#produces stagnation

[maximusblack-hp]

Art should be making you feel something no matter if it’s positive or something that others would consider negative. Only people getting offended are people who don’t understand perspective. Some would assume if a art peace makes you uncomfortable it isn’t art but that’s wrong. There’s a reason why the saying “Art should comfort the disturbed and disturb the comfortable.” Art is affected by life. Just because the art doesn’t reflect yours doesn’t make it any less beautiful.

It’s what I would consider great art. Something that carries on a part of you. It a reflection of the artist. And gives us their perspective through art. Art is an illustration for us to see.

There is no such thing as good or bad but merely how much can you makes a person feel something. The stronger their reaction the more you know your doing something. Art is never truly bad but merely a still that we might not enjoy as much as other. And not enjoying a piece a art still makes it art no matter how much you might hate or be terrified by it. Emotions make it art.

Don’t know how else to explain it but this is just how I view it. The more different and disturb the art is makes it more mesmerizing to me. It unique and just makes me want to keep looking at it because it catches my attention. And the more norm the art is the more I think about the story or history behind it.

Art is meant to be different from one another. That’s what makes beautiful. If it were all the same then it would be a bland world with no real purpose, no reason to draw, sculpt, paint or make something if it’s all the same as everyone else. Good art and bad art is merely words for what you prefer but theirs no such thing as bad art.

Tag yourself as this list of “bad art” features, according to a twitter fascist

[archersgoon]

everytime i reread fotr i'm like finnikin my best friend finnikin but then i get to the rest of the series and am forcibly reminded that his top 3 hobbies are hypocrisy misogyny and dogshit foreign policy decisions and i go straight to divorce as a solution

[seonghwaddict]

super duper pretty — kim hongjoong

in which you haven’t heard from him in years but a single drunk phone call ends up with you tangled up in your bed.

musician!kim hongjoong x fem!reader. genre. angst, suggestive, friends to lovers. warnings. drinking, tension, kissing, suggestive content. wc. 4k. rating. pg-13.

lilo’s notes. AGHDHSJDJJAJDJSJDHSJS GRRRR WOOF WOOF AWOOOO GR AHHHDHDHDHHDS

listening to. right here, chase atlantic.

masterlist.

you weren’t someone hongjoong could bring himself to think about much these days. despite having known each other since childhood and been best friends, he hadn’t spoken to you in three years, too caught up in his thriving music career.

album, tours, interviews, collaborations. it all kept him busy and away from you. his chase for stardom had him isolating and distancing himself from friends and family. and, sure, it was shitty, but he didn’t have time to dwell on the people he was told would hold him back. he didn’t have time to regret it. regretting leads to stagnating and stagnating would lead to the end of his career.

that’s not to say he didn’t miss you. of course, he did. but on the last day he spoke to you, it ended in an argument he didn’t have the energy to resolve. so, he left. he left you.

him not having time to regret it was more an ideal rather than a truth.

in reality, he regretted leaving you more than anything else.

but three years later he still hadn’t talked to you, afraid it would ruin his pride if he came running back to you. yet he couldn’t deny how he felt like he was on top of the world, the best producer and rapper in the scene. his career was thriving and his newest album topped charts across alll platforms. when all the interviews and promotions were finally over, he decided to treat himself ot a little celebration, renting a club in town and inviting every major celebrity he had connections too.

the night was spent dancing and throwing back shot after shot until he could barely stand. he enjoyed it at first, but slowly the effects of the colourful drinks made him feel much too hot and cramped in the sea of dancing bodies. making sure no one noticed, he escaped through a back door into the cold, fresh air. he felt the sudden urge to leave, but in his drunken state it would be difficult to navigate his way home.

without thinking, he slumped against the red brick wall and pulled out his phone, dialing a number he’s always know by heart. it rang three times before the person picked up.

“hello?”

hongjoong didn’t realise how much he missed your voice until you uttered that word so softly. he could picture you somewhere in your appartment, maybe in the kitchen to get a snack, tilting your head in confusion at the unfamiliar number.

“hey,” he really didn’t know what else to say, staring intently at a leaf on the ground.

you went completely silent on the other end and for a moment he thought you’d hung up. but, eventually, you spoke again, only this time a certain firmness to your voice.

“what do you want?”

“come pick me up,” his words slurred and molded together and you had a hard time unnderstanding him, sat stifly on your couch, “please, i need you to pick me up. just… just this once?”

you didn’t know what to say. you wanted to scream and yell at him and demand a proper explanation as to why he just walked out of your life like it was nothing, but at the same time, you wanted to sob and confess how much you missed him.

still, you couldn’t help but ask, “what the hell happened, hongjoong?”

"i- i'm drunk," he slurred, sounding even worse than before as he shuffles his feet on the floor pebbled floor. "like, really, really drunk," he insisted with a quiet groan, but you already came to that conclusion. "come pick me up… please?"

you stood up from your couch, pacing around you living room as you listened to him speak before stopping by your window and looking out into the night sky. he was the last person you thought would call you at this house, not having heard from him in three years. but here he was, drunk and begging you to pick him up from god knows where.

“fine.” you said simply, swallowing down the lump in your throat as you grabbed your coat from the entrance of your apartment and slipped on some shoes, not bothering to change out of your nightwear. “where are you?”

“um,” he looked around. the back door led into an alley, but if he walked off to the right he’d be right by the entrance. with his free hand supporting him on the wall, he did his best to get there. “outside the, uh, club,” he explained, though it was really helpful, “by the-” he cut himself off with a sigh, resting his forehead against the wall and squeezing his eyes shut in frustation of his lack of clarity, “the red one.”

your eyebrows furrowed at his vague description as you got to your car, getting into the drivers seat and just sitting there until he could give you a proper answer. “the… red… one?”

“it’s got, um,” he looked around the surrounding area, spotting a familiar place just across the street, “in front of that café we used to go to?”

“oh.” you recognised that, hesitating for a moment before starting the car, unwanted memories of the countless hours you spent with him there clouding your thoughts. all the talking and studying and laughing. “find somewhere to sit.”

“okay,” he nodded to himself, taking some steps to a wooden bench and pointing at it as if you could see, “i’m gonna sit on this thingy.” his drunken stupor had him laughing at himself as he takes the final steps to sit down. he swayed a little but not enough to make him lose balance and fall. once sat, he nodded and grinned at nothing in particular, just proud he was able to manage the simple task you gave him. “i’m sitting.”

“good, great,” you hummed approvingly, holding back a smile at his antics, “now… just hang tight, i’ll be right there, okay?”

