2010 paris, the dream by pierre wayser

Origami Around
let's talk about Bridgerton tea, my ask is open

if i look back, i am lost
YOU ARE THE REASON

gracie abrams
Game of Thrones Daily
untitled
Today's Document
macklin celebrini has autism
Noah Kahan
Sweet Seals For You, Always
$LAYYYTER
Aqua Utopia|海の底で記憶を紡ぐ

Discoholic 🪩
noise dept.
Keni
Lint Roller? I Barely Know Her
Cosimo Galluzzi
TMBGareOK. The Official They Might Be Giants tumblr
Cookie Run:Kingdom Official!

seen from Italy
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seen from T1
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@mayamang0
2010 paris, the dream by pierre wayser

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Life was neither something you defended by hiding nor surrendered calmly on other people’s terms, but something you lived bravely, out in the open, and that if you had to lose it, you should lose it on your own terms.
The Dew Breaker by Edwidge Danticat
Lovers 1909
Egon Schiele.
Cuna girls with a tourist, 1950s; unknown photographer; via Panorama de Guna Yala

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has the fedora's reputation been bastardized forever? Is there no hope in redeeming that article of clothing?
June 9, 1930 Journals of Anais Nin 1927-1931 [volume 4]
2026 Met Gala
May 4, 2026
This is a worm? Or perhaps some sort of slug?
And it's gonna getcha
write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book write your book

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Season 1 // Season 2 // Season 3
Incredible regency serial killer/vampire Anthony inspiration.
Peter Sculthorpe (American, born 1948)
Deep Snow, 2025
Oil on linen
40 × 30 in (101.6 × 76.2 cm)
Private collection

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"The AI slop aesthetic is more than a technical artifact or cultural curiosity. It’s the consumer-facing product of computational capitalism—created by transforming human culture into a standing reserve of data. Each uncanny image, synthetic influencer, and AI-generated article is part of a much wider transformation. Slop is waste, but it’s also fuel.
Slop is the product of a different kind of Krebs cycle. It begins when AI models are trained by devouring billions of images, videos, and texts from the internet, using neural networks with trillions of parameters that learn to identify patterns, relationships, and structures in the data. To digest all this requires staggering amounts of energy. Synthetic outputs are then excreted and then rapidly spread online. Then they are ingested once more, and the cycle continues.
This is the latest in a long evolution of industrial media that has been recognized by theorists and artists over decades. We could think of Vilém Flusser’s “technical images” in the 1980s, or Harun Farocki’s “operational images” in the early 2000s. Now we have “metabolic images.” Metabolic images are visual material made by consuming billions of other images to be broken down and absorbed by AI models via a gargantuan infrastructure that absorbs energy and water, and excretes media, atmospheric carbon, and other pollutants. If we consider all the forms of generative AI, including text, images, code, and video, it is fundamentally metabolic media. It has a burn rate that is astronomical and growing, and is now directly competing with humans for basic resources like land, energy, minerals, and fresh water.
Karl Marx once described the shift from rural to urban living under capitalism as a disrupted metabolic process. In pre-industrial societies, waste easily cycled back into production—human and animal feces from small farms returned to the earth as fertilizer, maintaining soil fertility and sustaining agriculture. But industrial modernity broke this cycle. As masses of people migrated to cities, the human waste that once nourished fields began accumulating as urban pollution.
People threw excrement into the streets, depriving rural soils of essential nutrients. Soils became depleted, which then required the introduction of artificial fertilizers, exacerbating a cycle of environmental degradation. John Bellamy Foster later called this phenomenon a “metabolic rift”: the systemic disruption of ecological and metabolic processes by capitalist production. Sociologists like Jason W. Moore trace these metabolic rifts back to capitalism’s origins in the sixteenth century, and they resurface in new forms as each phase of industrial development reorganizes the planet.
The turn toward massive, data-heavy generative AI is driving a new and dramatic metabolic rift. It’s affecting the environment, patterns of work, supply chains, culture, and visuality itself. And it’s filling information ecosystems with torrents of shit, endless digital detritus which is never properly flushed out. Instead, it is fed back into the system as raw material for the next generation of AI models. This is the basic material cycle of AI’s metabolism: consumption and excretion patterns where AI-generated images have material consequences and consequences for our materials." —Kate Crawford, Eating the Future: The Metabolic Logic of AI Slop