libidinously

bounce

a hand washes itself after clapping,
soundless, incomplete.

im hammering hammering,
yes. this is easy as it looks, useful too.

in the house of detention,
i guffaw, nailed.

hup two three four,
hup two three, for

im libidinous as fresh bread,
boots tucked under my bed.

shag like a balzac
shag like a spy
shag like an interloper
make me sigh

I’m working on this idea for an original comic, but I’m not sure if anyone would want to see it?

It’s about all the demons coming together for a big tournament, where the winner ascends to become one of the Seven Deadly Sins. However the main character, Izavel, and her hellhound puppo Oscar are banned from most of Hell (on the grounds that Izavel stole one of the big boss’s eyes–she thought it would be funny and it was.) In order to chase her dreams and cause some mischief, she manages to lie and forge her way in.

Other characters include Ariel, a very gay lil boy and the sin of naviety; and my personal favorite, the soft, round, dark skinned Delilah, deadly sin of Lust (and Izavel’s gf)

I’ve got some character concept sheets–maybe I should post those?

Libidinous

I see your glasses you need, at last
and you hate that, you, my secret crush
glasses, on libidinous blue eyes
your hair, freckled white, skin etch-a-sketch
impish smile sends me in spirals, pricks
me unawares, you leaning back laugh
next to my dad, you won’t see woman
always child, crazy hair and smudged nose
I wrestle wishes at night, could not?
would not glasses mean you’d finally see
my hair is smooth, and I’ve been waiting
still, for you

@ninjadebris

3

Wow, I’m actually super flattered you guys are interested in my webcomic idea! These are some of the things I’ve played with so far; character sheets for Izavel and Delilah, some concept art for a chapter cover, etc. I’m not sure I’ll ever actually make this, but it’s a really fun concept, and I’ve been having fun designing characters and brainstorming a story!

anonymous asked:

Can I ask what you meant by "carnivalesque displays" in your answer about why you don't like ancom? I've never seen or heard that term used in regards to a political ideology

I mean, the big theorist on carnival/carnivalesque is Russian semiotician Mikhail Bakhtin. He traces the concept back to the Medieval French phenomenon of the Feast of Fools, where one day a year the social order was turned on its head- the town fol was made mayor, the mayor played the town fool, everyone reversed their normal position on the social ladder, in a sort of libidinal outpouring that ultimately served to shore up the integrity of established order. In this lens it can be employed as a critique of anarchism, saying that by providing nothing tangible as an alternative to the capitalist state, anarchism ultimately is a lot of sound and fury signifying nothing, or even the “politics of despair” as Lenin and other Bolsheviks called it. Anarchists meanwhile could point to Bakhtin’s use of the term in reference to literature, where he argues that the polyphony of voices found in works like Dostoevsky’s novels allows us to imagine alternate possibilities to the main narrative, in this case the master narrative of capital.

For reference, check out this back and forth between a UK Trotskyist and an anarchist: http://www.marxist.com/marxism-direct-action-anarchism040500.htm and the anarchist reply  http://www.spunk.org/texts/intro/faq/sp001547/append33.html which both reference the concept of the carnival

The Foretellers, The Master of Masters, and the Sixth

So the Foretellers are named Invi, Gula, Ira, Aced, and Ava. Those correspond to the seven deadly sins:

  • the Latin word “invidia”, or Envy, which is symbolized by a snake in the Ancrene Wisse,
  • the Latin word “ira”, or Wrath, which is symbolized by a unicorn in the Ancrene Wisse,
  • the Latin word “acedia”, or Sloth, which is symbolized by a bear in the Ancrene Wisse,
  • the Latin word “avaritia”, or Greed, which is symbolized by a fox in the Ancrene Wisse, and
  • the Latin word “gula”, or Gluttony.

That leaves Pride which would be “superbia” and Lust which would be “libidine”.

Problem is, that neither of those line up with the goat head on Xehanort’s keyblade. Lust is “the scorpion with the tail of stinging lechery” and Pride is a lion. I’m inclined to think that since “The lion of pride has very many cubs” that the Master of Masters is the lion. And though it doesn’t correspond to Ancrene Wisse, in other stories the goat is associated with lust. So maybe the Sixth/The Unknown is Libi. I can’t get a good name out of Superbia though.

P.S. Invi is sooo the traitor.

i read this post accidentally and it gave me permanent libidinal dysfunction. how can yall romanticize everything so much loool “do you see that eye contact” wow man… wow… i made eye contact with grimes in her new music video twice today where the post romanticizing the bond between grimes and me, you heathens, you absolute jerktulips, this kid literally sold his soul just to have a level 80 servant and you thinks thats like the pinnacle of trust, what the fuck, what t

STEAM’s power

i mean, it seems as if the move toward STEAM over STEM is at once both an acknowledgement of the role that design and aesthetics plays in engineering and an attempt to sort of subsume accounts of art that rely upon capitalist aesthetics of the process-of-art into engineering, to effectively create a structure whereby art may be made not just material but entirely physical. 

