#Eunsong Kim

[emberfrostlovesloki]

Gideon + Poetry

All photo credits are at the end

"Romance #1" by Eunsong Kim

like some 14 year old girl waiting for her crush to glance back i

keep waiting for capitalism to end

but it won't end

my adult life lover states

on what will end:

Libraries Birds Retirement Recess Sprinting during recess Hispid Hares Starfish shaped like stars inconvenience Wrinkles Sunken cheeks Living Corals Protests Anti-Nuclear Proliferation Non-Aggression Pacts Dragonflies Mangosteen DMZs Trade Embargos Leopards, all kinds Sawfins Rewilding Infiltration Plot/Dreams Oak, Trees. Partulina Varisbilis Partulina Slendida (-------) Violence Prevention Programs News. News:

Might a few jellyfish survive—

counting till revelations becomes a part of—

I feel like Gideon isn't talked about very much, and I get it. He's in the show far less than Rossi, and his ending is unsatisfying. But in many ways, he built the team. He's Spencer's father figure and Aaron's friend. He sticks up for Elle, Emily, and Penelope and keeps Morgan in balance. I think he is sad for much of the show and is good at hiding it. I think this poem represents that dynamic well. He's waiting for the world to be good. He's waiting for something that will never come, and in the end, that's why he has to leave.

But I just want to remind you all there is good in the world. There is hope out there. You matter and if you feel sad or alone I am always here to talk. Please be kind to yourselves today. I hope the start to your weeks is amazing! Love Levi - ❤️

Text Break Banner by @cafekitsune

Photo credits

Top: Left (@h-f-k) Center (@ellie-makes-mbs) Right (@peacefulandcozy)

Middle: Left (@himekokosu) Center (@criminalmindsverse) Right (@grapeperfume)

Bottom: Left (@triflingthing) Center (@arnab-comel) Right (@flowersforfrancis)

Tag list: @geminitapestry

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[gregdotorg]

Henry Clay Frick's art collecting really only picked up after he broke the unions in the 1892 Homestead Strike, one of the most violent attacks on labor in US history. And now his block-long house on Fifth Avenue is a hallowed museum.

Eunsong Kim's new book, The Politics of Collecting: Race and the Aestheticization of Property, sounds like an absolute banger. She discussed some parts of her research into violence and inequities embedded in the philanthropy-driven systems that preserve and value culture, in an interview on the New Books Network podcast.

[jacobwren]

"Because of TZ, I want to write a treatise against the ways in which utilitarian thinking has mutated our activism, our education, our action, our lives. I want to write declarations that defend trying, and trying again, because why not. This would be a manifesto that proclaims empowerment is not the state of feeling good in this reality, but a practice of life unsurrendered to living." - Eunsong Kim, “What I Did Not Do, Will Change Me”

[endlessandrea]

From Have You Been Feeling Blue These Days? Poems by Kim Eon Hee, translated by Eunsong Kim & Sung-Gi Kim

Have you been feeling blue these days? Are you struggling because of money? Did you watch the viral videos? Is this your castle in the sky? Do your enemies appear as your parents? Are you afraid of becoming an arsonist? Do you want to suffer more from your sense of guilt? Are you anxious you might step on a dead person’s foot, somewhere? Even though you’re alone are you really not alone? Do even dogs or cows belittle you? Is your eye twitching and pus pouring Out of your gums? Is smoke coming out from your asshole or ear hole? Do your words come out like mushed rotten strawberries? Are both your hands fool’s gold, one holding amnesia and the other delirium? Are you boundless and trapped? Suffocating and In pitch-black? You’ll likely go crazy soon But like, only like Are you like that?

Then please do click Here

[thebeatifulones]

On Endings & Longing

You spend too much time watching detective television. You like procedurals because it feels like ideal work: there is movement and there is predictability. The formulas go as such: One, the detective is a smart, elusively attractive thirty-something year old with attachment issues. Two, the serial killer and/or one-off criminal becomes their fixation. Three, evidence is gathered, presented, refuted, and reorganized so that four, the criminal can be caught, incarcerated. You understand after some time that the only way the episode/program will conclude is if the criminal is captured. Thus, a narrative structure is set up, and with it, a desire.

