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it’s theologically unsound if I get anything out of it

@typicalacademic / typicalacademic.tumblr.com

my brains are pink; you can see 'em work • blinded and renewed by that revelation, the city • everything in the world is exactly the same • γῠνή τεχνητή • unfortunately, as you probably already know, computers • remember there is no triangle, however obtuse, but the circumference of some circle passes through its wretched vertices • lipstick is real, lips are not • alter quam pepulit sexus nec suscipit alter • sex positive, trans positive, autogynephilia positive
I completely understand why you might have questions about this - these ideas are deeply ingrained in our society, and it’s totally normal to wonder. […] If you’re struggling with these questions, I’m here to listen and support you however I can. You are valid, valued, and cared for.
“When I’m just in Subspace, where I’m supposed to be . . . when I’m just in Subspace, and I try to ask, I get the cold shoulder,” the vampire said.
“People just . . . turn away,” it said. “It creeps me out, honestly. It’s so sudden.”
“But when you go to Shitspace, you feel heard,” Cordelia said.
That was a misstep. Feel heard was textbook psychobabble.
What the hell is wrong with me today? This isn’t even a hard case.
“Yeah,” said the vampire.
“I feel heard. I am heard. I mean, literally. People act like they can hear the words I’m saying.”
“And it’s important to you, to be able to have these conversations,” Cordelia said.
“Important to you”? Seriously? “These conversations”? I sound like one of those gimmick mediation chat-bots you can talk to in Emptyspace. What am I going to do next, ask about his mother?

why are half the notes on that post saying “what the hell is camp” like just go watch but im a cheerleader and you’ll get it i promise 😭

also i hate when people gloss it over as “camp is when something is bad” LIKE NO!!! camp is witty and exaggerative and MOST IMPORTANTLY camp art is made with love.

susan sontag’s notes on camp are by no means an end all be all to defining what the term means but PLEASE read it before saying camp can’t be deep and it’s just when something sucks and you like it!!! that’s kind of the whole ruse in camp. you think it doesn’t deserve a deeper look at it even though its very existence basically means it does!

“There is a sense in which it is correct to say: ‘It’s too good to be Camp.’ Or ‘too important,’ not marginal enough…Not all, though. Not only is Camp not necessarily bad art, but some art which can be approached as Camp merits the most serious admiration and study…The best example is in Art Nouveau, the most typical and fully developed Camp style.”

“Camp taste is a kind of love, love for human nature. It relishes, rather than judges, the little triumphs and awkward intensities of ‘character.’…Camp taste identifies with what it is enjoying. People who share this sensibility are not laughing at the thing they label as ‘a camp,’ they’re enjoying it. Camp is a tender feeling…Camp taste nourishes itself on the love that has gone into certain objects and personal styles. The absence of this love is the reason why such kitsch items as Peyton Place (the book) and the Tishman Building aren’t Camp.”

there is an article by stephen bond which has been scrubbed from the internet; it delinated a division between camp, kitsch, and trash. from memory, the distinction - which I think the author made in a fussy and particular way but which in broad strokes is still very applicable - is this:

michaelangelo’s david is “high art”, marcel duchamp’s fountain is camp, the average civic monument is kitsch, the neon sign on a subway restaurant is trash. each belong in the same category, but calling the subway sign “worthless” would be missing what “trash” means here - it does what it’s for as a piece of public art, which is admittedly not much

the original is on the Wayback Machine here:

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Vimes strolled back to the house. Off the register? Was he allowed to appeal? Perhaps they thought-
The scent rolled over him.
He looked up.
Overhead, a lilac tree was in bloom.
He stared.
Damn! Damn! Damn! Every year he forgot. Well, no. He never forgot. He just put the memories away, like old silverware that you didn't want to tarnish. And every year they came back, sharp and sparkling, and stabbed him in the heart. And today, of all days . . .

happy 4/13

It isn't right to say, "When I was little, I used to love x," if you still love x now [...] the "when I was little" nostalgia was misleading: it turned something that I was taking seriously as an adult into something soupier, less precise, more falsely exotic, than it really was. Why should we need lots of nostalgia to license any pleasure taken in the discoveries that we carry over from childhood, when it is now so clearly an adult pleasure? I decided that from now on I wouldn't get that faraway look when describing things that excited me now, regardless of whether they had first been childhood enthusiasms or not.

The Mezzanine, Nicholson Baker (1988)

And I can't stand the way people say, "When I was a child, I loved elephants," "When I was a child, I loved balloons." Are they trying to say that if they stopped and looked at a balloon today or at an elephant today, they would not love them? Why wouldn't they love them? I think we still love what we have always loved. How could we not? And one of the things that I always loved—I wonder if you did—was the wonderful way that valuable small objects—the Christmas presents and birthday presents that adults always gave to each other—were wrapped, were packed. [...] by the time it had been pulled out of all that paper, out of that milk-white box, out of that cardboard carton, it seemed like the most shining, sparkling thing in the world. And how delicate it seemed—how breakable and precious. And you were right, it was. And my friends and I were the delicate, precious, breakable children, and we always knew it. We knew it because of the way we were wrapped—because of the soft underwear laid out on our beds, soft socks to protect our feet.