Separating art from aesthetics, from criticism, is part of what likening it to STEM fields does: it realizes it as an activity that is subject to critique on grounds deemed objective, it is quantified, it must be described through a sort of realism rather than materialism, realism being a certain metaphysical series of claims about the nature of what art may be, of what may be done through art. That music is often subsumed into art as such is part of supporting art as an ancillary good: art does good insofar as it increases some presence of knowledge that can be then redirected into libidinal investment in the process of coming to know science, to understand the engineered, so on. 

Refusing this, instead insisting on a separation of art from the scientific, on a specific impracticality of art, allows for a means whereby it becomes part of an articulation of concepts without regard for their place along the horizontal, instead as singularities of expression. It is far harder to place art within the psychoanalytic than within the psychological, and if one moves to a schizoanalytic, deconstructionist view of the aesthetic then one in fact enters a state where one transcends the limiting view of singular meaning offered by previous acts of collapsing into empiricism and instead offering a transcendent, univocal empiricism of experience such that particularity rather than individuality is the leading paradigm. 

Moreover, that STEAM excludes knowledges deemed philosophical, deemed literary, or theological is important, as these are discourses which specifically are able to defy the quantification of scientism’s ontology, that ultimately science either precludes and obliterates the metaphysical, or can create an apparatus whereby it is entered into the physical. When Žižek discusses the creation and observation of quantum mechanics, he is specifically pointing out that it is through constructed instrumentation, through a transcendence of qualities observable without these instruments, that one begins to observe at the quantum level. Massumi, in his analysis of prosthesis, would likely even allow the electron microscope to hold a prosthetic function, insofar as it mimics a certain means of encountering an object and further refines an already extant aspect of perception, a phenomena that is relayed through a process of prosthetic substitution. A scale measures the weight of an object, but its weight may be observed through grasping, through holding it at hand. The lightness of a pair of basketball sneakers is grasped similarly, as is the coefficient of friction between its soles and the wood of the court, or the asphalt of the court-removed, which are in effect extensions of experience. This is the empiricism Deleuze discusses, a sort of transcendence internalized within it in the manner that Deleuze dismisses the categorical impetus embedded in modernity by Kant and instead offers an escape through another means, through a radical internality, an in-folding as Massumi would have it.

Apprehension of the artistic in the literary through deconstruction, through schizoanalysis, is empirical, is based in a text that is “real” but specifically defies physical explanation even as it is material: Foucault rejects a great deal of historicism despite the profound materiality of biopower’s articulation. The rejection of structures of epistemology in embracing their findings is an apparent contradiction that instead forms the basis for articulating radical, transcendent empiricism which may acknowledge the epistemic regimes of the scientific while moving past them, toward a sort of turn of scientific accounts of Maoism, Marxism-Leninism, dialectical materialism that rejects the very specificity of science while embracing the particularities that follow it.

Fin de las esposas, las madres, las amas de casa y las compañeras; fin de los esposos, los padres, los amantes y los cónyuges: sólo existen hombres y mujeres en la desnudez y en la autonomía de su pura subjetividad corporal y libidinal. Ya no hay máquinas sociales o morales, sino máquinas deseantes. Ya no hay representaciones familiares y sociológicas, sino presencias solitarias y solteras. Que sobrevengan las noches blancas, las auroras fatigadas, el agotamiento muscular y los cuerpos extenuados.
—  Michel Onfray, Teoría del cuerpo enamorado: por una erótica solar, trad. Ximo Brotons (Valencia: Pre-textos, 2002), 152.

tinytricksterprince  asked:

Ѡ"accidental"

Send an “Ѡ” for my muse’s reaction to being sent accidental nudes.

Of course. Of course, that libidinous god would send something so… tempting revealing right in the middle of a meeting that was so dull that Damian would almost rather be wading through an endless stream of paperwork, or enduring another laborious interview with that tiresome wretch Vale… 

[Contact: Loki] Do you wait to do this exclusively when you know there is little I can do about it?
[Contact: Loki] I know you were aware that this was the time of my meeting, you mischief monger.
[Contact: Loki] I will get you back for this. Mark my word. 

Despite the forewarning that this was going to be a “dirty and raw” debut, Zayn’s first solo single, “Pillowtalk,” eclipses all expectations for just how libidinous his music could be. The loud, sexy track has F-bombs and heavy beats galore, but Zayn’s vocals stand front and center, shining on one hell of a towering chorus.
—  MTV