iiinova — where your digital self keeps evolving

kate wehwalt @katewagner.wehwalt.net · 11h

this is the most what's up anything has ever been youtu.be/Uvre-WnH9jw?...

three bars from Karol Szymanowski's Mythes for violin and piano, Op. 30 (1921)

4392

kate wehwalt @katewagner.wehwalt.net · 10/10/2026

Check out this couch I just bought

243684

kate wehwalt @katewagner.wehwalt.net · 03/10/2026

when I listen to die Walküre i also become consumed by unconscious ravishing repressed dyke thoughts

1181

kate wehwalt @katewagner.wehwalt.net · 19/09/2026

this has been circulating a lot on social media and i just want to say: emotional incest, uncontested

2440633

kate wehwalt @katewagner.wehwalt.net · 02/08/2026

they also did enari together and the pics are insane

1280

kate wehwalt @katewagner.wehwalt.net · 28/07/2026

my half sleeve tattoo of dante and beatrice among the stars

2142914

kate wehwalt @katewagner.wehwalt.net · 13/06/2026

we need to talk about the ceiling fan situation on wayfair

2131622

kate wehwalt @katewagner.wehwalt.net · 06/05/2026

There are three in a line on my tummy but nowhere else. I have a mosquito bite on my knee. Blood looks like this if it helps

110

kate wehwalt @katewagner.wehwalt.net · 27/04/2026

For your consideration: Siegfried Labubu

31052

kate wehwalt @katewagner.wehwalt.net · 20/04/2026

new in this edition is something else I basically think about all the time which is: what is the right way to portray the wronged woman

One of Wagner's most progressive choices in Die Walküre is his wholistic and sympathetic depiction of Sieglinde as a victim of rape. Not only does he openly make equivalent arranged (i.e. forced) marriage with the stark reality of sexual coercion, he situates her rape within the systemic injustices
- the feudal structures of honor and shame - that facilitate it. His refusal (contra Brünnhilde) to both equivocate on the morals of the situation and to depict the rape itself, to instead make it a largely psychological affair, not only decenters the man involved, it insulates his heroine from a kind of secondary violation, that of the spectacle of violence and the subsequent albeit unintended libidinal gratification of the audience which is all too common in depictions of rape in opera - including, of course, Wagner's earlier work, Götterdämmerung - or, for example, the rape scene in Shostakovich's Lady Macbeth.

However, in lieu of a story of pity and revenge, Wagner chooses one in which the pursuit of compassion and personal freedom despite such devastation, and the belief, albeit imperfectly realized, in a kind of better, more collective after - is indeed a heroism of its own. Even now, this is a profoundly radical choice. But one of the many tragedies of Die Walküre is that Siegmund, like most men in his situation, does not know how to respond to this outpouring of grief. In visible distress, he can only vow to destroy the evil man who has done this to her.
Only after Sieglinde is asleep and no longer able to hear him can Siegmund find the right words to convey what he really means, not only with regards to what Sieglinde has just revealed to him in her moment of agony, but his feelings for her as a whole -- that he understands the high stakes of' their quest for another life, that he is thankful to have her by his side and can recognize the sacrifice she's made for him, but most of all, that the hero in him recognizes the heroine in her, and in this recognition, he is seemingly alone. He says to her

0310

kate wehwalt @katewagner.wehwalt.net · 19/04/2026

this is a ludicrously stupid analysis. imagine not mentioning, among other things, the soviet union and the cold war culture wars

3400

kate wehwalt @katewagner.wehwalt.net · 07/04/2026

telling my kids this is the Centre Pompidou

121305144

kate wehwalt @katewagner.wehwalt.net · 04/04/2026

how life feels after recovering from a mysterious disease

Goodtime Jesus
Jesus got up one day a little later than usual. He had been dreaming so deep there was nothing left in his head. What was it? A nightmare, dead bodies walking all around him, eyes rolled back, skin falling off. But he wasn't afraid of that. It was a beautiful day. How 'bout some coffee? Don't mind if I do.
Take a little ride on my donkey, I love that donkey. Hell, I love everybody.
James Tate (1979)

218318

kate wehwalt @katewagner.wehwalt.net · 01/04/2026

what the hell we can tack on the last bit too

Startlingly, as though remembering that she is indeed telling a story, Sieglinde gathers herself and brings Siegmund rhetorically back into the room. “Da wusst ich, wer der war / der mich Gramvolle gregrüsst” -- I know who he was / who consoled me in my grief, she tells him, as the fragments of the story begin to gather around her and pick up like a storm – the father, the sword, the father who I know you might know – from major to minor to major key – and then, with sudden, utter clarity, there is Siegmund standing before her and with Siegmund the possibility, fervent and graspable now, of being free. All this in just a few minutes of music!

