#demystification art

[depthchargingartz]

spot art, anti-copyright (freely use if you are NOT working with corporate entities) If you sell this, all i want is a percentage.

[icanlife]

Very tired of people who continue to argue that Bill destroying Euclydia was completely on purpose and he didn’t care about anyone at all because he’s just trying to garner sympathy in The Book of Bill, despite all the supporting evidence outside of Bill’s words that allude to how deeply traumatic it was, (so many, many things about) how he loved and misses his parents, how much of a sore spot the topic is for him, how much he wants to return home but can’t, etc. in addition to how perfectly Alex and co. crafted a parallel narrative between Bill and Ford, including how they hurt the people they love out of carelessness and blind pursuit of their dreams, justifying to themselves that the people they hurt just couldn’t understand

Yes, Bill is an unreliable narrator, and that includes all the very obvious posturing that he did it all on purpose and it was actually a very good thing, that everyone loved him, that he’s NOT incarcerated or anything and that he’s still a really all-powerful being, etc etc etc. To fully believe that EVERY vulnerability he reveals is an evil manipulation tactic, and not actual character writing, you have to interpret his very prevalent denial of weakness, which continues into the conclusion of the book where he already knows he’s lost the reader and is still denying any emotional needs or trauma, as itself a lie.

There’s a reason why the Pines family cracked open this book and laughed at Bill, calling him a fractured, pathetic mess.

The Book of Bill has a plot, a great plot, and great character writing. It’s a crazy companion to Journal 3, Ford’s story. Parallel stories, but where one ends with someone healing from their trauma, coming to terms with one’s mistakes and accepting the need for human love and relationships, the other ends with one stuck forever in their layers and layers of denial, never acknowledging their own trauma, never acknowledging their need for human companionship, grasping in desperate need at their continued facade of hating to love and loving to hurt.

Bill isn’t an always-in-control sly master of the mind, he’s a delusional and desperate man, fractured by his own trauma, who will continue to hurt others to prove that he’s in control. I’m tired of the false narrative that abusers can’t have trauma, aren’t people, giving them this otherworldly status above all humanity. Aside from not being narratively or societally productive, it undermines the ending and message of the book. Acknowledging Bill’s brokenness gives his victims POWER over him. The fact that Bill needs Ford, but Ford doesn’t need Bill is powerful. Them laughing at his desperation is powerful. Looking at someone who once seemed untouchable to you and realizing they’re just a suffering meat sack like any other human being is powerful.

The ending of The Book of Bill is the demystification of Bill. The book is a real look into his mind, telling a story that’s actually very tragic. It’s a very real story, a cautionary tale. You’re not being manipulated or tricked if you feel bad, it’s a very intentional writing decision that this ending elicits that dark pity, as he desperately fades away (arts and crafts materials confiscated) saying that he’s FINE.

So yeah, The Book of Bill and the website are a masterwork of the character, I love them, they’re incredible, and I don’t want to see such a tight character story discredited as “you can’t believe ANY of it!”

[dustedandsocial]

Deciphering Social Dissonance: Ideology, Noise, and Subjectivity, Session 1

Session 2 HERE

During this workshop, we will try to decipher social dissonance and why it happens.

For the philosopher and essayist Sylvia Wynter, deciphering is a practice that tries to answer these questions: What does aesthetics do? What is its function in human life? What, specifically, is its function in our present "form of life"? Deciphering It is not a process of demystification, instead, it tries to understand what mystification does, and how it is complicit in reproducing the privileges of certain subjects through a problematic understanding of autonomy.

Deciphering breaks with disciplinary divisions, and it engages with natural sciences as well as discursive production as a way to get the broadest perspective possible in regard to what we mean to be a human.

Social dissonance takes Leon’s Festigner idea of cognitive dissonance as a starting point. Cognitive describes the tension when somebody has two contradictory sets of cognitions, or when your actions don’t match your beliefs. Social dissonance is, then, a structural cognitive dissonance that emerges from the discrepancy between the values that are shared in liberal Western democracies--such as the belief in individual freedom, democracy, equality, and sustainability--and what we really do, which is to reproduce a system based on inequality, exploitation, unfreedom and the destruction of the planet through extraction. Festinger suggests that we constantly try to reduce the dissonant elements by making justifications and excuses.

What can be the justifications for social dissonance? My answer to this is twofold, one structural and one subjective. The first justification has to do with what Mark Fisher called capitalist realism: as there is no alternative to the capitalist mode of production, we cannot think of an alternative to Western democracy and the liberal idea of the individual. Since there does not seem to be a possibility of another form of life outside the capitalist mode of production, we accept the limited freedoms that are offered to us.

The second justification has to do with conflating the ideas of individuality and selfhood with subjectivity. We tend to think that what we understand by individual freedom is already subjective agency.

During this workshop, we will look at current research made in neuroscience such as predictive processing (PP) in relation to discussions around social synthesis, ideology, mental state of noise, and cultural hegemony. By doing this, we will attempt to decipher the function of social dissonance in the current form of life.

About the Author: Mattin is an artist, musician, and theorist working conceptually with noise and improvisation. Through his practice and writing, he explores performative forms of estrangement as a way to deal with structural alienation. Mattin has exhibited and toured worldwide. He has performed in festivals such as Performa (NYC), No Fun (NYC), Club Transmediale (Berlin), Arika (Glasgow) and lectured and taught in institutions such as Dutch Art Institute, Cal Arts, Bard College, Paris VIII, Princeton University and Goldsmiths College. In 2017 he completed a PhD at the University of the Basque Country under the supervision of the philosopher Ray Brassier. Along with Anthony Iles, he edited the book Noise & Capitalism (Kritika/Arteleku 2009). In 2012 CAC Brétigny and Tuamaturgia published Unconsitituted Praxis, a book collecting his writing plus interviews and reviews from performances. Anthony Iles and Mattin are currently in the final stages of editing the volume Abolishing Capitalist Totality: What is To Be Done Under Real Subsumption? (Archive Books). Urbanomic published last year his book Social Dissonance. Mattin is part of the bands Billy Bao and Regler and has over 100 releases on different labels worldwide. He is currently co-hosting with Miguel Prado the podcast Social Discipline. Prado and Mattin are also part of Noise Research Union with Cecile Malaspine, Sonia de Jager, Martina Raponi, and Inigo Wilkins. Mattin took part in 2017 in documenta14 in Athens and Kassel.

------

This lecture covers the same ground as the book he released last year, Social Dissonance. It's like $13 via amazon on paperback and kindle, but also might be available on libgen, who could say.

