iiinova — where your digital self keeps evolving

quyat erp @solidarity.pizza · 19/09/2026

me and the girls reading your posts

the same screenshot of "she said" in the quoted post but cropped so there's no quote in it.

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quyat erp @solidarity.pizza · 16/09/2026

it sure sounds like she was working on herself

his exploration of the boundaries of his musical and gender identities. That his search entailed sexual and musical identity was no coincidence, for these facets of his persona were closely related. Buckley explained:

In my early shows, I wanted to put myself through a new childhood, disintegrating my whole identity to let the real one emerge. I became a human jukebox, learning all those songs I had always known, discovering the basics of what I do. The cathartic part was in the essential act of singing. When is it that the voice becomes an elixir? It's during flirting, courtship, sex. Music's all that.24

Buckley believed that his "true" identity came out through singing, replacing his old identity, developed during childhood. Singing not only offered an emotional outlet but also rid him of characteristics with which he did not identify. He mysteriously referred to the voice as an "elixir," perhaps
envisioning the emotional catharsis of singing as creating a musical love potion, since emotional sharing often brings people together. Like Cusick's sense of musicosexuality, Buckley's voice conveyed his identifications and his feelings, and seduced his listeners, seeming to entice them into an inti mate relationship with him.

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quyat erp @solidarity.pizza · 15/09/2026

and the time ticks slightly back

a stage view. a snare drum on a stand and a table with sticks, mallets and percussion items behind it. on the floor is a pedal and a battery powered amplifier. behind is a video projection on a white wall

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quyat erp @solidarity.pizza · 12/09/2026

does she... you know... have the comparative poetry in translation autism?

partial iphone screenshot of a google docs outline listing translations of kim sowol's 진달래꽃 (azaleas)

Document outline

"Azaleas" (tr. Peter Lee)
"Azaleas" (tr. David R. McCann, 1988)
"Azaleas" (tr. David R. McCann, 2007)
"Azaleas" (tr. Wayne DeFremery)
"Jindallae Flower" (tr. Jack Jung)
"Azaleas" (tr. Kim Jongkil)
"The Azaleas" (tr. Yong Ho Choi[?])
"Azalea Flowers" (tr. Changsoo Koh)

"Azeleas" [sic] (tr. Jaehyun Kim)
"Azaleas" (tr. Ko Won)
"Azalea petals" (tr. Tom Sharp)
Untitled [attitudinal], tr. Myeong Kyo Jeong
Untitled 1 [Korean word order], tr. Br.
Anthony of Taizé
Untitled 2, tr. Br. Anthony of Taizé
Untitled 3 [iambic], tr. Br. Anthony of Taizé
Untitled 4 [rhyming], tr. Br. Anthony of Taizé

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quyat erp @solidarity.pizza · 10/09/2026

загадка без разгадки: кто возвратится вспять, сплясав на той площадке, где некому плясатьa?

a colorized shot/still of maroussia/the mother (natalia terekhova) levitating above her bed in a state of grace from tarkovsky's MIRROR

an excerpt from tarkovsky's _sculpting in time_.

Generally people's memories are precious to them. It is no accident that they are coloured by poetry. The most beautiful memories are those of childhood. Of course memory has to be worked upon before it can become the basis of an artistic reconstruction of the past; and here it is important not to lose the particular emotional atmosphere without which a memory evoked in every detail merely gives rise to a bitter feeling of disappointment. There's an enormous difference, after all, between the way you remember the house in which you were born and which you haven't seen for years, and the actual sight of the house after a prolonged absence. Usually the poetry of the memory is destroyed by confrontation with its origin.

It occurred to me then, that from these properties of memory a new working principle could be developed, on which an extraordinarily interesting film might be built. Outwardly the pattern of events, of the hero's actions and behaviour, would be disturbed. It would be the story of his thoughts, his memories and dreams. And then, without his appearing at all—at least in the accepted sense of the traditionally written film—it would be possible to achieve something highly significant: the expression, the portrayal, of the hero's individual personality, and the revelation of his interior world. Somewhere here there is an echo of the image of the lyrical hero incarnate in literature, and of course in poetry; he is absent from view, but what he thinks, how he thinks, and what he thinks about build up a graphic and clearly-defined picture of him. This subsequently became the starting-point of Mirror.

a separate excerpt from tarkovsky's _sculpting in time_.

