I'll throw in the wonderful Eizin Suzuki into this ring too, a man whose work just breathes light without actually using dynamic lighting in the usual way. It's no surprise both Nagai and Suzuki are both considered prolific in art pertaining to the city pop genre because they're able to paint these kinds of scenes with a delicate touch.
This feels like I could trip on that radio and fall right into that water, feeling the crystal waves as I drop in.
And this, a nice stroll down a resort strip, where my sunscreened skin could literally feel cooked if I leaned too close to the tiling.
And then a nice stretch of summer street, wherein you could see your face in the flushed red of that car provided it didn't blind you from its sunny reflections.
I don't think I even need to say anything more, Suzuki's a massive influence in how he even places colours so warmly in such unorthodox manner. It's a naturally sunkissed talent~ π
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not every mutual fits neatly into an archetypal medievalism but there are some mutuals that im like yeah addressing you as βmy liegeβ would come strangely naturally
Springing off of my addiction post once more, I am also skeptical at best of 12-step programs, because their framework has just never remotely aligned with my actual experience.
The substance I was addicted to was heroin. While I was actively addicted, it absolutely came before everything else. My life shrank around it. I kept using despite very real, very obvious negative consequences. If youβre looking for something that fits the βcompulsion + harm + loss of controlβ model, that was it.
But whatβs always sat strangely with me is what happened when that context changed.
Once my abusive relationship ended and I was no longer in an environment where it was readily available, it was shockingly easy to stop. Iβm not saying it was physically comfortable. My body was pretty pissed off for a while. But psychologically, it just didnβt have the same hold anymore. I wasnβt spending my days white-knuckling cravings or constantly thinking about it. It dropped out of my life in a way that, according to the 12-step model, is not really supposed to happen.
And thatβs where my issue with that framework starts.
Because 12-step ideology tends to assume that if you have ever had that kind of relationship with one substance, it reveals something fundamental and permanent about you. That you now have a generalized βaddictive natureβ that will attach itself to other substances or behaviors if youβre not constantly managing it. That you are, in some essential way, always on the verge of transferring that pattern onto something else.
And that just hasnβt been true for me.
I was a near-daily cannabis user for years. When it started consistently making me feel physically uncomfortable instead of good, I stopped. No drawn-out battle, no existential crisis, just βthis isnβt giving me what I liked about it anymoreβ and I moved on.
I drink occasionally, in social or celebratory contexts, and I genuinely find alcohol kind of boring outside of that. It doesnβt have much pull for me.
I tried gambling once, got annoyed at how tedious and overstimulating it felt, and left the casino in under an hour. I have not felt remotely compelled to revisit that experience.
I use the internet a lot, and I play a handful of video games, but I can also go on a camping trip with no signal and be completely fine, unless you want to try and find something pathological about nature photography, in which case you can blow it out your ass. If anything, I generally enjoy the change of pace. Thereβs no sense of panic or withdrawal or βI need to get back to my computer/consoles immediately.β
So when I hear the idea that addiction is this broad, transferable trait that will latch onto anything with quick reward or low friction, I just donβt see it reflected in my own life.
What does make sense, looking back, is context.
When I was using heroin, I was in an abusive relationship. My environment was unstable, stressful, and honestly pretty bleak. The substance didnβt just exist in a vacuum. It fit into a specific set of conditions where it functioned as relief, escape, and regulation.
When those conditions changed, the behavior changed with them.
That doesnβt mean there was no dependency. There obviously was. It doesnβt mean there were no consequences. There very much were. My grades suffered. I dropped out of college. I lost my apartment because staying out of withdrawal and numbing out from the abuse felt more important than paying rent.
But it does suggest that what we call βaddictionβ might not always be this permanent, identity-level trait that needs to be managed forever. Sometimes it looks a lot more like a relationship between a person, a substance, and a specific environment.
When thatβs the case, then a framework that assumes universality - βif this happened once, it will always be waiting to happen again, with anythingβ - is going to miss a lot of variation.