You begin to tell people about your theory: there are too many television shows and movies where the criminal is chased, and incarceration remains the conclusion. You tell people about the anxiety we might feel when the chase becomes extended, and thus the relief the conclusion (incarceration) brings. You emphasize that abolition will remain out of reach if it remains out of narrative reach. How to de-link capture from the end? How to want things to remain, extended? 

You slowly understand the purpose of the conclusion–incarceration couplet. It stems from the widespread belief that criminals should be sent away; not seen or heard from. It stems from an understanding that a forced conclusion is the ultimate punishment. Their lives become fictionally and otherwise foreclosed. There are many books and articles that have been written about the unjust logic of this rationale, the structural racism embedded into the sentencing system, racial capitalism, and the acceleration of the prison–industrial complex and they must be read. And you will cite from such books but this poem is not an evidentiary hearing, it is not attempting to convince those unconvinced neither is it speaking to those only convinced. Here, you want to ruminate on how to rupture a conclusion that has become so familial that it brings relief. How to rupture against relief. 

You spend the month of November downloading and deleting apps invented to obscure loneliness. You are in search of a transitional object but feel this is the most inappropriate profile description. No one, not even you, can handle this much brutality. You want to try pretending to be a human but can’t bear being around anymore fascists so you list your interests as: prison abolition, baking, and coral reefs. You spend the next month referring your matches to articles on the carceral state. In your teens you flirted by pretending to know less. In your thirties you send links to long peer-reviewed articles from legal journals. 

You go on two dates where you are told that your interest in politics is cute and you think, there’s a higher chance the serial killer is me. You wait an hour to tell them it’s patronizing, what they said an hour ago, is patronizing. They have already forgotten because who remembers the things they say and why do you bring things up so much after the fact. You are now exposed as the uncool subject who analyzes comments from an hour ago, who wants apologies from speakers who do not remember. If there was another way for you to be don’t they know you would try. 

You think this poem will not age well. What will be the point of these poems when there are 50 harvests left. And then again, when there are 30 harvests left will they continue to teach the drove of white men with bad diets, bad hair, bad gender and racial politics, who nevertheless were able to supposedly write universally about love and life. You think it’s true not much here is relatable. Your condition, as constructed in this moment in this body in this corner is so specific you hope it fails reconstruction. If there are no more yous to be understood. When there are no more yous desiring to be understood. 

You buy for a life you do not have. Silk blouses. Off the shoulder tops. Long floral dresses. It is cold where you are. You are without answers imploding into yourself and continue to search for the perfect white wrap dress. Pearl drop earrings. refresh. release. descend. 

You think about Jean Rhys’ Good Morning, Midnight and about the main character’s obsession with gloves and lipstick while grieving her abortion. Spoiler alert you don’t find out about that till later. You think about the emails you’ve received from stranger men about how difficult it would be to end capitalism. Men always think you don’t know and they gotta explain. It’s their love language really. Explaining shit to you treating you like the metaphorical mother they abandoned. 

You watch too many vlogs made by young women about their lives under late capitalism. They’re shot by their unthreatening boyfriends, who seem so loving and kind and helpful. There’s a dissertation in here you think, about the adaptive gaze. As in, we learn to see the way they see themselves and then the way their boyfriends do. Anyway their negotiations with consumer culture haunt you. There’s so much choice-based rhetoric and hackneyed self-help cutlets you feel hopeless. You think about We Charge Genocide about Tzara and Benjamin in Spain you think about all the women you love and have never seen. You think about all the calls made on behalf of nuance and free speech under fascism. Some people create death camps and others say let’s be kind to fascists we gotta understand their needs too it will take a while. Let’s convince fascists to step away from power. This way we can feel good about ourselves. 