“okay.”

it felt good to sit here, he realised with a sigh as he leaned back and tipped his head to look up at the stars. the gentle caress of the night air and the dimmed sounds of the city around him a soothing backdrop to the chaos in his head.

a silence followed his words, tense but not uncomfortable. the red exterior of the cheap club came into view soon enough and you slowed to a stop to park in a free space. you got out of the car and looked around until you found a familiar figure sitting on a bench tucked below a little tree. you hesitated again for a moment before walking to him as slowly as possible, your heart pounding in your chest. he hadn’t noticed you yet, having shut his eyes at some point.

it took you some long moments but you finally pulled yourself together and cleared your throat, making him startle as you muttered a tentative, “hey.”

he glanced toward the sound of your voice, blinking away the drunken haze as he attempted to focus on the world around him. his vision unclear and unfocused as looked up at you, struggling to recognise you for a moment. the bright streetlights made his head ache a little; the world a blur and all he could do was struggle to focus until he could see you properly, the familiar feature snapping him back to reality.

you shifted back and forth on your heels awkwardly, waiting for him to say something as he just stared at you, face flushed and intoxicated. your hair was messy and you wore shorts and a loose light grey sweater. you wondered if he even recognised you, or were you just a stranger to him?

“you came,” he breathed after a while, eyes taking in every detail on you. he focused on you; the way the moonlight caught on your skin, the soft furrow of your brows and subtle downturn of your lips. your eyes, his favourite eyes in the world, looking back at him. “you actually came.”

“you called,” you answered, almost breathless as you also took him in. his style looked a little edgier than when you’d last seen him, though still as chic as ever. short bleached hair, the corners of his sharp eyes smoked out.

“i did,” he nodded, attempting to stand up before slumping back again, “but you actually came.” the alcohol made his words feel heavy, pushing them out in soft sighs as his eyes locked with yours again. he grinned stupidly, “you’re like, pretty.”

you almost laughed at his words, shaking your head lightly, “and you’re like, drunk,” you scoffed jokingly, “come on, it’s late, let me get you home.”

“no, i mean,” he whined, pouting dramatically and now you weren’t sure if the pink tint of his face was from the alcohol or something else, “you’re like super duper pretty.”

unsure of how to respond to his compliment, you only chuckled nervously and offered him a hand to help him get up. “come on.”

he stared at your hand for a few long moments before grasping it and standing up with your assistance. he stumbled a little but caught himself as you led him to the car. your nudged him to get into the passenger seat as you walked around to get into the driver’s.

it was dark in your car, your face dimly illuminated by the screen that displayed a map of the area. you look even prettier in this light, he thought, the sharp shadows making your features stand out that much more. your cheeks soft and round and your eyes sparkling with reflections in a way that made his wander all over you.

neither of you said anything for a while as you sat there. seemingly lost in his drunken daze, he realised how familiar this felt, being there with you, just you and him. everything felt right. he let out a soft hum before leaning back, tilting his head back against the seat and closing his eyes.

“my place is closer than yours,” now that he wasn’t looking at you, you felt comfortable enough to break the silence. finally buckling your seatbelt, you tried to ignore the way butterflies swarmed in your stomach at the thought of his eyes on your body, “you can stay for the night, if you want.”

“do i get the couch?” he turned his head to peer over at you as you start the car, “or…” he giggled, “or… we can share the bed.”

you raised an eyebrow at him, surprised at how flirtatious he was being. “we’ve shared before so, i guess… if the bed is more comfortable for your then i’m fine with sharing it.”

memories of your late night excursions with him rushed back to you and you briefly wondered if he would touch you the same as you laid together. would the feeling of his hand in yours bring you the same comfort? or the protective grip on your back or thigh? you don’t mention any of it.

“let’s just share,” he whispered back. he sounded tired, though if asked he could probably go on a ten page rant of how much he missed being close to you.

he, too, thought of all the night you spent together. the laughs and the touches that felt so real. he remembered how comfortably you would fit in the same bed, laying side-by-side and watching random movies until dawn broke. how easily you’d fall asleep as you shared blankets, face mere inches away from each other but never quite touching.

he wondered if it was possible to relive those times, gazing over at you for a moment before shaking his head and look out the window. those were nothing but drunk fantasies.

“okay,” you whispered back, trying not to look at him, trying not to shiver at the softness of his voice. a little slurred, but still soft.

he was always like that with you. soft.

people would mistake the two of you for lovers more often than not when they first met you, but it was always denied with flushed cheeks and awkward giggles. and it was true. no matter what was said or done, you always remained just that. best friends. it was for the better, made things much less complicated. especially when he took off and you never saw him again.

at least, until now.

the silence in the car was palpable, broken only by quiet breaths and the low hum of the car. it was a calm silence, mildly comfortable despite how heavy it felt, weighted down by all the things unsaid.

eventually, you slowed to a stop and pulled into your parking space in front of the apartment building you lived in. turning off the car, you got out and beelined for the entrance. he knew where to go anyway, not looking back at him as you led the way to your apartment.

the door opened to your living room and kitchen area, just a little messy since you weren’t expecting anyone to come over anytime soon. you made quick work of shucking off your jacket and placing your shoes aside, telling him to wait for a moment before you disappeared through a hallway he knew led to your bedroom.

you returned quickly, a pile of folded clothes in your arms that you held out to him, explaining he had left them a while ago. his body itself didn’t change much, so you figured they should still fit. you didn’t want his sweaty dishevelled suit on your bedsheets.

as he changed, you paced back and forth in your bedroom nervously, thinking about all the possible things that could happen. but you stopped quickly when you heard the bathroom door unlock, practically jumping to lay in bed. you tucked yourself into one side of the large bed, covers pulled up to your chin as you face away from him.

you heard him pause for a moment before you felt the bed dipping behind you and the covers shifting as he blanketed himself too. despite there being a considerable amount of space between you, you still felt him body heat brushing against yours in the thick silence. even though you can’t see him, you knew for a fact he’s probably laying on his back to look at the little glow-in-the-dark stars you stuck to my ceiling years ago and never took down.

you sighed and whispered, “hongjoong?”

“uh-huh?” he hummed, eyes closed for a moment before he turning his head to glance at your back.

you squeezed your eyes shut, taking a deep breath before finally asked the thing you’d been dying to know. “did you ever miss me?”

“more than anything,” he breathed and you felt him shift to lay on his side, facing you. he wanted nothing more than to reach out and hold you like he used to. his voice held a hint of melancholy but he didn’t elaborate more.

you turned too after a moment, not taking a second to notice just how close he was, the thick white covers shifting slightly from the movement. your voice quivered slightly as you spoke, eyes stinging with welling tears. “i missed you too, you know… i missed you every day since you left and every day i hoped you’d come back. but you never did.”

his heart clenched at you admission, the voice he loved so much threatening to turn into sobs. the truth was, he wanted to, countless nights sat alone, wishing he turned back to knock on your door.

“i-i wanted to,” he stammered, whispering ashamedly.

“it’s fine, i got over it,” you forced yourself to focus on the pillow under his head instead of his handsome face.

his brows furrowed as you averted your gaze, eyes following yours even if you refused to look at him. he knew you well enough to know when you lied. he knew you well enough to know you didn’t get over it. didn’t get over him. he mumbled, “did you really?”

your lip trembled at his question but you kept your gaze locked on the white fabric, pressing them together to get them to stop as a few tears spill over the corners of your eyes.

you shook your head, your little voice breaking with overwhelming emotions, “n-no, i didn’t.”

you shifted your look to his hesitantly, your skin tingling from his warmth. your eyelids fluttered as you tried to hold back the tears.

