context to a social one, emphasising that we live at a time when class consciousness and collective politics are at a historical low, and when the promotion of cruelty, selfishness and self-blame have become integral to the maintenance of the established order. That may sound bleak, but Mark always offset that by seeking out hope wherever he could find it. This was often in film, television, or music: he kept an open mind towards underground and popular culture, being unforgiving of anything created for the wrong reasons but celebratory of anything that he felt expressed the possibility of a better world. He understood the worth of working within the mainstream, and being prepared to sacrifice one’s own sense of personal integrity if it meant changing minds on a large scale. Capitalist Realism sold more than 10,000 copies, an astonishing achievement for a short theoretical text about politics and mental health issued via a small publisher. Typically, said his friend Simon Reynolds, Mark did not quite appreciate how incredible this was, having long suffered from the impostor syndrome that Bertrand Russell and W. B. Yeats said was characteristic of the greatest minds. Capitalist Realism helped to establish Zero Books, and its successor, Repeater, as a launchpad for radical writers, particularly younger ones those who had developed their voices outside the increasingly suffocating frameworks of mainstream media, and who in many cases had been part of the online circles centred around k-punk – a cornerstone of the ‘golden age of blogging’. He introduced many of us to each other, and gave us the confidence to combine the cultural, personal, and political in ways that felt thrilling and liberating. He always wrote with intensity, and urgency, and although he didn’t always get it right – the fallout from one piece on identity politics and radical activism was especially difficult for many of those who he had influenced – his output was never less than challenging, and I and many others still felt that Mark was on our side, however exasperating life on that side could be. Personally, I was always grateful that Mark continued to encourage my work in a climate that often felt hopeless, and I was proud to call him my friend. Numerous writers on politics and culture have said that they felt the same; many of us owe our shared exchanges and experiences to Mark, so he will remain a vital presence, a ghost of our lives as we struggle to make sense of what feels like an ever-colder, more complex world. I urge you all to return to Mark’s work and run with the baton that he was kind enough to hand to us. For Mark (Read at the Writers Resist: London event on 15 January 2017)