This is the thing about narratives. Even when you believe they have nothing to do with you, they become part of you. Even if you have no belief in choice, capitalism, incarceration even if you have no reason to trust the police—if you subsume the arc of the story and you submit to its affective structure, and when and especially when it becomes routine, it becomes part of you? How much has it become part of you.  

You tell another friend about your thesis. You state, in detective melodrama, incarceration is the conclusion. There is no end to the episode, no conclusion to the season without it. Everyone agrees and continues to download the latest crime drama anyway. You begin to understand your anxieties are yours and never yours. What did Raymond Williams call it—the “structure of feeling.” The affective tenor being negotiated, all that is fought for in the gutter zone, in the subtext called our lives.   

You become interrupted by falling in love. In it they tell you some of their secrets and so want to break up with you but become afraid to do so. They think you will sell them out the way they do in spy films. You don’t know how to convince them that you’re not a spy you have no one to tell no one who cares all you want is to never hear from them again. All you want is to forget this episode. They insist you want revenge. What a nail this instance. This interpretation. You are without specificity or cruelties this is the revenge. You have never held specificity or cruelties this is the revenge.

You realize the louder you become about abolition and the end of capitalism the more people become interested in what you’re wearing, who you’re dating, what you look like. You look like the unsuspecting secretary of somebody’s someone and this is the profession you provide in public to strangers in lingerie stores and cafes. Your lover tells you this is the moralizing discourse many are trapped by. It’s the church model we are comfortable with and know. Example: the pastor has a critique of the world and understands salvation. The path to salvation includes no alcohol and not a lot of gay sex but maybe some lesbian sex and the pastor confesses he indulged in both before knowing god. But he doesn’t anymore. Because he doesn’t anymore he is the example. From his body comes the life model which is what one needs to be in order to have a critique. So critics of capitalism have to be like this confessional, moralizing pastor: supposedly removed from capitalism and into shaming others. Fuck that shit.

You know you’re infected and that’s your motivation for critique. You scream into your pillow that you don’t want this body and this life that’s your motivation for critique. You understand how some people understand this so much and so deeply they abandon this world altogether that’s your motivation for critique. You love and hate everything about yourself that’s your motivation for critique. You want to be a different person every day and you know you are not that’s your motivation for critique. Fuck liberal activism and their small compact business models for revolution that’s your motivation for critique.

You worry that everything you like about yourself is just what has been colonized so deeply that’s your motivation for critique. It’s inside every day and floods out the way poems do sometimes you would never pretend to know the better you would never pretend to be above it you would never prescribe anything to anyone who feels it too that’s your motivation for critique.

You are repressed and unrepressed which means you are living in late capitalism. You diagnose your insides according to the blog posts, podcasts, quizzes available online and they all confirm that you are like the rest of them which is a relief. No more special or difficult. And what you have can be cured: procedures, walks to go on, smoothies to make. They have thoughts on how to cure you and this is both liberating and crushing. People have spent lives studying compressions of you so you don’t have to and they have a plan. You are not alone this is not unique your repressed unrepression they have new compositions of you for you.

You watch one last cop comedy while making dinner. You cut sweet yams, sauté leafy greens and eat carrots from the counter. The film exists as broadcast radio. By the time the cooking is complete you return to the drama. You thought it was slapstick throughout but suddenly something shifts. The daughter of the head detective appears. You think, what dadaism is this when did she have a child. The daughter holds a sack lunch in her hands and tells her mother that in her next life she hopes to return as criminal. So that she could be remembered. Chased. Packed and unpacked, agonized and antagonized, by her. Complicated and central to her. You turn everything off. You don’t go back. This is the end, you tell yourself. 