Iβm not saying 12-step programs canβt help people. Clearly they can, or they likely wouldnβt exist in the way they do. But I do think theyβre often treated as the model of addiction rather than a model that fits some people and not others, and when your experience doesnβt match that model, many people who swear by them will assume that you are misunderstanding yourself, in denial, or βnot taking it seriously enough.β This paternalistic attitude only serves to make me even more skeptical of the framework.
For me, what mattered wasnβt declaring myself permanently βaddictiveβ or treating every pleasurable behavior as a potential threat.
What mattered was getting out of the environment where that pattern made sense in the first place.
βaddictionβ might not always be this permanent, identity-level trait... Sometimes it looks a lot more like a relationship between a person, a substance, and a specific environment.
I have helped change more individual behavior by changing the environment around them than I have by working on their behavior.
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Me: "Damn people are REALLY BAD at knowing when to tag their eyestrain art/images...either that or they just don't care about photosenitive epileptic people like me. I feel really sad now."
Person: "But Allison, what if they just don't know or understand what qualifies as eyestrain and what doesn't?"
Me: "You know what? That could be a factor...While it is always better to be safe rather than sorry (so YES people should always tag eyestrain even if they're unsure if it "counts" or not) maybe you've got a point?"
Anyways! HERE'S YOUR HANDY GUIDE TO WHAT CAN COUNT AS EYESTRAIN! I'm pulling this straight from the Artfight rules page about what needs to be labeled and filtered as eyestrain because it's VERY helpful and VERY accurate! I also know not everybody has an AF account and might not always have access to this handy guide, and this is an important resource; That's why I'm sharing it here! (under the cut)
PLEASE TAKE THIS SERIOUSLY!!! THIS IS ABOUT THE HEALTH AND SAFETY OF OTHERS!!!
Full eyestrain AF page link
"But Allison! How were you able to screenshot that example if you're so sensitive to eyestrain?"
I dimmed the HELL out of my computer screen and looked away while taking the screenshot and did the same when putting it into this post, that's how lol. BUT YEAH ANYWAYS!!! Once again:
PLEASE TAKE THIS SERIOUSLY!!! THIS IS ABOUT THE HEALTH AND SAFETY OF OTHERS!!!
I made a rec list for Latin American books that have queer themes
*DISCLAIMER: "Queer" is not a theme per se. Sometimes it's about identity, sexuality, love, horror, violence, etc. All happening around queer characters.
Most of these deal with pretty heavy themes: prostitution, rape, violence, aids, death. Some representations can be considered "problematic" if you're boring. There are different ways to approach queerness.
Feel free to yell at me about these books/ask where to read them/make recommendations/etc. I definetly have favourites. Also some have movie adaptations.
Descriptions and warnings under the cut
La condesa sangrienta (The bloody countess):
The story of countess Erzebeth BΓ‘thory, a medieval hungarian countess know for committing more than 650 murders and inspiring the figure of the vampire. ThereΒ΄s no explicit queer relationships here but thereΒ΄s absolutely some homoerotism in the narrations of torture. Pizarnik was a lesbian also. TW: disturbing, torture, blood, murder, you should not read this in one go.
El lugar sin lΓmites (Hell has no limits):
The story about la Manuela, a homosexual transvestite that owns half a brothel in a small town. Her daughter owns the other half. The novel shows crudely the misery of forgotten towns and the day to day life of prostitution. There's also a movie. TW: prostitution, murder, homo/transphobia.
El mundo alucinante (A Hallucinations):
A fantasy and free version parody of the Memoires of Fray Servando Teresa de Mier. Known for the uses of magical realism and innovative prose.
Cobra:
Two stories meet. The first is of Cobra, a transvestite, and her transformation. The second of her initiation in a band of black jackers. Erotism and death.
Evita vive (Evita lives):
A controversial book around Eva PerΓ³n (after her death) who lives among prostitutes and homosexuals, having orgies and living a life of debauchery.
El beso de la mujer araΓ±a (The kiss of the spider woman):
The meeting of two prisoners living in the same cell. One, ValentΓn, is a political prisoner and the other, Molina, is a sexual deviant. During their weeks there, Molina narrates movies to ValentΓn and their relationship develops. There's also a movie.
