#a pictorial representation for you

[axolotl-of-the-century]

[newyorkthegoldenage]

C.V. Farrow drew this beautiful map of what he called "The Wondrous Isle of Manhattan" in 1926. You MUST enlarge it. It wasn't intended to be used for navigation, but rather as a pictorial representation of the island's highlights. Below are a few details that show you what the full-size map is really like. You should enlarge them, too!

Source: Gothamist

[polish-art-tournament]

paintings* round 1 poll 82

about the artist: Since 2005 he is publisher and editor-in-chief of DIK Fagazine, and has founded the Queer Archives Institute in 2015

Maria Konopnicka (from the series "Poczet"), 2017:

propaganda: I will just quote some text from the curatorial text by Fanny Hauser and Viktor Neumann accompanying the "Poczet" exhibition at Kunst(Zeug)Haus, Rapperswil, Switzerland (23 August - 1 November 2020), because they talk about it better than I could: "The Polish word “poczet” once referred to the smallest unit of the army of Polish-Lithuanian Commonwealth (1569-1795), and later came to describe a group of people of common descent or performing a specific role. Most importantly, the word relates to a series of portraits of Polish kings and queens (since 966 to 1795), arranged chronologically and conceived as pictorial representation of Polish history [...]. [...] The artist’s employment of portraiture, traditionally considered a bourgeois genre, constitutes a crucial part of his practice as a means to paraphrase and inquire the aesthetics of a variety of historic artistic movements and practices. Adding another perspective to the common visual codes and historical narratives, this contextual shift becomes a subversive strategy to challenge dominant modes of representation and commemorates those who have been subjected to the patrilinear logic of history. Radziszewski’s "Poczet" is a bold retake on the idea of the formation of national identity as demonstrated by pictures that testify to (or rather construct) the continuity of royal power, exercised by heterosexual, cisgendered males and perpetuated through royal marriages. Forming a gallery of twenty-two ancestral portraits of non-heteronormative Polish figures of the past millennium from fields including politics, science, literature and art, "Poczet" deliberately reaffirms the protagonists’ expression of queerness that has been suppressed or erased from their historiography to a large extent."

The series "Ali", 2015-2017:

propaganda: Taken inspiration from Picasso in terms of style (specially like the nod to Guernica), to pay homage to the real life figure Agbola O’Brown (pseudonym “Ali”), a Nigerian-born jazz musician and the sole black combatant of the Warsaw Uprising, right wing assholes like to definine who and who not belongs, so this work really speaks to me as a counter work.

[theiasthesis]

I just recently started to get into Sigil Magick, and of course, I gotta experiment to see how I can help others with my new learnt skills. So for a short period of time, I'll be doing free sigil magick for people, to experiment!!

What is a sigil:

"A sigil is a type of symbol used in magic. The term usually refers to a pictorial signature of a spirit. In modern usage, especially in the context of chaos magic, a sigil refers to a symbolic representation of the practitioner's desired outcome. "

Basically, you can create a symbol to achieve your desired results!! Like money, beauty, a special person, etc etc

You can head on over to my asks and fill out this form!! Keep the desire simple and easy for me to understand, not a whole paragraph long or a backstory, but also specific.

Name:

Desire:

That's it lol

Example form:

Name: Willow

Desire: Earn £1K this month through commissions

I'll respond with an image of your sigil.

Your sigil will already be charged by yours truly, depending on the topic of your desire, it can be charged differently.

Ways a sigil can be charged:

Elements: Fire, water, earth, air

Meditation

Sex magick

Energy

Exercise

OK that's all bye, I hope people are interested runs away

[from-the-coffee-shop-in-edoras]

I see you very much as an expert on all things Rohirrim, so I bring to you this question, hoping I can pick your brain for info to use in my own fics (full disclosure). 😅

It seems to be a popular fanon that the Rohirrim/Riders of Rohan have tattoos, and that body art is a part of their culture. Do you have any thoughts or personal HCs about this that you're willing to share?

Thank you in advance! I appreciate you and your blog so much (if you didn't already know that).