You research the demise of debtors’ prisons because this is your life’s work: gathering evidence until the proof becomes accepted. You can already hear the criticism of skeptics. In their narrative discomfort they will argue debtors’ prisons are both unlike and like current prisons. It’s true, one could argue that debtors’ prisons never went away as the poor remain incarcerated but on the other hand, you repeat a version of them did go away and that feels like a sliver of something to be repeated. The emphasis, you capitulate, is that we invented something and then decided it did not need to exist. Is this not of interest to you? It’s made mortal and immortal. It can be made to decompose and vanish. Is this not of interest to you. 

You want to be held by someone who is ashamed to be with you. It’s been a long day and solace must be found so you go to the only place you know for instantaneous kindness and softness: the subreddit forum on shoplifting. A place full of girls letting you know if the cameras record, if they’re monitored, how advanced their zoom functions might be and the ratings for difficulty should you proceed. It’s so caring and full of warmth it’s what everyone thought the internet would be. A space for kindness amongst strangers working to slowly burn it all down

Eunsong Kim

[inpursuitofnunchi]

"Put some more flowers."

WHY BITCH? IS THIS YOUR GRAVE OR WHAT????

[thoughtportal]

In 1915, Marcel Duchamp bought a snow shovel at a hardware store in New York City. He inscribed his signature and the date on its wooden handle. On the evening this episode is released, the fourth version of this classic “ready-made,” which he titled “In Advance of the Broken Arm,” will be auctioned off at Christie’s during their 20th Century Evening Sale. It’s estimated to sell for $2 million to $3 million.

How could a simple snow shovel be valued at such a steep price? Was  Duchamp an unmatched genius, or a product of some of the biggest museums’ dirtiest little secrets: the results of pure, unadulterated capitalism?

Northeastern University professor, essayist, poet, and editor Eunsong Kim has illuminated the underlying influences of industrial capitalism and racism behind some of the most prized museum collections in her new book, The Politics of Collecting: Race and the Aestheticization of Property. She traces how Duchamp was brought to prominence through the patronage of collectors Louise and Walter Arensberg, heirs of a fortune wrought by the steel industry. Their family operated steel mills in the same setting as titans such as Andrew Carnegie and Henry Clay Frick, whose wealth also underlies their own valuable art collections.

And as it turns out, the “death of the author,” celebrated in conceptual art like that of Duchamp, is a convenient idea for the ultrawealthy. Devaluing labor pairs well with violent crackdowns on striking workers to deny them adequate pay. Or even Frederick Winslow Taylor’s development of “scientific management,” a system that is still cited today but is based on the idealization of the slave plantation.

How much of the Modernist archive was canonized by union-busting bosses? How much of conceptual art in the 20th and 21st centuries has been buoyed by the reverence of scientific management? In this episode, Editor-in-chief Hrag Vartanian sits down to talk with Kim about her new volume, which challenges generations of unquestioned received knowledge and advocates for a new vision of art beyond cultural institutions. In the process, they discuss the craft of writing, how a White artist was counted as a Black artist at the 2014 Whitney Biennial, and how Marcel Duchamp got away with selling bags of air. {listen}

[starfriday]

Amrita Vishwa Vidyapeetham and UNESCO Inaugurate South Asian Chapter of Women for Ethical AI at Amritapuri

NATIONAL, 22 January, 2025: In a major boost for women’s participation in technology, the South Asian Chapter of Women’s for Ethical AI (W4EAI) under UNESCO was officially inaugurated at Amritapuri. The announcement marked the conclusion of a four-day International Conference on Gender and Technology, jointly organized by UNESCO and Amrita Vishwa Vidyapeetham.

The formal declaration was made in the presence of UNESCO Representative Gabriela Ramos, Prof. Eunsong Kim, Chief of SHS Section, UNESCO South Asia Region, and Dr. Ramadevi Lanka. Led by Amrita Vishwa Vidyapeetham—which holds the UNESCO Chair for Gender Equality and Women’s Empowerment—the newly formed South Asian Chapter aims to enhance women’s influence in the digital technology sphere. The initiative is expected to significantly contribute to AI development by bringing together women from industries, governments, and civil society across South Asia.

