In the economy of convenience, technology has been continually hailed as the revolutionary that will come to solve education. However, resea

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Alisa U Zemlji Chuda
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⣠Chile in a Photography âŁ

çĽćĽ / Permanent Vacation
he wasn't even looking at me and he found me
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@technophobia-euphoria
In the economy of convenience, technology has been continually hailed as the revolutionary that will come to solve education. However, resea

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Between AI, slipping competency, and a diminutive relationship with learning, education has an existential problem. However, the answer isn'
I Wish I Could Smile
Here I plan to vent to try and my emotions be free. I'm not even particularly mad anymore: Everywhere I look I am greeted by an astonishingly bleak social landscape. I don't know how people maintain the fortitude to look into the abyss of misaligned data, malicious statistics, and the erosion of the gestalt mind and maintain their own sense of self. I have more respect for them than I do the grandest of thinkers.
The information age, the convenience age, the hyper-real age, who cares. Skill does not matter, only output. Output does not matter, only metrics. Metrics do not matter, but if we accept that than all thats left is the void. The modern data oriented world has resoundingly failed, but to return to the past world of humanity is to admit that nothing can ever be real again, so we persevere regardless. But the metrics mean nothing all the same; in turn defining everything but truth, as that cannot exist.
How can an authentic life be lived in a land built upon inhuman quantification? Is that data point, once human, capable of authenticity at all? How can it, as that data itself feeds into what it observes, a simulacrum of a person. Who cares what happens to a simulation, anyways?âI can hear the world ask.
The landlord simply must raise rent, just as the business simply must lay off yet thousands more. What commander instills this force into them, as drill instills a murderous soul in each soldier? Property tax? Shareholders? The ever looming nihilism of capital? None of these hold truth; there is nothing to compel action in these hollow monuments. But it matters not, as it's not like their actions impact a true person, anyways, so onwards these soldiers of data go. Inauthentic, rotten to the core.
Despite this, my friends smile. My girlfriend smiles. My family smiles. In the face of an absent world, a world lacking authenticity, humanity, or truth, they smile. I wish I could too, but I find myself unable. I can not stand facing the nihilism and the dehumanization of the social with a smile, but I will stand alongside those who can. That is just something I will have to live with.
Mores And Man
To The Void

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Estuaries And Ships
Lutef Sinclaire
Of Song And String
Such Putrid Wine
my daily affirmation as an author

