IM GOING TO TYPE EVERY WORD I KNOW
he wasn't even looking at me and he found me
todays bird
ojovivo

JVL
Mike Driver

Discoholic 🪩

shark vs the universe
Not today Justin

Game of Thrones Daily
wallacepolsom
RMH
Show & Tell
One Nice Bug Per Day

if i look back, i am lost
art blog(derogatory)

blake kathryn
Claire Keane

Kiana Khansmith
noise dept.

seen from Italy

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@resemblingthegrave
IM GOING TO TYPE EVERY WORD I KNOW

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Feeling abnormal about this
zendaya wearing real 3000-year old ancient iranian earrings with no known track of provenance to the odyssey premiere. nasty work. even worse than the kim kardashian marilyn dress to me. they could have promoted modern greek jewelry designers but chose to do this instead. very tacky at best. especially in this geopolitical climate
The earrings, worn by Zendaya at The Odyssey press tour, are believed to be 2,000-3,000 years old and come at a time when the US is bombing
Inside the big business of selling AI to the police.
1929 ad for ovaltine that made me laugh. HERE IS SLEEP! immediately you go to bed!

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the onion skin: you just listen to the intros of every friends at the table episode in chronological order
this idea has stuck with me for two years. here's sangfielle, the rest will come soon
next is marielda, hi samol. i'm honestly not sure what to do about the winter and spring intros, because i've been mostly sticking to the bespoke austin intros, and skipping the "previously on" ones, but winter and spring mostly have "previously on" intros
this one took forever to put together and export and upload. not only is twilight mirage really long, 58 out of the total 67 episodes have bespoke austin intros. there are only a handful in the back half that have a "previously on"
road to partizan and partizan are a much more manageable length
a castle at the edge of your bed by daniela de la torre
from Sensational Designs: The Cultural Work of American Fiction, 1790-1860, Jane Thompkins, 1986, p37 (bolding mine):
For classic texts, while they may or may not have originally been written by geniuses, have certainly been written and rewritten by the generations of professors and critics who make their living by them. They are the mirrors of culture as culture is interpreted by those who control the literary establishment. Rather than being the repository of eternal truths, they embody the changing interests and beliefs of those people whose place in the cultural hierarchy empowers them to decide which works deserve the name of classic and which do not. For the idea of "the classic" itself is no more universal or interest-free than the situation of those whose business it is to interpret literary works for the general public. It underwrites their claim to be the servants—and not the arbiters—of truth, and disguises the historically conditioned, contingent, and partisan nature of the texts that their modes of construction make visible. The recognition that literary texts are man-made, historically produced objects, whose value has been created and recreated by men and women out of their particular needs, suggests a need to study the interests, institutional practices, and social arrangements that sustain the canon of classic works. It also opens the way for a retrieval of the values and interests embodied in other, non-canonical texts, which the literary establishment responsible for the canon in its present form has—for a variety of reasons—suppressed.

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stuart schrader guest spot re: his new book on police unions and political organizing!
[43:00] Schrader: There are lots of distinctions we can make [between various policing organizations] but at the same time, there is a certain irreducibility of [...] police activity as the discretionary application of force in order to gain compliance. That's the same everywhere; I would go so far as to say as it's the same all over the globe.
i am just moved by everything now. i'm porous and everything gets inside me
Here, I think it is useful to see how there is also a flaw in language that the neurotic structure confronts. For the neurotic, the flaw is a lack in language, the failure of language to say everything. We speak, listen, write, and language arrives in phrases, pinned down through a process of scansion as we anticipate meanings that only become clear at the end of a sentence. But each phrase, sentence, moment of saying, leaves something unsaid, and unsayable (Rogers, 2006). So we go on with revisions, elaborations, erasures, and questions, endless questions. If something does not make sense, we elide it, or decipher it. Desire unfolds in relation to a silent lack a the heart of speaking and writing. There is always "more." But in psychosis the unsayable in language does not work this way. Confronted to questions of existence, she cannot find a way in speaking. She cannot scan particular fragments of speaking or writing, or decipher them. Perhaps she hears no voice, but something of the voice arrives in writing, and she hears in words themselves an enigma that cannot be explained. If there are no answers in the family or in society to questions of her existence, no conventional language that speaks to the place of the subject, what is left but to fix this flaw, to found a new language out of a place of impossibilities?
Annie G. Rogers, Incandescent Alphabets: Psychosis and the Enigma of Language
Ant wars are the most badass thing in the entire world i’m so serious
“bugs fight ten million wars every day” statistical error, most bugs chillax like crazy. Ants on the other hand have waged bloody war for millions of years and have trained their bodies and minds for battle from birth as modern day tiny spartans and are an outlier

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Ray Bradbury - Dandelion Wine