1. 15:35 18th Sep 2014

    Notes: 3

    Reblogged from torturebysolitude

    tvsexdeath said: Couldn't agree anymore. My sister pretends to be a feminist and worships Beyoncé. And I'm talking radical feminist. It's a failure of the educational system that Minaj has a career

    torturebysolitude:

    They’re a plague on our generation.

     
  2. 12:32

    Notes: 10

    Reblogged from torturebysolitude

    torturebysolitude:

    I really fucking hate Nicki Minaj. Its tripping me out that so many people go out of their way to glorify this woman for making the most cliche sexually explicit rap video ever where shes bouncing her ass in a g string and somehow in 2014 this is considered feminism and to call it crap is to…

     
  3. 12:31

    Notes: 231439

    Reblogged from torturebysolitude

    1. 2010 tumblr: don't be racist or homophobic or sexist. Be kind and accepting
    2. 2014 tumblr: I'm more oppressed than you. Don't listen to white rappers. Sushi is cultural appropriation. Kill straight people.
     
  4. 12:30

    Notes: 3

    Reblogged from torturebysolitude

    torturebysolitude:

    people need to chill out on beyonce, holy shit.

     
  5. 12:26

    Notes: 4203

    Reblogged from finalfantasyxv

    finalfantasyxv:

    Final Fantasy XV TGS 2014 Trailer

     
  6. 12:26

    Notes: 9202

    Reblogged from jet-setto-radio

    jet-setto-radio:

Leaked screenshot of Final Fantasy XV

    jet-setto-radio:

    Leaked screenshot of Final Fantasy XV

     
  7. 02:10 17th Sep 2014

    Notes: 490

    Reblogged from fuckyeahdementia

    fuckyeahdementia:

    JUST REMEMBER! THE TECHNOVIKING DOESN’T DANCE TO THE MUSIC! THE MUSIC DANCES TO THE TECHNOVIKING!

    technoviking captioned. remember a classic.

     
  8. image: Download

    Now we’re talking.
http://en.wikipedia.org/wiki/Spirobranchus_giganteus
So, I want to open up a dialectic. I want to do more reviews, potentially of movies, albums, comics, shows, concerts, what have you. Please let me know what you would like to see. Thanks

    Now we’re talking.

    http://en.wikipedia.org/wiki/Spirobranchus_giganteus

    So, I want to open up a dialectic. I want to do more reviews, potentially of movies, albums, comics, shows, concerts, what have you. Please let me know what you would like to see. Thanks

     
  9. 19:58

    Notes: 3116

    Reblogged from postsubtext

    image: Download

    sammyslabbinck:

' Means to an end '
© Sammy Slabbinck 2014
portfolio / shop / facebook / flickr

    sammyslabbinck:

    ' Means to an end '