"don’t," he whispered, thumb slipping down to caress your jaw. his eyes searched yours, your eyes wide with sadness and something he couldn’t quite understand. "don’t hide it. you don’t always have to be so strong. not in front of me.”

those words snapped something in your mind, no longer able to swallow down the lump in your throat as you threw yourself into his inviting arms, yours wrapping around his neck as you sobbed into the slope of his shoulder.

“why- why did you leave, w-why didn’t you come back... p-please, i need to know.”

he didn’t expect the sudden break down, but still held you close. one hand at the back of your head, the other holding you by your waist, your bodies pressed against each other and he let his lips press against the top of your head, making you shiver.

he rubbed your back, letting your tears fall wherever they man, muttering reassurances iagainst your hair. his faint scent of whiskey and mint mingled with your vanilla shampoo, his eyes shutting at the oddly comforting mix of smells. you felt him press repeated kisses to your messed up hair.

sobs racked your body for a few more minutes before the tears stopped falling and your breaths evened. you nodded against him, pulling your head away from him to look up at his face, at his eyes. the hand at the back of your head slipped forward to cup your cheek again, brushing his finger along your skin. he traces your cheek bone and along your harline down to your jaw, his eyes shifting between yours in disbelief that his skin was on yours once again.

“i was afraid,” he admitted, barely a whisper, “i was afraid that if i came back, i’d fall for you more… and then i wouldn’t have been able to spend a day without you, wouldn’t be able to chase after my dream. but… at the time, i didn’t recognise you were part of it, you know, my dream.”

your breath hitched as the words registered, “you- what?”

you cut him off with something you'd been wanting to do for a while; you kissed him, hands holding either side of his face. his eyes are widened in surprise, though he didn’t hesitate to lean into the kiss, returning it as quickly as you did it. his hands tightened around you, pulling you as close as he could.

your lips fit against eachother so perfectly, like the lego sets you’d force him to build with you when you were younger, every curve and edge of your bodies slotting together naturally. he got lost in the sensation of finally getting what he dreamed of, a hand slipping below the hem of your shirt to hold onto your bare waist, just wanting to feel closer to you.

his mouth tasted of exactly what he smelled like, mint and traces of whiskey, whimpering against his lips as you welcomed the taste and the touch. your whimper unlocked something, the kiss growing more urgent, restlessly pushed against each other without air left between. you could barely breathe, but you didn’t care as long as his lips stayed locked on yours for as long as possible.

but eventually, he bit down on your bottom lip ever so slightly before pulling away, catching his breath as you caught yours. your chest heaving as you refilled your lungs with air, face flushed from the realisation of what you just did and from the thought of what else you might do.

he glanced down at your swelling parted lips, jimmy coated by your mixed saliva, his pupils blown wide with desire.

“i wanna…” he mumbled, breath unsteady, “i want to…”

he wasn’t sure what he was trying to say, at least not until he noticed the way you peered up at him expectantly with that curious gaze. “what is it, joong?”

that nickname. he hadn’t heard it in a while. three years, actually, because you were the only one that called him that. his eyes searched yours.

“i want to do that again,” he admitted, cheeks warming, “and again and again and again… and so much more than just that.”

your breath hitched, intestines tied into knots as you struggled to figure out what you should say. the truth was that you wanted that too, wanted to feel his lips and hands all over your body. but, as his breath fanned over your face and you caught the traces of alcohol folded into the smell of mint gum, you were reminded that there was a thin possibility he didn’t mean any of it.

“you’re drunk, joong… it’s better if we don’t.”

he frowned, his grip on you loosening. “but you want to, don’t you?” he countered, “you know you want this too, so why not?”

“i just-“ you paused to sigh, continuing with an even tone, “i just don’t want you to regret anything.”

“i meant every goddamn thing i said,” his brows furrowed for a moment and he squinted, trying to emphasise his point, “so, i can’t regret this. i can’t regret you.“

you bit your lip, thinking carefully before sighing, the tension leaving your body as you played with the string of his hoodie.

“how about this…” you suggested, speaking slowly, “if you can wake up and tell me you remembered all this, then we can see where this goes.”

“and if i don’t, you’ll never mention in again?”

you nodded, slightly anxious as you wait for him to agree. it didn’t take too long, seemingly an acceptable compromise for him as he nodded.

“okay,” he agreed, his hand on your waist beneath your shirt tightening once again, “let me just kiss you one more time though, i won’t be able to sleep if you don’t.”

you laughed at his silly excuse, forehead dropping against his shoulder for a moment before lifting to look at him again with a grin that made you feel so stupid and in love. “fine, just one more time.”

networks. @cromernet @wonderlandnet @cultofdionysusnet @pirateeznet @atzhouse

permanent taglist. @ad0rechuu @sankatchu @mlink64 @yeosangsbb @seonghwasbbgirl @likexaxdaydream @dreamingofyeo @yalyallic @yunhoswrldddd @coffee-addict-kitten @thunderous-wolf @chngbnwf

[trainradicalism]

This whole post is weird. Otto Dix made what I think are really good paintings. They do not improve my mood. They are dark and evocative and tend to make me saunter vaguely downwards. They are also beautiful.

Like. You could argue that this is bad. The scale is weird, and nothing's consistent. I would argue that this makes it better, because it lends the scene a sense of haunting surreality. This does not make me feel Good Things. I think it's generally pretty suffocating and oppressive. It's also in the MoMA.

Art does not have to make you feel good to be good.

Tag yourself which official Bad Art trait are you

[what-even-is-thiss]

Brian David Gilbert accidentally reinventing ska aside, I do wonder why there was barely any new music written after the 1960s in the fallout universe. To the point where people in the wasteland aren’t just listening to 200 year old music but 300 year old music. During fallout 4 if you’re listening to diamond city radio when the one original song comes on Travis freaks out because he’s not used to playing tracks by people that are still alive.

If I’m gonna come up with an in-universe explanation I might guess that it’s an extreme example of what might happen if a nation devalues art to the point that cultural stagnation occurs.

Creativity is so discouraged in favor of science, warfare, engineering, and mathematics that nothing new gets produced. Old patterns for clothes are used for over 100 years, hairstyle books and learning materials are never updated, almost no new music is written. Deviating even slightly from American exceptionalism and style is heresy. New ideas outside of the sciences are stupid and to be mocked. What few artists remain just learn how to recreate what’s already been done.

I mean a vault full of musicians wasn’t even a control vault. There was no real effort to preserve musical knowledge. They were subjects in a mind control experiment.

And this attitude gets carried into the big afterwards. After the Great War all that several generations have ever known is the devaluing of creativity and new ideas. And everyone is too tired and focused on survival to try anything new.