[vbdbct]

After three and a half freakin’ years TATTOO PUNK FANZINE 4 is finally out! Featuring hundreds of pictures from around the world of the most wild n crazy tattoos and the people who are doing them. Including interviews with two of the most skilled, innovative and unique tattooers right now, Jazmyne Araya and Alex Petty. Killer and Jason Lee share love, life and laughs with inspiring stories. Pix by amazing photographers Destiny Mata, Eleanor Bleier and Virginia Zwanzger. There’s so many other tattooers, arts, & graphics inside  it’s impossible to list them all! 

Includes a free sticker by Jazmyne Araya!

Cover illustration by Karina Munzon. 

Buy Tat Punk online from Demystification, Printed Matter ( in person at their stores too)  General Speech, & Antiquated Future

And in person at:

NYC - Village Works, Quimby’s, & Thorn

London - Waste & Crypt of the Wizard

Tokyo - Corner Books

Papertown and I will be at the EVZF next weekend selling zines and shirts. Stop by our table and say hi :) Email vegetablesgreen@gmail.com for wholesale inquiries 😀

[starbuckai]

Ask AI for its reasoning systems

Honoria: I am trying to help my college students work with AI as collaborators, especially in brainstorming & ideation phases of creative work. Do you advise students to routinely ask the AI about the reasoning systems it is basing advice and ideas upon?

Gemini: That's a fantastic and forward-thinking approach to integrating AI into creative education! Yes, I absolutely advise students to routinely ask the AI about the reasoning systems it is basing its advice and ideas upon. This practice fosters several crucial skills and a deeper understanding of AI as a tool:

Here's why it's so important:

Demystifying the "Black Box": AI can often feel like a magical entity dispensing wisdom. By asking about its reasoning, students begin to understand that AI operates based on algorithms, data, and patterns. This demystification is crucial for moving beyond simply accepting AI output and towards critical engagement.  

Understanding Limitations and Biases: Knowing the underlying systems can reveal potential limitations and biases in the AI's suggestions. For example, if an AI is trained primarily on Western art history, its brainstorming might be skewed. Understanding this helps students contextualize the AI's input and avoid blindly adopting potentially narrow perspectives.

Developing Critical Thinking Skills: Asking "why?" encourages students to apply critical thinking to the AI's contributions. They learn to evaluate the rationale behind suggestions, identify assumptions, and determine the relevance and usefulness of the AI's input for their specific creative goals.  

Fostering a Collaborative Mindset: By understanding the AI's "thinking," students can engage in a more informed dialogue. Instead of just receiving ideas, they can challenge assumptions, ask for alternative perspectives based on different reasoning, and guide the AI towards more fruitful avenues of exploration. This truly transforms the interaction into a collaboration.

Learning About AI as a Tool: This practice provides students with valuable insights into how AI works, its strengths, and its weaknesses. This knowledge is increasingly important for anyone working in creative fields, as AI tools become more prevalent. It empowers them to be informed users and even potential future developers of such technologies.

Encouraging Experimentation: Understanding the reasoning can inspire students to experiment with different prompts and parameters to see how they influence the AI's output. They can learn to "steer" the AI more effectively by understanding its underlying logic.

How students can ask about reasoning:

Directly ask: "Could you explain the reasoning behind these brainstorming ideas?" or "What data or principles are you drawing upon to suggest this approach?"

Request alternatives based on different reasoning: "Can you suggest some alternative ideas based on a different aesthetic principle or a different cultural context?"

Challenge assumptions: "You suggested this color palette. What are the underlying associations or theories that inform this suggestion? Are there other possibilities based on different associations?"

Inquire about the training data (if the AI can provide general information): "Can you tell me generally about the types of data you were trained on that might influence your suggestions in this area?"

By encouraging this kind of inquisitive interaction, you are not just teaching students how to use AI, but how to think with AI in a critical, informed, and truly collaborative way. This will be invaluable as they navigate the evolving landscape of creative work.

[education3244]

Demystifying SEO: Your Journey to Expertise and Growth with Insightful Skills

In today's digitally driven world, visibility is the lifeblood of success. From businesses to individuals, everyone strives to grab their target audience's attention online. This is where Search Engine Optimization (SEO) reigns supreme, guiding relevant users to your content and establishing a commanding online presence. But what exactly is SEO, and how can you transform into an expert in this dynamic field? Buckle up, future SEO master, as we embark on a journey of demystification and skill development!

SEO Unveiled: The Essence of Online Visibility

SEO is the intricate art and science of optimizing your website and online content to secure top rankings on search engine results pages (SERPs). When someone types a query, search engines like Google employ complex algorithms to determine which websites deserve the coveted first-page spots. Your mission in SEO is to understand these ranking factors and implement strategic initiatives that make your content relevant, trustworthy, and easily discoverable by both search engines and users.

Think of it as a popularity contest for websites. The more meticulously optimized your content is, the higher your chances of appearing near the top, leading to a surge in organic traffic and website visibility.

Decoding the Core Concepts of SEO:

Keywords: These are the magic words and phrases users search for. Identifying relevant keywords that resonate with your target audience is crucial for SEO success.

On-page Optimization: This involves meticulously crafting website elements like title tags, meta descriptions, content structure, and images to be keyword-rich and user-friendly.

Off-page Optimization: This focuses on building backlinks, which are essentially votes of confidence from other high-quality websites linking to yours. The more backlinks you have, the stronger your website's authority and trust signals become in the eyes of search engines.

Technical SEO: This ensures your website's technical aspects like loading speed, mobile responsiveness, and structured data are optimized for both search engines and user experience.

Embracing the Path to SEO Expertise:

The journey to becoming an SEO expert is like scaling Mount Everest – challenging yet rewarding. Here's your roadmap to conquer this exciting path:

1. Master the Foundation:

Deeply understand search engine algorithms and ranking factors: Continuously study search engine guidelines and updates to stay one step ahead of the ever-evolving landscape.

Gain proficiency with various SEO tools and platforms: Familiarize yourself with industry-standard tools for keyword research, competitor analysis, backlink monitoring, and technical audits.

Embrace the art of content creation: Craft high-quality, informative, and engaging content that resonates with your target audience and naturally incorporates relevant keywords.

2. Become a Lifelong Learner:

SEO is a dynamic field, demanding continuous learning: Subscribe to industry publications, blogs, and attend relevant webinars and conferences to stay updated.

Connect with SEO experts and practitioners: Join online communities, participate in discussions, and learn from their experiences.

3. Gain Practical Experience:

Start your own website or blog and implement SEO strategies to witness their impact firsthand.

Volunteer for SEO projects or take on freelance gigs to gain valuable hands-on experience.

Consider pursuing SEO certifications or online courses to further enhance your knowledge and skills.

4. Build Powerful Relationships:

Network with other SEO professionals, online and offline, to share best practices and learn from each other.

Build relationships with webmasters and bloggers in your niche for potential collaborative opportunities and link building.