Oh my goodness!!! I am so very honored to be thought of as a person who is knowledgeable about my beloved Rohirrim, and I hope very much that I can live up to that reputation. Thank you!!!

I’m not aware of any real textual evidence for body art among the Rohirrim, and the historical record in the medieval Anglo Saxon and Norse societies that Tolkien used as a reference for them seems to be disputed. But I absolutely understand and agree with the conventional wisdom that tattoos are a thing in Rohan. It just fits well with a warrior culture that has a wilder, dare-I-say more pagan aesthetic as compared to the smooth solemnity of Gondor or the formal elegance of the elves. And since they’re a culture that doesn’t document things in written words, pictorial representations such as tattoos and body art would be one way to fill that gap (along with their songs and oral traditions).

In my mind, tattoos in Rohan are common but basic—they’ve really only got the technology for the “stick and poke” method so the designs are kept simple because anything too elaborate is difficult to pull off well. They’re mostly in black line (using soot) but some have color using powder made from grinding up certain dried roots and plants.

Each village/community has its own distinctive tattoo motif that is worn by all of that community’s members. So you can tell just by looking at someone whether they’re from Upbourn (a fish because it’s a river town) or Dunharrow (mountain peaks since they’re in the White Mountains) or Everholt (a boar in honor of the wild boar that live in this part of the Firien Wood), etc. And soldiers also tend to share tattoo designs specific to their éored—getting your éored’s mark is a formal rite of passage for the younger members when they first get assigned to their company. These shared tattoo designs are important both for group cohesion and as a means of identifying fallen Rohirrim even if the deceased isn’t known to whoever finds the body.

Beyond these ritualized and practical functions, I do also like to think that there are some purely decorative tattoos among them as a means of personal expression and/or to help cover small scars that so many Rohirrim have from battle, riding accidents or other mishaps. Obviously horse-based designs would be very popular, as well as other flora and fauna of Rohan. But they’re a very sentimental people and so I think little emotional signifiers would also be very common (again, especially because they generally don’t have a means to pay tribute to beloved people/things in written form, this sort of symbol would serve the purpose of making some kind of record of those tributes).

In terms of specific people in my head canon: Éomer has a little simbelmynë blossom for each of the major figures in his life that he’s lost (forearm). Háma had a sun to remind him of his wife, who brought warmth and light to his life (shoulder). Théodred had stars in the shape of a particular constellation that is visible every year on his mother’s birthday (chest). Éowyn has a representation of her father’s sword (left wrist) and gets a quill (right wrist) to represent Faramir after they get married. (Faramir got a little running horse in her honor on his first trip to Rohan. He was glad he did it, but he never wants to sit through that again.)

Merry brought tattooing back to the Shire when he showed up with a tobacco pipe on his bicep (both for its association with Buckland and in tribute to Théoden, whose last words to Merry were about smoking together someday when peace was restored). Unsurprisingly, tattoos did not catch on with the other hobbits, but Merry remains very proud of it.

Anywayyyy…I hope that was in any way helpful! Thanks so much for asking!! I remain a huge fan and am so grateful to you for helping convince me to put some of my thoughts and stories out there vs keeping them all in the confines of my own Google drive!

[cosmic-vacuum]

Planner/Recorder layout

not very necessary to make but will be efficient, adjust if needed

Can be done on applications like google docs though I'd advise reducing screen-time before it permanently damages our eyes. [reason I suggest this "planner" method: keeps the work over the time arranged systematically and every time we open the planner, what we're doing and the results will lay documented in front]

(There isn't a need of any "material resource" which some of us might assume we "don't have and so can't do it", I know because I've been there. If we desire, we can make even a single, daily-life resource to be tool for victory. Don't let anything of the sort stop you, make use of what you have. It's you who has to grow and not the pile of tools.)

pictorial representation at the end

VERY IMPORTANT: It's important one understands that the goal we're chasing is not to make our work "aesthetically beautiful", it is to help us record the practical efforts we put not the superficial ones.

