#1974 Notes

[agelessphotography]

Untitled, William Eggleston, 1974

[apple-orchards-writings]

Imagine receiving phone calls for self aware kylar, like someones phone is ringing you know it's not yours because you didn't hook your phone up, but after the 3rd no answer you pick you your phone and see it was the one ringing so you pick even though no one could be calling you, and it's just kylar (I not entirely sure what he would say probably something about missing you and wanting you to come back)

-notes anon

Do you think he'd have to use a text to speech voice at first, cause he was never programmed to make sound ? Like, he tries telling you he loves you and it's just the tiktok voiceover woman. Or we can be nice and say he's got a voice, we just can't hear it.

But he's ecstatic, he's figured out how to contact you in the real world, meaning he's one step closer to having you in his arms forever! When you pick up his calls, the first thing you can make out is some sort of glitched giggling and heavy breathing. You try to hang up and block the number, but your phone won't let you. Even turning it off won't work. Please let him hear your melodic voice, he's worked so hard for this, won't you indulge him darling ?

Spam calls all the time, you might have to get a secret second phone just to get anything done.

[chainsawhouse]

[crucifiedlovers]

"In its psychoanalytical meaning, fantasy refers to a thought process that is disconnected from reality; either it is a distorted memory from an actual event that took place, or it is that which hides from the self the reality of its instincts. In The Interpretation of Dreams, Sigmund Freud offers an additional perspective and views fantasy in terms that are very similar to dreams: that is, as compromise formations. In a compromise formation, the subject is unable to directly express her or his wishes—they must remain unconscious—and develops “symptoms” that at once express and deny the wish. The neurosis, fantasy, and dream then have the same function: they contain that which they deny and oppose; they thus address obliquely and indirectly a desire; they say without saying; they simultaneously contain and deny a certain reality. Dreams, fantasies, and neuroses address the world in this way because consciousness is obliged to repress content. Repressed content can refer to a taboo (sociologically: something deemed illegitimate) or to an object that elicits pain (e.g., desiring someone who regularly hurts and abandons us). Fantasy is not only a way to transcend the limitations of reality but also a way to incorporate that reality into the very gesture of fleeing from it (e.g., I may fantasize about hurting the person I actually desire). What is so powerful, then, about the Freudian notion is its view that fantasy both presents and distorts reality. Fantasy works around reality, incorporates it, defends the self against reality, and yet helps one live with it. In this view, a fantasy is a mediation between different systems, it includes that which it denies, and it offers a transition between different aspects of consciousness. We may surmise that this is also the reason that fantasy plays a crucial role in psychic and collective life, precisely because it addresses conflicts and deprivations and helps resolve them."

Eva Illouz, Hard-Core Romance

[cinnamonsikwate]

this interview of foudeqush saying ludwig göransson asked her to write con la brisa as if she was describing the sun to someone who had never seen it (time stamp 08:25 — sub "él me dijo escribe una canción como si tu quisieras explicarle a la alguien que nunca ha visto el sol como es el sol") gives so much more depth to the song than i initially thought (and i had a lot of thoughts lmao)!

when she sings:

it has the intensity of your eyes

it burns more than fire and it reflects on broken glass

and

amongst the shadows, my love, you are the brightest sparkle

how beautiful, how beautiful

that's why, my love, you remind me so much of it

the "it" she's talking about is the sun! the "you" are the talokanil!* and that just adds so much more gravity to k'uk'ulkan bringing the sun to his people in the depths of the ocean 🥹

despite the horrors he encountered on the surface the day he buried his mother, the beauty of the sun and the sky is still seared in his mind. it breaks his heart further that he cannot share it with his people, but he is a god, is he not? he will create a sun for his people, a promise, a hope, that one day they might — without fear — behold the sky with their own eyes, feel the breeze kiss their skin, no matter if he has to burn the world for it.