Once you start to speak of things that are precious, you are immediately anxious about how people will react to what you have said, and you want to protect these things, to defend them against incomprehension. We were worried about how future audiences would receive the picture, but at the same time we went on believing, with maniac obstinacy, that we would be heard. Our decision was vindicated by later developments; in this respect the letters quoted at the beginning of the book explain something of what happened. I could not have hoped for a higher level of understanding, and such an audience reaction was supremely important to me for my future work.

Mirror was not an attempt to talk about myself, not at all. It was about my feelings towards people dear to me; about my relationship with them; my perpetual pity for them and my own inadequacy-my feeling of duty left unfufilled.

The episodes the narrator remembers at an extreme moment of crisis cause him pain up to the last minute, fill him with sorrow and anxiety...

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quyat erp @solidarity.pizza · 05/09/2026

that old familiar feeling arising once again in the third act

my legs and feet are in/on the sand of lake michigan. a thin layer of sand adheres itself to my legs because of my sunscreen.

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quyat erp @solidarity.pizza · 05/09/2026

(neither the video nor the poster image show up on the preview)

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quyat erp @solidarity.pizza · 03/09/2026

"condom" (also known as "hands")

lee miller's "condom", a surrealistic black and white photograph of a hand penetrating an inflated condom. yes, it's also known as "hands"

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quyat erp @solidarity.pizza · 03/09/2026

de kooning by brush and knife

willem de kooning's "untitled (spoleto)" (1969), a drawing done in purplish black ink by brush and knife. the forms are curvy lines and dots.

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quyat erp @solidarity.pizza · 03/09/2026

done with cinema (for the evening)

a still from celine and julie go boating where julie is at her desk in the library smoking. the subtitles say "back to literature"

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quyat erp @solidarity.pizza · 25/08/2026

blue becomes abstraction of undoing

three stills from "millennium mambo" (hou hsiao-hsien, 2001) combined into one vertical image. the top image is a picture of vicky (shu qi) standing outside the open door of jie's apartment with the subtitle "what is it, vicky"; the middle is a similar shot, although more clearly abstracted as a security camera image on a monitor of vicky passed out on the floor in front of jie's apartment; and the bottom is an image of vicky and jie (jack kao) in jie's car. all three images have similar color grading of light blue to aqua.

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quyat erp @solidarity.pizza · 06/08/2026

« diasporic intimacy is not possessive but tender. tenderness is not about complete disclosure, saying what one really means, and getting closer and closer. it excludes absolute possession and fusion … in tenderness, need and desire are joined. "where you are tender, you speak your plural." »

This kind of friendship resembles what I have called elsewhere a "diasporic intimacy," especially since we are speaking of friendship between an immigrant and an expatriate. Intimate means "innermost," "pertaining to a deep nature," "very personal," "sexual." Yet, "to intimate" also means "to communicate with a hint or other indirect sign; to imply subtly." In contemporary American pop psychology, one is encouraged "not to be afraid of intimacy," which presumes that intimate communication can and should be made in plain language, that you can say "what you mean" without irony and double-speak. Diasporic intimacy, on the other hand, can be approached only through indirection and intimation, through stories and secrets. Spoken of in a foreign language that reveals the inadequacies of translation, diasporic intimacy is not opposed to uprootedness and defamiliarization but is constituted by it. In contrast to the utopian image of intimacy as transparency, authenticity, and ultimate belonging, diasporic intimacy is dystopic by definition; it is rooted in the suspicion of a single home, in shared longing without belonging. It thrives on the hope that human understanding and survival are possible, but this hope is not utopian.

Diasporic intimacy is not possessive but tender. Tenderness is not about complete disclosure, saying what one really means, and getting closer and closer. It excludes absolute possession and fusion. Not goal-oriented, it defies symbols of fulfillment. In the words of Roland Barthes, "tenderness ... is nothing but an infinite, insatiable metonymy" and a "miraculous crystallization of presence."? In tenderness, need and desire are joined. Tenderness is always polygamous, non-exclusive. "Where you are tender, you speak your plural."