5. Patience and Persistence are Key:

Remember, SEO is a marathon, not a sprint. Don't expect overnight results.

Focus on long-term strategies and track your progress over time to analyze what works and what needs adjustments.

Continuous testing, experimentation, and adaptation are essential for staying ahead of the curve.

Investing in Skill Development: Pigso Learning's SEO Training Course

While self-learning is commendable, sometimes guidance from experts can accelerate your journey. This is where Pigso Learning's SEO Training Course comes in, offering a comprehensive and practical approach to mastering the art of SEO. The course features:

Interactive sessions led by industry experts: Gain from their rich experience and practical insights.

Real-world case studies and industry examples: Learn from success stories and avoid common pitfalls.

Comprehensive curriculum covering all essential SEO aspects: Become well-rounded with on-page, off-page, and technical SEO knowledge.

Hands-on practice with industry-standard tools: Gain practical experience using top SEO tools like Ahrefs, SEMrush, and Google Search Console.

Flexible learning options: Choose between live sessions or recorded lectures to suit your schedule.

[simplesecrettosuccess]

Elevate Your Affiliate Marketing Game with John Crestani's Super Affiliate System Pro

In the affiliate marketing game, John Crestani is a pro who knows the art of making money and also promoting the products of others. John has proficiency in simplifying one of the most complex strategies and also helps individuals to earn via online mode. You can imagine him as a guide who will steer you through the digital world. He has a deep understanding of the ever-evolving affiliate marketing scene. So, it seems as if he is a master in navigating turbulent seas. In the dynamic landscape of affiliate marketing, almost all trends shift like the wind and in such situations, John Crestani stands as a beacon. He shares insights to assist you in riding the waves of new opportunities. 

So, let’s explore how the expertise of John Crestani can be proven to be your compass in the vast realm of affiliate marketing. 

What are waiting for? It is the right time not only to make your journey smoother but also more profitable.

Know about the Super Affiliate System in detail:

One of the interesting facts to know about the Super Affiliate System Pro is that it is your gateway to achieve success in affiliate marketing. It is just like a toolkit that helps to make earning online. Do you know what are its key features? Well, it involves techniques that can be followed easily, demystification of complex strategies, and customized guidance from experts like John Crestani. It enables you to picture step-by-step lessons that will enable you to turn all confusion into clarity. And it also has a range of benefits, namely- assistance to unlock your potential, boost your income, and acquire an edge in the digital race. In the competitive realm of affiliate marketing, it is crucial to stay ahead. There is not even a single doubt regarding super affiliate system pro that is your secret weapon. It offers you assistance by equipping you with modern insights, trends, and techniques as well. So, in the simplest terms, it is not merely a course but also a ticket that will help you thrive in the dynamic affiliate marketing industry. After exploring this blog, you will surely be able to learn as well as escalate together with Super Affiliate System Pro.

Real Results & Sucess

With the super affiliate system pro, you can surely discover real results & success. It includes stories of everyday individuals who turned their dreams into reality. There is a true story of Sarah, who was a stay-at-home mom. She found financial freedom after stepping into the world of digital entrepreneurship. From this system, she gained easy-to-follow guidance that enabled her to boost her income along with caring for her family. John Crestani is known as one of the aspiring marketers who transformed uncertainties into triumphs by implementing proven strategies. All of the stories related to him are not merely exceptions but also the norm. These testimonials are helpful to add credibility and also demonstrate that anyone can thrive regardless of background. In other words, the super affiliate system is not only a course but also a proven pathway to achieve success. It is advised to join a community where a range of stories related to John and many more inspire & motivate you. Besides, it also proves that your success stories are waiting to be written with the Real Results and  Real Success of Super Affiliate System Pro.

To summarize, your journey to success in affiliate marketing begins with super affiliate system pro. It is a roadmap to achieve financial growth & digital empowerment as well. So, it’s a must for you to understand the ins and outs of affiliate marketing in the easiest way possible. It is the right time to take the step toward a brighter future that can only be possible if you dive into the comprehensive education that the Super Affiliate System Pro offers.

Are you ready to convert your aspirations into achievements? Click for more information as your success story starts here!

[thathusenfulhu]

slapped in the face by that seagull

for all its charm and sophistication, seagull cafe is perfectly fine with serving half-assed food and billing you blind without a shred of fucking shame. there is no love, no respect for the art in the majority of the restaurant's offerings.

and yet here i am. alone, upstairs. this could be a metaphor but it's not. it's just a guy in an expensive restaurant where an environmentally conscious architect had saved a tree from certain death, a tree that reaches right up from the ground to the upper deck, one whose branches disappear into what look like the puckers of gigantic assholes in the ceiling. not metaphors.

the call for isha slices through the yellow-tinged dark. people streak towards the mosque across the marbled plaza, hungry for savaab.

i too am hungry, and for something seagull does remarkably well, remarkably.

let it be known then to one and all. it's the tuna sandwich.

tonight, the server brings them to my table quickly, these four four-sided sandwiches. they are shapes that you might find in a sixth grade maths test whose length and angles are mysteries that require swift demystification by a twelve-year-old brain.

now, i prefer them untoasted - hard bread scratches my delicate palate.

these sandwiches have extremely generous fillings of superb tuna & mayo and are accompanied by sliced tomatoes. it's best with a bowl of chips if you're sharing. if not, the chips are expensive and there is far too many of them for one.

this sandwich is something i crave on occasion, especially on those days when, battered from a non-stop night and day of work, i sit and yearn for culinary comfort.

and even a place so removed from the desires of people such as i can hold within it a source of (i won't say gastronomic) joy...that puzzles me but like almost anyone, i would rather be baffled than apalled.

i take my time with the sandwiches, and just as i'm done, the men dart out of the islamic centre, their brown faces aglow with that special light of believers.

[howtofightwrite]

Do you have recommendations on where I can start researching classic samurai weapons and the martial arts that developed from their use? I'm kind of lost here.

It's not perfect, but The Book of Five Rings by Miyamoto Musashi is probably one of the better places to start. Musashi did have some eccentricities (most famously the practice of dual wielding the katana and wakizashi, which never saw widespread adoption), however he was mostly writing from the perspective of an instructor to his students, and because it's been preserved (and translated), it's a very useful and accessible resource.

Most importantly, Musashi provides insight into the mindset of the samurai, and while those do reflect his biases, they are still an excellent starting point, with a lot of very solid observations.

Beyond that starting point, you'd probably want to look into the relevant historical period of Japan. There isn't a single reference to cite, because it could be literally any piece of history. However, a quick overview (even from Wikipedia) should get you pointed in the right direction for history texts.