So Magnolia writing new music? That’s weird. That’s really weird. It’s been weird for over 300 years at that point.

And if I’m remembering correctly, the only people you meet in the games writing poetry are writing really bad poetry. But in this sort of context, that makes sense. There’s this idea in writing circles that when you take a long break from writing you need to allow yourself some time to write very badly in order to clean the garbage out of your brain and get your creativity muscles exercised again.

The fallout universe is experiencing this on a global massive societal scale. Jerry the Punk writing bad poetry comparing a girl to a deathclaw and Beatrice writing a bad poem about being stuck underground is a sign of slow but steady healing. The fallout world is getting a lot of garbage out of its system from over 300 years of cultural stagnation and learning how to make stuff again.

[mostlysignssomeportents]

AI art has no anti-cooption immune system

TONIGHT (July 20), I'm appearing in CHICAGO at Exile in Bookville.

One thing Myspace had going for it: it was exuberantly ugly. The decision to let users with no design training loose on a highly customizable user-interface led to a proliferation of Myspace pages that vibrated with personality.

The ugliness of Myspace wasn't just exciting in a kind of outsider/folk-art way (though it was that). Myspace's ugliness was an anti-cooption force-field, because corporate designers and art-directors would, by and large, rather break their fingers and gouge out their eyes than produce pages that looked like that.

In this regard, Myspace was the heir to successive generations of "design democratization" that gave amateur communities, especially countercultural ones, a space to operate in where authentic community members could be easily distinguished between parasitic commercializers.

The immediate predecessors to Myspace's ugliness-as-a-feature were the web, and desktop publishing. Between the img tag, imagemaps, the blink tag, animated GIFs, and the million ways that you could weird a page with tables and padding, the early web was positively bursting with individual personality. The early web balanced in an equilibrium between the plunder-friendliness of "view source" and the topsy-turvy design imperatives of web-based layout, which confounded both print designers (no fixed fonts! RGB colorspaces! dithering!) and even multimedia designers who'd cut their teeth on Hypercard and CD ROMs (no fixed layout!).

Before the web came desktop publishing, the million tractor-feed ransom notes combining Broderbund Print Shop fonts, joystick-edited pixel-art, and a cohort of enthusiasts ranging from punk zinesters to community newsletter publishers. As this work proliferated on coffee-shop counters and telephone poles, it was visibly, obviously distinct from the work produced by "real" designers – that is, designers who'd been a) trained and b) paid by a corporation to employ that training.

All of this matters, and not just for aesthetic reasons. Communities – especially countercultural ones – are where our society's creative ferment starts. Getting your start in the trenches of the counterculture wars is no proof against being co-opted later (indeed, many of the designers who cut their teeth desktop publishing weird zines went on to pull their hair and roll their eyes at the incredible fuggliness of the web). But without that zone of noncommercial, antiestablishment, communitarian low weirdness, design and culture would stagnate.

I started thinking about this 25 years ago, the first time I met William Gibson. I'd been assigned by the Globe and Mail to interview him for the launch of All Tomorrow's Parties:

https://craphound.com/nonfic/transcript.html

One of the questions I asked was about his famous aphorism, "The street finds its own use for things." Given how quickly each post-punk tendency had been absorbed by commercial culture, couldn't we say that "Madison Avenue finds its own use for the street"? His answer started me down a quarter-century of thinking and writing about this subject:

I worry about what we'll do in the future, [about the instantaneous co-opting of pop culture]. Where is our new stuff going to come from? What we're doing pop culturally is like burning the rain forest. The biodiversity of pop culture is really, really in danger. I didn't see it coming until a few years ago, but looking back it's very apparent.

I watch a sort of primitive form of the recommodification machine around my friends and myself in sixties, and it took about two years for this clumsy mechanism to get and try to sell us The Monkees.

In 1977, it took about eight months for a slightly faster more refined mechanism to put punk in the window of Holt Renfrew. It's gotten faster ever since. The scene in Seattle that Nirvana came from: as soon as it had a label, it was on the runways of Paris.

Ugliness, transgressiveness and shock all represent an incoherent, grasping attempt to keep the world out of your demimonde – not just normies and squares, but also and especially enthusiastic marketers who want to figure out how to sell stuff to you, and use you to sell stuff to normies and squares.

I think this is what drove a lot of people to 4chan (remember, before 4chan was famous for incubating neofascism, it was the birthplace of Anonymous): its shock culture, combined with a strong cultural norm of anonymity, made for a difficult-to-digest, thoroughly spiky morsel that resisted recommodification (for a while).

All of this brings me to AI art (or AI "art"). In his essay on the "eerieness" of AI art, Henry Farrell quotes Mark Fisher's "The Weird and the Eerie":

https://www.programmablemutter.com/p/large-language-models-are-uncanny

"Eeriness" here is defined as "when there is something present where there should be nothing, or is there is nothing present when there should be something." AI is eerie because it produces the seeming of intent, without any intender:

https://pluralistic.net/2024/05/13/spooky-action-at-a-close-up/#invisible-hand

When we contemplate "authentic" countercultural work – ransom-note DTP, the weird old web, seizure-inducing Myspace GIFs – it is arresting because the personality of the human entity responsible for it shines through. We might be able to recognize where that person ganked their source-viewed HTML or pixel-optimized GIF, but we can also make inferences about the emotional meaning of those choices. To see that work is to connect to a mind. That mind might not necessarily belong to someone you want to be friends with or ever meet in person, but it is unmistakably another person, and you can't help but learn something about yourself from the way that their work makes you feel.

This is why corporate work is so often called "soulless." The point of corporate art is to dress the artificial person of the corporation in the stolen skins of the humans it uses as its substrate. Corporations are potentially immortal, artificial colony organisms. They maintain the pretense of personality, but they have no mind, only action that is the crescendo of an orchestra of improvised instruments played by hundreds or thousands of employees and a handful of executives who are often working directly against one another:

https://locusmag.com/2022/03/cory-doctorow-vertically-challenged/

The corporation is – as Charlie Stross has it – the "slow AI" that is slowly converting our planet to the long-prophesied grey goo (or, more prosaically, wildfire ashes and boiled oceans). The real thing that is signified by CEOs' professed fears of runaway AI is runaway corporations. As Ted Chiang says, the experience of being nominally in charge of a corporation that refuses to do what you tell it to is the kind of thing that will give you nightmares about autonomous AI turning on its masters:

https://pluralistic.net/2023/03/09/autocomplete-worshippers/#the-real-ai-was-the-corporations-that-we-fought-along-the-way

The job of corporate designers is to find the signifiers of authenticity and dress up the corporate entity's robotic imperatives in this stolen flesh. Everything about AI is done in service to this goal: the chatbots that replace customer service reps are meant to both perfectly mimic a real, competent corporate representative while also hewing perfectly to corporate policy, without ever betraying the real human frailties that none of us can escape.