ONE: Pick out a notebook or a diary of any type whether it be fresh or used (let's save resource) , which shall pose as a planner for the next two months. Again, the aim is not pseudo-gratification from beautifying this planner.

TWO: On the first page (of the notebook or from wherever you begin the record), draw a small-sized calendar for the months coming under this two month journey.

THREE: Break down your goal into months, then into weeks. Divide the two months into different phases, each represented by a week.

My planner has nine weeks over two months. You all can check out on your own planner 👍

FOUR: The page right after the calendar (leave the remaining space empty for now) should now contain columns with each week and the fragmented goals you must fulfill written under that along with the dates falling under the week.

FIVE: Enclose the portion with all dates falling under the week in a box. People preparing for entrances or even just studying can highlight one specific date falling on the same weekday every week as "full-week-revision-day".

SIX: On the page right after the one where all the weeks and their goals have been penned down, make a time table for your day.

Important: Do NOT do things of the sort where we're going into details like "6:00am to 6:05am - brushing teeth".

There is a way to make time tables: it's not an absolute replica of how your day is supposed to go like ideally but is meant to provide structure to the day.

[I'll put up a separate post on how to get that done properly because it's going to take up a portion of this post otherwise]

SEVEN: Under the time table, draw a line and put down the heading "WEEKLY PROGRESS" and leave the area blank for now.

EIGHT: The page starts with the heading "Week 1". Right underneath, put down all dates lying under the week and the work distribution for each one of the days.

Remember: We are all human beings not AI bots. These daily goals MUST be practically achievable. It can't be, say— I'm going to finish a whole damn textbook or even chapter from scratch in a day, or I'm going to jump directly to a hundred pushups from zero.

Be real to yourself and the world. Understand your capabilities and aid growth of self not diappointment.

NINE: One all daily goals of the week have been listed too, draw a centrally placed small line for a mild differentiation and then put down the date of the first day.

Whatever you will be planning to do on one day must be noted and planned before you sleep the previous day— a productive day begins a night before.

TEN: Record your mind in this space now. People who push their limits and work hard to attain certain goals also go through a "mental metamorphosis" and become stronger identities.

There will be several revelations along this journey so my personal opinion to it is whenever some heavy words— be it sad, hurtful, motivating, elating, or even those we feel about the world through the journey —happen to emerge in your mind, pen them down.

(Don't worry about anyone reading all this. As long as there is dedication in one's mind and results at the end, no one truly can question.)

I've just quickly drawn it over in Microsoft Paint but this is an overview in case something isn't clear above—

(in case you can, save the images and put white over all text then get it printed and use that instead of bothering to write it all down)

[fashionbooksmilano]

Philip Taaffe

John Yau

Lund Humphries, London 2018, 144 pages,  100 colour illustrations, ISBN 978-1-848 22-263-2, Contemporary Painters Series

euro 45,00

email if you want to buy booksinprogressmilano@yahoo.it

email if you want to buy booksinprogressmilano@yahoo.it

This book presents a comprehensive view of the work of American painter Philip Taaffe (b.1955), who has expanded the parameters of painting through his use of silkscreen, linocuts, collage, stencils, gouache, chine-collé, marbling, acrylic, enamel, watercolour and gold leaf. Possessing many technical skills, Taaffe has moved decisively between unique pictorial inventions and appropriations, as well as overlaying divergent modes of representation, through cultural patterns found in ornament, and biomorphic abstraction.

John Yau's insightful text is the first to look at every part of Taaffe's artistic development, from the works he made at Cooper Union while a student of Hans Haacke, to the present. It pays special attention to Taaffe's acquisition of different techniques, as well as investigating his various sources of inspiration, which include the work of experimental filmmakers Stan Brakhage, Bruce Conner and Harry Smith, the Natural History illustrations of Ernst Haeckel, and the ancient art of paper marbling.