Most importantly, this form of diasporic intimacy and friendly love does not exclude amor mundi but constantly reconstitutes it. For Arendt, a conversation between true friends, "(in contrast to the intimate talk in which individuals speak about themselves), permeated though it may be by pleasure in the friend's presence, is concerned with the common world, which remains 'inhuman' in a very literal sense unless it is constantly talked about by human beings."º Arendtian friends don't only talk about themselves, but also take as an object of discourse the world, which they humanize and reinvent through language. Writing about Lessing, Arendt speaks of the friendship between a Jew and a German that for Lessing becomes a particular form of "worldliness," which she describes as a "vigilant partiality" that tests the boundaries between personal affect and worldly concern. In her texts, Arendt describes the common world in the twentieth century as something uncanny and on the verge of disappearance, comparing it to a table, which both unites and separates the people gathered around it but can also vanish, as in a spiritualist session. This conception of worldliness is not synonymous with globalization or universalism. It consists in the recognition not only of the external pluralisms of national, cultural, and religious identities, but of the inner pluralities within oneself and one's culture.

Who is talking when two friends like McCarthy and Arendt talk about the world? Reading the letters, we are impressed by the multiplicity of voices-tender attentiveness, impatient desire for the other's presence, mischief and playfulness, sharp intellectual observations, philosophical discussions. In other words, the voices of intimate friends, writers, political observers, philosophers, and adventurers. Only this worldly interspace of friendship allows for such exuberance of freedom that it does not conform to any divisions of labor, disciplines, or social roles.

With friends, one …

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quyat erp @solidarity.pizza · 22/07/2026

another year missing the anniversary of when daniel handler went out of his way to threaten to slap me in the face after i talked smack about the ala lemony snicket prize. my how time flies

a screenshot of protonmail on ios showing a message from daniel handler. the subject line is "Twee?" (which now references a long deleted tweet about how i called the The Lemony Snicket Prize for Noble Librarians Faced With Adversity twee bullshit or something along those lines). the message reads:

I'd slap your face if I weren't afraid my cufflinks would unnecessarily sting.
D.

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quyat erp @solidarity.pizza · 20/07/2026

the early aughts were a wild time for the intersection of video work, electronic music, and tactical media

MIDNIGHT MOVIE:: Select DVD 5
Be the first on your block to watch our new DVD compilation. After you see it don't forget to share it with friends. You receive a complementary copy upon entry to the festival. Hard hitting work, satire and freaky music vids combine to show you a sampling of great work featured at this ' Select Media Festival. Includes:
Witness the Fitness - Roots Manuva (Ninja Tune)
Terror, Iraq, Weapons - Mike Nourse
State of the Union - Bryan Boyce
Aftermath - GNN
It's On DJ Vadim feat Vakill (Ninja Tune)
Reality Check - Schneider Tm (City Slang/Mute)
Special Report - Bryan Boyce
The Most Dangerous Game - G NN
Verbal - Amon Tobin Feat MC Decimal R (NinjaTune)
GI Joe PSAs - Eric Fensler
Printer Jam - Douggpound
Sweetsmoke - Mr Scruff (Ninja Tune)
Integration - Spectralina
Copwatch - GNN
Election Collectibles - Bryan Boyce
Sales and Image Company Seminar 7- Eric Fensler
Orbits and Explosions - Mark Salemi
A Lesson in Business - Station Wagon Films
Videos de Paper Rad - Paper Rad

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quyat erp @solidarity.pizza · 18/07/2026

bloomsbury and westminster aren't that far apart

an excerpt from virginia woolf's diary, printed on a book resting on grass.