Dr. Justin Paul graced the closing ceremony as the distinguished guest. Other key attendees included Swami Amritaswarupananda Puri, President of Amrita Vishwa Vidyapeetham, Dr. Maneesha V. Ramesh, University Provost, Dr. Bhavani Rao, Dean of the School of Social and Behavioural Sciences, Dr. Krishnashree Achuthan, Dean of PG Programs at the School of Engineering, Gayathri Manikutty, Dr. Unnikrishnan Radhakrishnan, Dr. B.S. Manoj, Chair of the IEEE Kerala Chapter, and Rachael Akohonae.

The conference was backed by the IEEE Society on Social Implications of Technology (SSIT) and the SSIT Kerala Chapter as primary sponsors. The four-day event featured around 50 experts who led discussions, lectures, a mega hackathon, classes, and exhibitions, creating a vibrant platform for innovation at Amritapu

[stuartelden]

Eunsong Kim, The Politics of Collecting: Race and the Aestheticization of Property - Duke University Press, August 2024 (open access introduction)

Eunsong Kim, The Politics of Collecting: Race and the Aestheticization of Property – Duke University Press, August 2024 Open access introduction at the link above In The Politics of Collecting, Eunsong Kim traces how racial capitalism and colonialism situated the rise of US museum collections and conceptual art forms. Investigating historical legal and property claims, she argues that regimes…

[affinityhq]

the following characters have been accepted. please follow the affinity admin account within 24 hours .ᐟ

✦ kim gaeun ; who studies at the college of informatics, working as a store assistant @ ari café. ( purple kiss: jang eunsong (dosie) )

✦ fukuoka miyu ; who studies at the school of art & design, working as a store assistant @ kakao friends. ( billlie: fukutomi tsuki )

✦ yoon saerom ; who studies at the school of media & communication, working as a barista @ ari café. ( itzy: shin yuna )

APPLY TODAY — GUIDELINES — MASTERLIST — APPLICATION

[dreamingsushi]

Blue Birthday - Episode 12

Someday, I will finish this drama, I promise. It will happen, hopefully soon. I’m really bad at being consistent to this blog, somehow I just don’t watch as many drama as I used to in the past. Life got busy, but I want to get back at it whenever I can and hopefully these recaps are of any use to someone. Well, at least they’re fun for me. I have no idea where we were at last time, so let’s just jump right in and see if the sister really is the culprit and if we’ll save the boy. Once again, I forgot every character’s name :D

Oh yeeeah, I remember now. They found the camera, which was taken by one of the gang and it shows Sujin (I believe Harin’s friend) getting in after the other boy. But it’s only her back, so in my opinion, it could totally be someone else wearing her clothe and copying her hairstyle. MISUNDERSTANDING INCOMING! That’s for sure! More drama, we happier. I was thinking they would be a little more subtle about it though, but they actually all gang up against her because the person in the video is wearing the same hairpin she wears everyday, except for Euiyoung when she can’t explain where she was very clearly. She leaves. I mean, I would be pretty hurt myself if my friends accused me of being a murderer.

Oh wow, poor her can’t get a break. As they leave school, the police comes to take Sujin away. Screen of big sister seeing everything. It’s going to run in circles from now on... What a shame, it was interesting. So she left during lunch because she needed to go to the bathroom and she was taken home by a delivery person. She can’t however remember the name of the restaurant. So of course, to help and meddle even more, Harin, feeling bad for accusing her friend, decides to look for that delivery man. Even though the police should be the ones doing it. And she’s supposed to be older than the others since she came from the future...

A call from Euiyoung makes her kind of guessed what happened. The person came from the future, took Sujin’s stuff to make it look like it was her, lured Kim Sinwoo to the art room, uploaded the video and put it back while hiding Eunsong’s watch close to it so he would find the camera. But then Eunsong wasn’t the one to find the camera, so it changed the plan. Hence Harin wants to go back to see the crime scene in case she can find something else. And then they notice the window. They go back to the video, zoom in and... OH NO! IT’S BIG SIS D: They can’t believe it at first, but it really is her. Sadness. Now can we know what her motives are? Thank you.