he pledges just as much in the following lines:

i will give my whole life

to get you out of the gloom

i will break with your penitence

in this world that's falling apart

give me a little bit more time

'cause my last breath i will give

to show you the entire sky

in the clouds, with you, i will [lie] down

and

i promise one day you will open your eyes

and you will appreciate the reddest tones the sky has to offer

and perhaps, to the talokanil, the afterlife is not the underworld — after all, are they not already living in it? — but in the sky, in the wind, in the breeze. their battle cry "líik'ik, talokan!" ("rise, talokan!") — when their whole lives have been spent in the depths, being pushed further and further into the dark and the cold by the threat of discovery by the surface world — thus ironically takes on a heavier meaning.

and we blend in with the breeze

and we sail with the wind

the mentions of the breeze and the wind in the song may also be in reference to zamá (aka tulúm, the ancestral lands of fen's people) being home to the temples of the god of the wind (el templo del dios del viento) and the diving god (el templo del dios descendente) — both associated with kukulcán.

bonus!

this excerpt from miller (1974) gives us a glimpse into the worldbuilding that went into talokan:

"the incredible green blue color of the sea off the east coast symbolized rebirth" — the talokanil "died" and were reborn, one physical manifestation of this being their blue skin.

"representations of umbilical cords attached to newborn figures are prominant (sic) at tulum"; "the diving god shown prominantly (sic) in the inner building if structure 25 is also shown associated with the cosmic umbilical cord" — the film does focus quite a bit on the umbilical cord during the birth of k'uk'ulkan (the diving god).

"round structures are associated with kukulcan" — and what else is round? 😉 (the sun. i mean the sun. also, as far as i can tell based on repeatedly pausing the con la brisa movie clip, talokan appears to be built like a hollow globe, with the talokan sun rising from the bottom center point.)

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* i'm using the official english translation for accessibility and bc the original spanish is more vague about the "it" and uses the singular "tú" for "you" and its associated conjugations ¯⁠\⁠_⁠(⁠ツ⁠)⁠_⁠/⁠¯

[mariocki]

Fat Man on a Beach (HTV, 1974)

"I'm going to read some more poems now. Erm. It may be that if you want to go and have a cup of tea, this would be a good time. I know that's what you masses are like. The mention of poetry and off you go."

[old-movies-stuff]

[neosatsuma]

Ppl sending u corrections for ur silly anime poll are so funny to me jgksjfnqn if they made a poll like this from their perspective they would also 100% miss animes that would be no brainers for someone else to add jfjkekgkdjxjjsjw

genuinely LMAO you can only have a dozen options also, so the ppl like "you forgot [16 shows from the early 80s]" like. actually I didn't 💀

[widowshill]

he's joining a rock band

[xmikey555]

earliest known usage of the word "boysmell" was in the year 1930

just something i discovered while i was screwing around with some friends and looking up all of the slang listings on wiktionary

(i encourage everyone else to do so, pretty much every homestuck pairing you can think of is listed as a word on there for some reason)

[agelessphotography]

Melody Drive-in, Springfield, Ohio, Steve Fitch, 1974

[schlock-luster-video]

On December 3, 2008 Zardoz was re-released in France

[gael-garcia]

They Do Not Exist (1974) by Mustafa Abu Ali (watch)

from PalestineCinema.com:

Salvaged from the ruins of Beirut after 1982, Abu Ali's early film has only recently been made available. Shooting under extraordinary conditions, the director, who worked with Godard on his Ici et Ailleurs (Here and Elsewhere), and founded the PLO's film division, covers conditions in Lebanon's refugee camps, the effects of Israeli bombardments, and the lives of guerrillas in training camps. They Do Not Exist is a stylistically unique work which demonstrates the intersection between the political and the aesthetic. Now recognised as a cornerstone in the development of Palestinian cinema, the film only received its Palestine premiere in 2003, when a group of Palestinian artists "smuggled" the director to a makeshift cinema in his hometown of Jerusalem (into which Israel bars his entry). Abu Ali, who saw his film for the first time in 20 years at this clandestine event noted: "We used to say 'Art for the Struggle', now it's 'Struggle for the Art'"

[psych-is-the-name]

ok so the other age-range poll was poorly set up by having every year in the 90's be its own individual option, and then grouping together all the decades around it

sorry if you were born before 1960 but im only allowed 12 options. feel free to comment your birth year in the replies or notes.