24/01/24

[miutonium]

Congrats on your final! I saw your Spongebob post and it's really cool how the artist uses him as his muse for his artwork! I wish I could see his artwork in real life. Anyway, what did you do for your final work? It's okay if you don't want to share it 🙂

OKAY I LEFT THIS ASK BREWING MY DRAFT FOR SO LONG WAGSHSGSJSHA

BUT AAAA THANK U FOR THE WISHES! And yesss I think it's really neat too he used Spongebob as an inspiration since I dont see enough people using cartoon characters as an academia subject.

Anywayyyyy yeah of course and I'm glad I got this ask! I've been waiting for people to ask me about this ngl likeeeee I've been wanting to have people ask me about my fyp 😭😭😭 My FYP is about secondhand smoking. It all started when I see someone bought a box of cigs in front of me at the counter and the cashier asked "Which picture do you want?" And they said "The baby." Idk if other country used pictorial warnings on cigarette box but the ones in my country used it and plastered smoking related illness (heavy NSFW for the images btw so I won't attach it here but honestly I think people are unfazed by it due to how outdated it is ) and it suppose to serve as a deterrence for people to smoke but I find it really ironic that people dont care and even asked which picture they preferred (btw most smokers preferred the miscarried baby/fetus picture) so that experience is pretty much the catalyst for my project.

So anyway, for my final, I build an empty room filled with cigarette smokes. My artwork is a participatory art where I involved audience to interact with it. It's basically an empty 4x8 room with CCTV inside and windows left and right so people from outside can see the audience's reaction. Participant will be given a headphone where there'll be a narrator feedinng then instructions such as to calm down and listen to nature's sounds and there's going to be a line that says cigarette smoke calms people down. The room is locked from outside so they cannot go out unless they press the alarm to their right. The 'challenge' is to see how long anyone can stand sitting in a smoke filled room.

This room serves as a physical representation for secondhand smoking. The purpose is to give people an idea of how it feels being a non-smoker exposed to smokes in public places such as cafés through their own POV. the outcome is not to have smokers quit, instead I just want people to understand how suffocating the smokes could be. Basing my artwork to Dissonance Theory, there's going to be 3 outcome:

- Smokers don't care and continue smoking

- Smokers quit smoking

- Smokers continue to smoke but will be mindful on where they smoke

Anyway here's a clip of my friend being hazed by smoke scent lmao

Also yes, people are exposed to actual cigarette smoke in this artwork. I SMOKED 20 CIGARETTES JUST TO COLLECT THE ASHES. I SMELL LIKE CIGARETTES THE WHOLE NIGHT. MY FINGERS SMELLS LIKE CIGARETTE FOR 2 DAYS. 0/10 NOT RECOMMENDED!

Anyway, TL;DR: Don't fucking build an installation art for your finals. Don't start smoking and don't smoke 20 cigs in one succession to collect ashes in front of a private building and be questioned for 10 minutes and almost have the cops called on you because the guards think some asian chick wants to commit arson.

[sydney-carton-of-sour-milk]

The Many Illustrators of A Tale of Two Cities 1: Hablot Knight Browne (a.k.a. Phiz)

...& a century-and-a-half-long game of telephone...

For the first post in a series on the book's illustrators, how could we start with any but the very first one?

"Although a number of critics have pilloried Hablot Knight Browne ('Phiz') for his supposed ineptitude in the program of illustration for A Tale of Two Cities, the fact that he so astutely realized and graphically elaborated so many significant elements of Dickens's letterpress is evidence that his pictorial series reflects an extremely careful reading of the printed text...The visual accompaniment [that these illustrations provided to the novel's monthly installments] was not mere ornamentation, but an aide-mémoire intended to facilitate the monthly reader's keeping track of a discontinuous narrative over a period of seven months."

from "Charles Dickens's "A Tale of Two Cities" (1859) Illustrated: A Critical Reassessment of Hablot Knight Browne's Accompanying Plates" by Philip V. Allingham from the 2003 volume of the journal Dickens Studies Annual.

Frontispiece Cover to the Monthly Installments Vignette

For some perspective on the significance of this first set of illustrations - published initially within monthly installments of the novel in 1859 (the text of which was collected from the original weekly installments published in All the Year Round, also in 1859) - that single quote comes from an entire article on these illustrations that is itself 49 pages long.

