every time i catch a cold i feel weirdly exiled from modernity itself
like, this is not an optimised condition.
it's not even optimisable.

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@canyonfables
every time i catch a cold i feel weirdly exiled from modernity itself
like, this is not an optimised condition.
it's not even optimisable.

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the men in the youtube comments section, oh my life. the lack of decency, of generosity, of patience. each one fighting dirty to preserve his status as intended audience.
and i find myself doing it too. i become legion. indistinguishable with my little avatar and littler anonymous username.
what a dirty, useless, compulsory place.
My home state is the only place you can see a permanent flooded desert, with clear water lagoons made by rain.
my current daily routine learning brazilian portuguese:
80 transcribed sentences
80 spoken cloze exercise sentences
a youtube video about grammar
an 18 minute session with Claude the AI (including the "pergunta aberta", the open question, in which i have to write a full paragraph without stopping or correcting myself)
10 minutes of free conversation with Gabriel the AI using my sand timer to prevent me hitting stop
Later, if I still have energy: 5 minutes of Drops vocabulary acquisition, and some homework for Bárbara the human.
nearly two years of being hammered with the message on Instagram reels and youtube shorts that low-status students focus on grammar but high-status students focus on conversation has left me diagnosed with something called "B2 Conceptual Fluency but B1 Grammar." in other words, structuring a curriculum according to instagram reels will leave you with absolute shit grammar.
"taste" is such a middle class idea, isn't it. i have to remind myself of this because i can get quite anxious about my clothes, my music, my holidays, my books, my hair, my pronunciation, all of it, and i have to remember that nothing so betrays me as middle class than wanting other people to approve of my aesthetics.
like, who gives a shit. power is gaudy, and so is powerlessness.
it's middle management that is determined to flaunt its beige.

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"hot wind" by charles conder, whose named looks like charred cinder
saw "the odyssey" tonight, so loud it rattled my marrow, and so sandy and sad. nolan is a master of the monstrous, and the odyssey's catalogue of monster/obstacles is gorgeously, vividly realised. calypso's crack island looked like a salty heaven, rhyming so well with that music video for iamamiwhoami's "thin." i want to go there and listen to the sea.
so i watched "the odyssey" and felt so miserable for the mean world syndrome we all have, the vulgarity of power's spectacle, the ache for revenge, the feeling of being severed from story, the futility of avatar living...
but i was nourished too. the weirdness. the textures. the atavistic memory of a time before information drench.
i love a movie that takes a big swing. and i love a movie unafraid to be strange.
great!
translation: "She sleeps with two men, both named Travis."
i accidentally typed passive+agressive in the last post and it seemed to me so much more fitting than passive-aggressive.

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on passive aggression
now that i find myself in the idyllic - yet hard-won! - situation of not being regularly subjected to passive-aggression, now seems like an important time for me to write about it. after all, my past attempts to talk about passive-aggression were confounded by the fact that i was dealing with it in real time. and so the writing itself - no, the publishing of the writing - was itself a passive-aggressive act.
i have to remember this antiquarian distinction, between writing and publishing. it seems so quaint now, so fusty and depleted of value.
there was such presence in his absence
🫧
something about the nostalgia of records. i don't mean the vinyl discs, but they're a subset. i mean the recording, the frozen memorisation of the thing, publishing it on papyrus or paper or copying it, digitising it, filming it, photographing it, all those records.
that's why the internet was nostalgic from the start, i think. but it's also why cinema was nostalgic from the start. and it's why books were nostalgic. anything that has to do with recording a memory has to invoke the loss of the past. it's gone now. it's gone forever.
and the record is just a representation.
i woke up thinking about you, artur. i don't know why. but it was nice. i was curled in bed, stone statue of a middle aged man, a rock in a geothermal spring, coming to life after dreaming about you.
see that's what i'm talking about, those gaps. there are very very dangerous gaps between portuguese and english, and between the words and the meanings, but also between each word, and each letter, and between those little dots that are so far apart they might as well be lonely objects in the kuiper belt, you would never get from one to the other in a straight line. you can only put it all together at a glance but if you glaze onto it like chris chesher says you're fucked, you're completely fucked.

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i definitely try not to fall into the gaps between things but sometimes I slip. you can fall a long way, you know, if you stare at the join of the floorboards, or the crack in the tiles, or even the space between things, between the refrigerator and the wall - you can fall into that if you stare too long - or between two old city buildings that are built really close together but they don't touch, imagine getting wedged in there, and you can, if you stare at it for too long,
just all those gaps, all those gaps that define literally everything. once you start noticing them, they're all you notice, there's this gap between the book and the table, between my smartphone and my hand. like i say, i try very hard not to fall into these things, the gap between when i contacted you last and now, the gap between what you said and what you meant, and the gap between what i promised and what i did, i think the important thing is not to stare at it too long.
you can only glance at the world, you know, you can only glance at it like the world is your feed, scroll past things, don't stare at them, don't stare at me, definitely don't look at the gaps, don't measure them, don't fall into them. gaps between letters and words and sentences and the gaps between text and context, you see people jumping into that one, i never jumped, i stared too long is all.
you were so warm. where did i go.
it's a disease of nextness, that's the point, because you're supposed to get on with the next thing, but i fell into the gap and there was nothing next, just the edge of the gap in front of me, the wall of the canyon, and it was so high.