on Metamorphoses, Ovid

@theartofmadeline
PUT YOUR BEARD IN MY MOUTH
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Cookie Run:Kingdom Official!
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Fieri Frames
Phantogram Three
I'd rather be in outer space đ¸
let's talk about Bridgerton tea, my ask is open
RMH
Not today Justin
Noah Kahan
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@proustiansleep
on Metamorphoses, Ovid

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I'm having the thought 'Quit! Quit! Quit your job! Do it now!' at least twenty five times a day and it feels satisfying to repeat even as I'm currently unable to do so
very good bumper sticker
Victor Guidalevitch - Lac de Lugano

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RiĂ F is one of seven surviving medieval architectural drawings of Cologne Cathedral.
The view of the west facade depicted on drawing F stands out from the drawings of the late 13th century due to its height of 4.05 meters and the precision of the drawing. The entire elevation is composed of a total of 20 parchment sheets glued together. The drawing, which had been lost for a time, was rediscovered in two parts: the north tower in 1814 in the attic of the inn "Zur Traube" in Darmstadt, and the central section with the south tower in 1816 at an antiquarian's office in Paris. -Dr. Marc Steinmann, art historian
"Analogy is repetition compulsion. Analogy is calendar. Analogy is the bloat and float of language. It untethers words from their referential fixity. It detaches dates from their chronological rigidity. Analogy can be liberatory whenâ ifâ it is pried loose from a memory culture that has become repressive and inert. When theyâre not stultifying or being commandeered to nefarious ends, analogies can be energising; they can force a historical reckoning, they can articulate elective affinities and affiliations, they can forge alternative kinships and solidarities. Analogies can channel what Walter Benjamin called the mimetic capacity or power: they can extract similarities from a history that would otherwise atomise into a spray of disconnected particles or dissolve into a mush of sameness. Analogy is a historical sinew: it can loosen the joints of a tradition that has become ossified and arthritic and can restore actualitya peculiar synchronicityâ to a time out of joint. Analogy is a historical muscle: it contracts, condenses, thickens time; it stores energy like a battery; itâs a time bomb that explodes the continuum of homogeneous empty time. That is why analogies are such a political minefield as weâre seeing today: Who gets to use them? Who gets to say âfascismâ? Who gets to say âapartheidâ? Who gets to say âgenocideâ? Who gets to say âholocaustâ? Who gets to prescribe or proscribe the terms of comparison or even to grant the right to compare? Politics,as Benjamin once said of philosophy, is a battle for the monopoly over a limited number of terms. Analogies are real estate in a colonial land grab where language is the terrain of an ongoing primitive accumulation.
This is because analogy is never a neutral historical judgment. It is an interpellation, a force of subjectification that draws its power from the historical conjuncture. The truth of analogy, in other words, is different than its propositional correctness. This is why analogies are constantly on the move. Marx teaches us to approach history in the same spirit as Freud approached psychoanalysis: "we can only describe things by analogies âŚbut we have to keep changing analogies, for none of them lasts long enoughâto stick." This is why analogies are such fertile terrain for projection, fantasy, persuasion, forensic and ideological coercion (as Cicero and Quintilian were to emphasise in the wake of Aristotleâs Rhetoric) but also why they so quickly become flattening and oppressive. They introduce form, intelligibility, consequence and as such can become formal, formulaic, deforming.
Analogy, like all citation, sways uncertainly between a âpoetry of the futureâ and aâpoetry of the past.â This can be disorienting." âRebecca Comay, Lumpendialectic
(said completely devoid of context) you know how it is
David Hockney, Paul, France, 1968
AgneĚs Varda | Bord de Mer [2009]

