#image amplified

[nacholmo23]

Brandon Good by Greg Swales

[obsessedmeninjeans]

Sam by Jake O’Donnell

[ashmp3]

fashion moodboard for @possession1981

[comicdez]

Do you think an ambition can have regrets?

+ a quick colored Mark. Bition i just finished today!

[front-facing-pokemon]

[tacagen]

ok but. are there people in 25th century who genuinely believe that reverse-flash was right. like after he saves the world from paradox and imprisons him. like in the way they believe that hes just demonized and isnt actually as bad as everyone including flash's history says he is because from their point of view and as far as theyre concerned he only caused some dangerous shit while posing as the Flash Of 25th Century and fought the original flash and hated him at some point but who has reformed at some other point which was proven by him fighting paradox and repairing all the damage done in the battle afterwards. like hes their local poor little misjudged meow meow. and most importantly LIKE BARRY AKA SWEETEST SOUL IN THE WORLD AKA THE VICTIM IN ALL ASPECTS THAT ARE RELATED TO THAWNE WAS FUCKING WRONG ABOUT HIM ALL ALONG.

[jaehoon-kim]

Audioengine HD3.(2) Incheon, South Korea, August 3, 2023.

[lewishamiltonstuff]

.

[the-witch-of-woods-beyond]

hehhe just wrote a scene for my s&b fic where alina views love as consumption because she would feel safe under zoya’s ribs and the world would never find her there <3333

[trans-yllz]

all of us talking about when we think wei wuxian fell in love

[nacholmo23]

Ryan Greasley by Anthony Michael Kosinchuk

[obsessedmeninjeans]

Trey Baxter by Andrew Gleason for Image Amplified

[coralcalypso]

hc + 🤝

hc + 🤝 for a headcanon about a connection with one of the receiver's mutual

Sefoni often doesn’t get along with alternate versions of herself, but other fuchsias have always been pleasant for her to talk to and 5ollux has been no exception. She likes her a lot and relates to a lot of the stuff she posts about, she is hard pressed to express it earnestly but she feels a sense of kinship with him and would like to try to be closer friends in the future.

Sefoni also feels a degree of (platonic) pity towards him and his situation, she empathizes with the sense of hopelessness of being an heir and the sense of inevitability that comes from just existing as a fuschia.

Whenever things are more stable for the both of them, she’d one day suggest trying to meet up in a timeline without either of their lusii there.

[alarrytale]

Hi Marte! I have a question. How do you differentiate between a closeted queer person doing PR and a straight person doing PR? If I was to use Harry as an example. I think he is closeted and gay but my opinion is mostly based off consistency and patterns since X Factor and 1D rather than him acting flamboyant. We saw him openly talk about his attraction to men before 1DHQ worked with the media to give him a womanizer image. We saw the womanizer image unfold. We see his pr relationships being set up and we can roughly predict what will happen, when it will end, what it is in connection to etc. If I was a new fan I don't think I'd be so sure. Him wearing female clothes and displaying some feminine traits can be put down to him being comfortable in his sexuality as a straight man and wanting to experiment with fashion. Straight men can dress and act flamboyant. Straight celebrities have pr relationships, they push their heterosexuality to sell projects, they might engage in fake relationships because they want to maintain a private life etc. So I'm wondering how would you personally differentiate? I see so many pr relationships happening and I jump to thinking that the celebrities are closeted and have to remind myself that not every person is queer lmao and some real relationships are also used for pr. All I can think is to go by how they act around both sexes. We see that Harry has chemistry with men but lacks it with women. We see that he gravitates towards men and that he's more comfortable around them. That he often looks uncomfortable and awkward around women when he is performing heterosexuality. If it's female friends it's different. It might be harder to tell with HW actors because obviously they play pretend for a living so they can probably perform heterosexuality in public more convincingly. But then I think about J*ke Gyllenh**l and he's a great versatile actor but I've never seen him publicly perform heterosexuality in a convincing way lmao, nothing will convince me that he's straight.

Hi, anon!

This is such a great question! I guess if you were to observe Harry now, without context, without knowing his fandom, what Harry's said and done in the past, or the rumours about him being gay and with Louis, you'd have a hard time differentiating between performative heterosexuality for promo only and performative heterosexuality for promo and closeting purposes.

I agree you'd have little to go on but observing his chemistry with men vs women (but that would be hard to do if he was bi/pan), but also queercoding and of course stereotypes and gaydar. Yes, straight men can dress and act feminine and flamboyant, but it's also very much used as an outlet and queercoding for closeted men. You say that you need to remind yourself that not every person is queer. You are right, but in the business were talking about here there is a much higher rate of queers than in the rest of society. There are more queer celebrities than we know of. They're also more likely to have reasons to hide it than in the rest of society in order to further their career (in the modern western world at least). So if you pick up verbal and non verbal clues, mannerisms and put it together with rejection of traditional gender roles and his occupation and the knowledge of closeting in the industry one should be able to figure it out (at least suspect) without knowing anything else about him.