While it's a bit more fantastical, and not a traditional read, I'd be remiss if I didn't mention Akira Kurosawa's filmography. I'm partial to Yojimbo (1961), but he directed many classics. If you need to pick one, Seven Samurai (1954) is probably the one to watch. And if you find yourself thinking, “this reminds me of Star Wars for some reason,” there's The Hidden Fortress (1958.) Really, Kurosawa directed a lot of excellent films.

It is worth remembering that Kurosawa's depictions of the samurai were often subverting the cultural veneration they enjoyed, and in some ways he's analogous to the spaghetti western's demystification of the American cowboy. This is part of why so many of his films have been remade as American westerns (including Yojimbo, and Seven Samurai.) This made Kurosawa a controversial director in Japan, though, he does offer a very distinct perspective on the Samurai.

-Starke

This blog is supported through Patreon. Patrons get access to new posts three days early, and direct access to us through Discord. If you’d like to support us, please consider becoming a Patron.

[littleeyesofpallas]

Something I feel like a lot of people are missing about The Menu is how it's really not meant to be some kind of class conscious scree against rich people being rich. (Hell, half the cast are just on the upper end of middle class, still decidedly working class, and Slowik is in the same tax bracket as half of them.) The whole central thrust of the film is about an artist/crafter and his career and his relationship to his art/craft. You get into a job because you're good at it, and because you enjoy it, but as a person who is known for being "good" at a thing there is a pressure, professionally and publicly to be better, and continue to be better, and as you rise to the top of your field there are strings that come attached to that thing you once enjoyed being good at...

"Margot" isn't just an escort, she's a high end escort, it's why she's with Tyler at Hawthorne's in the first place, it's why one of her clients is the man who's been there a dozen times. When he asks her if she likes her job and she says she used to, and it resonates with him, that's part of what that's about.

As a chef he can't make experimental, high concept, or even just high quality food without the facilitation of his investor, his reputation, and a clientele that will patronize him. He can only continue to be a cook under extremely specific circumstances and every step upwards he takes in that craft takes him further away from what he enjoyed as well as what is ostensibly the point of being a chef. He's making food for a clientele that will never and fundamentally can never really appreciate what he does.

When John Leguizamo's character laughs about how bad a movie Calling Dr. Sunshine was, but says it was a fun shoot, only for Slowik to single it out as the reason for his disgust. The joke isn't just that he's being unreasonably petty, it's that question of what the point of it all is. Is being a filmstar about having fun on set, and making silly behind the scenes stories, or is it about making an enjoyable film?

(and what is the love of funny behind the scene anecdotes, of special features, and "making of..."s and actor interviews, if not exactly Tyler's fanboyish demystification of an art? You learn and memorize and regurgitate all the little factoids about the thing you've consumed in its aftermath; you bury it in trivia without having spent the time with what it actually was.)

Is being a chef about self gratification as an artist/craftsman, or is it about making an enjoyable meal? Is being a sex worker about sex being mutually intimately enjoyable, or is it about satisfying one person's specific need?

When someone becomes a film director, are they obligated to be a good one? Does being a good director mean winning awards? Does being a good director mean being self serious as an artist? Does being a good director mean having a message? Does it mean making films that are intellectual, and challenging to the detriment of basic watchability? Do the people who arbitrate what makes "good" film even care about watchability? Can a film be both "art" and "fun"?

The Menu is the answer to its own question. It's a well conceived, well written, well acted film with an all star cast, it's well shot, (mostly) well paced, and well constructed. Its visuals are pretty, and clean, geometric, and deliberate. It is in fact intellectual, it does in fact have a message BUT it is funny, it is at times very stupid, it is exciting and self indulgent and, if not for its high mechanical polish, at time bordering on thriller shlock. And that's the fucking point.

The question it puts to the audience, with the fullest possible context of why such a question should even be asked, is simple: For all your skill as a chef, can you even make just a simple satisfying cheeseburger? For all your skill as a director can you even make just a simple satisfying movie?

"I don't think you can..." Margot puts to Slowik, not as a legitimate challenge or doubt cast on his skill, but with the fullest understanding that all he wants, all he needs, is for someone to actually ask of him the one thing he actually wants to make. And The Menu is the cheeseburger; one, simple, good cheeseburger. Basic. Common. Satisfying. Yet made with the meticulous attention to detail and precision of a skilled, and indeed overqualified master artisan. It's a fun and well made thriller movie made for the sole and singular, self edifying purpose of proving that a movie can be both "good" and entertaining.

[nicolemossmer]

I felt that Sontag’s first essay, “In Plato’s Cave,” was blemished by the problematic ethnic stereotype statements and strong takes that lacked the necessary nuance to make a convincing argument. One statement that was particularly alarming to me was her explanation of the increase of use in tourist’ photography. On page 10, Sontag points out the photography habits of a select few cultural groups, “Germans, Japanese and Americans” who she believes are. “handicapped by a ruthless work ethic,” and “have to pretend that they have something to do that is like a friendly imitation of work: they can take pictures.” As a multi-racial woman, who identifies with both my Japanese German ethnicity and American culture, I found this particularly offensive. Especially given the “model minority” stereotype of Asian Americans who have continued to suffer from this white perception that all Asians are the same and love to work is incredibly harmful to our community. 

Sontag’s view is elitist and racist in nature. Not only does the addition of this quote not add anything substantive to her essay but it essentially states that these communities are actually unable to take pictures and enjoy the art form. This is especially concerning given the fact that Sontag is a white woman, who is not a person of color. Therefore, she lacks the perspective and experience to be able to speak for this community. I also took issue with her statements surrounding the use of photography as capturing moments of history. On page 11, she states that “photography is essentially an act of non-intervention” and criticizes photographers of war and other horrors. She criticizes photographers who choose to take photos during events of disaster instead of helping save someone’s life. This comment really undermines the power and importance of journalism in photography and further unveils her overwhelming privilege. Sontag’s elitist views are embedded in this essay and overwhelm any meaningful messages that could have potentially been taken away from this piece.

 I also felt an air of that same elitism when watching, “The Allegory of the Cave.” I think the story is very interesting and fun to follow but the metaphor itself essentially seems to say that people who are “enlightened” or know the truth about things should be expected to not be believed. I think that this inherently puts people into two different categories. I can;t help but think of the book, “The Racial Contract,” which discusses the divide amongst white and “non-whites” and how white people have throughout history seen themselves as human and everyone else as “subhuman.” This of course has had long lasting effects on gatekeeping bi-poc communities from education, arts and other great things that took place during the enlightenment era. I cannot help but think of this idea of the enlightened vs. the not enlightened as really just a separation of those who were educated (wealthy, white men) and those who were not (bi-poc, women, poorer classes). 