    © Sammy Slabbinck 2014

    portfolio / shop / facebook / flickr

     
  10. image: Download

    TVSEXDEATH Music Review Review
Tiny Mix Tapes - Interpol - El Pintor (2014)
http://www.tinymixtapes.com/music-review/interpol-el-pintor
If I was in a high-risk scenario with someone and there was a high-likelihood they were hiding information that could reduce the risk of the scenario, I would make them read this album review. Yeah, it’s a craven, hollow, capitalist industry with a robotic band that can only sound more and more like themselves, weathered rocks against a cliff hit by heavy rain and harsh winds and salty ocean spray. It sounds like Interpol, but what should it sound like? What should it be allowed to sound like? In an ideal, integral, perfected, utopian reality where El Pintor gets five little red circles instead of 2 red circles and a half circle from Tiny Mix Tapes, what’s the sheet music look like? What are the lyrics about, how long are the songs, what’s it supposed to feel like?
An easy way to insult the reviewer is to ask them the unanswered question, “So did you like the music or not?”  Does Simon know that in a music review you are supposed to review the music? If he does, then his position is that El Pintor is so glossy, so “designed” in the intelligent sense, that it’s immune to a value assessment. If he doesn’t then we’re going to make it clear what a music review review is going to look like from now on: I did not like this music review! Look, it only talks about form, not a whiff of content! It’s kind of like he imagined this fake global context upon which El Pintor has some dire implications and went on dissect that non-entity. 
Here’s a music review that can go on about what music means, what it stands form, what it implies, what feeling it gives you, everything except what it sounds like, and whether or not the reader should give it a try. My opinion is that El Pintor is radical only insofar as it awakens a reviewer to how bankrupt their position really is: after all, you’re going to have to pick another album after El Pintor that you’re going to like more or less than El Pintor, right? Or is it that El Pintor makes it impossible to like things from now on? Let’s let the review speak for itself:
"As welcome as this debut was at the time, and as arguably relevant as its topoi of absence and alienation are to us all, there’s something very disquieting about a band that, four albums later, is obstinately continuing to mine its somber wellsprings. It implies that, rather than being part of some process of existential and personal growth, the lamentations of a washy number like “My Blue Supreme” are an empty formality devoid of consequence and meaning. In other words, they feel like affectations that the band produce again and again in order to secure favorable press and the consumers that follow, and in the end, this preoccupation with repeatedly repeating forlorn detachment bears witness to the unhealthy, disproportionate influence critical and commercial adulation can have on a band’s development (or lack thereof). Because they might fear having their meal ticket removed if they significantly overhaul themselves, this insidious influence has conceivably robbed Interpol of control over their own trajectory, their own identity, so that they’re now as much a social or media construct as any cartoon character or faked news story."
Ha, so first of all, no, just because Interpol isn’t a Jazz band now and continues to be a bluesy post-punk rock and roll band ten years later DOES NOT imply that the ways the song sounds “are an empty formality devoid of consequence and meaning.” Ha, just because you are too thick and dumb to find some consequence and meaning doesn’t mean there isn’t any!
Anyway, think about it - exactly which songs, which albums, which texts and which experiences can be reasonably defended against the extremely too effortless assertion that they “are an empty formality devoid of consequence and meaning.”? What’s got any consequence or meaning nowadays we can contrast El Pintor with? Certainly not Antics, Certainly not the works of Dali (“You cannot find meaning in my works. I cannot find meaning in my works, because my work is an enigma”)
Hey, wait a hot second, why does an album have to have consequence or meaning? Aren’t you supposed to write down whether or not you liked the songs and maybe why or why not? 

This album review is steeped in ancient, naive ways of relating to text. Ooh, fuck the ancient ways. 
Where does Simon’s need to find meaning and consequence in music come from? When did music stop being sensory art and start playing this nasty role? How are we going to reclaim music? How are we supposed to listen to El Pintor? What are we looking for that hasn’t been reduced to a cartoon character, a fake news story, a bad impression of itself? Could Interpol not be a scary auto-caricature in 2014? Where’s this desire for “reinvention”, total overhaul, come from? 
Of course, Our Boy Simon would be writing the same exact review about the utter meaninglessness of Interpol’s transition to a Salt and Peppa cover band, because he can write the same review about any album, forever, as long as the audience is demanding absolutely nothing. 

    TVSEXDEATH Music Review Review

    Tiny Mix Tapes - Interpol - El Pintor (2014)

    http://www.tinymixtapes.com/music-review/interpol-el-pintor

    If I was in a high-risk scenario with someone and there was a high-likelihood they were hiding information that could reduce the risk of the scenario, I would make them read this album review. Yeah, it’s a craven, hollow, capitalist industry with a robotic band that can only sound more and more like themselves, weathered rocks against a cliff hit by heavy rain and harsh winds and salty ocean spray. It sounds like Interpol, but what should it sound like? What should it be allowed to sound like? In an ideal, integral, perfected, utopian reality where El Pintor gets five little red circles instead of 2 red circles and a half circle from Tiny Mix Tapes, what’s the sheet music look like? What are the lyrics about, how long are the songs, what’s it supposed to feel like?

    An easy way to insult the reviewer is to ask them the unanswered question, “So did you like the music or not?”  Does Simon know that in a music review you are supposed to review the music? If he does, then his position is that El Pintor is so glossy, so “designed” in the intelligent sense, that it’s immune to a value assessment. If he doesn’t then we’re going to make it clear what a music review review is going to look like from now on: I did not like this music review! Look, it only talks about form, not a whiff of content! It’s kind of like he imagined this fake global context upon which El Pintor has some dire implications and went on dissect that non-entity. 

