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fun documentary on fetish, including freegan fruitarians!
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SATAN’S POWER - A DEVIANT PSYCHOTHERAPY CULT by William Sims Bainbridge. University of California Press, 1992
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stammsternenstaub:
coolhandofagirl:
At the presentation each August, the Gods with the rockets in their hands have been joined by Goddesses and those of other ethnicities and genders and sexual orientations, many of whom want to tell stories about more than just spaceships.
Early this year, that shift sparked a backlash: a campaign, organized by three white, male authors, that resulted in a final Hugo ballot dominated by mostly white, mostly male nominees. While the leaders of this two-pronged movement—one faction calls itself the Sad Puppies and the other the Rabid Puppies—broke no rules, many sci-fi writers and fans felt they had played dirty, taking advantage of a loophole in an arcane voting process that enables a relatively few number of voters to dominate. Motivated by Puppygate, meanwhile, a record 11,300-plus people bought memberships to the 73rd World Science Fiction Convention in Spokane, Washington, where the Hugo winners were announced Saturday night.
With so much at stake, more people than ever forked over membership dues (at least $40) in time to be allowed to vote for the 2015 Hugos. Before voting closed on June 31, 5,950 people cast ballots (a whopping 65 percent more than had ever voted before).
Not a single Puppy-endorsed candidate took home a rocket. In the five categories that had only Puppy-provided nominees on the ballot—Best Novella, Best Short Story, Best Related Work, and Best Editor for Short and for Long Form—voters instead preferred “No Award.”
holy shit
I would really like to read this article but I can’t. If anyone has the time and inclination, would they mind summarising it for me? My inbox is open. Don’t feel obligated!
There’s a pic going round that says it all for me. It shows the diversity at the hugo awards.All the winners appear white. There’s one bloke with a stick. The only other diversity of colour is that a few of them had pink etc hair.
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Do you like space?
Well that pretty much answers that question! :)
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Irony tyrannizes us. The reason why our pervasive cultural irony is at once so powerful and so unsatisfying is that an ironist is impossible to pin down. All U.S. irony is based on an implicit “I don’t really mean what I’m saying.” So what does irony as a cultural norm mean to say? That it’s impossible to mean what you say?… Anyone with the heretical gall to ask an ironist what he actually stands for ends up looking like a hysteric or a prig. And herein lies the oppressiveness of institutionalized irony, the too-successful rebel: the ability to interdict the question without attending to its subject is, when exercised, tyranny. It is the new junta, using the very tool that exposed its enemy to insulate itself. This is why our educated teleholic friends’ use of weary cynicism to try to seem superior to TV is so pathetic. And this is why the fiction-writing citizen of our televised culture is in such very deep shit. What do you do when postmodern rebellion becomes a pop-cultural institution? For this of course is a second answer to why avant-garde irony and rebellion have become dilute and malign. They have been absorbed, emptied, and redeployed by the very televisual establishment they had originally set themselves to thwart. … It’s entirely possible that my plangent noises about the impossibility of rebelling against an aura that promotes and vitiates all rebellion say more about my residency inside that aura, my own lack of vision, than they do about any exhaustion of U.S. Fiction’s possibilities. The next real literary ‘rebels’ in this country might well emerge as some weird bunch of anti-rebels, born oglers who dare somehow to back away from ironic watching, who have the childish gall actually to endorse and instantiate single-entendre principles. Who treat of plain old untrendy human troubles and emotions in U.S. life with reverence and conviction. Who eschews self-consciousness and hip fatigue. These anti-rebels would be outdated, of course, before they even started. Dead on the page. Too sincere. Clearly repressed. Backward, quaint, naive, anachronistic. Maybe that’ll be the point. Maybe that’s why they will be the next real rebels. Real rebels, as far as I can see, risk disapproval. The old postmodern insurgents risked the gasp and squeal: shock, disgust, outrage, censorship, accusations of socialism, anarchism, nihilism. Today’s risks are different. The new rebels might be artists willing to risk the yawn, the rolled eyes, the cool smile, the nudged ribs, the parody of gifted ironists, the ‘Oh how banal.“ To risk accusations of sentimentality, melodrama. Or overcredulity. Of softness. Of willingness to be suckered by a world of lurkers and starers who fear gaze and ridicule above imprisonment without law.
David Foster Wallace, “E Unibus Pluram: Television and U.S. Fiction” (1990)
Most satire mocks not honest sentiment but pretension, people who think themselves above the common herd. Bursting the bubble of those with delusions of grandeur and revealling their cravenness is a rebellious act.
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OP has a point. Women CAN use he/his you know
Why would they want to…
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respect
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Undoubtedly Amy was powerful and headstrong. She was no shrinking violet, waiting to be told what to do by some man. Nonetheless, she, like all humans, deserved compassion and care and instead was taken advantage of and used by those she cared for. I believe, on one hand, that she could have been ok if she’d received the support she needed and was offered an escape from the ever-prying claws of the limelight. Then again, living as a woman in a man’s world isn’t easy for any of us. Perhaps what she really needed to survive was the option of life outside capitalism and patriarchy.
http://feministcurrent.com/12776/patriarchy-male-entitlement-capitalist-greed-killed-amy-winehouse-not-boozing/ (via feministcurrent)
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fra-tenaciouse xxxxxxxxxx
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