Stella Manhattan:
During Brasil's military dictatorship, the apolitical Eduardo, a.k.a. Stella Manhattan, is expelled form his country for his shameful homosexuality. He returns to the surface as a brazilian counsil in New York and is immediately accosted by a military called Colonel Vianna, a sadomasichist known as the "Black Widow", and by the guerrillas seeking his befall.
Antes que anochezca (Before night falls):
Th 7th of december of 1990 the Cuban author Reinaldo Arenas, in a terminal phase of AIDS, would commit suicide, leaving behing this moving and political testimony, which he finished mere days before taking his own life.
SalΓ³n de belleza (Beauty salon):
In a large, unnamed city, a strange, highly infectious disease begins to spread, afflicting its victims with an excruciating descent toward death, particularly unsparing in its assault of those on society's margins. Spurned by their loved ones and denied treatment by hospitals, the sick are left to die on the streets until a beauty salon owner, whose previous caretaking experience extended only to the exotic fish tanks scattered among his workstations, opens his doors as a refuge. In the ramshackle Morgue, victim to persecution and violence, he accompanies his male guests as they suffer through the lifeless anticipation of certain death, eventually leaving the wistful narrator in complete, ill-fated isolation.
Bajar es lo peor (Going down is the worst):
With gothic resonances, EnrΓquez shows crudely the Buenos Aires of the 90's. The confinement and the paranoia of cocaine, sex as a means to escape or survive, political unbelief, mix with a romantic love that never reaches satisfaction. There's also a movie. TW: drugs, prostitution, rape, suicide.
Loco afΓ‘n (Mad eagerness):
These "chronicles of aids" narrate stories of homosexuality in Latin America, focused on drag, transvestites and AIDS.
Sirena Selena vestida de pena:
Discovered by Martha Divine in the backstreets of San Juan, picking over garbage, drugged out of his mind and singing boleros that transfix the listener, a fifteen year old hustler is transformed into Sirena Selena, a diva whose uncanny beauty and irrisistable voice will be their ticket to fame and fortune. Auditioning for one of the luxury hotels in the Dominican Republic, Selena casts her spell over Hugo Graubel, one of the hotel's rich investors. Graubel is a powerful man in the Republic, married with children. Selena, determined to escape the poverty and abuse s/he suffered as a child, engages Graubel in a long seduction in this mordant, intensely lyrical tragi-comedy - part masque, part cabaret - about identity (class, race, gender) and "the hunger and desire to be other things."
Tengo miedo torero (My tender matador):
It is the spring of 1986, and Chilean dictator Augusto Pinochet is losing his grip on power. In one of Santiagoβs many poor neighborhoods, a man known as the Queen of the Corner embroiders linens for the wealthy. A hopeless and lonely romantic, he listens to boleros to drown out the gunshots. Then he meets Carlos, a young, handsome man who befriends the aging homosexual and uses his house to store mysterious boxes and hold clandestine meetings. And as the relationship between these two very different men blossoms, they find themselves caught in a revolution that could doom them both. There's also a movie.
AdiΓ³s mariquita linda (Goodbye pretty pansy):
Chronicles of ire, delation, passion, resentment and loves. Stories of different cities and travels.
SexografΓas (Sexographies):
In fierce and sumptuous first-person accounts, renowned Peruvian journalist Gabriela Wiener records infiltrating the most dangerous Peruvian prison, participating in sexual exchanges in swingers clubs, traveling the dark paths of the Bois de Boulogne in Paris in the company of transvestites and prostitutes, undergoing a complicated process of egg donation, and participating in a ritual of ayahuasca ingestion in the Amazon jungle--all while taking us on inward journeys that explore immigration, maternity, fear of death, ugliness, and threesomes. Fortunately, our eagle-eyed voyeur emerges from her narrative forays unscathed and ready to take on the kinks, obsessions, and messiness of our lives. Sexographies is an eye-opening, kamikaze journey across the contours of the human body and mind.
Los topos (The moles):
The son of missing persons of the Dictatorship casually meets a half-brother who poses as a transvestite to investigate ex repressors and cops.