    Here’s a music review that can go on about what music means, what it stands form, what it implies, what feeling it gives you, everything except what it sounds like, and whether or not the reader should give it a try. My opinion is that El Pintor is radical only insofar as it awakens a reviewer to how bankrupt their position really is: after all, you’re going to have to pick another album after El Pintor that you’re going to like more or less than El Pintor, right? Or is it that El Pintor makes it impossible to like things from now on? Let’s let the review speak for itself:

    "As welcome as this debut was at the time, and as arguably relevant as its topoi of absence and alienation are to us all, there’s something very disquieting about a band that, four albums later, is obstinately continuing to mine its somber wellsprings. It implies that, rather than being part of some process of existential and personal growth, the lamentations of a washy number like “My Blue Supreme” are an empty formality devoid of consequence and meaning. In other words, they feel like affectations that the band produce again and again in order to secure favorable press and the consumers that follow, and in the end, this preoccupation with repeatedly repeating forlorn detachment bears witness to the unhealthy, disproportionate influence critical and commercial adulation can have on a band’s development (or lack thereof). Because they might fear having their meal ticket removed if they significantly overhaul themselves, this insidious influence has conceivably robbed Interpol of control over their own trajectory, their own identity, so that they’re now as much a social or media construct as any cartoon character or faked news story."

    Ha, so first of all, no, just because Interpol isn’t a Jazz band now and continues to be a bluesy post-punk rock and roll band ten years later DOES NOT imply that the ways the song sounds “are an empty formality devoid of consequence and meaning.” Ha, just because you are too thick and dumb to find some consequence and meaning doesn’t mean there isn’t any!

    Anyway, think about it - exactly which songs, which albums, which texts and which experiences can be reasonably defended against the extremely too effortless assertion that they “are an empty formality devoid of consequence and meaning.”? What’s got any consequence or meaning nowadays we can contrast El Pintor with? Certainly not Antics, Certainly not the works of Dali (“You cannot find meaning in my works. I cannot find meaning in my works, because my work is an enigma”)

    Hey, wait a hot second, why does an album have to have consequence or meaning? Aren’t you supposed to write down whether or not you liked the songs and maybe why or why not? 

    This album review is steeped in ancient, naive ways of relating to text. Ooh, fuck the ancient ways. 

    Where does Simon’s need to find meaning and consequence in music come from? When did music stop being sensory art and start playing this nasty role? How are we going to reclaim music? How are we supposed to listen to El Pintor? What are we looking for that hasn’t been reduced to a cartoon character, a fake news story, a bad impression of itself? Could Interpol not be a scary auto-caricature in 2014? Where’s this desire for “reinvention”, total overhaul, come from? 

    Of course, Our Boy Simon would be writing the same exact review about the utter meaninglessness of Interpol’s transition to a Salt and Peppa cover band, because he can write the same review about any album, forever, as long as the audience is demanding absolutely nothing. 

     
  11. image: Download

    TVSEXDEATH Music Review
Death From Above 1979 - The Physical World (2014)
The most important thing about this album is that listening to it possesses me to return to write. Inevitably compared to it’s long-lost twin, You’re a Woman, I’m a Machine (2004), we’re able to not only get a good dose of understanding about the current struggle through a quick analysis, but also learn about what it might mean to write. 
YAW,IAM was about sex, whereas TPW is about nihilism. For DFA1979, this is a return to the original site of the struggle, an answer to the questions “What’s going to define our actions?” “what is going to be the light that we are going to use to illuminate our forms?” etc. In 2004, after Hey Ya, the answer was to fill that void with lust, broadcast that triumph, and think of everything in terms of fucking. Look where that got us.
The lesson to be learned here is that the only effective maneuver is the re-double, and reinforcement, repetition, to take the integral of the gesture. This new album is not about nothing, it’t about nihilism: a devotion to the truth of nothing. Imagine switching from “now that it’s over this weight is off my shoulder, I love you more and more” to “There’s no crystal ball to see a happy ending.” We’re transcending transcendence here: Yes, we can overcome by becoming reluctant satanists, but how do we overcome and take responsibility for this transcended status? This is the spot we are in. Fill the void with the void itself. “There is no crystal ball” should be understood in the same way the zen kid meant “There is no spoon”, maybe not that there is no guarantee of our salvation, no theory of everything, no utopia, but instead there is no way to express our deadlock, no screen on which to project our desire. Whereas Nietzsche might have wanted to reinscribe a new image, reintroduce the arbitrary terms of a new image, it’s not clear that DFA1979 are interested in making that move. 
Let Track 7 speak for itself:
Now I’m stranded, tied to the tracks, there’s no hero, there’s no villainThere’s nobody I can blame, the story’s still the sameI’m never satisfied, it’s a problem in my brainI keep searchin’ and searchin’I keep searchin’ and searchin’'Cause I want it all, I can't get enough
Try to come up with a more succinct, aware reading of what it’s like to be aware of and trapped in your precarious situation. 
Ludwig Wittgenstein would appreciate just how much DFA1979 rebuke and disavow their original work. Here is an album that is properly called an awakening, an emergence of a new consciousness of its own situation on terms from a wider perspective. Capitalism might even alienate this move away from itself, eventually. The Physical World is a metaphor for how unlimited, uninhibited sexual energy falls flat against the rough, dry reality of the horizon line, in the fractured, finite world. Any new motive has to start from this distinction, in the terms of and from the very physical world it’s going to attempt to cast light on. 

