“ Comics, about which I can claim very little knowledge, are particularly slippery and remarkable in their narrative overdetermination… It would be worth exploring their peculiar capacity to draw forth a sense of combined and uneven worlds, with the sense of events that are both mutually existent and mutually exclusive. This results largely from the structure of comic book publishing and the creation of publishing house “universes” in which all the different story-lines and micro-worlds bleed into one another… Events happen that are not registered fully in other parts of the universe, massive internal contradictions emerge. However, unlike capitalism, comic books negotiate these crises of legitimacy with far more sophistication: reloading universes, creating parellel histories, rewrite the past, raising the dead. Or, we should specify, they do the same things capitalism does. They just admit to it more openly

- Evan Calder Williams, Combined and Uneven Apocalypse (pg 249)

Retcons.

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“ But the key point is this: those who admire the deceased public figure (and their politics) aren’t silent at all. They are aggressively exploiting the emotions generated by the person’s death to create hagiography. Typifying these highly dubious claims about Thatcher was this (appropriately diplomatic) statement from President Obama: “The world has lost one of the great champions of freedom and liberty, and America has lost a true friend.” Those gushing depictions can be quite consequential, as it was for the week-long tidal wave of unbroken reverence that was heaped on Ronald Reagan upon his death, an episode that to this day shapes how Americans view him and the political ideas he symbolized. Demanding that no criticisms be voiced to counter that hagiography is to enable false history and a propagandistic whitewashing of bad acts, distortions that become quickly ossified and then endure by virtue of no opposition and the powerful emotions created by death. When a political leader dies, it is irresponsible in the extreme to demand that only praise be permitted but not criticisms.
— My personally preferred paragraph from that Greenwald piece everyone is quoting which further extends what I was trying to say about yeah, be mad at dumbass Reaganite Obama.
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posted : Monday, April 8th, 2013

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kelsium:

People are mad that President Obama said a nice sentence about Margaret Thatcher? Like he was gonna get up and say, “On the topic of recent events… fuck that bitch,” and sit down? Okay, then.

no, but yknow it would have been nice if he was even remotely honest? like even a little bit? I mean, his revisionist bullshit over Thatcher was, truly, horrific and on the level of anything we would have (and did) rail against George W. Bush for. So yknow, Fuck that guy (Obama. That guy. Fuck him.)

Compare Obama’s statements about Thatcher to… say…. his comments on the death of Chavez, for example (which politically speaking amounted to “On the topic of recent events… fuck that guy”).

But really I suppose we shouldn’t be surprised. I suppose I shouldn’t say Obama was dishonest because I really think his History is really that bankrupt in understanding. He really does believe those absolutely horrendous and ludicrous things about Thatcher since he is, indeed, the second coming of Reagan.

Let’s just take two portions of the dumbass shit he said:

  •  “The world has lost one of the great champions of freedom and liberty” about someone who called Nelson Mandella a terrorist, outright attacked (brutally) striking miners as a means of breaking their action, pushed for both Iraq wars, supported the Pinochet regime and safeguarded him from justice after he was ousted… the list goes on regarding her transgressions against freedom and liberty by AYONE’S stretch of the imagination.
  • she stands as an example to our daughters” about someone who called feminism “a poison”

So yeah, be mad about Obama The Hollow.

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posted : Monday, April 8th, 2013

reblogged from : yank

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text-mode:

Emoticons/emojis created by overlyaing several text characters on top of eachother. These instructions are from 1976, and might have been around as early as 1972.

This technique was possible on the amazing 1970s PLATO computer, and probably never again after that? You could also move the text-chars around on a pixel level. Pictures/info from platopeople.com.

How were these things done? Well, on PLATO, you could press SHIFT-space to move your cursor back one space — and then if you typed another character, it would appear on top of the existing character. And if you wanted to get real fancy, you could use the MICRO and SUB and SUPER keys on a PLATO keyboard to move up and down one pixel or more — in effect providing a HUGE array of possible emoticon characters.

Ok, I finally know what Digital Humanities is </professional snark>

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posted : Wednesday, March 20th, 2013

reblogged from : 4n4PX1fST

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babylonfalling:

Judy Gumbo Albert on the cover of Berkeley Tribe (1970)
Judy was an original Yippie and is an all around badass. She has a really dope photo essay over at Thorne Dreyer’s Rag Blog:
“In 1970, during the American War, I visited what was then North Viet Nam. It was a Yippie trip. This year I returned to Viet Nam. What follows are some of my impressions.”

babylonfalling:

Judy Gumbo Albert on the cover of Berkeley Tribe (1970)

Judy was an original Yippie and is an all around badass. She has a really dope photo essay over at Thorne Dreyer’s Rag Blog:

“In 1970, during the American War, I visited what was then North Viet Nam. It was a Yippie trip. This year I returned to Viet Nam. What follows are some of my impressions.”

posted : Friday, March 8th, 2013

reblogged from : Babylon Falling

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beaconstreets:

There are a few of these old state education department signs in Beacon. This on near the train station, and is dated 1935.

this is where I&#8217;m moving to, folks. Right here. That sign is my front door. Those trees? That&#8217;s the master bedroom. The river is the kitchen/living room. Landlord pays the heat and hot water. Pretty swanky.

beaconstreets:

There are a few of these old state education department signs in Beacon. This on near the train station, and is dated 1935.

this is where I’m moving to, folks. Right here. That sign is my front door. Those trees? That’s the master bedroom. The river is the kitchen/living room. Landlord pays the heat and hot water. Pretty swanky.

posted : Friday, March 1st, 2013

reblogged from : Beacon Streets

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“ The reason for the appearance of a mustache-twirling cliched role (despite some admittedly funny, witty lines and a great performance by Sam Jackson) is, as I suggested above, the heroic-revenge generic structure. It requires a personalized villain of sorts, not a structural evil with which even “good” citizens are complicit. And what’s more personalized than the evil doppelgänger? For once, genre constraints have gotten the better of Tarantino. Thus, the film is an abysmal failure at addressing the other ensemble of questions Wilderson delineates, the prescriptive: “How does one become free of suffering? [Those] questions concerning the turning of the gratuitous violence that structures and positions the Black against not just the police but civil society writ large.” [p. 126] By giving the story a revenge motive, Tarantino reduced the suffering to a personal level, a subjective violence that one person might do to another — kill the oppressor, stop the oppression. This is a “failure,” because it applies a subjective resolution to a structural problem that was fundamentally the negation of subjectivity; “abysmal” because it achieved the biggest cathartic thrill with the killing of a black slave instead of any number of plantation owners in the film.
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posted : Tuesday, January 8th, 2013

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