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Among Glass Ships
It matters that we refuse.
It matters that we resist.
It matters that we be loud about our refusal and resistance.
someone please tell me the name of that one like postfurry artist who drew the emotionally resonant colored pencil drawings of anthro planes drowning in swimming pools and in hospital waiting rooms furry community come to my aid plssss
ok their name is sharkplane77. outsider art
mary oliver, âfranz marcâs blue horsesâ / ada limĂłn, âwhat it looks like to us and the words we useâ
Considering your philosophical inclinations and anticapitalist motivations I was wondering if you could elaborate a little on why you don't care for the "liminal" aesthetic/how you distinguish it from your own work & the idea of deadvertising. (Especially since there are some surface-level similarities btwn your "unteriors" and the popular concept of "liminal spaces.")
The concept of liminality, as it seems to be have taken up in the arts and popularised online, is an odd adaptation of a concept used in early 20th century sociology (by Arnold von Gennep), which gives a phenomenological reading of the psychology underlying rites of passage. People use the term to read the qualities of physical spaces in much the same way as the emotional or psychological transitional spaces between life stages; i.e. the discomfort and sense of alienation and placelessness you experience in adolescence is analogous to the unease you experience walking through an empty pedestrian subway.
What I find offputting in the use of this term to refer to artistic depictions (or just recontextualisations) of abandoned houses, public thoroughfares, or generally any of the various physical spaces that feel vaguely unpleasant and uncannily opposed to human inhabitation, is that the framework it provides for looking at these spaces is one that reduces them to the sense of unease and unfamiliarity experienced by individuals. You find an image of a space that feels strange and unsettling in some way - i.e. a space, like the floor of an office building filled with cubicles but empty of people, which in some vague sense doesnât match up with your expectations of its regular use. By describing it as liminal, those immediate (and unexamined) emotions become the defining qualities of the space depicted. In reality, those spaces have an independent existence from your presence within them, or your second-hand observation of them. I think the sense of unease and discomfort that people describe as liminality is actually the sudden awareness of the indifference of the real world, in sharp contrast to its heavily tailored (and targeted) standard depiction, geared to validate your own preconceptions (which I think is an innate property of advertising and commercial imagery generally).Â
In the context of real estate imagery, to me at least, this unfamiliarity and unsettlingness should act as a window into the broader world that transcends the flattening and superficiality of the institutional context of the image. In art language, something closer to the sublime seems to fit - the sudden awareness of vast, unknown, terrifying horizons upon ascending a precipice, like those seen by Casper David Friedrichâs wanderer. Maybe an embarrassingly nerdy example, but for me itâs a feeling similar to doing (actual, non-AI) research in a library, wandering the stacks in search of a book and being distracted by other books in the same section, becoming aware of immense new horizons of knowledge and thought, and being humbled by the the sudden awareness that your own concerns occupy a tiny island within the whole. Thereâs a spectrum of emotions that this can provoke, but one is definitely fear. People have a range of ways of responding to fear, but I think thereâs a shared experience of wanting to develop structured responses to exploring it, maybe as a deeply primal way of fulfilling our own curiosity. There are plenty of movies where this is used as a plot device. I think this explains a large part of the popularity of true crime.
I think we are bombarded with an increasing amount of commercialised flattening in the way weâre encouraged to see the real world through visual media. Generative AI seems to be the distilled essence of this; everything it regurgitates is the statistical average of the immense amounts of data thatâs uncritically fed into it. There seems to be a major problem with generative AI platforms encouraging psychosis in vulnerable users by reflecting their delusions back at them; like its innate structural property of making the real world unobjectionable has the the effect of bending reality in a way that actively harms people. I think people know, at some level, that there are serious issues in the world, and they want to understand them. At the micro-level, seeing visual evidence of the actual blood and guts dysfunction of the housing market can be very appealing when for 95% of the time you see it represented in an idealised form thatâs transparently fake (and harmful). Deadvertising is just a framework for approaching art in a world in which the vast majority of visual imagery produced comes from advertising, or a related industry (i.e. commercial design). It involves recognising that there are fundamental institutional properties of advertising that flatten conceptual depth and emotional experience in the service of an artificially friction-less appeal to fake, shared ideas of what is normal. In much the same way as the productive capacity of a society can be misallocated by, for instance, sending qualified tradespeople to work on oil and gas projects that will destroy the global climate and draining the residential construction sector in the middle of a housing crisis, an enormous amount of creative talent is wasted in the production of visual ephemera that represent the world as simpler than it actually is and which make audiences less critical than they ought to be.
My gut feeling is that, because so many of the crises we face - the housing crisis, climate change, nuclear proliferation, the deterioration of higher education and general literacy, etc. - are deeply rooted across many areas of society, to fully deal with them we need some sort of cultural shift. At a very basic level, we can try to develop something like a counterculture, which has traditionally (since the sixties) involved looking at culture given to us by mainstream institutions and rejecting it and coming up with alternatives. Maybe this is a stretch, but the idea of using advertising as a focal point, and appropriating its imagery and turning it against its intended purpose, could be one way of contributing to something like this. Tumblr has something like an established culture of doing this sort of remixology, in a way that makes it more interesting (to me) than any other social media platform I can think of.

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Christmas really has done laps around the simulation/simulacra deal. Christmas isn't really about anything anymore. We have a Christmas themed Christmas in the same sense that studio pornography has sex themed sex. To say nothing or Christmas porn. Wonderful little knot of recursive voyeurism isn't it? Having Christmas sex themed Christmas sex.