20 May
Vita comes to lunch tomorrow, which will be a great amusement and pleasure. I am amused at my relations with her: left so ardent in January - and now what? Also I like her presence and her beauty. Am I in love with her? But what is love? Her being 'in love' with me, excites and flatters; and interests. What is this 'love'? Oh and then she gratifies my eternal curiosity: who's she seen, what's she done - for I have no enormous opinion of her poetry. I should have been reading her poem tonight.

an excerpt of my letterboxd review of _magic mike's last dance_, which itself excerpts a voiceover monologue by zadie (jemelia george):

given the debate and confusion around the word "love" generally: what are we to make of the word "love" in the context of dancing? if you love dancing with someone, does that mean on some level that you love them? what other feelings are exchanged during a dance? can you dance with someone you don't trust? should you trust someone just because they can dance?
[they] weren't thinking about this, but they should have been.

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quyat erp @solidarity.pizza · 18/07/2026

hittin' em with the schnittke stare

alfred schnittke looking pensive but also dopey

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quyat erp @solidarity.pizza · 18/07/2026

alice waters trying to get those sweet parasitic diarrhea dollars

a sign outside a sweetgreen for the "alice waters peach & goat cheese salad"

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quyat erp @solidarity.pizza · 16/07/2026

once a punisher always a punisher i guess

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quyat erp @solidarity.pizza · 11/07/2026

eina með öllu, náttúrulega

my tattoo of an icelandic hot dog, which implies pylsusinnep (being squeezed by a hand from a bottle), remoulade, and crispy fried onions

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quyat erp @solidarity.pizza · 10/07/2026

this, this i already knew 😤

screenshot of my "letterboxd besties" results. my top 4 are A NEW LEAF (eileen myles, 1971), WINGS OF DESIRE (wim wenders, 1987), ARREBATO (ivan zulueta, 1979), and THE COLOR OF POMEGRANATES a.k.a SAYAT-NOVA (sergei parajanov, 1969). no one has the same top 4 as me and my taste is too unique no one has 3 out of the 4 in their top 4 either.

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quyat erp @solidarity.pizza · 09/07/2026

this would go hard with this hat

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quyat erp @solidarity.pizza · 02/07/2026

remember when i had never listened to autechre? well, @shaneparish.bsky.social changed that a few months ago, and now i am about to see shane play a show

i'm in an ithq hoodie with a mask and my glasses on the top of my head flashing a peace sign. red light is cast upon me

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quyat erp @solidarity.pizza · 17/06/2026

dj freermasonry does it again. "operation: bloomsday" complete. #ulysses

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quyat erp @solidarity.pizza · 16/06/2026

« if the oil fields of…countries [including mexico] that had decolonized Western capital between the 1920s and 1970s were to be recolonized…a whole new wave investment must be injected to make them profitable. » midnight notes, "recolonizing the oil fields," in _midnight oil_ (autonomedia, 1992)

The war was not just a symbolic beginning for the New World Order, it was a very real beginning with substantive effects. The war and its aftermath centered around the commodity that has been the fulcrum of class relations internationally in the post-WWII period: petroleum. In this new era of recolonization, the oil commodity posed a paradox to capitalist development: if the oil fields of the Persian Gulf nations, the Soviet Union, Mexico, Angola and the other countries that had decolonized Western capital between the 1920s and 1970s were to be recolonized or "enclosed," then a whole new wave investment must be injected to make them profitable. Yet the statist regimes that would be receiving this new investment had to be hardened to reject any demand by the proletarians in and around their oil fields for a share of the new wealth they would be producing. Moreover, the proletarians themselves would have to be terrorized into accepting a life of extreme poverty amidst vast accumulations of wealth.

This Gordian Knot of class contradictions was decisively cut by the whole spectrum of violence and terror available to contemporary capi-talism, from the bombs burning Baghdad residents in the depths of air-raid shelters, to the tanks the Ba'thists used to crush rebels in Basra, to the CIA torture techniques tormenting Palestinians in post-war Kuwait. The war created the greatest mass layoff in recent times; a qualitative change in the militarization of the Mideast oil industry; a re-engineering of Mideast class relations; a jump in investment capital (due to the oil price rise); and a completely decimated and dominated country (Iraq) that will serve as the new lesson for those governments that are incapable of fulfilling capital's demands for austerity and recolonization. Whether this great "solution" will create the conditions for an even more inextricable knot is the question for the struggle of the next decade.

