The worst invention of late stage capitalism is the screen on the gas pump that plays video ads at you. The best invention of late stage capitalism is the coke freestyle machine.
I think I experienced a worse one a couple weeks ago. Was on a flight, had one of those screens in the back of the seat… except it wasn’t for in flight entertainment. It was for ads. And you couldn’t turn off the screen either. So I’m trying to sleep on this red eye flight with a flashing screen 1 foot from my face.
if you had hijacked the plane because of that no jury in the world would have convicted you
99.99% of rap haters have never even listened to rap. or if they have it’s like one gangsta rap song & they treat the genre as a monolith and act like it’s representative of every rap song ever. and well of course they are also just racist
first & last line still stand even if rap was a monolith and all rap was gangsta rap. btw
Rap is great! Everyone knows the worst genre of music is country
99.99% of country haters have never even listened to country. or if they have it’s like one post-9/11 pop country song by a rich poser & they treat the genre as a monolith and act like it’s representative of every country song ever. and well of course they are also just classist
i would lecture you about the importance of jazz in US history and african american history and music history but you’re a swiftie so there is no hope for you
This is absolutely fascinating. I’ve now been looking at Alex Colville’s paintings and trying to work out what it is about them that makes them look like CGI and how/why he did that in a world where CGI didn’t exist yet. Here’s what I’ve got so far:
- Total lack of atmospheric perspective (things don’t fade into the distance)
- Very realistic shading but no or only very faint shadows cast by ambient light.
- Limited interaction between objects and environment (shadows, ripples etc)
- Flat textures and consistent lighting used for backgrounds that would usually show a lot of variation in lighting, colour and texture
- Bodies apparently modelled piece by piece rather than drawn from life, and in a very stiff way so that the bodies show the pose but don’t communicate the body language that would usually go with it. They look like dolls.
- Odd composition that cuts off parts that would usually be considered important (like the person’s head in the snowy driving scene)
- Very precise drawing of structures and perspective combined with all the simplistic elements I’ve already listed. In other words, details in the “wrong” places.
What’s fascinating about this is that in early or bad CGI, these things come from the fact that the machine is modelling very precisely the shapes and perspectives and colours, but missing out on some parts that are difficult to render (shadows, atmospheric perspective) and being completely unable to pose bodies in such a way as to convey emotion or body language.
But Colville wasn’t a computer, so he did these same things *on purpose*. For some reason he was *aiming* for that precise-but-all-wrong look. I mean, mission accomplished! The question in my mind is, did he do this because he was trying to make the pictures unsettling and alienating, or because in some way, this was how he actually saw the world?
omf i never thought i’d find posts about alex colville on tumblr, but! he’s a local artist where i’m from & i work at a library/archives and have processed a lot of documents related to his art. just wanted to give my two cents!
my impression is that colville did see the world as an unsettling place and a lot of his work was fueled by this general ~malaise?? but in a lot of cases, he was trying to express particular fears or traumas. for instance, this painting (horse and train) was apparently inspired by a really tragic experience his wife had:
iirc she was in a horrible automobile crash, as the car she was in collided with a train. i find it genuinely horrifying to look at, knowing the context, but a lot of colville’s work is like that? idk he just seems to capture the feeling you get in nightmares where everything is treacle-ish and slow and inevitable.
Christer Strömholm’s 1950s-60s photos of Parisian trans women are so gripping for me because they celebrate the materiality of trans life during an era when trans people supposedly didn’t exist. Although we know little about the women, he titled each piece with their respective name.
Strömholm mastered chiaroscuro and who better to focus on than subjects that could light up any room? Rather than centering the quotidian horrors of midcentury trans existence (as most contemporaneous artists did), the series reflects on love, laughter, and everyday life.
Strömholm died in 2002 but his photos are still frequently exhibited in galleries around the world. For more on his photography and other colorized photos from trans history, see http://elierlick.com/color!
Have fun in the war dumbass I’ll be at home fucking military wives
Damn. Good way to get your fucking windows kicked in
shut the fuck up and raise my son bootlicker
All fun and games until someone with 3 confirmed kills shows up at your doorstep with a baseball bat
im not at my house tho, im at yours with your wife
But he’s got shooters all over the world 🌎 even when he’s away
just shot a load in his wife
You ungrateful asshole. My bf might be fighting for your freedom and you’re here mocking him for keeping your pathetic ass safe from the threats of the world. If a war comes to our country, we’re not saving you, you dumbass ungrateful fuck up of a human being.
Your bf is fighting for oil and killing civilians and probably cheating on you he’s a scumbag, which is why I just fucked his mom to make a better son
The fool taunts the hungry dogs but the dogs have their day and the fool becomes a feast
your girl boutta be the feast soon as you get deployed boot boy
