Important question, internet friends and strangers.
Invited to a pride parade tomorrow by some coworkers. Do I go?
Kinda want to go, because friends maybe
Kinda want to stay home, because worked six days this week and have been A Bitch all week.
(might be able to take A Dog, unsure if I would or not - will have to check weather)
4 notes
·
View notes
at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"
like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.
"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."
... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.
and i'd still keep writing.
i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.
i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley
"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"
and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.
it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.
you create because you're greedy.
18K notes
·
View notes
Prompt 318
Danny is learning how to shapeshift. It’s fun, really, and he honestly thinks it’s more than a little cool. Plus it’s not a learn or you fully die sort of thing, which is pretty cool too. He just erm, might’ve also made a mistake. A little oopsie. An uh-oh.
Erm. So. Apparently stuff stays when you go from ghost to human form. Just erm. More… permanent? Look he panicked, okay! And it wouldn’t have been that bad if not for the fact erm… his friends might’ve done it too…?
Okay, okay, this is fine erm. Oh hi Mom, Dad I- O-oh yeah! D-definitely! Psst, Tucker, what’s a meta…? Oh. Okay yeah- wait can they use this to avoid the GIW thing? They definitely could, right? Like they definitely can- Sam we need the corkboard!
Er. And inform their parents too… even if it’s more than a little obvious. Maybe they shouldn’t have been trying to mix and match…
1K notes
·
View notes
so i'm trying to come to terms with starship iris ending, y'know, as one does when there's a project that you auditioned for on a whim as a total amateur, eight years and a lifetime ago, that is finally coming to a close, and i am really truly trying not to get sappy about it. but.
in another universe, there is no ishani kanetkar. she was born with this show, for this show, and it's still a little unbelievable to me that there are people i've never met who know who she is. it's even wilder that there are people i HAVE met who want her, this person who has never been fully real but has always still been me, to help them tell their own stories.
i recorded the pilot episode on my wired earbuds' built-in microphone, in a bedroom in my grandparents' home in mumbai. those grandparents are gone; that house of my memory too. but every time i come back to this show, i remember sitting on the bed of the small room that once belonged to my great-aunt, trying and failing to find a scrap of quiet so that kay grisham could tell violet liu it would all be okay.
so maybe some of the things i'm feeling are for the end of a story, but i think some of them are also for the ishani who started telling it, who can't go back. some of them are for ishani kanetkar, this ephemeral self and not-self, whose own time is one day going to be over. and some of them are just for me, now, who looks forward to a future with other projects and other people but not this project, with these people, and is sad to say goodbye. i hope i can do my part to give it a truly phenomenal send-off.
221 notes
·
View notes