i don’t consider being compared to another person a compliment i consider it a microaggression jsyk
ppl love comparing me to:
L from Death Note
but u are alowed to compare me to:
Geryon from Autobiography of Red
she wears short skirts i wear a black corset with matching lace around it and a black leather miniskirt, pink fishnets and black combat boots. I was wearing black lipstick, white foundation, black eyeliner and red eyeshadow.
she’s cheer captain and i’m ebony dark’ness dementia raven way
today’s outfit @deeply_considered by objet_demarco http://ift.tt/W6ikJJ
Fundamentally, neorotype does not describe a material body, but an abstract body weighed against numerous immaterial measures within a network of relations. Neurotype does not reflect neurology so much as it does patterns of identifiable behaviors, which are themselves gendered, classed, and racialized. Neurotype is relational, and at its best, a means to articulate the cognitively disabled body’s access needs. But such clusters of behavior, when attached to a linguistic formation such as neurotype, performatively become not emergent eccentricity within a body positioned outside of a norm, but identifiable, predictable patterns of systematic behavior delineated by a stigmatizing diagnosis. What would it mean, then, for neurotype to become an axis of identity? Would such a procedure performatively produce more or less resistant bodies than previous identity-building projects in the past?
'everyone can make mistakes, even Hegel, who pretends to be able to escape this common condition'
to be a body that feels
which mutates and adapts
sensing, growing, reconfiguring
transforming states to propel itself forward
And when such a procedure
so mundane to the process of life
occurs in silence, underneath the surface of language and image
the world, my world, in its protean capacity, divides itself
Wandering blindly at exponentiating speeds, thresholds, intensities
splintering into a thousand psychic bodies
A thousand strangers, stone soldiers
which intercept the vitality of the soul
inside a concrete enclosure
inert, mechanical, oceans away
Ego, that stranger, our horse, our hound
where will we go when you are fallen
where will we sleep, where will we ride, how will we hunt
when ego our good bright dog is dead
5 Points (Around Lacan)
I am often asked about my dislike for Lacan. But I dislike talking about Lacan, so I don’t really like explaining why I don’t like Lacan. Anyway, yesterday on Twitter I caved and wrote up in 5 key points why I don’t and here it is reproduced in familiar index card form so hopefully I don’t have to deal with this again anytime soon.
How can we speak of the racialization of tragedy when the acceleration of represented events exponentiates, as the particularities of life can be surveilled and broadcast at high speeds, broadening the ontological load of our psychic world? When racialized violence is traditionally and problematically assumed to belong to the cultural or biological inferiority of racialized populations, the banality of death is not worth representation. It is not something worth discursive attention within the social world of white supremacy.
But what of the tragedy? The cataclysmic event so horrific about which we must speak. Those too must surely be racialized. In the case of Sandy Hook, culture was understood to be responsible only for its inability to protect or intercept the random emergence of Lanza’s so-called insanity. In this view, the work of culture is to anticipate a contingency of possible events, to navigate a world of random chance, where the volatility of individual bodies might threaten the immunity of the collective social body. And which bodies are vitalized by this imagination? Those which presumably step outside of culture, those whose births are radical accidents that the cosmos cannot predict. Whiteness gains new meaning: dangerous vitality. Lanza was not a hysteric, a possessed sinner, or a monster, but a pathologized body put in motion by the accident of his so-called disease. Agency belongs not to the body, but to the contingent emergence of alterity. And where is such an immaterial subjectivity located? The vital energy of the white spatial imaginary—where randomness and emergence are assumed to be possible, in the realm of life and death. Sandy Hook represents the threat of the white spatial imaginary to itself, it speaks to a need for it to protect, to militarize, to fold into itself in protection of those lives which are assumed to matter more.
The unpredictability of such an event is what gives tragedy its meaning within the digital age—that which stands outside our understanding or control. Agents who dance at the borders of the white epistemology are the terrorists who remind the world of its process of becoming. The work of the media within postindustrial capitalism is to remind us of such an ontology, an understanding of the world after history where events are simply understood as random glitches in the smooth unfolding of spacetime. Racialized speeds and surveilance become the means by which such an ontology is constructed and sustained.
Lana Del Rey’s old Myspace profile, May 2008
"Influences: Britney Spears, Motorcycles, Morphine"
theme sort of by "magaziner"