La virgen cabeza (Slum virgin):
When the Virgin Mary appears to Cleopatra, she renounces sex work and takes charge of the shantytown she lives in, transforming it into a tiny utopia. Ambitious journalist Quity knows sheβs found the story of the year when she hears about it, but her life is changed forever once she finds herself irrevocably seduced by the captivating subject of her article.
Falsa liebre (False hare):
The darkness at the port engulfs everything. Pachi and Vinicio go deeper into the beach, approaching an improvised party. They are looking for something to numb their bodies, something to finally erase themselves. Summer has been long, and that day was much worse. Not far from there, Zahir fantasizes about his next travel to the capital city or the northern part of Mexico, away from the aunt who keeps asking him for money, controls him through physical violence, and has driven his little brother, Andrik, to run away from the family home and end up in another: a manβs house, who caresses Andrik and then strikes him with the same hand. Now Zahir must not only convince Andrik to start a new life, but make sure they find a way out of that seemingly endless beach. TW: rape, prostitution, violence.
Ladrilleros (Brickmakers):
Oscar Tamai and Elvio Miranda, the patriarchs of two families of brickmakers, have for years nursed a mutual hatred, but their teenage sons, PΓ‘jaro and Γngelito, somehow fell in love. Brickmakers begins as PΓ‘jaro and Marciano, Γngelitoβs older brother, lie dying in the mud at the base of a Ferris wheel. Inhabiting a dreamlike state between life and death, they recall the events that forced them to pay the price of their fathersβ petty feud. The Tamai and Miranda families are caught, like the Capulets and the Montagues, in an almost mythic conflict, one that emerges from stubborn pride and intractable machismo. Like her heralded debut, The Wind That Lays Waste, Selva Almadaβs fierce and tender second novel is an unforgettable portrayal of characters who initially seem to stand in opposition, but are ultimately revealed to be bound by their similarities. TW: violence.
Cuerpo a tierra (Body to the ground):
We aren't always owners of our own decisions, sometimes weΒ΄re pulled by an irrecognizable impulse and, sometimes, the only truth is that of the body. Betrayal and deception, love and heartbreak, love and search are the protagonists of these stories.
Temporada de huracanes (Hurricane season):
The Witch is dead. And the discovery of her corpse has the whole village investigating the murder. As the novel unfolds in a dazzling linguistic torrent, with each unreliable narrator lingering on new details, new acts of depravity or brutality, Melchor extracts some tiny shred of humanity from these charactersβinners whom most people would write off as irredeemableβforming a lasting portrait of a damned Mexican village. There will be a movie by the end of the year. TW: rape, paedophilia, prostitution.
Pelea de gallos (Cockfight):
Ampuero sheds light on the hidden aspects of the home: the grotesque realities of family, coming of age, religion, and class struggle. A familyβs maids witness a horrible cycle of abuse, a girl is auctioned off by a gang of criminals, and two sisters find themselves at the mercy of their spiteful brother. With violence masquerading as love, characters spend their lives trapped reenacting their past traumas. Heralding a brutal and singular new voice, Cockfight explores the power of the home to both create and destroy those within it. TW: rape, incest, violence.
Las aventuras de la China Iron (The adventures of China Iron):
1872. The pampas of Argentina. China is a young woman eking out an existence in a remote gaucho encampment. After her no-good husband is conscripted into the army, China bolts for freedom, setting off on a wagon journey through the pampas in the company of her new-found friend Liz, a settler from Scotland. While Liz provides China with a sentimental education and schools her in the nefarious ways of the British Empire, their eyes are opened to the wonders of Argentinaβs richly diverse flora and fauna, cultures and languages, as well as to the ruthless violence involved in nation-building.
MandΓbula (Jawbone):
Fernanda and Annelise are so close they are practically sisters: a double image, inseparable. So how does Fernanda end up bound on the floor of a deserted cabin, held hostage by one of her teachers and estranged from Annelise? When Fernanda, Annelise, and their friends from the Delta Bilingual Academy convene after school, Annelise leads them in thrilling but increasingly dangerous rituals to a rhinestoned, Dior-scented, drag-queen god of her own invention. Even more perilous is the secret Annelise and Fernanda share, rooted in a dare in which violence meets love. Meanwhile, their literature teacher Miss Clara, who is obsessed with imitating her dead mother, struggles to preserve her deteriorating sanity. Each day she edges nearer to a total break with reality. TW: violence, cannibalism.
