Max Ernst | The Horde (1927) Oil on canvas, 114 x 146.1 cm
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Max Ernst | The Horde (1927) Oil on canvas, 114 x 146.1 cm

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It is here that Baudrillard invokes the power of ancient religion in all its heretical force: not the form of religion that reconciles theory and world, but theory as violent refusal, one that holds open the unbridgeable gap between mortal flesh and its raw beyond. Baudrillard presents himself, from the outset, as an unflagging enemy of productivism—even with respect to his own theoretical ‘creativity’, which from a Baudrillardian standpoint is already, inevitably, a heresy. Baudrillard’s implicit answer to the charge of nihilism lies in his occupying an adversarial position against the persistent notion that theory could mirror or affirm the real with true fidelity. For Baudrillard, it is not a nihilistic denial of the real but a refusal to grant theory the last word.
“You know that my way is to make ideas appear, but as soon as they appear I immediately try to make them disappear.”
The intentional evacuation of theory serves as strategy against its foreclosures. It widens an aperture facing the real, opening us to an unemployable ecstasy. However, Baudrillard avows that this ecstasy is a razor’s edge sharpened by its intrinsic suicidal logic, and that such precariousness is not incidental to the act of writing or theorizing but constitutive of its utter possibility.
Craig
https://open.substack.com/pub/splitinfinities/p/the-total-disappearance-of-theory?r=4rsyo&utm_campaign=post&utm_medium=web
Henni Alftan, 'Knees' 2023
Radio live transmissions from the multidisciplinary and independent, deadAir & co. Come get shown the light! Find the full tracklist and re
“Curiously, in acquiring more and more life, machines demand in return more and more abstract human vitality: and this has occurred throughout their evolutionary development. Computers, expert systems and artificial intelligence add as much to thought as they subtract from thinking. They relieve thought of inert schemas. The forms of thought assisted by computer are mutant, relating to other musics, other Universes of reference. It is, then, impossible to deny the participation of human thought in the essence of machinism. But up to what point can this thought still be described as human? Doesn’t technico-scientific thought fall within the province of a certain type of mental and semiotic machinism?”
— Felix Guattari, Chaosmosis pg. 36

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The first account of psychopathy seems to be a short text from 1786 by the American physician Benjamin Rush who described a mysterious medical condition that he called anomia – and later moral derangement – where people allegedly lost the ability to distinguish between good and evil. Although his work is highly speculative, it sketched out the idea of ‘the psychopath’ in a way that could be passed on to a scientific audience: as a biological disorder so extreme that it impairs the innate human capacity for moral attitudes and prosocial behaviours.
Sam Dresser
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Predictive processing has been applied to understanding various mental disorders, such as schizophrenia, autism, and anxiety. For example, in schizophrenia, it is hypothesized that there might be an imbalance in the precision weighting of prediction errors, leading to aberrant predictions and perceptions (such as hallucinations). In autism, there might be an over-reliance on sensory input over predictions, leading to difficulties in processing complex or ambiguous stimuli.
The predictive processing framework has also influenced the field of artificial intelligence (AI), particularly in the development of models that mimic the brain’s predictive capabilities. By incorporating prediction error minimization and hierarchical inference, AI systems can be designed to learn and adapt more effectively, potentially leading to more advanced and human-like cognitive abilities.
NJ Solomon
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The neurophysiological evidence is incompatible with predictive coding theories. We argue that feedback from higher to lower brain areas tends to enhance the activity of the representation that is predicted, whereas stimuli that are repeated in time and space cause alterations in feedforward processing that reduce the neuronal responses. Only attended stimuli give rise to top-down predictions. These predictions can be matched to only one of the sensory stimuli at any one time.
Jacob A. Westerberg, Pieter R. Roelfsema
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Multilayer network analysis was applied to calculate the network switching rates between brain states. Compared to HCs, schizophrenia patients at baseline showed significantly increased network switching rates.
Ziyang Gao , Yuan Xiao , Fei Zhu , Bo Tao , Qiannan Zhao , Wei Yu , John A Sweeney , Qiyong Gong , Su Lui
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Xanomeline/trospium chloride (Cobenfy) is the first FDA-approved medication for schizophrenia that is not classified as an "antipsychotic" in the traditional sense. Unlike conventional antipsychotics that block dopamine D2 receptors, Cobenfy works through a novel mechanism by targeting muscarinic acetylcholine receptors (M1 and M4) in the brain, indirectly modulating dopamine release without direct D2 blockade.
D2 blockers
sit on D2 receptors
prevent dopamine from binding
blunt signaling everywhere D2 exists
Analogy:
putting tape over the speaker
Effective but blunt.
M4 agonism
modulates the circuit that controls dopamine release
preserves normal D2 signaling capacity
reduces pathological overdrive
Analogy:
turning down the volume at the mixing board
More upstream, more nuanced.
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“Most notably, the World Health Organization twice compared schizophrenia outcomes in the rich countries of the world with outcomes in poor countries, and each time the patients in the poor countries—where drug usage was much less—were doing dramatically better at two‑year and five‑year follow‑ups. … In India, Nigeria and Colombia, where only 16% of patients were maintained continuously on neuroleptics, roughly two‑thirds were doing fairly well at the end of the follow‑up period … In the U.S. and other rich countries, where 61% of the patients were kept on antipsychotic drugs, the ratio of good‑to‑bad outcomes was almost precisely the reverse."
Whitaker: Anatomy of an Epidemic: Magic Bullets, Psychiatric Drugs, and the Astonishing Rise of Mental Illness in America (2010)
You invent self-destructions that have nothing to do with the death drive. Dismantling the organism has never meant killing yourself, but rather opening the body to connections that presuppose an entire assemblage, circuits, conjunctions levels and thresholds, passages and distributions of intensity, and territories and deterritorializations measured with the craft of a surveyor. Actually, dismantling the organism is no more difficult than dismantling The other two strata, significance and subjectification. Signifiance clings to the soul just as the organism clings to the body, and it is not easy, to get rid of either. And how can we unhook ourselves from the points of subjectification that secure us, nail us down to a dominant reality? Tearing the conscious away from the subject in order to make it a means of exploration, tearing the unconscious away from signifiance and interpretation in order to make it a veritable production: this is assuredly no more or less difficult than tearing the body away from the organism. Caution is the art common to all three; if in dismantling the organism there are times one courts death, in slipping away from signifiance and subjection one courts falsehood, illusion and hallucination and psychic death. You have to keep enough of the organism for it to reform each dawn; and you have to keep small supplies of signifiance and subjectification, if only to turn them against their own systems when the circumstances demand it, when things, persons, even situations, force you to; and you have to keep small rations of subjectivity in sufficient quantity to enable you to respond to the dominant reality.
D&G
Playing Pop, Indie Rock. Sometimes I Think I Was Born Backwards
Julio Cortázar, Save Twilight, trans. Stephen Kessler

