Yu na (2017) by masha bogatova
Lint Roller? I Barely Know Her
wallacepolsom
occasionally subtle
Not today Justin

Janaina Medeiros
Misplaced Lens Cap

if i look back, i am lost
2025 on Tumblr: Trends That Defined the Year
noise dept.

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JBB: An Artblog!
art blog(derogatory)

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Aqua Utopia|海の底で記憶を紡ぐ
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@vivimvs
Yu na (2017) by masha bogatova

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you've heard of death of the author, now get ready for death of the audience: where instead of basing your reaction on a thousand uninformed opinions online, you actually read the text and engage with it
girl help there's people on this post who can't actually read my text
#the way that this is literally how death of the author works lmao
OKAY i'm fucking sick of people who can't read leaving these comments so here we go, we're gonna read Barthes together. hold my hand
Barthes' 1967 essay The Death of the Author (La mort de l'auteur) loosely takes the form of a literary history: he relates the changing attitudes of criticism towards the text and of literature towards criticism down to his day. He is interested in what writing is, and thus, what a book is: "a tissue of signs," which the critic claims to be able to interpret. But Barthes argues that once the necessity of connecting the author to the book is removed, the critic has no work to do: "Once the Author is gone, the claim to 'decipher' a text becomes quite useless." This is a rejection of both the supremacy of the critic and the intentions of the author.
When Barthes says "critic," he doesn't mean "anyone who has encountered the text," however. He differentiates the critic from the "reader":
the reader is the very space in which are inscribed, without any being lost, all the citations a writing consists of; the unity of a text is not in its origin, it is in its destination.
For Barthes, the reader's understanding of the text is supreme because it weaves together the "tissue of signs" into a coherent whole, producing a singular interpretation. He concludes by advocating for the overthrow of the critical establishment in favor of individual interpretation: "to restore to writing its future, we must reverse its myth: the birth of the reader must be ransomed by the death of the Author." In other words, in order for us to allow readers their own experiences, we must stop prioritizing the critic -- not the reader, but the critic -- and instead allow the reader to engage the text.
We're gonna un-Barthes Barthes now, okay? Stay with me. Here's the context:
Barthes was responding to a stifling and rigid environment in which criticism was the sole province of the academic expert. As part of the deconstructionist wave, he wanted to upend the traditional hierarchy that dictated how a text should be understood and what it was for, instead prioritizing language and reaction.
He got his wish. We live in a world of reaction.
Gone is the tyranny of the formal critic; gone even is the formal literary education of the reader. Our "tissue of signs" is no longer the text, but an infinite mirrored hall of reactions to reactions to reactions in which the text diminishes into a vanishing point, as the Author once did on Barthes' literary stage.
We do not need to resist the tyranny of the academy. The academy has been destroyed. Adjunctification, the widespread corporatization of universities, the resulting devaluation of college degrees, the devastation of humanities departments in widespread shutdowns, and now the revocation of billions of dollars of government funding have left the academy on its knees. Public trust in academic expertise has declined so sharply that people on this very hellsite will tell you that if someone has an advanced degree in a specific field, that actually makes them less trustworthy.
And in Ozymandias' place, we have the reader.
The reader consumes a variety of "content" and regurgitates its reactions in a variety of "posts." It transmutes text into more text which further readers wriggle eagerly through, refining what might have had meaning into a rarefied fertilizer of emotion and echo. What it leaves behind becomes the literary history for new strata of reactions, nostalgia, and imitation.
This is the audience: an ouroboros of interpretation, a rat king of readership. It has no end but itself. Ultimately, it needs no text to function. In this world, the truly radical act is to disentangle yourself from the other worms and rebuild the edifice of meaning. This may require you to do such tasks as "read the actual book," but because we no longer have the support -- however oppressive -- of literary criticism to inform our reading, we must also learn how to read, explore the historical context on our own, and recover both the facts and the symbols from which the text is woven.
That is what death of the audience means: not a rejection of the critic in favor of language, but a rejection of endless language and infinite readers in favor of fact, history, and skill.
It's a pun, by the way: "La mort de l'auteur," spoken aloud, recalls Le Morte d'Arthur, a 15th-century collection of Arthurian legend which marked the turn away from the Middle Ages and into a nostalgic Early Modern period which valorized them. The Author becomes the mythic King; as myth, he can be severed from fact and dismissed.
Fact has now itself become the myth.
Fucking read.
there is no single argument against including trans women in sports that doesn't boil down to "women aren't supposed to be good at this" and it's fucking insane to me that every woman in the world isn't up in arms about the way this issue has laid institutional misogyny bare to the bone
then again it has also revealed how many misogynistic cis women believe in their own exceptionalism to the point they feel they benefit from "women aren't supposed to be good at this" and will use every tool in the white imperial torture kit to ensure the acceptable categories of 'woman' and 'good' remain shallow and narrow enough for them to force themselves into a position of supremacy.
I have to reblog this every time because frankly this is absolutely genius prose

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anyway I love things like having independence, being intelligent, taking pride in my skills, not feigning incompetence, referring to myself as a woman instead of a girl, aging unapologetically, having pores, stretch marks, grey hairs, wrinkles and body fat, listening to my body's needs, eating as much as I need to satisfy my hunger, being bare-faced, wearing comfortable clothes, etcetera
I think it's actually essential to children's moral development to be exposed to short stories moderately beyond their reading level where a bunch of fucked up shit happens and then instead of offering a moral lesson or any sort of emotional or narrative resolution it just ends.
Good Bones, by Maggie Smith / Witch Hat Atelier, by Kamome Shirahama
on shame and yearning (pt.4)
The Grad Student Shuffle- Christ Fleming
when you see something that needs to be done and you think “someone should take care of that” just remember that you’re someone
If we can’t live without dishwashers
how would we live without cops?

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firm believer you can't be a ''good person''. too much niuance to life.
you can be good (adjective) but you cannot be good (identity)
if you think you are good (identity) you are more likely to cause harm as you don't consider yourself to be capable of it
Fog on the Pacific Below Cape Perpetua
everyone talks about how strong and great Aragorn was for refusing the ring when Frodo offered it to him as if this man has not spent his entire life dodging leadership and responsibilities like bullets in the matrix 🙄
for the anniversary of my death by W.S. Merwin

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in this fantasy world, theres no homophobia or sexism! but the governments are still patriarchal monarchies and everyone still adheres to the standard nuclear family, two things that have absolutely no relation to homophobia and sexism whatsoever
The Color Game. “Humans can’t reliably recall colors. This is a simple game to see how good (or bad) you are at it. We’ll show you five colors, then you’ll try and recreate them.” I scored 39/50 but got a perfect score on one color.