#so aesthetik

[ikeer]

[pertaretart]

A wip and a doodle of my OC Sabik! Kinda love the aesthetik of screenshots taken out of my drawing programm xD

I love this bitch so much uwu

[pianocat939]

Thanks to the McDonald's ask and the fact I'm playing Pokemon What Pokemon do you think each of them would have doesn't have to be a full team

There aren’t based off of color palettes, rather type and overall aesthetic Ig

Raph:

Fairy and Fighthing

I think it’s self explanatory why.

Gallade/Gardevoir + I think there’s a new something of the G’s called Iron Valiant (which is an actual fairy and fighting).

Leo:

Electric + Dark

He would have dark types for the aesthetik 💅🏻

Luxray + Morpeko

Donnie:

Water + Steel/electric

Donnie is a soft shell which is a super aquatic turtle so like I think it makes sense he would have at least one water type.

Emporeon (love it so much help) + Magnezone

Mikey:

Fire + Psychic

Mystic powers bro. And also mime because it makes sense to me he would love an artist like him (no I’m not adding in that ugly ass paint brush Pokémon)

Delphox + Mime

Idc what anyone says Violet is much cooler than scarlet.

[fabiansteinhauer]

Warburgs Zettelkästen

1.

WIA III 2..1.ZK: Die Signatur für Warburgs Zettelkästen.

Mich interessieren ZK 1 ["Ausdruckskunde"], 17 ["Politik]", 67 ["Ur-Tänze"] und dann, nach einer neuen, erstmalig 2009 eingeführten Nummerierung die Zettelkästen [23] - "Aesthetik" mit den Notizen zu den grundlegenden Bruchstücken (darin liegt mein Lieblingszettel, der wohl berühmteste und meistkommentierte Zettel von Aby Warburg, der von 1896 mit S und O als geteilter Tafel und Spirale/Wirbel), [19] - "Geschäftliche Reisen Reise Italien" und [34] Korrespondenz Reste Notizen.

Die vier zuerst genannten sind die Zettelkästen, in denen Warburg auch Zettel zur Rechtswissenschaft und zum Recht sammelt. Warburg legt in den Kästen Abschnitte und Unterordner an. Er verwendet auf der Ebene der Unteordner kleine Falter, die wie um 90 Grad gedrehte, ins Horizontale gewendete Akten in den Kasten gelegt sind, dann eine Guppe von Zetteln sammeln und die nur vereinzelt mit Schlagworten bezeichnet sind. Warburg unterteilt also Zettelkästen nach Nummern und Titeln, innerhalb des Kastens hat er die Teiler/ Reiter für die Abschnitte, das sind die groben Pappen wie im Bild (dort mit der Aufschrift "Tages Conziliazione" [?] weil er dort Meldungen zu Tagesereignissen rum um den Abschluss der Lateranverträge sammelt) und dann, auf dritter Ebene, die eben beschriebenen 'Akten' oder Unterordner. Man kann die 'Akten' nur insgesamt herausnehmen.

In allen Kästen (es sind um die 100) findet sich etwas, was auch Gegenstand für das Recht und die Rechtswissenschaft ist, schon weil es wohl nichts auf der Welt und über ihr und unter ihr gibt, was nicht von Recht und Rechtswissenschaft überzogen ist.

Bestimmt finden sich Zettel zu von Eycks Bild der Arnolfini-Hochzeit irgendwo. Dieses Bild ist ein, wie Belting mal schrieb, gemalter Ehevertrag. Das ist nur ein besonders deutliches Beispiel dafür, dass alles immer auch mit Recht zu tun hat. Es finden sich Zettel zu Tieren, scheint zwar nicht besonders juristisch, die Juristen bestimmen aber mit, dass und wie man Tiere von Menschen unterscheidet. Jeder Zettel ist also irgendwie, deutlicher oder undeutlicher mit rechtlichem Wissen verbunden. Dazu kommen die juridischen Kulturtechniken, alles das, was Vismann in ihren Forschungen zu den Akten beschrieben hat, was also auch aus historischer Rechtspraxis und Rechtswissenschaft entstanden ist, auch wenn es nicht nur oder nicht mehr für das Recht eingesetzt wird. Auch so hat jede Wissenschaft etwas von Rechtswissenschaft, so ist nicht nur Wissenschaft vor Gericht science at the bar. Aber in diesen vier Kästen sammeln sich Gruppen von Zetteln, die Warburg explizit auch mit dem Rechtsbegriff assoziiert.