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"To anyone structured by political consciousness, being in life without wanting the world is a common and recognizable affect: I’d say, a fundamental political affect. It occasionally gets pointed to as a symptom: of trauma, depression, or anomie, a kind of thing that’s gone wrong and produced the senses of brokenness I have just described. But it need not be defined only or mainly in negative relation to normative paradigms of integration and fluidity. It need not be romanticized either. It could be better understood as a state in which the drive to stay attached to life is met by a world of inadequate objects. As a political sense, it need not only be defined as a response to dramatic damage, passivity, or defeat. It also involves subcutaneous or fleeting experiences of aversion and the desire for something else." – Lauren Berlant, On the Inconvenience of Other People, p. 124.
From the 1978 documentary “Punk: The Early Years”
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By cartographic cynicism, I mean the systematic pulverization of antagonism into atmosphere, atmosphere painted as complexity, complexity into brokerage, brokerage into culture, and culture into insulating self-defence of the Qatari State in the last instance. This is a situation in which cultural form no longer primarily mediates between artist and spectator, but between geopolitical position and financial power, so that a state can appear as a cultural necessity rather than a political abnormality in the modern world, and so that the art world can appear as a critical exterior while functioning as a soft and cushy interior. Contemporary art’s favored fantasy—its structurally necessary self-image—is that it hovers above geopolitics, occasionally dipping in to comment, mourn, or protest.
Doha matters, then, not because it is uniquely corrupt, and not because it is uniquely hypocritical, but because it is structurally explicit.
The theme offered for the inaugural edition of Art Basel Qatar is Becoming. Becoming is what a laundering mechanism calls itself when it wants a curator’s blessing. We are told that the fair is a meditation on humanity’s ongoing transformation and the evolving systems that shape how we live, believe, and create meaning. Moreover, we are told that the Gulf is a ‘living palimpsest’ where oral traditions intersect with digital networks and where ancient trade routes are reimagined as contemporary flows of culture and capital. Finally, we are told that art becomes a vital conduit for translating systemic shifts into form. The point is not that these phrases are wrong in some narrow, dim-witted factual sense, but that they do not describe anything at all. They license the old alimentary circulation without even bothering to mask it from public view. Their function is to produce a conceptual atmosphere in which mere proceeding is the evidence of seriousness, while the infrastructural questions that would otherwise force hidden alignments into view are dissolved back into the vocabulary of palimpsest, flow, and becoming. In this respect, becoming is a solvent like paint thinner, the very enzyme of the stomach, that makes excrement for one into food for the other.
Reza Negarestani
Jason Bahbak Mohaghegh

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The history od secularization is the history of salvation understood as the progressive weakening od structures that present themselves as natural and necessary.
Gianni Vattimo
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