250

kate wehwalt @katewagner.wehwalt.net · 01/04/2026

actually i do have some notes on this passage if you want to follow along (the musical patronymic being the Walhall motif that lets us know Sieglinde's father is Wotan)

In between the musical patronymic and the revelation of the sword, is a passage of music just for Sieglinde. As she describes first the fear in the hearts of the other guests (Angst schuf es allen /traf die Männer / sein mächtiges Dräun) E-flat opens big and wide into F-sharp minor, which passes searchingly and incompletely into D major like an excited gasp of recognition only to, in the next second, diminish, literally, into the small, sparsely orchestrated agony of the gaze between father and daughter.
The mournful chromatic half-steps down to “süss schnenden Harm” (sweet, sorrowful joy) describe the human being who has been recognized but to no end, that of the little girl who is still searching for her father even though he is right there in front of her. All of it is sung by the woman who must live with the fact that this man elected neither to fully reveal himself nor intervene directly in sparing her from devastation. All there is, in the exchange of those half-steps, is the reality of one man passing her off to another, and this is an affect that can only come through in music.

161

kate wehwalt @katewagner.wehwalt.net · 31/03/2026

instantly wrecked by this six bars of music every time

6401

kate wehwalt @katewagner.wehwalt.net · 31/03/2026

pov: you are a stupid fucking robot

claude saying the adjacent passage in e major is the key of the Wälsungs

6811

kate wehwalt @katewagner.wehwalt.net · 18/03/2026

My absolutely disgusting copy of the ring libretto

3630

kate wehwalt @katewagner.wehwalt.net · 18/03/2026

Barry Kotsky can’t keep getting away with this

1470

kate wehwalt @katewagner.wehwalt.net · 09/03/2026

psychoanalysis when i talk about my father vs when i talk about my mother

3841

kate wehwalt @katewagner.wehwalt.net · 09/03/2026

time cube baby (though i originally made this like 100 years ago in 2024 as a way of trying to figure out What’s Up)

090

kate wehwalt @katewagner.wehwalt.net · 03/03/2026

solved the problem (das rheingold)

2353

kate wehwalt @katewagner.wehwalt.net · 03/03/2026

someone needs to take my hegel privileges from me asap bc i am using them for evil

Part of the reason mapping the events and impetuses of the Ring is so difficult owes itself to the fact that “truth” in the Ring, like the pursuit of knowledge in real life, is never entirely complete – it can’t be because no truth is all-encompassing (i.e. true to all people.) It is instead a combination of truths and untruths that are never fully reconciled, but which form from this failure of reconciliation the forward motion of a complex process. This is why the boundaries within the curse of the ring materialize in such different ways, why there is a great degree of freedom within ostensible unfreedom, why this freedom and unfreedom appears partially contingent on its own self-knowledge (i.e. whether one is aware of the ring or, more importantly, of its curse), and why the ring’s curse is, despite its devastation, also a deeply generative process.

2230

kate wehwalt @katewagner.wehwalt.net · 02/03/2026

new mcmansion hell to cleanse the horrors: mcmansionhell.com/post/8099372...

761267292

kate wehwalt @katewagner.wehwalt.net · 01/03/2026

I am not the kind of train person who knows the name of the trains. that is a kind of weaponized knowledge reserved for the ring cycle

4110

kate wehwalt @katewagner.wehwalt.net · 01/03/2026

I live by the train and die by the train

1210

kate wehwalt @katewagner.wehwalt.net · 01/03/2026

They have like a roommate/weird uncle type situation

1100

kate wehwalt @katewagner.wehwalt.net · 01/03/2026

I wrote a guide ! wehwalt.net/shortguide.h...

140