The Mail

As such, suffice it to say that this particular post will not be a thorough examination of the history, context, and impact of these illustrations (though, for those interested, be sure to click on any links you see throughout this post for all sorts of further reading!).

The Shoemaker

Instead, it will simply be a place to observe and appreciate these illustrations for what they are, in their "original" glory.

The Likeness

...I mean, just look at these things! (I'm of course gonna break formality after this one because it's my favorite😌)

Congratulations

In terms of the odyssey of finding the proper edition of these to post, "original" is the operative word.

The Stoppage at the Fountain

These are the oldest (except for some or possibly all of McLenan's...more on that many months from now though) and certainly the most iconic of the illustrations of this novel and thus have also had the most mileage, having been passed from edition to edition to edition countless times over the last 164 years.

Mr. Stryver at Tellson's Bank

That means - as the gif at the top of this post demonstrates - that these illustrations have slowly been "translated" over time into dozens of distinct images - in ways as innocuous as a change in a shadow and as striking as a change in a character's facial expression.

The Spy's Funeral

These translations have happened in all sorts of ways over the development of printing technology - blemishes, xeroxing errors, low-quality or blurry scans, too much ink being used in printing, image compression, sometimes even actual tracing of the original illustrations! - and as interesting as they can be on their own, for someone determined to find the most accurate representation of Phiz's phenomenal work, they can be...phrustrating.

The Wine-shop

In fact, as a sidebar, the illustrations that I used for the Best Character Showdown bracket turned out to themselves be traces and not originals! I am Ashamed and disheartened! You could even say that I am yet another...

The Accomplices

accomplice in the mistranslation of Phiz's work!

The Sea Rises

Rest assured, though - although they are not from the monthly installments themselves (which as far as my research has gone do not seem to be anywhere on the Internet), these particular scans are sourced directly from an online scan at the Open Library project (contained within the Internet Archive) of the first edition of A Tale of Two Cities, itself also published in 1859.

Before the Prison Tribunal

I do wish that they hadn't been cropped the way that they have and that they were available in a (much) higher resolution, but as of now, they're the best representation of Phiz's original work that we netizens have!

The Knock at the Door

A Tale of Two Cities was the final novel that Phiz illustrated for Dickens - and marked the complicated ending to a twenty-three-year (yes) professional partnership between the author and illustrator - but his work here will mark a beautiful beginning to the long archiving project we will experience together here on this blog.

The Double Recognition

Throughout the work of this project, there will be quite a variety of sources being used - from direct scans by me to the two-tone abstractions of PDFs clearly not created for the purpose of storing image information - depending on the needs and availability of each edition.

After the Sentence

All of it goes to show the importance of accuracy and attention to detail in archiving art, which is itself an art form to be appreciated.

Hope you've enjoyed!

& the standard endnote for all posts in this series:

This post is intended to act as the start of a forum on the given illustrator, so if anyone has anything to add - requests to see certain drawings in higher definition (since Tumblr compresses images), corrections to factual errors, sources for better-quality versions of the illustrations, further reading, fun facts, any questions, or just general commentary - simply do so on this post, be it in a comment/tags or the replies!💫

[mybeingthere]

Fujita Fumio 藤田不美夫 (b. 1933)

Born in Handa City, Aichi Prefecture, about 40km due south of Nagoya, no information is available on Fujita Fumio’s early life other than the artist’s own words from a 2005 interview in commenting on his nickname “Forest Painter“: “Since I was child, my places to play were forests... I want you to see the charm of those forests.”

Over the years, he became best known for his landscapes of forest scenes, often with other pictorial elements, but his work also encompass the purely abstract and combinations of abstract organic shapes with representational forms. Birds and horses frequently appear in his work. In 1987 he became a full-time lecturer at the Odakyu Culture School department of woodblock printing.

https://www.myjapanesehanga.com/.../fujita-fumio-b-1933.html

[henryrodhamkissinger]

SOME ADORNO SHIT 😱😱😱

Happy Feodor Friday!