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quyat erp @solidarity.pizza · 15/06/2026

alexandra grieve, "surface tensions: race, costume and the politics of texture in claire denis's _chocolat_ (1988)", film, fashion & consumption 10(2), 2021 www.youtube.com/watch?v=ttGm...

To return, cyclically, to the film's 'present', Denis's enigmatic ending once again invokes fashion and materiality as a means to problematize colonial social hierarchies. Protée - or an unnamed character played once more by Isaach de Bankolé - is mysteriously reintroduced to the narrative in the guise of an anonymous labourer, undifferentiated from his co-workers in the uniformed combination of a slate grey shirt and trousers. As the weather begins to turn, the assembled group - laughing and talking - appear to blur, in their grey uniforms, into a light haze of tropical rain. The group is largely framed from somewhat of a remote, detached distance, rendering their animated conservation inaudible to the viewer. It might thus be tempting to interpret the scene as a re-inscription of the workers into abstracted, instrumental form, 'commodities to be sold in the marketplace', as Laurie Edson suggests (2015: 121), but this scene does not quite accommodate such direct readings. Clothing, in this instance, enacts a playful obfuscation of the workers' identities, which compounds the already considerable opacity of Denis's choice to introduce three characters without any clear narrative relation to the rest of Chocolat. As Morgan suggests, in this sequence 'we are no longer privileged participant/observers but mere strangers: |...] accidental tourists at a foreign airport' (2003: 159). Once more, Denis questions the capacity of the colonizer's gaze (discharged first by Aimée, in this sequence by the adult France) to instil order, knowledge and limits, just as the alchemical fixity of the colonial construction of difference is again problematized. Ghost-like, moving fluidly between historical periods and then melding into the grey rain-slicked landscape, Protée's identity is instead materially and ontologically pliable, open to alternative spatio-temporal trajectories just beyond our grasp.

No longer a linear, flattened map of imperial conquest, Chocolat's portrait of postcolonial Africa now takes on unpredictable, multidirectional possibili-ties. At the scene of her departure, William Park takes France's hand to read her palm to divine whether or not she should return to Mindit. This is a futile gesture: years before, as a child, Protée had refused to warn young France about the scalding heat of a generator pipe, and he placed his palm on it knowing that she would blindly copy his gesture. As a result, both palms were mutilated. Unable to'read' the scarring, William declares her palm'strange and advises her not to return. Here, once again, the politics of (neo) colonialism is inscribed epidermically as a network of indelible bodily scars, however, this is also the point at which this representational surface is least legible. Touching hands without knowing the outcome, France's final encounter with William, like Protée's 'refashioned' appearance at the airport, is a suggestion of the potential of the textural to playfully test the epistemological limits of a coloni-ally governed, rationalized world. With these fabricated images, Chocolat urges a reconsidering of its images as open material histories that move in ditfuse and contingent directions, rather than as a sequence of static ready-formed events and identities.

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quyat erp @solidarity.pizza · 14/06/2026

no training montage today but i have some photos of rat art my friends made to induce you to donate to my pride deadlift party fundraiser. i'm more than 50% to my goal and currently in first place for individual fundraising and fourth overall. help make number go up! givebutter.com/seattle-prid...

the latest hot rat summer mosaic, "community is the water of love, with 3 pigeons on/near a bird bath, a rat with a golden halo, blue sky, and green grass, with roses in trans colors on the floor beneath it

a painted wood sculpture of a rat being passed a hot dog through a glory hole. my friend karl aka bed by ten did this one, and karl gave me my hot dog, oyster, and olives tattoos

a painted street sign that says "rat ahead"

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quyat erp @solidarity.pizza · 14/06/2026

start with the purple rat

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quyat erp @solidarity.pizza · 13/06/2026

join slate plus to access this article?

avengers: endgame meme of elderly steve (captain america) saying "no, i don't think i will"

i always thought this was supposed to be joe biden

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quyat erp @solidarity.pizza · 12/06/2026

@maeveynot.online and i went to go see her read when i was visiting and i'd seen chatter about plastic, prism, void, but when i bought it and finally cracked it open i was like