In Ordner 1, dem zu Ausdruckskunde, gibt es eine Abteilung zum Symbol, dort einen Unterordner zur Symbolik des Rechts. Wichtig ist dann die "gute Nachbarschaft" der Zettel. Die Nachbarschaften in diesem Zettelkasten kommen den Nachbarschaften auf den Staatstafeln schon nahe. Auf den Staatstafeln ordnet er in Nachbarschaft zur Tafel 78, einer Tafel über Akte sowie das diplomatische Protokoll der Lateranverträge und einer Staatengründung, die Tafel 79 zur Communion, zum Blutwunder der Messe von Bolsena, zum "Verzehren des Gottes" (Bing), zum Antisemitismus, zu Zügen (Massen in Bewegung), zu Soldaten und Sportlern, zu Hüpfenden und Knieenden und zu 'seinem Hamburg', 'seiner Gegenwart' (auch mit biographischen Elementen) zu.

In diesem ersten Zettelkasten 1 folgt die Abteilung zum Symbol denjenigen zur Mimik und Physiognomik (mit denen der ZK beginnt). Warburg beginnt also mit dem Ausdruck des Gesichtes und des Körpers, kommt dann zum Symbol ( mit Unterordner Rechtssymbol), dann geht es so weiter: Tänze, Unruhe in Rußland, Tanz in Folklore (also drei Abteilung zu meteorologischen Körpern), dann folgen Erotischer Kannibalismus, Communion und Eid auf Thiasos: also drei Abteilungen zum Verschlingen, Verzehren und zu der Verhäkelung von Bindung und Ekstase. Man kann ZK 1 schon in Nähe zur der Ordnung der Staatstafeln sehen. Das Feld bildet sich um drei Aspekte: (1.) zeichenhafte Verkörperung/ Verleibung (von der Stellvertretung bis hin zur vertraglichen Bildung einer Körperschaft), (2.) Distanzschaffen (auch als Einrichtung der Grenze zwischen Subjekt und Objekt) und (3.) Meterorologie (als Feld unbeständig vorübergehender Körper). Zettelkasten 1 weist bereits die 'typischen' Perspektiven Warburgs auf. Zur Rechtssymbolik sammelt er dort Angaben u.a. zu Aufsätzen von Fritz Wasmuth, Albert Hermann Post, Joseph Kohler und Rudolf von Jhering, viel ist es nicht.

Zettelkasten 17 ist allgemeiner, nicht so idiosynkratisch oder eigensinnig, sondern 'anschlussfähiger' sortiert. Es gibt dort eine Abteilung, die "Recht" heißt, das ist Abteilung 3 (folgt auf "1. Ethik" und "2. Freiheit" und wird dann gefolgt von "4. Freiheit juristisch", Warburg versucht dort also in den Abteilungen eine logische Baumstruktur ähnlich der dialektischen/ dihairetischen oder ramistischen Vorgaben aufzubauen, was ihm natürlich nicht gelingt, denn als 5. Abteilung taucht schon wieder Freiheit auf, ohne dass der Unterschied zum ersten Auftauchen spezifiziert wird. Schon in kurzen Abständen wird Warburg irritierend zweideutig- redundant und stört damit den logisch systematisch eindeutigen Aufbau. Liberal im liberalen Sinne ist nicht nur liberal, das ist seit Loriot klar. Freiheit im freiheitlichen Sinne ist nicht nur Freiheit. Eindeutige Freiheit basiert auf operationslisierter Differenz und auf Differenz, die durch Freiheit geht. Warburg macht mit seinen zweideutigen Redundanzen nichts falsch, aber für die Operationalisierung gibt er auch nichts an die Hand. So muss man jedes auf's neue überlegen wohin und nach welchen Kriterien man einen Zettel entweder unter Freiheit oder Freiheit' einordnet. Ich kann mir vorstellen, dass sich manche darunter keine Methode oder aber Wahnsinn vorstellen.