Las malas (Bad girls):
A trans woman's coming-of-age tale about finding a community among fellow outcasts. Born in the small Argentine town of Mina Clavero, Camila is designated male but begins to identify from an early age as a girl. She is well aware that she's different from other children and reacts to her oppressive, poverty-stricken home life, with a cowed mother and abusive, alcoholic father, by acting out-with swift consequences. Deeply intelligent, she eventually leaves for the city to attend university, slipping into prostitution to make ends meet. And in Sarmiento Park, in the heart of CΓ³rdoba, she discovers the strange, wonderful world of the trans sex workers who dwell there. Taken under the wing of Auntie Encarna, the 178-year-old eternal whose house shelters this unconventional extended family, Camila becomes a part of their stories-of a Headless Man who fled his country's wars, a mute young woman who transforms into a bird, an abandoned baby boy who brings a twinkle to your eye. TW: rape, prostitution, transphobia, murder, child death.
Nuestra parte de noche (Our share of the night):
A young father and son set out on a road trip, devastated by the death of the wife and mother they both loved. United in grief, the pair travel to her ancestral home, where they must confront the terrifying legacy she has bequeathed: a family called the Order that commits unspeakable acts in search of immortality. For Gaspar, the son, this maniacal cult is his destiny. As the Order tries to pull him into their evil, he and his father take flight, attempting to outrun a powerful clan that will do anything to ensure its own survival. But how far will Gasparβs father go to protect his child? And can anyone escape their fate? Moving back and forth in time, from London in the swinging 1960s to the brutal years of Argentinaβs military dictatorship and its turbulent aftermath.
Tesis sobre una domesticaciΓ³n (Thesis about a domestication):
A single transvestite is enough to undermine the foundations of a house, to untie the knots of compromise, to break a promise, to give up a life. The familiy clings to brief moments of happiness without noticing itΒ΄s been defeated since the start.
La hija ΓΊnica (Still born):
Alina and Laura are independent and career-driven women in their mid-thirties, neither of whom have built their future around the prospect of a family. Laura is so determined not to become a mother that she has taken the drastic decision to have her tubes tied. But when she announces this to her friend, she learns that Alina has made the opposite decision and is preparing to have a child of her own. Alina's pregnancy shakes the women's lives, first creating distance and then a remarkable closeness between them. When Alina's daughter survives childbirth β after a diagnosis that predicted the opposite β and Laura becomes attached to her neighbor's son, both women are forced to reckon with the complexity of their emotions, their needs, and the needs of the people who are dependent upon them. TW: child disease, family violence.
Huaco retrato (Undiscovered):
In an ethnographic museum in Paris, Gabriela Wiener is confronted with her unusual inheritance. She is visiting an exhibition of pre-Columbian artefacts, the spoils of European colonial plunder. As she peers through the glass, she sees sculptures of Indigenous faces that resemble her own - but the man responsible for pillaging them was her own great-great-grandfather, Austrian colonial explorer Charles Wiener. In the wake of her father's death, Gabriela begins delving into all she has inherited from her paternal line. From the brutal trail of racism and theft that Charles left behind to revelations of her father's infidelity, she traces a legacy of abandonment, jealousy and colonial violence, in turn reframing her own struggles with desire, love and race. Seeking relief from these personal and historical wounds, Gabriela turns to the body and desire as sources of both constraint and potential freedom.
Sacrificios humanos (Human sacrifices):
An undocumented woman answers a job posting only to find herself held hostage, a group of outcasts obsess over popular boys drowned while surfing, and two girls suspect sinister behavior from the missionaries lodging in their home. Simultaneously terrifying and exquisite, Human Sacrifices is "tropical gothic" at its finest. Ampuero considers the decay and oppression beneath the surface of our humid and hostile world, where those on the margins must pay the price for the comfort and safety of the elite. These twelve stories contemplate the nature of exploitation and abuse, illuminating the realities of those society consumes and leaves behind.