Despite my criticism of the previous two assigned videos/readings, I felt almost the opposite way about Glover’s ‘10 Myths about the Rule of Thirds’. I really enjoyed the “demystification” on how to guide art composition. I particularly enjoyed “Myth #4, it gets the object out of the center.” I am someone who loves pictures in the center of the frame. I think that it is visually appealing to me as I really enjoy “weight balance” and symmetry in my photography. Glover was able to explain how to use the ‘Rule of Thirds’ without having to abide by overly rigid rules. I chose a picture of myself, an ethnically Japanese-German American born tourist in Europe as my picture. I was lucky enough to travel around the world to play tennis in high school and I am so grateful for all of the pictures that I took. I took this picture not because I did not know how to have fun or know what to do with myself but because I wanted to be able to look back on these memories and relive these moments. This picture was one of many that I had taken in this exact same spot. Of all fifty pictures that I took, this one was the most aesthetically pleasing to me. Although Glover argues against the idea that the human eye naturally gravitates to the intersection points, from my own perspective I think that the center subject(s) of this image falling at the intersections of the lines is what has helped make this picture interesting to me, I am curious in what others may think about this image.

[aic-african]

Female Headdress (Nimba, D'mba, or Yamban), Baga, 1850, Art Institute of Chicago: Arts of Africa

This majestic headdress embellished with upholstery tacks depicts the traditional Baga ideal of mature womanhood, with pendulous breasts that connote child-bearing and nurturing. The incised lines covering its surface mimic body scarification, and it was originally colored with pigments. These massive sculptures are worn by young men in entertainment masquerades that celebrate Baga ethnicity. In the late 1950s Baga art traditions and related religious practices were temporarily abandoned due to the introduction of Islam into the region and the “demystification” campaign of Guinea’s first president. The country achieved independence in 1958 after the Islamic Revolution of 1954–57, and this national program was aimed at purging traditional religion of its essential mysticism. In practice, demystification led to persecution and the massive destruction of ritual art. Baga culture and art was subsequently revived in the late 1980s. W. G. Field Fund, Inc.; Edward E. Ayer Endowment in memory of Charles L. Hutchinson Size: 119.4 × 33 × 59.1 cm (47 × 13 × 23 1/4 in.) Medium: Wood and brass tacks with traces of pigment

https://www.artic.edu/artworks/5567/

[nightswithkookmin]

I am curious about your take on something. So Taekook probably hate the idea of Taekook, right? If Jk and Jimin are together (as I beleive they are) then the very idea of taekook has to be like sooo weird for everyone, especially when it results in hate directed at Jimin. So why don't Taekook agree to like NEVER LAY HANDS ON ONE ANOTHER in public. I know they shouldnt have to. They like skinship and all. And no one is going cray cray over jinkook or jihope etc. But its an easy fix? Maybe not?

Tradshippers... Haha.

The gag being Tuktukkers say the same thing about Jimin and Jikook all the time- if V is his soulmate and friend, shouldn't he keep his hands off JK? Shouldn't he respect the sanctity of his friends' relationship? Doesn't he care that his actions with JK hurt Tae? That he is wrecking another man's home, yadda, yadda, yadda.

Heard it all before. Not particularly impressed by that level of rudimentary mental adroitness- at all. It all flows from insecurities and or the shipper's dissatisfaction with how these people in reality interact with one another because that often tend to be in disharmony with their shipping fantasies about their OTP.

The shipping community in general is a fantasy bubble. Haven't done much research on its demographics but from my observation, it seems the younger demographic can't seem to detach fantasy from reality while the much 'adult' population'- perhaps, for fear of having their reality warped or their hearts broken, are too engrossed in reality as such tend to approach shipping with quizical glares at best, cynicism, skepticism and what I like to call a false sense of logic- at worst.

Then of course, there are those in between.

But one thing they all seem to have in common is their emotional response to the demystification of their fantasies. Like any fantasy, people tend to lash out at or carry resentment towards anything or anyone that threatens their false sense of safety built around their fantasy.

For Taekookers they tend to lash out at Jimin or even Jokers because they threaten their sense of ship safety. Jokers do the same with JK more so than Tae, but Tae too nevertheless.

Taekook, Jinkook and the other ships Jikooker's are threatened by are viewed as threats and looked upon with disdain and resentment only because they ruin the fantasy of Jikook for them and nothing else.

And if that's not the case, then these people are too invested in someone else's relationship and lack both personal and emotional boundaries- it's their relationship not ours.

You can't sit in your homes, behind the screens and pilot someone else's relationship or point out what is wrong with their relationship and feel strongly about it to the point you start demanding and dictating how they should relate with eachother or their friends- that's entitlement and borderline toxicity which is scary, not gonna lie.

Jikook and Vmin equally ruin the fantasy of Taekook for their shippers. And they look to Jimin as the grinch and killjoy, hence lash out against him without reservation.

In a perfect shipping alternate universe, Taekook or Jikook would be couples within a group where it's glaringly clear that they are couples and as such no other ship would compete or interact with them in a way that raises questions about the general perception of them as a couple unit within the group or threaten their status as such. But this is reality. Not fantasy. And it just doesn't work that way.

Most of these conversational topics you raise are about how people want their OTP to behave rather than how their OTP actually behave towards one another.

It's especially disconcerting when their disapproval of an interaction stems from them 'wrongly' labeling or interpreting that interaction as 'intimate' and or romantic and proceed to go on an emotionally charged rant on behalf of their OTP calling for them to instill boundaries.

Maybe Tae is not instilling boundaries for JK with Jimin because he doesn't have the right to? Because he is not in a relationship with either Kook or Jimin?

Maybe Jimin is not telling Tae and Kook to keep the skinship off cameras because he is not bothered by the 'hate he receives' because of their interactions?

Tae kook have been interacting on our screens for 7 good years. You think if Jimin found their interactions as problematic or disrespectful to his relationship with Kook that he wouldn't have nipped that in the bud?

Have you not seen him react a countless time to when he is uncomfortable with an interaction that crosses his limits or boundaries? It should tell you he doesn't have a problem with Tae Kook at all.

He only has a problem when an interaction crosses the line. Same with JK. And if due to his ideosyncracy he can't stomach an interaction, he averts his eyes. I don't think he would want them to stop interacting all together. If he did that would be problematic because they are all friends and he doesn't own Kook or vice versa.

Also the statement that Tae Kook need to keep their skinship off camera because Jimin receives a lot of hate because of it is a non sequitur. Tae kook is not the reason Jimin recieves a lot of hate in the fandom. Jikook is.

Taekook doesn't hurt Jimin, Jikook does. People lash out at Jimin because of his interactions with JK not because of JK's interaction with with Tae.

So the solution would not be for Tae and Kook to keep their skinship off camera, it would be for JK and Jimin to not interact on camera at all. I mean if we are being honest.