Die Abteilung Recht beginnt mit einem Zettel zu Adolf Reinach, Die apriorischen Grundlagen des bürgerlichen Rechts. Ist das eine Überraschung, wo Adolf Reinach doch auch in der Rechtswissenschaft nur Spezialisten bekannt ist? Ist das ein Wunder, weil wir am MPI als nächstes zu Adolf Reinach forschen? Eckhard Schüttpelz, Spezialist für Aby Warburg und Adolf Reinach wird das bestimmt nicht überraschen. Die Schnittmenge liegt wohl im Interesse am Akt, am Gebilde und am Versprechen, aber das ist nur spekuliert. Warburg notiert nur die bibliographischen Angaben. In der KBW (bzw am Woburn Square) habe ich das Buch von Reinach nicht in die Hand bekommen, ich kann zu Spuren der Reinachrezeption bei Warburg (noch) nichts sagen und werde das auch jetzt garantiert nicht klären, Bücher müssen auch mal fertig werden.Nach Reinach folgen mehrere zettel zu Besitz und Eigenum, nochmal Kohler, dessen Shakespeareaufsatz Warburg interessiert, sicher wegen der Wendungen gegen den Juden und wegen der Rolle, die im Merchant of Venice Vertrag, Blut und Fleisch spielen.

Zettelkasten 67 Ur-Tänze: Schon in Zettelkasten 1 ist der Tanz, also auch springende, hüpfende (hoppelnde) Körper und etwas, was fliegen und zum Himmel will, obwohl Gesetze eingerichtet sind, die sagen, dass es nicht fliegen und zum Himmel kann etwas, was Warburg in Nähe des Rechts assoziiert. In Zettelkasten 67 tauchen nun das juristische Probleme auf, das später Edgar Wind und Carolin Behrmann aufgreifen: der Tyrannenmord, wenn man so will: der Moment, an dem die Spitze des Rechts selbst zum Meteor wird. Da wird der Tanz zu einem Ur-Tanz, das Prinzip springt, auch wenn es nur hoppeln, hüpfen oder hoffen will. Hier schlägt das Begehren aus, in alle Richtungen weit aus.

Zettelkasten [23]: Hier finden sich die Zettel zu den Gesprächen mit Sally George Melchior. Kleines Forschungsergebnis, aber ein Detail, in dem der liebe Gott steckt: Die Edition der grundlegenden Bruchstücke notiert, Melchior und Warburg hätten über eine "municipatio" gesprochen, das stimmt nicht. Auf Zettel 309 notiert Warburg erwartugsgemäß mancipatio. Da hat sich ein zwar offensichtlicher und doch verwirrender Verdreher in die Edition eingeschlichen (weil das Wort municipatio durch die Altphilologie geistert, wirklich geistert).

2.

Warburg sortiert. Ich würde in Bezug auf Warburg jederzeit den Begriff der Sortierung demjenigen der Ordnung vorziehen, auch wenn die Sortierung selbst eine mindere oder schwache Ordnung hat (also eine Ordnung, die leicht bemerkbar noch etwas anderes als eine Ordnung ist).

In Warburgs Sortierung den Bestand eines logischen Systems auszumachen, ist schwierig; die Mobilisierung des Wissens scheint zumindest die Fixierung des Bestandes und eine Fixierung auf das logische System zu unterlaufen. Aber deutlich, prägnant und präzise ist die Sortierung doch, sie ist sogar einfach. Wenn, wie Ute Holl schreibt, das Problem der Gesetzlichkeit (und des Rechts) die Remanenz der Zeichen und (ihre Widerständigkeit sowie ) ihr Insistieren im Verhalten der Körper ist, dann fokussiert Warburg das Recht auch als Technik des Distanzschaffens und der Verkörperung/ Verleibung. Wenn Psyche der Name oder der Begriff für die Involvierung von Geist und Körper, für die und das Falten aus Geist und Körper ist, dann sind Recht und Gesetz Falter und Pavillons, sie falten mal zäher mal flüchtiger, mal beständiger und mal unbeständiger an diesen Falten mit. Für die Gesellschaft ziehen Recht und Gesetz ohnehin, vom pomerium bis zur Unterschrift, alle Linien, aus denen sich Konturen der Gesellschaft ergeben, mit.

Das Hauptinteresse für Warburg ist und bleibt auch bei Recht und Gesetz das, was ich Meteorologie nennen würde: Die Unbeständigkeit vorübergehender Körper (von Körpern, die sich an einem vorüberbewegen, wie es Schlangen im Bergell, Diplomaten beim Empfang oder Frauen beim Tanz tun, und von Körpern, die vorübergehen, weil sie nicht nur zum Tode hin vergehen, sondern auch in ihrer Kontur, etwa in der Unterscheidung zwischen Subjekt und Objekt unbeständig sind, wie es Frauen und Männer beim Tanz oder kollidierende Sterne sind. Daran interessiert Warburg einerseits das Problem, wenn man so will: die Gefahr, alles das, auf das Warburg seine "Meditation" (Bruno Lima) der grundlegenden Bruchstücke vorausschiebt: Du lebst und thust mir nichts. Und ihn fasziniert die magische Rationalität daran. Und sonst so? Im linkedin-Sprech gesagt interessiert ihn 'die Herausforderung'. Mich interessieren daran das Vage und doch Präzise und die Polobjekte als Essenz dessen, was man mit Warburg für eine juridische Polarforschung destillieren kann.