    TVSEXDEATH Music Review

    Death From Above 1979 - The Physical World (2014)

    The most important thing about this album is that listening to it possesses me to return to write. Inevitably compared to it’s long-lost twin, You’re a Woman, I’m a Machine (2004), we’re able to not only get a good dose of understanding about the current struggle through a quick analysis, but also learn about what it might mean to write. 

    YAW,IAM was about sex, whereas TPW is about nihilism. For DFA1979, this is a return to the original site of the struggle, an answer to the questions “What’s going to define our actions?” “what is going to be the light that we are going to use to illuminate our forms?” etc. In 2004, after Hey Ya, the answer was to fill that void with lust, broadcast that triumph, and think of everything in terms of fucking. Look where that got us.

    The lesson to be learned here is that the only effective maneuver is the re-double, and reinforcement, repetition, to take the integral of the gesture. This new album is not about nothing, it’t about nihilism: a devotion to the truth of nothing. Imagine switching from “now that it’s over this weight is off my shoulder, I love you more and more” to “There’s no crystal ball to see a happy ending.” We’re transcending transcendence here: Yes, we can overcome by becoming reluctant satanists, but how do we overcome and take responsibility for this transcended status? This is the spot we are in. Fill the void with the void itself. “There is no crystal ball” should be understood in the same way the zen kid meant “There is no spoon”, maybe not that there is no guarantee of our salvation, no theory of everything, no utopia, but instead there is no way to express our deadlock, no screen on which to project our desire. Whereas Nietzsche might have wanted to reinscribe a new image, reintroduce the arbitrary terms of a new image, it’s not clear that DFA1979 are interested in making that move. 

    Let Track 7 speak for itself:

    Now I’m stranded, tied to the tracks, there’s no hero, there’s no villain
    There’s nobody I can blame, the story’s still the same
    I’m never satisfied, it’s a problem in my brain
    I keep searchin’ and searchin’
    I keep searchin’ and searchin’
    'Cause I want it all, I can't get enough

    Try to come up with a more succinct, aware reading of what it’s like to be aware of and trapped in your precarious situation. 

    Ludwig Wittgenstein would appreciate just how much DFA1979 rebuke and disavow their original work. Here is an album that is properly called an awakening, an emergence of a new consciousness of its own situation on terms from a wider perspective. Capitalism might even alienate this move away from itself, eventually. The Physical World is a metaphor for how unlimited, uninhibited sexual energy falls flat against the rough, dry reality of the horizon line, in the fractured, finite world. Any new motive has to start from this distinction, in the terms of and from the very physical world it’s going to attempt to cast light on. 

     
  12. 13:19

    Notes: 113997

    Reblogged from best-of-tumblr

    image: Download

    hartzprod:

what.

    hartzprod:

    what.

    (Source: pussyrights)

     
  13. 13:15

    Notes: 39

    Reblogged from alterities

    Our societies are more and more turning to some kind of apartheid logic. There are people who are in, there are people who are out.
    — Slavoj Zizek (via alterities)
     
  14. 02:47 14th Sep 2014

    Notes: 5198

    Reblogged from comixexperience

    jimzub:

    ungoliantschilde:

    Marvel by Moebius.

    A great artist can take a classic design and make it their own while keeping the essence intact. Moebius was definitely one of the greats.

     
  15. 20:11 13th Sep 2014

    Notes: 4297

    Reblogged from snowce

    (Source: max-peck)