BREAKING: We've freed Cookie.
Following an investigation by VGHF, Ukie and Web Capio have suspended DMCA takedowns for Cookie's Bustle on behalf of Graceware, SL.
More info:
Video game intros and voice acting peaked in this moment
mysterious rpgmaker incremental game "difference machine"
normans-room.itch.io/difference-m...
Hohenheim commits a fashion crime.
#LimbusCompany #spoiler
Shroedinger's cat meme edit "I don't know if the Araya is dead or alive until I watch inside the box" "Ugh, SMH!" "S.U."
I enjoyed canto 9 immensely #LimbusCompany #spoiler
The text space is not large enough to reproduce the whole snapshotted page, but this is the relevant concluding half of the final paragraph: "From an abstract point of view there is no difference between the ways in which people shows rely on the inventiveness of their audiences and the Web site reliance on users’ input. People shows rely on the activity (even amidst the most shocking sleaze) of their audience and willing participants to a much larger extent than any other television programs. In a sense, they manage the impossible, creating monetary value out of the most reluctant members of the postmodern cultural economy: those who do not produce marketable style, who are not qualified enough to enter the fast world of the knowledge economy, are converted into monetary value through their capacity to perform their misery."
Too long for the whole page; final paragraph: "The qualitative difference between people’s shows and a successful Web site, then, does not lie in the latter’s democratic tendency as opposed to the former’s exploitative nature. It lies in the operation, within people’s shows, of moral discursive mechanisms of territorialization, the application of a morality that the “excessive” abundance of material on the Internet renders redundant and even more irrelevant. The digital economy cares only tangentially about morality. What it really cares about is an abundance of production, an immediate interface with cultural and technical labor whose result is a diffuse, nondialectical contradiction."
it's sooooo funny how much social media has bridged this gap, allowing people to perform AND monetize their own (and others') misery along with the spontaneous social performance of cacophonous moralism (from Tiziana Terranova's "Free Labor: Producing Culture for the Digital Economy" 2000)
Text of: Try to Praise the Mutilated World By Adam Zagajewski September 17, 2001 Try to praise the mutilated world. Remember June’s long days, and wild strawberries, drops of wine, the dew. The nettles that methodically overgrow the abandoned homesteads of exiles. You must praise the mutilated world. You watched the stylish yachts and ships; one of them had a long trip ahead of it, while salty oblivion awaited others. You’ve seen the refugees heading nowhere, you’ve heard the executioners sing joyfully. You should praise the mutilated world. Remember the moments when we were together in a white room and the curtain fluttered. Return in thought to the concert where music flared. You gathered acorns in the park in autumn and leaves eddied over the earth’s scars. Praise the mutilated world and the gray feather a thrush lost, and the gentle light that strays and vanishes and returns. (Translated, from the Polish, by Clare Cavanagh.)
Today in poems I think about a lot, "Try to Praise the Mutilated World" by Adam Zagajewski, translated by Clare Cavanagh
www.newyorker.com/magazine/200...
god this game goes so unbelievably hard
corru.observer
Howdy @neilcic.com. In this horrorful season, I made a small MV of Aurora Borealis to celebrate my fave weird unsung unfiction series, Vermis Malum. I wanted to thank you for the inspiration and throw it under your eyeballs. Merry vermis.
youtu.be/PHoqVqumois
i have only one vice, sadly its VILENESS
I'm here now.