[daily-journal-stuff]

First Entree

Hiiii,

das ist jetzt mein erster Eintrag, ich bin mir ziemlich sicher, dass niemand meinen "Blog" lesen wird aber hey vielleicht wird es ja klappen. Ich hatte schon einen gesamten Text auf englisch, doch finde ich das irgendwie komisch, weil ich meine warum soll ich auf Krampf in Englisch schreiben, wenn sowie so niemand es lesen wird. Egal. Nochmal kurz ein paar wichtige Sachen vorab:

Ich bin noch in der Schule und verliere schnell Interesse an Sachen, deswegen danke ich wird das nicht sonderlich lang weiter führen (so bis Morgen oder so)

Ich habe mir vor vielleicht 20min einen Account erstellt und habe absolut keine Ahnung wie das hier funktioniert

Es tut mir wirklich Leid, wenn das nicht verständlich ist was ich hier schreibe. Hoffe ihr (aka. Stimmen in meinem Kopf (Spaaaaß)) versteht was ich meine.

Irgendwie habe ich schon so oft solche aesthetik Blog Seiten gesehen, aber ich habe halt echt keine Ahnung.

[mychemicalchiroptera]

Thanks for the tag <3

Woahg so aesthetik...

ty for the tag @angelblvd444 <3

-first 5 pics on your pinterest feed is your vibe-

tagging- @silkyytears @bloodiebunniemassacre @oat-milk-maid @fijifalls777 @m6lancholic @lonelydolly @girlintodust + anyone else who wants to do it!!

[wun-schwerder]

Handarbeit ist Kunst ist Handarbeit. Ich danke der lieben Maria für ihre so treffenden fotografischen Beschreibungen meiner Atelierwelt und meiner Arbeit darin. Du bist die beste Imagefotografin, die ich mir denken kann ;) @maria_moro (an die weltbeste Fotografin) @moro_photography (für diese atmophärisch wundervollen Fotografien!) #mittwoch #mittag #kunst #am #fluss #kleineweltimatelier #naehe #erleben #emotion #bykova #fotografik #aesthetik #art #wunsch_werder #werderinsel #werder #alltagskunst #detailliebe #berlinerumland #gestaltedeineumgebung #artistoninstagram #makewhatmakesyouhappy #insta2022 #picture #instaart #picoftheday (hier: Werder (Havel)) https://www.instagram.com/p/Cpz_1yeItF7/?igshid=NGJjMDIxMWI=

[transhawks]

....i can’t hate grimes she makes too many bops.....

[okameeznuts]

So aesthetik ❤️💜💚

Rentry Graphics?

Thanking @ionlypostmymeemocs for helping me! Marionette Sniper has variety of outfits, totally customisable. (Mostly jester related costumes)

[ai-dont-care]

as far as i know no girl has ever found me attractive?? the only people who i know liked me romanticaly are guys?? BIG :/

[pathetik-aesthetik]

remember when we were young?

so young that your love didnt feel like love at all

it felt suffocating and ill fitting

and for years after id moved away i still felt that love like a thick, drapey, puddle of knit yarn

up until the moment you told me you had slept with her

it was easy for me to disconnect then

after the tugging and clawing, choking and sobbing under that yarn you had knit

i was out

and so were you.

-pathetik-aesthetik

[pianocat939]

This might sound weird but can you do yandere tmnt boys with a reader who collects bones and goes out in the forest just to find bones?

This is not the first time I've heard of such a thing. My friend does it, and she sends me pics so I've seen a few things. My germaphobe self would never do such a thing tho.

Not me freaking out when I saw a possum skull at her house ;-; (It looked funky ok)

Tw: Donnie goes full blast germaphobe

✦Rays of Homosexual Energy✦

Wouldn't say it to your face but it terrifies him a little. Like you're picking up bones. Bones of those poor animals! But he knows it's because you find it interesting/cool so he doesn't say anything. Feels like crying if you show him one tho. Also why did you leave him to go to the forest? Don't split away from him, ever!