And all those who claim JK isn't protecting Jimin because his interactions with Tae is what fuels the passions of Tuktukkers towards Jimin, think again...

JK puts up boundaries with Tae as it is. Out of all BTS, they are the two who have openly admitted to having 'drifted apart' over the years- I wonder why. When Tae spoke about wanting JK to treat him as a friend rather than hyung, JK told him he couldn't do that because that would have led to a lot of fights between them. What other boundaries do y'all expect him to put up again?

Dude rarely nurtures his relationship outside Jimin within the group- responding to texts a whole year later and what not.

And even with this, Jimin recieves a lot of backlash regardless. I think we need to stop justifying hate. There is no justification for hate. No excuse is excuse enough for the traumatization of another human being.

JK equally gets dragged for filth in these shipping streets. Tuktukkers hate him as much as they hate Jimin because of his interactions with Jimin. Tae stans hate him. Jimin stans hate him. He is neither here nor there. He got called a pig, sissy, and all kinds of derogatory names when he pulled away at KBS when Tae wanted to hold his hands.

Jokers, PJM jokers drag him for filth in their gcs and shit and equally hates on him because to him he doesn't love Jimin enough or at all. Especially, when he doesn't interact with JM in a way that pleases them.

The problem is Jikook. Both Jimin and JK will have their peace of mind if they didn't interact at all and kept their relationship private. The best way for JK to protect his boyfriend from all this bullshit is to keep a safe distance from him and act like he doesn't know him or never met him- because that is how Kpop idols usually protect their relationships.

And yet, and YET, when he does just that y'all jump on his neck on every turn, screaming Jk hates Jimin and doesn't love him. I gotta ask-

WHAT Y'ALL WANT FROM JK?!

People just like to ruin beautiful things, don't they?

And while we are at it, let me address this Ask I got a few days ago claiming if JK loves Jimin then it doesn't make sense for him to want to act so loud with Jimin or express his feelings for him in a way that out's their relationship because that can hurt Jimin and bring him a lot of hate...

You think Jimin openly loving on JK doesn't bring JK a lot of hate too? Damn. It's the double standards for me. Lmho.

Listen, JM has a duty to protect JK just as much as JK has a duty to protect JM. By your logic, if Jimin loves Jk then he equally needs to stop doting on him in public because his love causes JK as much pain as JK's love causes Jimin- but Jimin can't stay away now can he?

Jimin had to ask JK permission to express himself the way that he does with him- on their Log when he asked JK if he was ok with him saying he loved him on camera. Jk had a need to keep their relationship private, Jimin had a need to keep it open and clearly didn't want to hide their relationship. But they have since outgrown their old selves. Their wants and their needs have changed- if you pay attention to JK's lyrics in recent times.

Their dynamics keep flipping. And they are constantly negotiating their needs, from my perspective anyway- let them do them. Y'all didn't seem to have a problem when in their earlier dynamics Jimin was the one pushing for them to be open with their relationship. JK eventually gave up his need to hide their relationship didn't he? And overtime he became comfortable expressing affection for Jimin openly.

Yet, suddenly when JK wants the same thing in their relationship y'all claim he is being unreasonable and unfair towards Jimin? Huh?

Granted, he over does it sometimes. Yes. Lol.

But you can't hold Jikook to different standards. They are both human and their feelings for eachother are equally valid. Their needs from eachother are valid in the same weight.

If Jimin gets to show the whole world just how much he loves JK and because of that many people are convinced Jimin loves JK more than JK loves him- even if half of the time he is using fanservice as a cover or even his persona as a cover, then why can't JK equally use his art or whatever means he prefers as a cover to show the world just how much he loves Jimin?

...Even if half of the time he is borderline outing him and getting him in trouble? Lol. That's just the love if you ask me. Hehehe.

Chilee JK, you make it hard to defend you sometimes! Lol. Just don't out your man. How hard is that!😭🤭

Seriously though, you don't think he wants people to see he loves Jimin too? Damn, y'all be reading Jimin wrong. Because Jimin loves it when JK shows the world he loves him... Did you see his face after Rosebowl? Why do you think JK keeps cutting it close? Dude is gunning for the points. Lmho. Jikook speak eachother's love language. Let that sink in.

If JK is pushing against the glass closet it's because he is convinced that that is something Jimin wants but is afraid to go after and he is the fearless one among the two. Y'all just be fighting the wrong battles. Lmho.

Jikook is asserting themselves against eachother. They are pushing eachother's boundaries and I don't think that is necessarily a bad thing.

You can't claim JK doesn't love Jimin and in the same breath condemn and disapprove of the ways he expresses himself and his love for Jimin- I think you need to free JK now!

Between Tuktukkers and certain Jokers, I don't know who is worse- Nevermind, I'm not a fan tradshippers in general.

JK is there to please his man not shippers and the way I see it Jimin looks like a satisfied customer to me.

If you are dissatisfied with Jikook, there are a countless other ships in BTS. Get on one. See how that goes. Lol.

Where were we, Anon?

Oh right, Tae Kook. Lol.

I think we need to learn to hold the right people accountable for their actions. The problem is not Tae Kook, or Jikook or any other ship. The problem is with the toxic shippers who use them as an excuse to perpetuate unfathomable hurt towards the boys and towards others.

I think Tuktukkers need to develop a better attitude towards Jikook. Jikooker's need to do the same about Tae Kook or Jin Kook.

Personally, I would rather Jikook kept their relationship private but I also understand their need to take advantage of the glass closet- secrets are hard to hide. They get heavy before they get easy.

And Jimin loves to be loved. He loves when you show him off. It's part of his love language. You can't date him and Keep him a secret- and still we question why JK doesn't want to hide him.

If y'all don't want to ship Jikook that's fine. I'll ship them myself.😒

Whatever decisions they are making, I support it wholeheartedly. I support them with every fiber of my being.

LONG LIVE JIKOOK. JIKOOK IS REAL.

Signed,

GOLDY

[goodbysunball]

Ten weeks away, six beats off

Been a whirlwind year so far but I'm back in the saddle. I'm busting at the seams with drivel on records and the best way to unleash it is in these grouped posts. Small plates, quick bites - bon apétit.

Bobby Would, World Wide World (Low Company)

Can Low Company just come back as a label and a record store already? These releases trickling out after its demise are cruel reminders of how essential those self-effacing tastemakers were. The Anti-Clock LP is a doozy, and this second Bobby Would record sounds like a classic right off the bat. Mr. Would sticks to the same stuff that made Baby so damn good: dusty loops, barely discernible vocals with a catchy melody, bright spindly guitar lines for days. Songs like "Natural Killer" and "Walk Away" are the immediate favorites, upbeat on the exterior but bleary-eyed upon close inspection. Repeated listens have revealed that the hungover haze of "Maybe You Should" and the last call sway of "Raft," which might be my favorite, are where he really shines, tempos slowed to a crawl to make room for the rich warmth of his reverb'd mumble and his sparkling guitar. Yeah, I'm crushin' on Bobby Would, but so's everyone I've forced this record upon. Sharp but unassuming, and endlessly listenable, World Wide World is the balm until better days arrive. Top notch, highest recommendation, all the fixin's.