In the same way, the shillbots that pretend to be corporate superfans online are supposed to perfectly amplify the corporate message, the slow AI's conception of its own virtues, without injecting their own off-script, potentially cringey enthusiasms.

The Hollywood writers' strike was, at root, about the studio execs' dream that they could convert the "insights" of focus groups and audience research into a perfect script, without having to go through a phalanx of lippy screenwriters who insisted on explaining why they think your idea is stupid. "Hey, nerd, make me another ET, except make the hero a dog, and set it on Mars" is exactly how you prompt an AI:

https://pluralistic.net/2023/08/20/everything-made-by-an-ai-is-in-the-public-domain/

Corporate design's job is to produce the seeming of intention without any intender. The "personality" we're meant to sense when we encounter corporate design isn't the designer's, nor the art director's, nor even the CEO's. The "personality" is meant to be the slow AI's, but a corporation doesn't have a personality.

In his 2018 short story "Noon in the antilibrary," Karl Schroeder describes an "antilibrary" as an endlessly deep anaerobic lagoon of generative botshit:

https://www.technologyreview.com/2018/08/18/104097/noon-in-the-antilibrary/

The antilibrary is a generative AI system that can produce entire librarys’-worth of fake books with fake authors, fake citations by other fake experts with their own fake books and biographies and fake social media accounts, on-demand and instantly. It was speculation in 2018; it’s possible now. Creating an antilibrary is just a matter of investing in a sufficient number of graphics cards and electricity.

https://kschroeder.substack.com/p/after-the-internet

Reading Karl's reflections on the antilibrary crystallized something for me that I've been thinking about for a quarter-century, since I interviewed Gibson at the Penguin offices in north Toronto. It snapped something into place that I've trying to fit since encountering Henry's thoughts on the "eeriness" of AI work and the intent without an intender.

It made me realize why I dislike AI art so much, on a deep, aesthetic level. The point of an image generator is to buffer the intention of the prompter (which might be genuinely creative and bursting with personality) in layers of automated decision-making that flense the final product of any hint of the mind that caused its creation.

The most febrile, deeply weird and authentic prompts of the most excluded outsiders produce images that feel the same as the corporate AI illustrations that project the illusion of personality from the immortal, transhuman colony organism that is the limited liability corporation.

AI art is born coopted. Even the 4chan equivalent of AI – the deeply transgressive and immoral nonconsensual pornography – feels no different from the "official" AI porn churned out by "real" pornographers. "Shrimp Jesus" and other SEO-optimized Facebook slop is so uncanny because it is simultaneously "weird" ("that which does not belong") and yet it belongs in the same aesthetic bucket of the most anodyne Corporate Memphis ephemera:

https://en.wikipedia.org/wiki/Corporate_Memphis

We call it "generative" but AI art can't generate the kind of turnover that aerates the aesthetic soil. An artform that can't be transgressive is sterile, stillborn, a dead end.

Support me this summer on the Clarion Write-A-Thon and help raise money for the Clarion Science Fiction and Fantasy Writers' Workshop!

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/07/20/ransom-note-force-field/#antilibraries

Image: Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en

--

Jake (modified) https://commons.wikimedia.org/wiki/File:1970s_fanzines_(21224199545).jpg

CC BY 2.0 https://creativecommons.org/licenses/by/2.0/deed.en

[eloise-t-g]

i think for me, the watcher situation comes down to this:

it's absolutely respectable that the watcher team wants to grow and produce better quality content. it's respectable that they don't want to stagnate and end up pushing the same content out over and over again. that's not satisfying for them creatively, i get that.

however, if higher quality, more heavily produced content is not what your fans are asking for, then you can't ask them to fund it.

this all-or-nothing method they've gone for is frankly bizarre. it feels like they leap-frogged all other alternatives to improving their finances and ended up here, alienating and frustrating the majority of their fanbase (the fanbase they thanked for getting them to where they are).

i think this could have gone a lot better if they:

Hadn't hyped up this video for a week.

Hadn't announced the worth it successor just beforehand.

Hadn't put out a wishy-washy, "boo hoo we're so sad about this", over-produced video.

Hadn't made it $6/month (more in a lot of countries given exchange rates).

Had considered that this means fans in specific countries literally cannot pay for the subscription due to geo/region-locking.

my ideas for improving their funds, aka things they could have tried before blowing their brand up: create their own website with two options - a free version with ads and a paid version without ads, OR make better use of their patreon/make their website extra content, not all their content, for example:

Put the ghost file debriefs on there.

Put shows like survival mode on there (or even shift that show from pre-recorded video to live-stream - live stream access to patrons and VOD access to everyone, maybe).

Put episode commentaries there.

Do reaction videos to their old buzzfeed content, talk about memories and BTS, and put that there.

Put one/two episodes of each show, per season on there (and ONLY there).

Put the episodes up there a few days early.

Make specific, website only content (that's not your main and most popular series aka ghost files and puppet history).

Record the live, in-person shows and put those VODs up there.

EDIT (thought of something else lmao): put extended or even uncut versions of ghost files on there. Paranormal Detour on Detune's twitch channel has shown that people will willingly sit through 6+ hours of a ghost investigation.

EDIT: idk, do livestreams once a week where you watch scary movies with fans on discord or twitch.

(side note: the fact that they're not taking down their patreon and instead shifting all of their podcast content on there, something the patreons who have been loyally giving them money for years didn't ask for, is ridiculous and greedy. add to this the fact that they don't even get a free sub to the new website, instead get 40% off - a measly 10% more than anyone else who subs before the official launch).

the thing for me is that they're claiming they want to make "television" and "television-grade content". that's completely fine. what's not completely fine is acting like your four episodes a month is equal to netflix's entire catalogue.

this really felt like it should have been something they told us they were progressing towards, not something they revealed to be on the imminent horizon. idk, it just feels out of nowhere. no, they don't owe us all of the info about their company. but something had to be better than this.

final thought - it's okay and valid to be upset at the team for this. for a lot of people, it's a complete betrayal (especially the comment that $6 a month is something "anyone and everyone can afford", i mean yikes). i do think some people's anger got the best of them, and some of the comments i've seen across youtube, twitter, and tumblr are plain bullying, racism, and harassment. until we have the whole story, we can't decide that one founder (aka steven in a lot of people's minds) is solely responsible. i know a lot of these awful things are only coming from a small minority of the fandom, but they still get seen.

at the end of the day, all three of them got up in front of a camera and made this video, together. that can only lead us to the conclusion that they made this decision together. acting like these men in their 30s couldn't stand up against it if they truly wanted to, is so strange and parasocial lmao.

tl;dr there were much better ways of going about this announcement, if it even needed to be made at all. however, that doesn't excuse the hateful shit being spewed at the team. for now, all we know is the three founders decided they were done with youtube, and done with their loyal youtube audience.

(i have so many more thoughts on this but i need to stop lmao. however i do wonder how different things could have been if 1. they had hired someone with actual business experience as their CEO from the jump, and 2. this video was more of a "hey we're broke! this is a last-ditch effort to save our company!". guess those questions will remain ... well ... you know ...).