✦Le Raccoon Named Mr. Fuzz✦

Finds it interesting. I don't think he would ever go out with you into the woods but does like looking at the things you bring to the lair. Probably says something like "That is so aesthetik" while tapping on it. Takes selfies of any skulls you might have with a filter and tries to get it to detect the bone.

✦Don't Touch My Gummy Bears Hoe✦

After he finds out he's going to force you to wear protective gloves whenever you go. Oh and don't forget the sanitizing spray! He freaks out about whether you get bacteria or anything of the sort from your adventures. If he's in too deep will prevent you from going anymore. If you wore a protective suit and under his surveillance then maybe you can go.

✦Mate I'm About To Eat Leave Me Alone✦

Uses it as art inspiration. Bones are very, geometrically speaking, a masterpiece, so he loves taking it into his works. His favorite art pieces are making potraits of you holding/near the bones. He likes to tag along, as not too many people go to the forest, so it's a win-win for him. Plus, he gets to cling and observe you all he wants!

(I would react like Donnel for sure)

[dentalcleaningmelbourne-blog]

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[childhoodgrave]

🍓 Also a kompliment 4 you: i luv yur art, yur aesthetik iz awesome, and youre really fun n sweet!! :D

i feel th exact same way abt u! ur an incredibly sweet person and it makes me happy when i see ur posts on my dash or that uve @ d me in a post? im very bad at that sort of thing but it consistently makes my day, so thank u for that. youre incredibly creative — i actually just read a bit of writing u did tht im gnna rb in a minute tht was like incredible?? it blew me away. the amount of time and passion u put into the things u create is so incredible 2 me... i hope ur doing okay!

[sontagfag]

THE PREDATORY WASP OF THE PALISADES IS OUT TO GET US: a full analysis

NOTE: everything i know about music theory i learned from the internet so it very well may all be nonsense; take what i say with a grain of salt. this is long as hell and mainly my ramblings about a song i love with all my heart by one of my favorite artists. all under the cut.

first of all, there’s the title. immediately we see the main symbol of the song—the wasp—being characterized as “predatory”, reinforced by the fact that it’s “out to get us”. the wasp, in this sense, is seen as a villain, or as a predator, preying on sufjan and his friend. more on that later. sufjan also gives us our setting- the mississippi palisades, a stretch of bluffs along the mississippi river near savannah, illinois. while you could choose to view this as metaphoric for the story (ie contrasting the sweeping surroundings with the mundanity of the story sufjan’s telling) i choose to believe it’s just there because it was the literal setting of the story.

the next thing worth noting before actually getting into the meat of the lyrics/music, is the song that comes before it on Illinois, A conjunction of drones simulating the way in which Sufjan Stevens has an existential crisis in the Great Godfrey Maze. the song is 19 seconds long, and consists of synth chords and some cymbals. it’s an interesting track, considering that it is simultaneously the most overtly personal, title-wise, on the album (as sufjan’s known to speak heavily in metaphor), yet also the least revealing in its actual content. sufjan chooses to follow this enigma of a track with Palisades, which i’d consider to be the emotional heart of the whole album. perhaps this could be considered to be an emotional prelude to Palisades.

the song opens minimally, with an arrangement of flute, guitar, and piano, contrasting the often orchestral big band feel the album has. i think that this smaller arrangement makes the song feel more personal, more authentic— the only other song on the record to do similar is John Wayne Gacy, Jr., which absolutely uses the even more minimal arrangement to give a more confessional feel. also noteworthy is that the song is in 6/8, which for the less musically inclined means that every measure consists of 6 eighth notes. 6/8 is commonly used for folk dance music like jigs or polkas, so it’s interesting sufjan uses it here. alternatively, you could think of it like two triplets per beat, a sort of double 3/4.