The Begotten, Temidden Laaghangende Wolken (Aguirre)

I'm a new dad and that means I'm searching for music that I can listen to with my daughter without disturbing her, and music that isn't Raffi. Typically that means a lot of drone, and a lot more quiet, introspective music, like the reissue of Lol Coxhill & Morgan Fisher's Slow Music that Aguirre did. Because the reissue job on that record is so good, I decided to roll the dice on a contemporary offering from Aguirre that also sounded like it fit my needs. My initial reaction to hearing the Begotten's music online was that this trio was approaching zones tread upon by Fabulous Diamonds circa Commercial Music, but subsequent listens have decidedly not taken me that far out. While it's clear the band is made up of exceptionally talented musicians, the music tends to be pretty safe and stays close to the shore. The B-side's a bit better: "Eiland Zonder Oceaan" and "60 Manen" are as close as this record gets to the "dub with tears" descriptor from the label, and the gossamer drone of closer "Klauwzeer" is cool, but nothing really sticks once it's over. Seems like these guys could probably freak out the crowd at a traditional jazz club, but Temidden Laaghangende Wolken keeps the listener at arms' length, simmering but ultimately tepid once you're beneath the surface.

Cube, Drug of Choice (Alter)

Fave record of the year so far! I caught Cube (aka Adam Keith) burning down the Pilot Light what seems like an eternity ago, touring on his last LP, Decoy Street. Nothing on that LP approached the fiery performance I saw, but he's definitely harnessed that energy on Drug of Choice. The record flows seamlessly, corroded breakcore flooding into all corners, causing machines to gasp and whirr and burst, and Keith's intermittent vocalizations are as sinister and biting as they are introspective and philosophical. "Natural Selector" has all of the above, but for my money it's the closing duo - the frenzy of "Moderator" and the terrifying strobelight beatdown of "Cusp" - that really show the piledriving exterior/groaning interior dichotomy that makes the record so magnetic. The label said it best: Drug of Choice "deliver[s] something that feels as much focused on artful constructions of private experiences as it does the cathartic qualities of noise." Alter's quietly releasing some of the best contemporary records, but Cube's Drug of Choice has all the right stuff to justifiably blow up their profile. Wildly intense and devious record; grip a copy and lose your mind with me. While you're at it, check out Adam Keith's amazing Baited Area zine - some of the most engaging arts 'n culture writing/interviews this side of Demystification.

The Gagmen, s/t (iDEAL)

Aaron Dilloway, Nate Young, Joachim Nordwall and apparently Andrew W.K. teamed up as the Gagmen for a performance a few years ago, captured here and put to wax by Nordwall himself for his iDEAL label. I was expecting a pretty blistering assault given the clientele, but what you get is the opposite: slow loops, spare instrumentation, Young's sleepy vocals, all stark and creepy and forcing you to lean into it. The end of the second track gets a little intense, with some wailing loop and white noise combining to tickle your ear hairs, but aside from those couple of minutes, the bulk of The Gagmen is like a black breezy night forcing things to move that usually don't. Puts a knot in your stomach, it does. Hey, it's not for everyone, but if you loved the Komare LP from last year like me, you're gonna find a lot to enjoy here.

Monokultur, Ormens Väg (ever/never)

Glad to see Monokultur continuing their relationship with ever/never, not least of all because those overseas shipping costs hurt. Ormens Väg is the Swedish duo's second LP, and right from the jump they're seemingly headed in a more accessible pop direction. It's a good look for them: opener "Decennium" features big warm keyboards and probably the most exposed vocals from the band yet, kinda coming across like the Knife covering Berlin. It's followed by my favorite track, "För sent," which has a bass line that melts and soothes your ears, topped by JJ Ulius' forlorn (I'm assuming) spoke-sung vocals. The band nods at an earlier incantation of themselves on the buzzed descent of "Kanske blir det sämre", but for the most part the rest of Ormens Väg continues in this gorgeous, warm and spare mode. Take the beautiful instrumental "Vårdagjämning," which almost sounds like it was lifted from the xx's cutting floor until the tape loops emerge like swirling smoke to cloud the proceedings. By the track's end the band somehow ends up on Robert Turman's turf but everything feels cohesive, all of it delicately presented. Shit, even the snippet of "Silent Night" emerging at the end of the title track doesn't take the record off course. Pretty much perfect little record, and yet another early favorite from this year.

Nina Harker, s/t (Animal Biscuit/La République des Granges/Le Syndicat des Scorpions)

This record came out in the middle of 2020, but I missed it then and it's a current obsession now. Shoutout to @dustedandsocial, Yellow Green Red, Fuckin' Record Reviews and everyone else who pointed me in its direction, late as I may be. I don't have a whole lot of info on Nina Harker but it appears that it's the work of one Valentin Noiret, some mad multilingual genius working between the lines connecting Dome, La Grande Triple Alliance and Enhet För Fri Musik. "L'affreuse" is pretty illustrative of how Nina Harker condenses genres into bite-size packets: the woozy, seasick synth topped by Xasthur-like vocals, which are then joined by what sounds like despairing Japanese, the shuffling song slowly building up to this terribly simple guitar part that just levels you when it hits. Not everything is so busy: "Müssen Wir Noch Aufblühen⁇" is a fantastic slice of minimal synth, and the two late night strummers "το κορίτσι γαβγίζει" and "Muto" are disarming in their stripped-down simplicity. The hum that overwhelms "Muto" razes the field to make way for the robotic waltz and maniacal ravings on "Du Schaffst es Nicht," one of many catchy, totally bizarre moments on the record. Nina Harker is riddled with anxiety, moving from frenzied to haunting without batting an eye, but it's also an absolutely singular approach to the dread and restlessness lurking in the corners. Perhaps more prescient than they would've guessed when they made this record. Stunning, hits the spot every time, track down a copy posthaste.

[vbdbct]

“IN THE WIND by BEN TROGDON: YES YES YES !! this zine accompanies ben’s show of the same name thats up for a couple more weeks at public access gallery. ben trogdon zines are 1. always exciting 2. always inspiring 3. always bring me endless joy. in the wind features an interview w new band narcotic void, and collaborative art by ben and joe b.” - Ambrose of the best demystification zine.

This first batch of IN THE WIND comes with stickers by cancer carl and aneko ! 