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"Everythingâand I mean everything, the tap, wheel, glasses, tobacco, cups, satellites, music, writing, anything you might wish to nameâwas tested in war before being put to civilian use. Every object is the material hangover of some bloody conflict. âshe says. I wonder which conflict led to the hangover that is the love invented by our bodies. âhe says." âAgustĂn FernĂĄndez Mallo, The Book of All Loves
(this piece by Rebecca Comay on persistence almost moved me to tears cause I could see my life, my stubborn disposition in the past few years in it articulated better than I could ever say it)
"Persistence is not driven by the whip of âcruel optimism.â Persistence is not the vulgar pursuit of immortality or the extension of life by other means, itâs not the survivalist preparation for apocalypse. And persistence is definitely not resilience. It lacks that bounce and plasticityâwhich is to say that persistence is not the forced flexibility and pliability of the neoliberal subject. Persistence is ill-adaptive: brittle, unbending, uncompliant, impatient, inefficient, untimely. It is sustained neither by the drumbeat of victory nor by the sublime consolation of defeat. Persistence disorganizes the normative temporal and spatial order. It exerts a needling, scrabbling pressureâresistant to direction, desisting from project and program, insistent in its demands. It is a duration, a hardness, a perdurance that extends beyond the limits of endurance. Persistence is obstinacy, ostinato, the stubborn rhythm of a time without flowâa âstrong, slow drillingâ through a present that has become rigid and inert.
We might say that persistence is a kind of perseverance, but if only we can divest this word of its Hobbesian-Spinozist-Nietzschean vitalism. This is perseverance of a peculiarly attenuated sort.  Persistence is not the drive to self-preservation, in suo esse perseverare conatur, every entityâs inextinguishable straining to continue. Persistence is both a hyperbolic and a deflated conatusâat once too much and too little: too much strife and striving, too little self or being for which to strive. Persistence is not the joyful swell of the conatus nor the surge of the will-to-power. It is not self-augmentation or self-enhancement. If anything, persistence is a deflation, diminution, or âlesseningâ (shades of Beckett)âa swaying between impetus and impediment. You might easily mistake this sway for the vacillations of Spinozaâs âsad passionsâ but that would miss the point. Youâd be equally mistaken to conflate this pulsation with the throb and thrum of âvibrant matter.â Hobbes was right to speak of the âartificial eternityâ of the conatus (there is nothing biological or instinctual about this drivenness), even if he was led to aggrandize this as the mythic self-perpetuation of the fortified state.Â
Persistence is the tipping point where perseverance slips almost inaudibly into perseverationâthe irritable overdrive of a speech or action compulsively repeating itself in the absence of any determinable goal or purpose. Perseveration is a temporal derangement, at once a short circuit and a prolongation: time stretches interminably onward and snaps back to the nonstarter of an endlessly protracted rebeginning. The stretch and the snap are two sides of the same elastic.  Perseveration is both a brake and a flood: a conversation-stopper that never stops stopping. Speech-language pathologists describe perseveration as a rigidity or automatism, a stereotypy, a torrential stickiness and stuckness, an inability to switch tracks or to switch off. The machine is always on, it never stops running, yet thereâs somehow always something off about it, something not-quite-rightâoff-track, off-kilter, socially off-putting, as off-key as a poorly tuned instrument. "
âRebecca Comay, On Persistence
"The idea of a city empty of humans and abandoned to the elements is a long-standing feature of a wide range of mythologies. Couples build real citesâout of physical matter, out of their affection, out of singular, unrepeatable customs and rituals: a language of their own. The peculiarity of this universe they create is that it isn't destroyed if they split up, but simply enters the condition of abandoned city, of a ruin consigned to run its course in some unspecified place. We do not know the exact mutations this city-space undergoes, nor what form it ultmately takes, but what is certain is that, disconnected forever from all that is known, it is an emotional destination that nobody can ever go back to. Not even the people who built itâthe former loversâwill get to walk its streets again. We can look at it in the following way: if it is true that information is neither created, nor destroyed, only transformed, it is also possible to think of this world created by the lovers, and now disconnected from our own, as a piece of lost information, a kind of information-love that we try in vain to recover on a daily basis." âAgustĂn FernĂĄndez Mallo, The Book of All Loves
"There is a moment in the experience of love when you start to cut yourself on everything. On the edges of drawers and on the screen of your mobile phone, on your toothbrush and when you are watering a house plant, when you put your trousers on and when you take them off, when you open a book or close a door, when you tie your shoelaces and when you adjust the thermostat on the central heating; even bars of soap and the handrails on buses cut you. Suddenly objects want to sharpen their edges on you."
âAgustĂn FernĂĄndez Mallo, The Book of All Loves

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"I have to be blunt here: Our critics are really fucking stupid, and weâve given them way too much leeway to conjure senile fantasies out of their own illiteracy. We need to stop taking their trolling in good faith, and we need to stop apologizing for our work. The truth is that every purportedly obvious problem with humanities writingâevery bogeyman of bias, difficulty, obscurity, and irrelevanceâdissolves into something else, something much more interesting, as soon as we wade into the spaces where the scholarship exists. What actually happens when we read the words on the page, look up the key terms, push against the ideas in a text, scan a bibliography, find the sources, identify a conversation, and put down our own thoughts in language? What happens when we act like real Secondary Source People? " âDavid Hollingshead, Humanists Have Done Nothing Wrong
Î'm so tired