the song is also in e major, which is a key generally associated with joy and delight (according to Christian Schubart’s Ideen zu einer Aesthetik der Tonkunst). the chord progression, as far as i can discern, is E, C#madd11, Amaj7, F#m9. In the key of E, this is considered going from the I chord, to the vi chord, to the IV chord, to the ii. going from the I to the iv is not unusual, and is used in the famous “ice cream changes”, its effect being to prolong the tonic. in addition, it’s a submediant chord, which wants to resolve to the predominant. the chord also has a d# in it, which helps bring it a little closer to the Amaj7 chord. like the ice cream changes, the iv resolves to the IV here. contrary to the ice cream changes, though, this I-vi-IV progression is not just to add interest as opposed to just immediately going from the I to V. instead, sufjan does a little descending thirds type dealio. the Amaj7 gives us a little bit of the feeling of resolve because Amaj7 and E both have an e and an g# in common, but mostly provides the tension of wanting to resolve to the tonic. finally, sufjan takes us to the ii, which is a supertonic, or the I chord sung a step up, providing the release of tension wanted from the subdominant. also interesting about this progression is that every chord in it contains a g#, helping ease the transition from chord to chord. essentially, this progression is essentially a variation on the descending thirds progression, but with a little added flair. my last note here is that it’s an interesting contrast to descend with the chords while the intro flutes play an ascending melody.

wow, that was a lot of music theory, something i don’t know that much about! the song keeps this same progression pretty much throughout the whole song, except for the instrumental sections and the ending, but we’ll get to that in a bit. let’s get into the lyrics now, starting with the first verse:

“Thinking outrageously I write in cursive

I hide in my bed with the lights on the floor

Wearing three layers of coats and leg warmers

I see my own breath on the face of the door”

this first line is particularly beautiful, i think— we get the juxtaposition of his thoughts to how he is writing them down (in cursive), the translation of thoughts into action. cursive is inherently controlled, and meant to be beautiful, unlike his thoughts. there’s also a kind of self-censorship in writing in cursive, as opposed to writing in your own handwriting, because you are eliminating the less sightly parts of how you write and conforming to a certain way that people have decided words are meant to be written. i think you could even translate this to the entire song’s themes of how tiny actions are interpreted to be huge, sweeping statements. there’s also that once the vocals kick in, all the other instruments go out except for the guitar, and occasionally some vocal harmonies in the background, again giving this a very confessional and ethereal feel.

the rest of this verse is spent setting the mood of the story—lights on the floor, hiding in bed, a mood of secrecy. the “lights on the floor” particularly reminds me of my own experiences of summer camp, lying in bed with flashlights under the sheets while i read. i’d also interpret the reference to “leg warmers” as a callback to the 80s- sufjan’s said that this “was written in 1986”. there’s also this implied cold, what with the three layers and being able to see your breath, which i think is another juxtaposition to when the story took place, summer camp.

“Oh, I am not quite sleeping

Oh, I am fast in bed

There on the wall in the bedroom creeping

I see a wasp with her wings outstretched”

this second verse is a little bit puzzling. i’ve always puzzled over what “i am fast in bed” means, and the way i see it there are two interpretations: either sufjan physically got into bed quickly, or the one i like more, he’s kind of shortening “fast asleep” by saying “fast in bed”. I think these lyrics also add that cloud of sleepiness to the whole thing, like this is just a memory that comes to mind right before he falls asleep. and here is also where we first see the wasp, the catalyst for this memory. It’s described as “creeping”, again adding to the secretive nature of the memory, and also the possibly dream-like quality to the wasp.  it’s also interesting that sufjan chooses here to characterize the wasp as female- the only way i can see to interpret this is that apparently female wasps, after mating, become solitary, so perhaps it has something to do with that?

then we have a little instrumental break, going from b to a, which are the V and IV chords, respectively. this is pretty standard, going from the dominant, which creates tension, back to a tonic. however, it’s here that the song’s arrangement gets a little more boisterous. along with the guitar come back the flutes playing a repeating melody line along with some percussion, and a strings section if i’m not mistaken? i couldn’t find performance credits for this song in particular so you’ll just have to take my word for it. as soon as this instrumental break ends, though, it goes straight back into just guitar.

“North of Savannah we swim in the palisades

I come out wearing my brother’s red hat

There on his shoulder my best friend is bit seven times

He runs washing his face in his hands”

here again sufjan is setting the scene, with tiny details- the swimming, the red hat. the interesting thing about this story is that its real life counterpart takes place in michigan, where he was born, but he moved it to illinois for the sake of the album. i think that this little twist of reality adds even more to the whole quality of this song as unreal, perhaps just a dream. while i’m tempted to say the red hat could be a reference to Catcher in the Rye, i did make it past 8th grade english so i’m not going to. here, also, is the first appearance of sufjan’s friend- named muppet, franco, or frankie, depending on what live video you’re watching. interesting that sufjan simply introduces him as a “we” here, like he’s just retelling the story to himself. we can also see that the actual wasp bites are not the actual thing in pain here, since he’s not washing his shoulder- he’s washing his face. something about this scene to me screams embarrassment, that he’s running, with his face in his hands. just as the wasp was only a metaphor, so too is the bite- for shame, for hurting. also worth considering is seven times- my boy suf is very religious and so we can certainly extrapolate something otherworldly about this, what with seven being a holy number.