[theodoreangelos]

Московские записки: А это 1974 год. Фотограф Валерий Усманов запечатлел автобусную остановку на Университетском проспекте. Moscow notes: This is 1974. Photographer Valery Usmanov captured a bus stop on Universitetsky Avenue. Notizen aus Moskau: Wir schreiben das Jahr 1974. Der Fotograf Valerij Usmanov hat eine Bushaltestelle am Universitäts-Prospekt fotografiert. Notes de Moscou : Nous sommes en 1974. Le photographe Valery Usmanov a photographié un arrêt de bus sur l'avenue Universitetsky. Московские записки

Waiting for the bus. Photo by Valery Usmanov (1974).

[tanadrin]

medieval monks and accountants start using Italian millione ("one thousand" + augmentative suffix) to mean 10^6 by the 1200s; this spreads to other languages

Jehan Adam coins bymillion and trimillion to mean 10^12 and 10^18 in 1475

Nicolas Chuquet extends this scale up to nonyllion (10^54), with every step being another six orders of magnitude (million, byllion, tryllion, quadrillion, quyllion, sixlion, septyllion, ottylion, nonyllion) in 1484. Note that in this period, it was common to put the digit separator every six digits instead of every three.

Guillaume Budé refers to 10^9 as milliart in 1516, in a Latin text

But in 1549, Jacques Pelletier du Mans uses milliard to mean 10^12, citing Budé as a source

In the 1600s, people start putting digit separators every three digits. But some scientists and mathematicians define the numerical scale according to how digits are grouped, rather than the actual order of magnitude: thus, one billion becomes 10^9, one trillion becomes 10^12, etc, creating the short scale.

"Milliard" is eventually added to the long scale, meaning 10^9 (in keeping with Budé's usage); the first published example is from 1676

By 1729, the short-scale meaning of "billion" (10^9) has already crept into American usage

This is in keeping with French usage at the time: in 1762, the Académie Française dictionary cites billion as meaning 10^9.

By the early 19th century, France has almost completely converted to the short scale, and U.S. usage follows France; the long scale is referred to in some sources as "obsolete." But Britain is still using the long scale (and I assume Germany and most other European countries)

Over the course of the 20th century, the long scale begins to become more influential in France, presumably due to the influence of continental usage; while the short scale becomes more influential in Britain, presumably due to the influence of American English. Notably the SI system very specifically uses unique prefixes that are the same across languages, to prevent confusion!

In 1961, the French Government confirms that they're going to officially use the long scale from now on; in 1974, Britain officially switches over to the short scale, and many other English-speaking countries follow.

In 1975, the terms "short scale" and "long scale" are actually coined, by mathematician Geneviève Guitel.

One reason large number names could be so unstable for so long is, of course, that outside specialized usage they are rare, and were even more rare before modern science and large modern monetary amounts became commonplace points of discussion. Wikipedia says "milliard" wasn't common in German until 1923, when bank notes had to be overstamped during Weimar-era hyperinflation.

As it currently stands, English, Indonesian, Hebrew, Russian, Turkish, and most varieties of Arabic use the short scale; continental Europe and most varieties of Spanish outside Europe use the long scale. A few countries use both, usually in different languages, like South African English (short scale) and Afrikaans (long scale) or Canadian English (short scale) and Canadian French (long scale) . Puerto Rico uses the short scale in economic and technical usage, but the long scale in publications aimed at export.

Notably some languages use neither, having their own names for large numbers--South Asian languages have the Indian numbering system, and Bhutan, Cambodia, and various East Asian languages also have their own numbering systems. Greek, exceptionally, uses a native calque of the short scale rather than a borrowing.