David Lynch
Alisa U Zemlji Chuda
đȘŒ
let's talk about Bridgerton tea, my ask is open
Three Goblin Art
Not today Justin

tannertan36
I'd rather be in outer space đž
tumblr dot com

titsay
Game of Thrones Daily
RMH
occasionally subtle

if i look back, i am lost

ellievsbear

blake kathryn
Keni
Sweet Seals For You, Always
Show & Tell
TVSTRANGERTHINGS

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@dissidentaspid
David Lynch

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Anne Carson, Glass, Irony and God; from 'The Fall of Rome: A Traveller's Guide'
Blade Runner (1982)

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The Sopranos (1999-2007)
Samuli Heimonen, âProtector of the Wolvesâ
(after Evelyn De Moirgan: Angel of Death)
acrylic & oil on canvas, 2021
Hard focus: Nusumi-giki, Survey Map of a Paradise Lost, Shitsurakuen sokuryĂŽ chizu, ăăŒăăă©ăŒă«ăč çèŽïŒăŹăăżăăïŒ by Hisayasu SatĂŽ.
"No Mercy for Fascism"
Graphic by Ez Naive Art

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âWhat is it about the pain of others? Easier to pretend that it doesnât exist. Easier to refuse to make the effort of empathy, to believe instead that the strangerâs body on the sidewalk is simply a render ghost, an accumulation of coloured pixels, which winks out of existence when we turn our head, changing the channel of our gaze.â
â Olivia Laing, The Lonely City
â . . . the imperative of the right is: âBe a person and respect others as persons.ââ (Hegelâs Philosophy of Right, Section 36)
âI am a trembling in your throats; your words are smeared with my blood.â
â Adonis, from 'Psalmâ, Selected Poems (trans. Khaled Mattawa)
â Franz Kafka, from a letter to Milena (June 11, 1920)

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Continent. Year 1: A Selection of Issues 1.1â1.4 : Jamie Allen : Free Download, Borrow, and Streaming : Internet Archive
Objetos como zonas autĂłnomas temporales.
Thimothy Morton
"El mundo estĂĄ rebosante. Cualquier cosa puede suceder". â John Cage
La autonomĂa significa que, aunque algo forme parte de otra cosa o estĂ© relacionado con ella de algĂșn modo, posee su propia "ley" o "tendencia" (del griego nomos). En su libro sobre ciencias de la vida, Medawar y Medawar afirman: "Los Ăłrganos y tejidos [...] estĂĄn compuestos por cĂ©lulas que [...] tienen un alto grado de autonomĂa"Âč. La autonomĂa tambiĂ©n tiene connotaciones Ă©ticas y polĂticas. DeGrazia señala: "En la filosofĂa moral de Kant, enormemente influyente, la autonomĂa, o la libertad del determinismo causal de la naturaleza, se volviĂł fundamental para justificar el uso humano de los animales"ÂČ. Uno de los usos mĂĄs antiguos del tĂ©rmino en inglĂ©s aparece en una descripciĂłn de la guerra civil francesa del siglo XVI: "Otros [...] de la rebeliĂłn debatĂan si debĂan admitir al Rey bajo condiciones razonables, especialmente conservando su autonomĂa"Âł.
La vida âen particular la vida humana y, mĂĄs aĂșn, la polĂtica humanaâ se beneficia de estos usos del concepto de autonomĂa. Pero, ¿quĂ© ocurre con el resto de la realidad? ¿DeberĂa pensarse, si es que se la considera real e independiente de la mente, como mero material para la manipulaciĂłn o el gusto decorativo de seres verdaderamente autĂłnomos?
Tendemos a ver objetos como sujetapapeles o iPhones como simples herramientas de diseño y uso humano. Usarlos es hacer que existan tan plena y adecuadamente como puedan. Sin embargo, segĂșn Martin Heidegger, cuando un utensilio como un sujetapapeles estĂĄ en uso, desaparece o se retrae (Entzug). Estamos absortos en copiar la pĂĄgina que el sujetapapeles sostiene, preocupados por una fecha de entrega, y el objeto mismo se desvanece en ese proyecto general. Solo si el sujetapapeles se resbala o el iPhone se bloquea, lo notamos. De pronto, se vuelve vorhanden (ante-los-ojos) en lugar de zuhanden (a-la-mano)âŽ.
Names of Demons from Collin de Plancyâs ââDictionnaire Infernalââ, 1818.