[probablyasocialecologist]

The neoliberal era — the time when, we were repeatedly told, there was no alternative — has been characterised by a massive deterioration of social imagination, an incapacity to even conceive of different ways to work, produce and consume. It’s now clear that, from the start (and with good reason) neoliberalism declared war on this alternative mode of time. It remains tireless in its propagation of resentment against those few fugitives who can still escape the treadmill of debt and endless work, promising to ensure that soon, they too will be condemned to performing interminable, meaningless labour — as if the solution to the current stagnation lay in more work, rather than an escape from the cult of work. If there is to be any kind of future, it will depend on our winning back the uses of time that neoliberalism has sought to close off and make us forget.

k-punk: The Collected and Unpublished Writings of Mark Fisher (2004-2016)

[eldritch-spouse]

Man, I want to do a bonding moment with Cero, Patches, Mervin, Morell, Berle, Livius and Vorago by bathing together and washing each other. Like possibly no horny, just me and one of the boys relaxing and washing each other's bodies.

Bathing together (no hanky panky)

Getting Cero to fully relax in a shared bath is hard. He's used to having his own baths at the end of the day, with no one there to bother him, without having to maintain a constant air of immaculateness.

Having you there already makes the process something he needs to "perform" in, thus he's initially slightly irritated. Hence, he insists that you sit between his legs, back turned to him, so that Cero can freely smile and sag and just be a person... He's fairly quiet, for once, and hums to whatever you may ramble about. Bath time is an unwinding moment for him, so it should be one for you too, even if he finds it hard to be completely "mannerless" in front of you. This means that you can swear all you want, make all the dirty jokes and splash around like an animal. Cero will not judge you.

Eventually, he becomes comfortable enough to make his own less than refined quips and air out some of his shortcomings/grievances.

What happens in bath time stays in bath time, do not break this vow or Cero will break some of your bones.

Patches often neglects taking care of himself.

To be fair, given the stagnation of plenty of his bodily functions, it's not as if the dullahan naturally produces foul body odors, but his earthy smell does become more pronounced. You must drag him into a bathtub yourself. Only then will he slump and accept his fate.

Patches is pretty quick in taking care of his own body and mostly makes the whole thing about you. Is he collecting stray hairs that fall as he washes you? Possibly. But he's also just basking in the feeling of cuddling with you in a body of water, which is new entirely to him.

He takes to removing his head, simply because wetting it too much is not ideal to its longevity.

The perks of having Patches around shine here, as he likely has some freaky little magic bathbomb he impulse bought stored somewhere.

Mervin usually has long baths after a headache-worthy job. And he doesn't really advise you join them on those, because he's mostly quiet, possibly wounded, and thinking of everything he just did- If he did anything wrong. That's no mindset to listen to you or even be remotely affectionate.

He has this tendency to make sure the bathroom is spotless before getting in. Because he will not, refuses to, undress in a "stained pigstall". You're the first to come in, undress and get in, he doesn't tell you why he does this but it's the same reason he'll sometimes walk slightly behind his brothers in more crowded zones, to make sure they're safe. Muscle memory. You're forbidden from changing the temperature, if you find it cold then he supposes you can rub up on him for warmth like the needy creature you are.

You're washed first, more gently than you'd expect from him. Mervin repeatedly swats your hands away when you try to return the favor, you'll have to insist until he feigns exhaustion. His pleased rumbling is subtle but definitely audible.

Morell usually doesn't have time for baths, it's all fast showers and walking around kinda wet. But when he does take the time to bathe, especially with you, it's kind of a game.

Rub a dub dub, get yer ass in tha tub- He'll push you in there, don't doubt him. He likes doing this thing where he stays outside the tub while he bathes you, and gets in when he thinks you've been sufficiently scrubbed.

The shroom is either humming or whistling, and it's really bizarre to watch him shake water off his cap. By the way, prime opportunity to touch his neck. Just letting you know. Especially since Morell keeps his eyes mostly closed while you're washing him back.

When he truly relaxes, he's capable of falling asleep holding onto you. Shake him awake before the water gets cold.

Berle is also another one that doesn't usually bathe. He just doesn't have the patience to sit there and stare at the ceiling blowing bubbles.

If you realistically want him to sit still, then let him eat in the tub. This will not have an effect on his digestion. He's going to be his usual chatterbox self and hardly do anything to actually clean either of you until he probably starts feeling a little cold... Berle is unintentionally really fast in his ministrations and may hurt you with his claws, so remind him to calm down every now and then. You are likely to get tickled if you take too long washing him.

Really, Berle is trying really hard to stay in the tub with you and relax, but you can tell his mind drifts off after a while and he's thinking of a million different things he could be doing. It's not your fault, he just can't stay still.

Bathing with Livius is interesting. He tends to let his limbs flop over the edge of the tub.

This is essentially going to be a game of mimic. He only starts washing when you do, following the same order as you and trying to get your timing down. For this reason, you either mutually wash each other at the same time, or he asks you to wash him first.

Livius tries to guess what type of bath bomb you'd like better, or if you'd like any at all. Getting it wrong will have him sulking for a while.

Conversation flows as easily as you allow it to, and he's perfectly fine with allowing you to play with his horns, so long as he gets to play with your ears and nose. It's in moments like this that he truly covets your body. Not necessarily in a carnal way (though the impulse is there), he just loves how you look and wishes to be in your body.

Vorago has written this moment several times. The shared bath between two lovers. Granted, those took place in fairly more fantastical settings, but still, Vorago is very excited. And flustered.

Vorago has to make sure this is perfect for you, but part of him worries that he's being too corny if he goes with too many pink things around or the petals... Lords he really wants to make it a romantic thing but he knows he's going to look like a complete ass. He helps you in like a gentleman and is extremely docile as he washes you, but there's definitely moments where you'll feel him smell you. Vorago can only curb his delight up to a certain point.

Be prepared for the workload if you try to wash him back, because taming his thick and voluptuous hair is a feat. He certainly enjoys it, rumbling deep and loud and probably dark in the face from all the attention. He wishes he could take a photo of this moment, write it all out, it's so perfect. It's beautiful.

[bawkrya]

THE ALBUM IS DOGSHIT! GOODNIGHT FOREVER

theres no way this album was made by glass animals bro.

