in the mood for love (2000)

tiddles the church cat

thats probably it...

feel free to argue about any of these, credit not needed but appreciated

im gonna fucking cry

Nintendo DS

medical professionals when a patient advocates for themselves in a medical setting (x100 if that patient is a part of any minority): damn. you’re a hypochondriac crazy bitch who has every mental illness and is seeking every narcotic in existence. that’s the only reason you’d be disappointed in the care you’re receiving here. in retaliation, we will be even less helpful and less sympathetic. our jobs are hard. people are dying. we don’t have time to deal with anyone who is slightly inconvenient for us.

[ID: “Trached dykes eat pussy without coming up for air.” Connie Panzarino, a longtime disability activist and out lesbian, would attach this sign to her wheelchair during Pride marches in Boston in the early 1990s. Shockingly explicit, her sign refuses to cast technology as cold, distancing, or disembodied/disembodying, presenting it instead as a source and site of embodied pleasure. “Trach” is an abbreviation of tracheotomy, a medical procedure in which a breathing tube is inserted directly into the trachea, bypassing the mouth and nose. Someone with a trach, then, can, in effect, breathe through her throat, freeing her mouth for other activities (another version of this sign is “Trached dykes french kiss without coming up for air”). From a cyborgian perspective, this sign is brilliantly provocative and productive. It draws on the pervasive idea that adaptive technologies grant superior abilities,not merely replacing a lost capacity but enhancing it, yet it does so in a highly subversive way. The message here isn’t about blending in, about passing as normal or hypernormal, but about publicly announcing the viability of a queer disabled location. It’s disnormalizing, adamantly refusing compulsory heterosexuality, compulsory able bodiedness, and homonormativity. As Corbett O’Toole argues, it challenges the perceived passivity of disabled women, presenting them as actively pleasuring their partners, thereby graphically refuting stereotypes linking physical disability with nonsexuality.]

Dog and Priest [1978] Alex Colville Acrylic polymer emulsion on hardboard 52 x 90 cm

Faye Wei Wei, The Guild Cinema in Albuquerque, 3405 Central Ave NE, 87106, United States, 2022, from Portals