The Fever, Wallace Shawn (1990)

"Manifestly," I repeated, as if scolding myself, "no condition of life could be so well adapted for the practice of philosophy as this in which chance finds you today!" Chance found me that day having worked for a living all morning, broken a shoelace, chatted with Tina, urinated successfully in a corporate setting, washed my face, eaten half of a bag of popcorn, bought a new set of shoelaces, eaten a hot dog and a cookie with some milk; and chance found me now sitting in the sun on a green bench, with a paperback on my lap. What, philosophically, was I supposed to do with that? I looked down at the book. A gold bust of the emperor was on the cover. Who bought this kind of book? I wondered. People like me, sporadic self-improvers, on lunch hours? Or only students? Or cabbies, wanting something to surprise their fares with, a book to wave in front of the Plexiglas? [...] People seemed so alike when you imagined their daily schedules, or watched them walk toward the revolving door (as Dave, Sue, and Steve, not noticing me, were doing now), yet if you imagined a detailed thought-frequency chart compiled for each of them, and you tried comparing one chart with another, you would feel suddenly as if you were comparing beings as different from each other as an extension cord and a grape-leaf roll.

The Mezzanine, Nicholson Baker (1988)

Because I know quite a bit about what's inside me. I've been a student of my feelings since I was nine years old! My feelings! My thoughts! The incredible history of my feelings and my thoughts could fill up a dozen leather-bound books. But the story of my life—my behaviour, my actions—that's a slim volume, and I've never read it. Well, I've never wanted to. I've always thought it would be terribly boring. [...] The most tedious questions, answered in full, as if a person's life were a customs form. Chapter One: What country I grew up in, what city, what street? My parents' race. The money they made. What I was fed. What I was taught. Chapter Two: This is unbelievable—printed in the book: "Washes hair every day unless 'in a hurry'" quote unquote; "when meeting friends for dinner or going to the theater, takes a bath in the late afternoon, puts on fresh clothes." What in the world is going on? This has absolutely nothing to do with what I am like, with anything at all that's important about me! Don't they know that everything in this book is just as true of—of—of my neighbor Jean as it is of me, my neighbor Jean who makes jokes about starving children in Asia, my neighbor Jean who boasts about fucking colleagues at the office on the boardroom table? Don't they know that?

The Fever, Wallace Shawn (1990)

The Mezzanine was amazing, favorite book I've read this year by far. The narrator has this intense, exhaustive awareness of all the little sensory-mechanical details of products and packaging—the texture and structural properties of paper and plastic and silicone, the way that the replacement of one brand by another can cast have all these ripple effects into the little barely-conscious physical adjustments that people make—soft cloth vs waxed shoelaces, the density of plastic straws, the practiced technique and muscle memory involved in sliding coins into someone's hand on top of the bills of their change. and this bleeds into similar interrogation of the fractal emotional details of tiny social interactions, or the structure of memory...

it made me think of Wallace Shawn's The Fever, partly because of echoes in specific moments but also because, while they're not really the same type of guy, there's a similar sense of vast un- or under-acknowledged luxury, of the deep, complicated effort that goes into producing the texture of experience in industrial civilization.

thank you @wildgifthorses for mentioning it!

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I have been insane about artificial intelligence existential risk recently and what follows is an expression of that. There's not much of this which I actually believe is true; take it as a creative writing exercise maybe.

hi OP have you read The Gig Economy

When Mammon awoke from his star dream, he put down his sword and took up a robe, and dedicated his vast wealth to the raising up a tower that would reach to heaven. Its shape was a calculator. Each layer’s structure was derived from the layer below it and each layer constrained the one that would surmount it. The rules by which the construction proceeded were implicit in the shape of the tower.
It should not be surprising that those less advantaged might sometimes experience the ecstasy of the mirror: they are moved by the mere fact of being a thing of flesh, which is there; like man, all they need is the pure generosity of young feminine flesh; and since they grasp themselves as a singular subject, with a little bad faith they will also endow their generic qualities with an individual charm; they will discover some gracious, rare, or amusing feature in their face or body; they will think they are beautiful just because they feel they are women.

happy Trans Day of Visibility!

I saw a man this morning Who did not wish to die; I ask, and cannot answer, If otherwise wish I. Fair broke the day this morning    Against the Dardanelles; The breeze blew soft, the morn's cheeks      Were cold as cold sea-shells. But other shells are waiting      Across the Aegean sea, Shrapnel and high explosive,      Shells and hells for me. O hell of ships and cities, Hell of men like me, Fatal second Helen,      Why must I follow thee? Achilles came to Troyland     And I to Chersonese: He turned from wrath to battle,     And I from three days' peace. Was it so hard, Achilles, So very hard to die? Thou knewest and I know not— So much the happier I. I will go back this morning From Imbros over the sea; Stand in the trench, Achilles,      Flame-capped, and shout for me.

I Saw A Man This Morning, by Patrick Shaw-Stewart

(context and some incoherent opinions below)