Grab the zine online from printed matter, Demystification, sacred bones, roach leg records, & antiquated future. Or  buy it in person from Public Access, Quimby’s, Material World, Supreme BK, & agony books.

A portion of the profits from the sale of this zine will be donated to Club A, a food distributing collective in Bushwick, Brooklyn. 

Email me if you’d like to distro the zine. 

Thanks for the cute Hog, Mike :)

[starringemiliaclarke]

Press/Gallery: Emilia Clarke on Life After Khaleesi—Including a Historic Clinique Contract

After plotting world domination for eight seasons on Game of Thrones, Clarke reflects on her own quieter sense of ambition, rooted in the “sustainable and real,” she says. Meanwhile, a new role as Clinique’s ambassador, announced today, puts her back on the global stage.

VANITY FAIR – Call it auspicious, to sit down with a former queen on the eve of a nail-biting election. It was a clear December morning in London, a day before Britons cast their fate (and Brexit’s) with Boris Johnson, and the Protector of the Realm—to use one of Emilia Clarke’s many titles on Game of Thrones—was assessing the political landscape. “Is it a full moon?” the actor said, interest piqued. (An Instagram astrologer had told me so.) “Maybe that will kick the . . . —no,” she interrupted herself with a weary laugh. “It will just soften the patriarchy ever so lightly.”

Clarke, whose now-departed character was known to scorch entire neighborhoods with one dragonic exhale, leads with a comparatively light hand. In a November post about the UK’s voter-registration deadline, she delivered a message (“You have a voice. Use it!”) with a silent procession of cue cards. Last March, when she first revealed her tumultuous medical history—a pair of brain aneurysms in the show’s early days—she did so with a lyrical, unsparing essay on the New Yorker’s website. She isn’t much for peddling influence; instead, she reps sweatshirts for Same You, the charity she founded to support neurorehabilitation for young patients. After the GOT series finale and its torrent of press, she has kept things earnest and under-the-radar—however much someone with 26 million followers can slip into incognito mode.

That makes Clarke’s latest role—the first global ambassador for the beauty company Clinique—at once a like-minded alliance and a return to the spotlight. “You’ve got your spidey senses,” explained the actor, sitting on a gray velvet sofa (a softer iron throne) at the Edition hotel. “My gut was like, ‘You’re going to enjoy this!’ ” At a time when authentic is a buzzword on every brand’s bingo card, she manages a kind of translucent candor. (The way Clarke described the brand’s longstanding image—“completely universal, totally relatable, totally modern”—sounds like the elevator pitch for tapping the 33-year-old as a spokesperson.) A sunbeam slipped across the room, igniting her lagoon-colored eyes. I found myself lilting precipitously off the sofa, like a wayward houseplant, to avoid casting a shadow.

Clinique, founded a half-century ago as a prescient, dermatologist-backed skin-care line, didn’t set out to sell miracles. The 1967 Vogue article that helped spark the company—titled “Can Great Skin Be Created?”—laid out a practical, yes-it-can mission. Back then (and for generations of beauty inductees since), demystification arrived by way of a streamlined three-step system: cleansing bar, exfoliating toner, familiar yellow moisturizer. In lieu of the smiling perfection of beauty ads, Irving Penn photographed heroic still lifes, making saints of ho-hum bathroom essentials.

Now, in an age of algorithm-generated everything, customization is the operative word. Clinique iD, which launched last year, riffs on that original moisturizer by targeting a cross-section of skin needs: four hydrating bases, five potent mix-ins, 20 different permutations. “You have options because we all change all the time,” said Clarke, who—to echo that classic Hair Club for Men slogan—is not only the face, she’s also a client. “I used the products, and my skin got better! I’m like, ‘Yes! I don’t need to lie!’ ” she added with a laugh. “It’s all true.”

The latest addition, a BB-Gel base that suits most skin tones, reminded me of a biographical detail tucked into a cover story in this magazine. Clarke’s maternal grandmother, conceived in a subcontinental love affair, hid her half-Indian identity in a cloud of powder. “My granny kept that secret, that shame that she felt, to her grave,” Clarke said, reflecting on the pressures of assimilation. It’s a world away from today’s shade-adaptive formula, designed to meet the wearer where she is.

Even with beauty’s shifting currents, Clarke learned immutable lessons at home. Her mother, having worked with Revlon, could see through hollow sales pitches to the products that really worked. She also taught her daughter simple hacks: Vaseline as a lo-fi brow gel, and the fact that blush is just a “pigment—you can use it which way you want,” recalled Clarke. She never had a London rebel phase, a clash of Manic Panic hair. “I was a little bit emo for a while and had an obscene amount of eyeliner on, but I think I was just trying to hide.”

That impulse still resonated when GOT came to a close. The show was the centerpiece of her working life in her 20s. Playing Khaleesi had been an escape, thanks in part to platinum wigs with “magical powers” and a Pavlovian link to confidence. “When it ended, I felt like I’d been dropped a thousand feet,” Clarke said. Suddenly she found herself grappling with events she hadn’t had time to process, including her father’s death in 2016. “I slowed all the way down because I had to, to gently build it back up again.” Instead of big-budget franchises, she is headlining her first West End play this March—The Seagull, adapted by Anya Reiss—alongside a half-dozen projects underway from her production company, Magical Thinking Pictures. “Everybody in our industry had to have had some element of magical thinking to be able to make art on any level, to be able to go, ‘I’m going to be a kid forever,’ ” she said of the name.

I wondered if living so long with Khaleesi—a character defined by outsize ambition—shaped the actor in some way. “I just think that ambition for everyone looks different at different stages of your life,” Clarke mused. “When you’re young, you see ambition as quite relentless. You win or you lose with ambition.” On the far side of four Emmy nominations and two harrowing brain injuries, what matters to her now is living a normal life with well-nurtured friendships and “work that is meaningful and impactful for me. I don’t care if it’s successful.”

Mother of Dragons, Breaker of Self-Defeating Chains? Something like that. But it’s not breath of fire that is her restorative release. “It sounds really hippy-dippy, but there’s this amazing yoga position called the humming bee,” she explained, slipping her thumbs into her ears and letting out a few mini-vibrations. “It’s a completely insular thing, and I promise you,” she said, eyes twinkling as I leaned out of her light, “it just resets your nervous system.”

    Gallery Links:

MODELING, ADVERTISING, AND PROMOTIONAL WORK > Clinique > 2020 Campaign > Ad #1

MODELING, ADVERTISING, AND PROMOTIONAL WORK > Clinique > 2020 Campaign > Ad #2

MODELING, ADVERTISING, AND PROMOTIONAL WORK > Clinique > 2020 Campaign > Photoshoot

Press/Gallery: Emilia Clarke on Life After Khaleesi—Including a Historic Clinique Contract was originally published on Enchanting Emilia Clarke | Est 2012