“Oh, how I meant to tease him

Oh, how I meant no harm

Touching his back with my hand I kiss him

I see the wasp on the length of my arm”

the harmonic vocals are back in, giving this whole section a very holy feel as well. again, we have the “oh”s preceding two matching statements. some nice poetic repetition. this section in particular is also very interesting- even before sufjan tells us what he’s done, he’s defending himself. the way i see it, the wasp symbolizes the encroachment of the outside world, what others might think. we know sufjan knows that he should feel ashamed from the first two lines of the verse and just this simple declaration- that he kissed his friend- provokes the fear of being stung by the wasp, of hurting his friend through this small gesture because of society’s expectations. i also just love the simple detail that he’s touching his friend’s back, what a tender line? it’s also hard not to notice the imagery here with talking about bodies, first in the last stanza with the shoulder/hands/face, and here with the back/hand/arms. it’s also implied, at least to me, that they aren’t wearing shirts, seeing as they’re swimming, which adds to the raw vulnerability of this moment. anyway, it’s gay.

here there’s another instrumental break, this time with the same chords as the verse but with a trumpet part. It’s descending, following the chord progression, but also giving this section a kind of deflated and lonely feel. it repeats, again, with another trumpet harmonizing the melody line. this is kind of the last quiet moment in the song before it goes, as i’d say, Full Sufjan, with the arrangement. Immediately after, there’s a quick moment of quiet before the drums burst in, along with the flute intro melody, a harmonized lyrical part, and something that kind of sounds like a marimba? the chords also change here to a more major progression, that being E, B, F#m, A. that would be going from I, to the V, to the ii, to the IV. this is another pretty standard progression, with only one chord difference from the famous 4 Chords by Axis of Awesome progression. the only difference is that instead of going from the V to the vi, it goes to the ii. that creates a little more unresolve, because it’s going from a dominant to a subdominant instead of to a tonic, which creates the feeling of home. it is interesting, however, how sufjan then chooses to resolve the subdominant to another subdominant, which just continues that feeling of unresolve until it gets back to the tonic.

“Oh, great sights upon this state! Hallelujah!

Wonders bright, and rivers, lake. Hallelujah!”

this bit is a little less connected with this individual song over the album as a whole, with the overall themes of nature as religious experience. maybe it could also be interpreted as him feeling like this experience as a whole was holy, both in its setting and its content? not sure.

“We were in love, we were in love,

Palisades, Palisades

I can wait, I can wait”

oh god, the way this overlaps with the first vocal part just absolutely murders me. this right here is an undeniable declamation of the relationship between sufjan and his friend. it’s kind of like he’s saying “fuck you” to the wasp and making his love heard, but also intertwining it indelibly with the setting, with how it’s only halfway audible between all the other instrumentation going on. the way that this sole vocal line just comes bursting out of the background also just makes it feel like he was just so possessed by the beauty of his surroundings that he had to say it. also just- “i can wait”- like he knows that he’s not allowed this love now, but he can wait, he knows the palisades and his friend will still be there for him when he’s ready. around here is where the song really starts to feel dense and triumphant.

“Trail of Tears and Horseshoe Lake. Hallelujah!”

it’s interesting he chooses to bring up the trail of tears here, something terrible and heartbreaking that happened in Illinois, in the same breath as extolling the greatness of its land. perhaps this is his way of acknowledging the terrible things that can happen in beautiful places, how we can never quite separate the joy of a place without knowing that it was stolen from someone else.

then the vocals take a break for a second, to let the horns do the opposite of their line before, playing an ascending line, alongside some little xylophone twinkles and a woodwinds section. then returns the “we were in love, we were in love” line. this time it builds over that, with the guitars coming back in, the choral background, and more dramatic percussion.