Theodor W. Adorno, praise be his name, quoted in Bürger 🍔, Theory of the Avant-Garde:

Adorno here saying that surrealism is artificial. No dip sure lock! Nah it’s like this. Adorno is a vehement evangelist for the avant garde in the arts; but for Adorno, the avant garde still has to express what is true: in fact, this is why Adorno advocates for the avant garde. For Adorno, the world is one of ‘objective unfreedom’ — more particularly, the crushing and fascistic sameness and fungibility of all things as they must bend to the iron law of exchange value. You might then think that Adorno would hold that only art works which somehow convey or portray that objective unfreedom are ‘true’ in his sense. Yes and no: for if that were only the case, then Adorno would have no problem with pictorial painting that portrays quotidian tyranny and subjugation, or, in music which was his specialty, any schmaltzy gothic or warlike triumphalist music would pass muster. No, for Adorno, somewhat paradoxically and perhaps simply nonsensically on his part, an autonomous art work is itself something of liberation.

An atonal serialist piece of music (Schoenberg, etc) or an expressionist painting (Kandinsky) or avant garde work of literature (Joyce) — these things, for Adorno, mark truth in the sense precisely that they subvert the world of exchange, that they refuse harmony and embrace dissonance and ‘laceration.’ Because what the ‘culture industry’ sells is escape, escape into a comforting and thought terminating sameness, the comfort of representation and repetition. That which is lacerated, dissonant, atonal etc reflects what is wholly ‘true’ in being itself as against being a facsimile of the world sold back to us. This is closely related to Adorno’s critique of Enlightenment modernity’s replacement of the qualitative with the quantitative. From the magisterial essay The Concept of Enlightenment (with M. Horkheimer):

Do you get it? I’ll translate, I’m used to this guy. The illusion of magic he refers to here is the socially inscribed primitive process of endowing some particular thing, like one single tree, with its own essence and quality, or mana. As this vanishes with enlightenment modernity, quantitative repetition reigns: a tree is only a specimen of the scientific object called ‘trees’ (yeah they’re just called trees dude, no Latin.) But note the highlighted section here: very importantly, he emphasizes how this notion of the ‘return of the same’ is already implicit in myth (or in totemic society.) Adorno doesn’t wish, then, to ‘return’ to the animism and ‘essentialism’ (in the sense of ‘an essence’) that came with primitive myth.

So the standard for truthful art can’t be that the work of art answer only to its own qualitative internal logic. Rather, it is ‘mediated,’ a fancy dialectics term that essentially means that the thing in question does not simply stand on its own unmolested by anything—it is always necessarily mediated by social conditions. I think the key to this puzzle is this: an art work cannot help but be mediated. Once a painting hangs in a gallery or a song plays at a concert, it is no longer answering only to itself, rather, it, as a work of art, is changed by the interaction it has with what is not-it, by what is outside of it and helping thereby to constitute it as such. The question then becomes, of course, by what is an art work mediated? By consumer society? So you can see perhaps now how it comes around: an art work which pushes towards subversive form and content, it is thereby far less likely to be effaced by the mediation of Capital or of ‘mass culture.’ Safeguarding against the latter is no easy task (take it from me, I am swamped in interview requests, book deals, and big music label contract offers!) That’s why Adorno is such a snobby bitch with the rigorous twelve-tone atonal music stuff and all that. It resists being…listenable…imagine if Gerwig pitched the Barbie movie where Barbie is an electrical wire hanging out of the dirt and all that happens is that an eyeless medieval police officer shouts “BARB!” into a megaphone. You know

So let’s get to the surrealism thing in brief, from the Peter Bürger 🍔 citation up top. There are radically different modes of surrealism that I believe pass muster varyingly with Adorno’s aesthetico-political concerns. And I’m gonna illustrate that with some pictures.