Soy una tonta por quererte (I'm a fool to want you):
In the 1990s, a woman makes a living as a rental girlfriend for gay men. In a Harlem den, a travesti gets to know none other than Billie Holiday. A group of rugby players haggle over the price of a night of sex, and in return they get what they deserve. Nuns, grandmothers, children, and dogs are never what they seem. These 9 stories are inhabited by extravagant and profoundly human characters who face an ominous reality in ways as strange as themselves.
Las indignas (The unworthy):
A searing, dystopian tale about climate crisis, ideological extremism, and the tidal pull of our most violent, exploitative instincts. TW: death, animal death, rape, cults.
every other note on this post is someone going "am i allowed to use paper maps?" yes. obviously. i did not say "without a map", i said without your electronics. And to the like, 20% of people saying "of course, i would simply take the train" that is definitionally not a road trip. i love trains too, but that is a rail trip. a road trip requires taking a trip on the road.
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She got the idea for the study while walking with her advisor at Stanford to discuss her thesis topic, and the paper she eventually published in the Journal of Experimental Psychology in 2014 is sharp enough that it should have ended the seated meeting on the day it came out.
She ran 4 experiments on 176 people. Same person tested twice. Once sitting, once walking. The creativity tasks were the standard ones psychologists have used for decades to measure how good a brain is at generating novel useful ideas.
81% of participants in the first experiment produced more creative ideas while walking than while sitting. In the second experiment, 88%. In the third, 100%. Every single person walked into a more creative version of themselves. On average, people generated 60% more novel useful ideas the moment their legs started moving.
The skeptical question is the obvious one. Maybe it was the fresh air. Maybe it was the scenery passing by. Maybe it was the change of environment doing the work, not the walking itself.
Oppezzo killed every one of those explanations with one experimental decision. She put people on a treadmill facing a blank wall. No scenery. No fresh air. No environmental change. Just legs moving in place while staring at white drywall. The 60% boost held.
Then she ran the experiment that closed the case completely. She took participants outside in two conditions. Half of them walked through a Stanford courtyard. The other half were pushed through the exact same courtyard in a wheelchair. Same outdoor stimulation. Same scenery passing at the same speed. The only difference was whether the legs were moving.
The walkers produced dramatically more novel high-quality ideas than the wheelchair group. The outdoors did almost nothing on its own. The walking did everything.
She also tested the opposite kind of thinking. Convergent thinking. The kind where there is one right answer and you have to narrow down to it. Word puzzles where 3 words share a hidden fourth word that connects them. The seated participants did slightly better on these. Walkers got slightly worse.
Walking is not a general intelligence enhancer. It does one specific thing. It opens up the divergent search inside your brain. The part that generates options. The part that produces unexpected connections. The part that takes a problem and finds five ways into it instead of one.
When you need to converge on the single right answer, sit down. When you need to find the answer in the first place, get up.
The mechanism is now well understood. Walking selectively activates what neuroscientists call the default mode network, the system inside your brain that runs when you are not consciously focused on anything. The DMN is where mind-wandering happens. Where memories cross-reference each other. Where ideas that have been sitting in separate folders inside your head finally bump into each other.
When you sit at a desk and force yourself to concentrate, you suppress the DMN. When you walk at a natural pace, the executive part of your brain gets just busy enough handling the walking that the DMN comes online and starts doing the work that focus was blocking.
The most useful finding in the entire paper is the one almost nobody quotes. The boost did not turn off the moment people stopped walking. Participants who walked first and then sat back down stayed elevated. Their next round of seated creativity work was still significantly better than people who had been sitting the whole time. The rest lingered for at least several minutes after the legs stopped moving.
You do not need to do creative work while walking. You need to walk before the creative work. The brain holds the state.
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Here's a painting I made for the ImagineFX art challenge "Mystical Meets Machines".
The theme was too intriguing to pass by - especially after I got the idea of some unicorns grazing by the remnants of an ancient, mechanical dragon. Someone in the past were keen on acquiring the great powers of a dragon for themselves, leading to a bitter end. Now it has rested peacefully for centuries, becoming part of the landscape.
Lots of fun painting this one, especially all that moss!