Obviously, they is a lot of crying, lots of sadness. Police arrest Hyemin (big sis), is it true or a foreshadowing, who knows for now.

There are still 4 episodes left. And I don’t know what to think anymore, how will it not run into circles? Maybe we get a POV from big sis as to why she wanted to kill her brother? I’m not so interested in what their lives become once Seojun is saved. At least, they’re short episodes, so it shouldn’t take too long, but still. We’ll see! See you next time!

[6peaches]

Romance #1 - Eunsong Kim

like some 14 year old girl waiting for her crush to glance back i

keep waiting for capitalism to end

but it won’t end

my adult life lover states

on what will end:

Libraries Birds Retirement Recess Sprinting during recess Hispid Hares Starfish shaped like stars Inconvenience Wrinkles Sunken cheeks Living corals Protests Anti-Nuclear Proliferation Non-Aggression Pacts Dragonflies Mangosteen DMZs Trade Embargos Leopards, all kinds Sawfins Rewilding Infiltration Plot/Dreams Oak, Trees. Partulina Variabilis Partulina Splendida (-------) Violence Prevention Programs News. News:

Might a few jellyfish survive—

counting till revelations becomes part of—

- Romance #1 by Eunsong Kim

[lifeinpoetry]

Romance #1

like some 14 year old girl waiting for her crush to glance back i

keep waiting for capitalism to end

but it won’t end

my adult life lover states

on what will end:

Libraries Birds Retirement Recess Sprinting during recess Hispid Hares Starfish shaped like stars Inconvenience Wrinkles Sunken cheeks Living corals Protests Anti-Nuclear Proliferation Non-Aggression Pacts Dragonflies Mangosteen DMZs Trade Embargos Leopards, all kinds Sawfins Rewilding Infiltration Plot/Dreams Oak, Trees. Partulina Variabilis Partulina Splendida (-------) Violence Prevention Programs News. News: Might a few jellyfish survive—

counting till revelations becomes part of—

—  Eunsong Kim, published in Poem-a-Day

[literaturha]

For #quaranzinefest, we posted "A Gleaner's Frame," an essay on the role, limitations, and possibilities of art and literature by Nicholas Grosso, featuring Hannah Arendt, Harold Bloom, Roberto Bolaño, Richard Brody, Albert Camus, Julio Cortázar, Mark Fisher, Jean-Luc Godard, Carl Wendell Hines Jr., Eunsong Kim, Maya Mackrandilal, Marcel Proust, and Paolo Virno.

Read the essay here: https://www.literaturha.us/news-list/2020/a-gleaners-frame

Or view the visual essay on Instagram: https://www.instagram.com/p/B-kbIENh2jy/

[megawhitething]

like some 14 year old girl waiting for her crush to glance back i keep waiting for capitalism to end but it won’t end my adult life lover states on what will end: Libraries Birds Retirement Recess Sprinting during recess Hispid Hares Starfish shaped like stars Inconvenience Wrinkles Sunken cheeks Living corals Protests Anti-Nuclear Proliferation Non-Aggression Pacts Dragonflies Mangosteen DMZs Trade Embargos Leopards, all kinds Sawfins Rewilding Infiltration Plot/Dreams Oak, Trees. Partulina Variabilis Partulina Splendida (-------) Violence Prevention Programs News. News: Might a few jellyfish survive— counting till revelations becomes part of—

Romance #1, Eunsong Kim

[rubymolotov]

The experts agree that language is power. But how many brilliant books have I read that fully delineate the violent degradation that is capitalism, colonialism, that convincingly examine the histories of unfreedom and incarceration? How many perfect lectures have I attended that reiterate this truth? And yet not a single jail collapsed. This is an earnest question. I am asking in earnest. Do their google docs work but not our books?

Letters from Inside Hong Kong by Eunsong Kim