[reddest-flower]

Cuba broke through its colonial domination into freedom. From the mountains of the Sierra Maestra and from the cities came the torrential power of the people against the US-backed dictator Fulgencio Batista. ‘The revolution is made in the midst of danger’, said Fidel Castro as he led his band of peasant-soldiers from the hills into the cities. They had triumphed against remarkable odds. Quickly, the revolutionaries passed a series of decrees – just as the Soviets had – to draw the key classes to their side. To draw in the urban Cubans, the revolutionaries cut rents by half – sending a strong signal to the bourgeoisie that they had a different class outlook. Then, the revolutionaries took on the United States, whose government held a monopoly over services to the island. Telephone and electrical companies – all American – were told to reduce their rates immediately. Then, on May 17, 1959, the Cuban government passed its agrarian reform – the keystone of the revolutionary process. Land holdings would be restricted so that no large landowners could dominate the landscape and so that the US sugar industry could not strangle the hopes of the island. The most radical part of the reform was not the land ceiling itself, but the logic that agrarian reform would transform the stagnation of the Cuban economy and its dependence upon the United States. The law clearly stated that, from a socialist standpoint,

«The agrarian reform has two principal objectives: (a) to facilitate the planting or the extension of new crops with the view of furnishing raw materials to industry, satisfying the food requirements of the nation, increasing the export of agricultural products and, reciprocally, the import of foreign products which are essential to use; (b) to develop the interior market (family, domestic) by raising the purchasing power of the rural population. In other words, increase the national demand in order to develop the industries atrophied by an overly restrained consumption, or in order to create those which, for lack of customers, were never able to get started among us.»

The revolutionaries wanted to diversify their sugarcane island, produce food security for their people, remove people from desperation, increase the ability of people to consume a range of goods and engineer a people-centred rather than an export-centred economy. Long before Castro announced his commitment to communism, the regime had already developed a carefully thought out socialist platform.

The United States of America, having overthrown the radical nationalist government in Guatemala in 1954, was eager to repeat the task in Cuba in 1959. An embargo came swiftly, as did every form of humiliation possible against the Cuban people. The Cuban economy was structured around dependency to Washington, with the sugar bought by the US firms and with the island turned into a playground for American tourists. Now, the US decided to squeeze this little island, only ninety miles from the US shoreline. Gunboats were readied, a failed invasion tried in April 1961 at the Bay of Pigs. Cuba was vulnerable but also protected by the deep roots of its revolution. But would this protection be sufficient? Could Cuba, alone, be able to survive the onslaught from the United States?

On February 5, 1960, a leader in the USSR and an Old Bolshevik – Anastas Mikoyan – came to Havana to join Fidel Castro at the opening of a Soviet scientific, cultural and technical exhibition. A week later, Mikoyan and Castro signed an agreement for the USSR to buy Cuban sugar at the world market price (in dollars) and provide credits for the Cubans to buy Russian goods. The USSR would subsequently buy almost all the Cuban sugar harvest, even as the Russian consumer market could very well have been supplied by beet sugar from within the USSR. Prices fluctuated, but, on balance, the Cubans were able to find a regular buyer to take over from the United States. The Russians also provided over a $100 million in credits toward the construction of Cuba’s chemical industry as well as trained Cuban technical and scientific workers in the USSR. Diversification of Cuba’s economy remained on the cards, although it became clear that it would not be an easy task. In August 1963, Castro announced that diversification, as well as industrialization, would be postponed. Cuba needed to concentrate on its sugarcane harvest to earn the means to survive the embargo.

On February 24, 1965, Che Guevara addressed the Second Economic Seminar of Afro-Asian Solidarity in Algiers, Algeria. He had come to talk about the economic problems for a revolution in a post-colonial country. Overthrowing the former colonizer was not enough, Che said, since ‘a real break’ is needed from imperialism for the new state to actually flourish and not remain in dependency. How could the post-colonial state survive a hostile economic climate? Who would buy its goods – mainly primary, unprocessed goods – at a fair price, and who would lend it capital at fair terms to develop? Capitalist banks and countries would not provide the post-colonial state, particularly a socialist state, with the means to break out of the trap of underdevelopment. Banks would lend money to a post-colonial state at rates higher than it would lend to a colonial power. Expensive money would only put the post-colonial state into further difficulty, as it would find it hard to service its debt and see its debt multiply out of hand. To prevent this situation, Che argued, the ‘socialist countries must help pay for the development of countries now starting out on the road to liberation’. Trade between socialist countries must not take place based on the law of value of capitalism, but through the creation of fraternal prices. ‘The real task’, Che said, ‘consists of setting prices that will permit development. A great shift in ideas will be involved in changing the order of international relations. Foreign trade should not determine policy, but should, on the contrary, be subordinated to a fraternal policy toward the peoples.’

China, in 1960, offered Cuba credit of $60 million without interest and without a timeline for repayment. This was an enviable loan. But the scale was much smaller than the Soviet assistance. By 1964, the USSR had provided Cuba with economic assistance valued at over $600 million, while the Eastern European countries offered several hundred million more in aid and assistance. The USSR had also trained over 3,000 Cubans in agronomy and agricultural mechanization as well as 900 Cubans as engineers and technicians. Che recognized the value of the Soviet ‘fraternal policy’ both in terms of the training and in the prices offered. ‘Clearly, we could not ask the Socialist world to buy this quantity of sugar at this price based on economic motives’, he had said in 1961, ‘because really there is no reason in world commerce for this purchase and it was simply a political gesture’.

Red Star Over the Third World, Vijay Prashad, 2019

[spacedustpan]

Hey Tennessee fandom people: the ELVIS Act getting ready to go through. It prevents you from using likenesses of Public Figures and their voices. It's Supposed to target AI of musicians and actors but it's written So Broadly that it can effect things like Political News Reporting, Political Parody, AMVs, Fan Edits, and of course Fan Art. It's not limited to Tennessee households either so a Hollywood company can relocate a headquarters or branch to Tennessee and use Tennessee law to sue people outside the state.

If you care about any of that, then look up your county's/district's representatives in the Tennessee Senate and House and start calling. It's headed to General Assembly.

Specifically the bill says - no one can use a famous person's likeness or voice without that actor's permission for the actors life plus 10 years - .

You can see how likeness and voice can be broadly applied and of course fans would never be able to get permission for fan content.

Surely you can see how this would affect amvs and fan edits on places like Instagram.

It would also affect things like Fan Art for Live Action Series.

This would limit free use for things like parody which would effect comedy too.

It's named after Elvis and claims to be for the entertainment industry but it's written so broadly so that it can be used by public figures in general. So Politicians would be covered under it.

Honestly politicians are trying to get this passed in Tennessee to limit the use of their own likenesses for things like memes because it's a fairly easy state to get ultra conservative bullshit passed.

Here's some more info from Real Clear Policy writer Hannah Cox:

"

Right of publicity laws typically include stringent, clear exceptions and only apply to advertising, merchandise, and fundraising purposes. Those exceptions are for “newsworthy” images in content that provides a “public interest,” which encompasses everything from hard news to documentaries, to satire, to celebrity gossip.

This is a fantastic structure that ensures an individual has a right to their own personhood while also upholding the First Amendment, its protections for free expression and freedom of the press, and ensuring the public has easy, fast access to information.

The ELVIS Act doesn’t include these provisions. As currently written, filmmakers would have to obtain permission from nefarious actors like Jeffrey Epstein’s estate in order to make a documentary about him. The producers of Forrest Gump wouldn’t be able to include all those scenes with historic figures. 