“Lamb of god, we sound the horn. Hallelujah

Unto us your ghost is born. Hallelu-!”

okay, so lamb of god obviously refers to jesus christ. horns are a disputed symbol in christianity, simultaneously being used as symbols of strength or divine power and haughtiness or arrogance. in this case though, where the horn is being used as an instrument, i think that it’s being used as a call to action, or to battle, like in Psalm 81:3, “Sound the ram's horn at the New Moon, and when the moon is full, on the day of our festival”. based on the second lyric, i think that this is reference to the birth of jesus, since “unto us your ghost is born” mirrors the Christmas hymn in Isaiah 9:6: “For unto us a child is born, unto us a son is given, and the government will be on his shoulders.” however, it could also be talking about the love between sufjan and his friend, saying one should rejoice in it. Genius interprets the second line as God’s ghost being born, but seeing as the original line is talking about Jesus being born, I’m inclined to believe that this is Jesus’s ghost being born. i think that this is referencing the Transfiguration of Jesus, since for the most part Christians don’t believe in ghosts, but i’m not sure how it connects to the rest of the song. perhaps sufjan is saying that Jesus’s reincarnation was in the love between him and his friend? if anyone who’s more well-versed in interpreting religious imagery wants to pitch in, be my guest. this next verse is a little long, so i’m going to split it in two.

“I can’t explain the state that I’m in

The state of my heart, he was my best friend

Into the car, from the back seat

Oh, admiration in falling asleep”

here all the joyous instrumentation of before cuts out and it’s just sufjan and flutes. first there’s a nice little double entendre with “state” meaning both emotional state and physical geographical state. this verse i think he’s facing his own fear at loving someone he’s not supposed to love. It’s kind of like an argument with himself- we weren’t in love, we couldn’t have been because he’s my best friend. the next few lines are pretty vague, but to me they read like sufjan and his friend hooking up in the back of a car, and the tender moments in which he watches his friend sleep.

“All of my powers, day after day

I can tell you, we swaggered and swayed

Deep in the tower, the prairies below

I can tell you—the telling gets old”

the backing vocal harmonies come back in here on “i can tell you”, sort of giving it a holy feel, plus some piano gets added in here. once again, this is pretty vague. the way i see it, sufjan is saying that despite “all of my powers”, however much he wants to repress it, he still loves his friend. i’m not sure what sufjan means by “swaggered and swayed” but it does really remind me of that one scene from Call Me By Your Name. “deep in the tower, prairies below” could be more imagery, especially since sufjan describes this camp as a high up tower on a hill, but maybe it could also be a reference to the tower of babel, since that’s the most popular tower in christianity. the last line i like a lot, both repeating the line a couple lines before and juxtaposing it with “i can’t explain the state that i’m in”, sort of saying that it’s something that can’t really be explained except for in flashes of memories. then the “oh great sights upon this state” bit begins to repeat again, starting to build the drama.

“Terrible sting, and terrible storm

I can tell you the day we were born

My friend is gone, he ran away

I can tell you, I love him each day”

this first line implies that what they have feared has happened- something happened between them so that they suffered from the opinions of others as a result of their love. this is strengthened by the third line, which also calls back to his friend running after getting stung, as if the shame of this love has gotten to him. the second line seems to me to connect back to “unto us your ghost in born”, and it’s interesting that he says “we” here, and says to me that this is not a birth, per say, but a rebirth, through their love. there’s also again the double repetition of “i can tell you”, again making it feel like this is a confession, or a story being told. this verse just strengthens to me the fact that this is a love song, perhaps one that ends in tragedy, but a love song nonetheless.

“Though we have sparred, wrestled, and raged

I can tell you, I love him each day”

this first line i see multiple interpretations of. one is that “we” is him and the wasp, saying he’s literally struggled with his sexuality and how others might react to it. the second is that he is still talking about him and his friend, saying that they fought, but in a loving way only obvious to them. right after this the “we were in love, we were in love” line comes back in and the song reaches its final peak with three dueling vocal lines. but then, the song does something unexpected, the vocal lines fading out and ending mid “hallelujah”, just to be replaced by cymbal sounds and a droning guitar chord. this continues for a long 20 seconds, giving a very anxious feeling to the end of the song before just abruptly ending and going into They Are Night Zombies!! They Are Neighbors!! They Have Come Back From the Dead!! Ahhhh!!.

in conclusion, this is a love song, told through the framing device of the wasp. this is the story of a love that couldn’t be, but it still exists, frozen in time in the palisades, something like a dream. this is everything we could not be, capsulized into tiny fragments that we can hold forever.

[kookytrollz]

Okayokay so hun I know you and I just gotta say I love your face paint and aesthetic

OH YEAH!?

WELL I HATE YOUR AESTHETIK! YOU’RE UGLY AS FUKK!

DOES THAT MAKKE YOU MAD!? HUH!?