[reactionimagesdaily]

[ofthuinn]

[fidelity to the event]

JH: When did he first come on this language? Was it in the Seven Sermons or was it earlier?

SS: I take it to be in the summer of 1914. The first layer of the text, running from October of 1913 through to February, where he engages in introspective elaboration of his fantasies, the method that he subsequently calls active imagination, is not an elevated language. It’s a precise depiction of what transpires. He maintains in that what I call a fidelity to the event.

JH: Fidelity to the event.

SS: Accurate notation, dates, precision, indicating that something of significance is taking place. There is no attempt to fictionalize it. It’s quite fantastic but it is real.

JH: And he is recording.

SS: He is recording it.

JH: I wanted to ask you about that. Does he record as it happens? Or does he record after he’s had the dialogues? Because when I did active imagination myself long ago most of it was done as it happened. So it was a writing, in a way. Some of it was not. Some of it was a conversation, interior, and then I would write it recapture it—by writing.

SS: This is one of the imponderable questions of which I’ve hit my head against the wall for many a year now in that it’s hard to make a decision on this. Certain segments of the text give the sense that he sees a dramatic sequence and then notes it down, whereas certain other segments of the text appear to unfold in the writing.

JH: Unfold in the writing as a flowing dialogue.

SS: Yes. Or there are certain statements that I like. There’s one point where he says, “I’ve run out of tobacco so I can’t write anymore.”

JH: That’s good.

SS: My intuition leans to this as a writing experience, but again you can’t be sure about this. Just looking at the materiality of the text suggests to me as a writer that he’s writing this out.

JH: Yes. But he does report dreams.

SS: Well actually very few and that’s one striking element of the text-my reading of this is that the dreams and the fantasies are separate layers. There are very few dreams noted, and there’s also very surprisingly little interplay between his dreams during this period and the fantasies that unfold.

JH: So he doesn’t take a figure from a dream and begin to work with that dream, that figure.

SS: No, if anything sometimes the opposite occurs. Characters from his fantasies then reemerge in the dream.

[Response]

Image work, if it is to be recorded, necessitates that there is fidelity to documenting the event (the image). But the act of documenting itself is a material practice, one that is deeply embedded in power structures and shaped by the cultural and social norms of the time and this has to considered when thinking about what fidelity to the event - means. Also I am an artist, this is a weird complication I am struggling with, documenting the image can be art, but it doesn't have to be and I really don't want it to be. But it is an art, a kind of art that I am struggling to find find the language to talk about. 

I am looking at my own desk in my own studio. I have in front of me a computer, as I think of this I now look to the pile of papers and bills on my right-hand side, what pierces immediately is the thought that within this pile is a bill for the debt that enabled me to buy this computer. This pile also has a lot of post-it notes with ideas, fragments written on them, image-words and there is also a postcard from a friend. The bills and the work are all in one pile and now I am beginning to think about this relationship and I can feel the poke of an image, like a tinge of a corner but now I try and stay with what I am physically present with and rather than sink down - or move forward into space with this I am trying to stay present for now and widen the gyre - a horizontal circular boundary around this slice of reality, space and time. 

The image is a thing I think I impulsively work with in a certain way - grab it or hold it? To make it real, am I spinning it - or am I spinning with it each time it becomes something else? When words or things come into place is this an equal exchange or have I exerted a power over something, some being trying to speak?  Maybe it doesn't want to be words or a thing or an idea. What really is the position of the ego as I do this?

To stay true to the facts, to resist the pull of form or aesthetic is challenging, I am wondering if this requires minimalism or maximalism. It is one of these extremes surely?  Do I record everything or nothing? 

I am thinking about boring poetry, poetry that is just a list of thing words. Shopping list, packing list, to-do list. 

Perceptions of events are shaped by the materials and technologies of the documentation, by the social and cultural contexts in which they were produced. Rather than seeking to transcend these material realities, how do I engage with them and grapple with them? How do I record a movement through digital space - freely - authentically - what are the wordable facts behind a drift, can I word them?

Image work is a practice of listening, this means there are voices heard and voices silenced. As such, the act of documenting an image is a political act, one that has the power to challenge dominant narratives and to bring marginalised voices to the forefront - this includes both the human to non-human. It is a practice that demands a deep engagement with materiality and a willingness to embrace complexity and resist the pull of simplistic or fantastical narratives.

To stay true to the facts, to resist the immediate temptation to ‘give form’ (a drawing, a poem, an object) means rethinking what it means to work with an image, a strange art that can mean - no things. This is a decentering of ego - a willingness to make (with) by making nothing. No physical truthy proofy thing.

[image] [vesseling] [spiralling] [mattering] [amplifying]