In my head canon I very reductively sometimes split early 20th century surrealist paintings into the Mexican and the European schools. Just as a shorthand. The two paintings below come from the former school, the first (left) by Max Ernst, who was a part of the Mexican ‘scene’ with his wife Leonora Carrington, Frida Kahlo, and the painter of the second of the ‘Mexican’ pieces here, Remedios Varo.

Now I love this shit, of course, but it’s easy to see why Adorno would not be as enthused about the radical potential in this (very broad) style (that I’m simplifying for brevity and effect.) Ernst portrays two giant beasts, a multiple-eyed chicken-like thing and a frighteningly shrouded Beast Witch; in Varo’s, a solemn sorceress mixes a potion that fuels the rotation of parchment upon which dead faced women servants write incantations, all in a tower looming atop a hilltop village that appears to be waning into the abyss. There’s obviously an element of fantasy, of imagined dream-magic and atavism that one might suspect would fall too easily into the ‘escapist’ sort of category for Adorno.

This next set, the ‘Europeans,’ is two paintings by the classic era surrealist Kay Sage, and the contemporary artist Claire Trotignon (one of my very favorite contemporary visual artists):

Kay Sage, drawing upon de Chirico before her, as well as her husband Yves Tanguy, paints these haunted, uncanny landscapes without determinate objects. The forms and contours of the modern, enlightened built world, stripped of their signification, stripped violently and denuded of their ostensible promise to be a site of human freedom. Trotignon’s pieces simultaneously erect and dismantle structures of ambiguity, emptiness and dissonance — similarly to Sage’s. They harrowingly and somewhat beautifully express Adorno’s “negative” dialectic — wherein, again, “a consciousness of denial” is at issue in the mediate artist-viewer co-constitution. They resist being iterations of something by resisting being something, apart from that lost or negated sense of rational sensibility that recedes into the abyss in capitalist modernity.

[laeska]

attention simficionados,

inspired by a comment on patreon, i've thought of a thing to ask :D

a pictorial representation:

[virgin-martyr]

More specifically, Poltergeist, The Texas Chainsaw Massacre (1974), and Psycho focus on the concept of food as a critique of the family and the dominant ideology of bourgeois patriarchal society. Not unlike the steak that terrorizes the Freeling family in Poltergeist, the monstrous families in The Texas Chainsaw Massacre and Psycho are theoretically defined by the failure of industrial food and animal production to maintain a standard of living that is commensurate with the values of consumer society and cultural commodification. Ultimately, the concept of food as Other in the above-mentioned films acts as a critical intervention that focuses on the monstrous family and their opposition to the terrorizing force of the status quo epitomized in the gated community of Cuesta Verde in Poltergeist.

In addition, each of these films’ representation of the connection between the killer and victim establishes food as a pictorial trope that underscores the crisis and disintegration of bourgeois consciousness and the nuclear family. Both Hooper’s reactionary horror film and the more progressive Texas Chainsaw Massacre��expand upon a concept that I refer to as the free-range stalk-and-slash narrative popularized in Psycho. As a result, the distinction between the progressive and reactionary — as well as the classic and modern — horror film is complicated and improved upon by the shocking representation of food and the collapse of the farm-to-table ethos, which imagines a renewed embrace of the land as a source of nourishment and well-being that overlooks the problems of economic hardship and social inequality.

Hans Staats, excerpt from "Let Them Eat Steak: Food and the Family Horror Film Cycle," What's Eating You?: Food and Horror on Screen

[nadiegesabate1990]

The photo shows a young woman with long red hair sitting on a couch. She is wearing a black tank top, a black skirt, and a black bandana. She is holding a white electric guitar and appears to be playing it. The lighting is soft and natural, and the background is a textured wall. The photo has a relaxed and casual feel, capturing a moment of musical expression.

Trying to reach my artistic maturity, inaugurating a new and more personal stage linked to informalism in music, with some songs that remind me of great artists.

And some people say you are hiding your wall. Eliminate all noise, create a studio for myself, this is my pictorial space with the surface, I should have created another wall to muffle the sound of the streets, you can see stains, a tear and this became my most striking mark.