That’s a really good way to protect powerful people from scrutiny. And it would severely stagnate the flow of information online as even obtaining such permissions could take weeks. Additionally, out of fear, many content creators would simply play it safe out of fear of litigation.

The ELVIS Act also does not limit its reach to those living or dead, nor does it restrict its parameters to those with a Tennessee domicile. This seems like an open plea for people to infiltrate the state with ridiculous lawsuits that wouldn’t make it past the first gate elsewhere. It’s almost like the trial lawyers associations wrote this bill instead of Hollywood unions.

But to be clear, this was brought to the Republican legislature by the music industry associations and Hollywood unions - a peculiar entity for conservative lawmakers to be carrying water for to say the least. What these entities really want is an end to Fair Use practices because they’re bleeding money, and instead of making better products or creating new revenue sources, they’re simply being lazy and attempting to restrict the market.

"

--

When you call: You're a concerned republican worried about how limiting AI can hurt small business and how the law should be written more specifically and Exceptions Should be included To Protect Fair Use for Non-Commercial, News, and Parody use, because all are integral to Free Speech.

The Law is Simply Too Broad the way that it's written now and it limits Facebook campaign support for Republicans if they have to get permission from Liberals to use their likenesses. It limits free speech which is integral to preaching God's good word against his disbelievers in a political setting and you won't stand by a politician that limits your freedoms like that. This is America Land of the Free and you'll be damned if you let someone step on you like that. That its Big Government infringing on your rights as an American instead of sensible small government.

--

If you dont live in Tennesse this will still affect you with the ways it's written. It doesn't take much for companies to set up "official" shop in a new state.

It will also ABSOLUTELY be used as the model for a much worse NATIONAL bill if it gets passed in Tennessee. Because Politicians will see that it already succeeded once and HollyWood and the Music Industry are two lobbies FLUSH with cash for bribes and campaign donations.

Mark my words this will absolutely bleed over into national politics which will be devastating for News Reporting and informing the populace which is ALREADY in awful shape.

[drdemonprince]

How about free use ?

Free use saw major gains as a kink in the last several years, especially among the hetero amateur porn producing crowd and their viewership base. Among cishet leaning bdsmers there is heavy investment in free use too. However, this kink's stock is rapidly stagnating. There is really only so far that it can go when not combined with spicier or more challenging kinks such as 24/7 power exchange, intoxication play, or CNC. Popular overinvestment in cuddly, non-hierarchical free use has caused the stock's potential to flatten. There'd only so many ways to film a girl getting slowly fucked while she plays nintendo switch.

[lgbtlunaverse]

Tag yourself: I produce stagnation and wish to destroy the canon

Was scrolling the hellsite and saw this gem of a trashfire

be right back guys, I gotta make a malevolently bad map

[wordsnstuff]

Hi!

I have reached out to more people, but I'm still having problems with this, and I wanted to hear another opinion.

As a writer, do you have problems continuing a story once you hit a difficult scene?

Because I do, and honestly it's getting me frustrated at this point.

I have a good idea and a plot already done, but every time I hit a difficult scene I just get stuck, and can't write for weeks, sometimes months. I hardly even open the documents when it happens, and sometimes it comes right when I'm on a writing spree and being happy with my writing.

Do you have any advice on how to deal with this? How can I get past this issue and just keep writing more frequently?

I'd really like to hear it!

What do you do when you hit a snag?

When approaching this topic, the frustrating thing is that age-old advice has a lot of truth to it. Sometimes it is true that the best thing you can do when you're stuck is to stop struggling against the resistance and take a meaningful, intentional break to rest your mind and reset your thought process. Sometimes the key to getting started again is shaking up the routine and the altering the process until you find a new combination of habits that meet you where you are.

However, for a lot of us, the turmoil reaches deeper than that. A lot of people who do creative things are neurodivergent, so that has a place in the conversation when discussing what's preventing us from realizing our vision. Even if you don't identify with specific neurodivergence, there are a lot of tools and techniques that have been tried and tested for coping with immense, intrinsic difficulty with things like productivity, mindfulness, interoception, focus, and consistency. Just because these techniques are not specifically designated for you doesn't mean they won't be effective for you.

It is always a helpful exercise to take a step back and examine how you're feeling, both when you are writing and when you aren't, and try to identify any areas where you might be able to improve by changing things within your control.

When it comes to a specific scene holding you back from carrying on, I usually find that it's the result of a decision I made earlier in the plot that isn't serving the story as it continues to develop. I would take a chunk of time to take an analytical look at the scene, where it's come from, what is and isn't sparking in it (is the stagnation mostly due to the characters, events, environment, or lack of information, and is it a scene that is imperative to the reader's understanding?). A lot of the time, it's a scene that can be cut, or it's a scene that can be made redundant by infusing the necessary information of the scene into another place within the story.

If you've identified a scene as "a difficult scene", ask yourself why. If it's daunting because it's too long, then it can probably be cut way down and then added to later if while editing it seems a little thin. If it's challenging because things aren't falling into place and you aren't getting into a flow, then the set-up for the scene probably hasn't been developed effectively and you need to decide whether you're gonna go back in the draft to investigate or move on and return to it while editing.

If the information in the scene needs to be communicated at this specific point in the story, the problem might be the way you've chosen to present it. Pay attention to what your instincts are telling you, because pushing through a scene for the sake of getting past it will not produce a compelling scene to read. If you need to move past it, you have permission to do that. You can always come back and completely dig it up later.

Overall, I think it's very important to write with acceptance that the plot may not turn out the way you planned it. The process is much more effective and much more enjoyable if you aren't trudging along on a predestined path. If the characters and story develop outside of the lines, see where they go. You'll always have the opportunity to return to the outline and tailor later.

Best of luck,

x Kate

[canisalbus]

What?? Why on Earth would they bloodlet Machete when he's already anemic?

Anemia wasn't discovered until 1852, so his physicians have no idea. He's just moody and achy and visibly unwell and bloodletting happens to be the cure-for-all fix at the time.

I don't think I'm exaggerating when I say it was one of the most used treatments in western medicine from ancient Greece to 19th century (and even earlier than that in Egypt, for example). There weren't many ailments that a little bit of breathing a vein wouldn't alleviate, supposedly. This whole concept is based on humoral theory which is a fascinating cornerstone of medical history and also completely unfounded nonsense, look it up if you haven't, it's interesting. People believed that blood didn't circulate through the body, it was created, used up and then the bad blood would stagnate in the extremities. Having too much blood would disturb your humoral balance and create illnesses so removing it was beneficial to your wellbeing. Even completely healthy people would sometimes go get themselves bled a bit just to be sure.

You kind of need blood for your body to function so this treatment was completely pointless at best and life threatening at worst. If you were sick to begin with it would only weaken you further (and expose you to potential infections, which in the absence of antibiotics, wasn't great). The only viable use for it would have to be rare blood disorders where your body produces too many red blood cells, like polycythemia vera, essentially the polar opposite of anemia.