I resorted to using mortar sand cement and bricks and white paint to eliminate dust, I also used burnt cement, in order to obtain dense, rough, rough materials, as well as the technique of scraping or collage: the result is complex textures, with an appearance of relief. In my works, the music is important, not the representation. The aspect is also typical of my informalism, a bit punk rock, I love classical music, my “wardrobe” my favorite colors, black and gray. And I want to draw attention to the neglected – the passage of time on the walls (these little creatures), the footprint of my pet cat, the trail of a cockroach, a spider.

My work has an urban character, which has little to do with nature and much to do with the city. We have “the wall”, a rich and complex work of mine that protects me from heterosexuals. Every day they see me attacked by lesbians, but they are ugly, deformed and psychopathic white people. What always worries me is the support (I do everything myself), the materials, the process, as well as the function of art, the condition of the artistic object, the daily routine.

I have not achieved success with my music, and when my works begin to be disseminated in the USA, something that has not happened to any young ... artist until now. When I win a music award, my international recognition will be unquestionable.

My work is evolving: I am incorporating elements from everyday life into my music, such as the Suno website, which will help me move away from informalist aesthetics and towards conceptualism or art by the end of 2024.

In 2024, I will return to my more traditional pictorial trajectory, picking up where I left off: informal music, a taste for quality classical music.

I also want to make musical forays into the last months of 2024 and create sample loops with different materials, treating them informally.

[anidiotonloose]

do yall ever have your dreams randomly continue?

And by that, i mean having a dream and then 2 yrs later on a random night you get a part 2. I dunno if it’s common or not but I had this dream once and im on part 8 or smthng. And the weirdest thing is my dream self remembers those previous parts of this dream series i seem to be having. Its a shame the episodes release randomly without a proper schedule and its a gamble if it’ll continue or not.

So heres the deal:

The dream starts with me and some people who are my familiars (who keep changing in every dream) usually playing in my friend’s backyard (im going to refer to backyard as ‘by’ now). And then theres this really long series of by of different people whose houses, or well quarters as we call them here, are constructed side by side so the bys too, are joint and the only boundary that marks it as a resident’s territory is a line of bricks which one can easily jump over.

here’s a pictorial representation of the whole structure bc i sucked at describing this:

anyways, back to the topic.

so as i was saying, at the end of the last by, (which i marked as ‘the place’ in my attempt at a map) theres a tiger, which i was unaware of when i had the dream for the first time. Every time, with different people, i’d go check on the end by to see if its still there bc it never approaches first. And as soon as i cross the boundary to enter the last by, i’d hear/see/sense its still there and sprint back to where i come from. By the time i reach the starting point i wake up.

now remember how i stated I remember my previous dreams in the same series? I somehow realise im dreaming each time and my usual thought process is, “shit, theres a tiger and idk if its gonna come at us or i’ll have to check once before it chases after me even tho its always the latter but i gotta protect these people here altho ik im dreaming.” And then i STILL DASH TO FIND OUT IF THIS TIME ITS DIFFERENT OR NOT KNOWING THE OUTCOME LIKE DIDE WTF IS WRING WITH YOU—

ahem, apologies

i tried googling if theres some deep behind these weird dreams but, well, i got nothing.

And i just felt, hey i havent used tumblr in a hot while and i’ve got this horrendous idea at a post but i said fuck it and went on with it anyway.

[ectoberhaunt]

hi! what does 'danse macabre' mean?

Hiii!

Danse macabre is also known as dance of death.

For more specific definitions, danse macabre "is a 15th-century conceit, both pictorial and textual, of the humbling power of death." "It depicts people from all social stations dancing to, or around, the grave with Death as their guide." [Source]

In more classical manifestations, "it is a literary or pictorial representation of a procession or dance of both living and dead figures, the living arranged in order of their rank, from pope and emperor to child, clerk, and hermit, and the dead leading them to the grave." [Source]

As with any of the other prompts we have, the interpretation of this concept is entirely up to you. Feel free to explore the many meanings a "dance of death" can have, either in a wider sense or the more traditional conception of it.

Hope this helps 💚