#abstractify

[discountskeppy]

i cant turn this thing off it keeps following me

[glacierruler]

If you like it please reblog it!!!

This is the last piece I will be uploading onto tumblr until this whole ai thing is figured out! If you'd like to see more of my art, I ask you to consider following me on ko-fi or bluesky

I call this piece:

Dream Room

Based off of this still life picture that I took!

If you'd like to see this and other paintings 1 week early consider becoming a Second Layer member on my ko-fi!

If you'd like to support me and my artwork consider giving me a tip on ko-fi!

Taglist: @cutebisexualmess @duck-in-a-spaceship @uhhh-hi-there-i-am-nervous @nebulous-astronaut @hyperfixated-homo @oatmeal-stans-the-trash-rat

Please tell me if you'd like to be added/removed!

Again if you like it please reblog it!

[onewomancitadel]

This is the website that keeps on giving etc.

I think the media literacy debate has gone too far.

[itsactuallyicedcoffee]

I keep getting the words deflowered and defrocked mixed up for some reason. might just start using them interchangeably at this point.

[triocat]

Did someone say abstractified werewolf pomni?

Blame Astronic for temping me

[wedreamedlove]

Special Exhibition Guide | L. O. V. E. Coranso Special Exhibition

Welcome to the “City of Heaven” and step into a thought-provoking exhibition: wrath, gluttony, pride, greed, envy… The concealed “original sins” are made public here, and the deeply hidden love of life can also be seen at a glance.

Now, let us follow the introductions of the specially invited tour guide—Professor Wang Jiehong of the School of Arts at Wuhan University, and step into these intriguing original realms and begin a unique visual feast.

WRATH

Wrath, an intense and almost uncontrollable emotional state.

Blood splatter turns into streamers and out-of-control bullets are suspended in the air. A bloody, cruel, and violent scene created by wrath, through artistic processing, has been transformed into a beautiful and impactful visual presentation, providing the audience with a unique aesthetic experience and room for thought about the “aesthetics of violence”. Guns and bullets, elements that carry violence, blend with formal attire and streamers, elements that carry decorative meanings.

“Wrath” is often seen as a negative emotion, generally accompanied by extreme conflicts and destruction. When we try to go beyond this intuitive understanding, we abstractify “wrath” and transform it into a visual and emotional resonance. This is not a romanticization of “wrath” but rather a reinterpretation of this complicated emotion. Just like how Osborn’s love and commitment to you is engraved in the depths of his wrathful and burning soul.

Thank you for your visit, and we hope you can enjoy a fiery and complex sensory feast that transcends life and death in “Scorching Fantasies”.

AESTHETICS OF VIOLENCE

“Violence” is rooted in human nature, especially the natural state that is opposite to human sociality. Under the discipline of civilized society, violence is often stigmatized as “barbarism” or “demonism”, but in art it may be presented as a kind of affectation, exaggeration, or visual form and aesthetic style of “turning ugliness into beauty”. The term “aesthetics of violence” mainly refers to the formalized artistic treatment of violent scenes, aiming to pursue a unique visual charm and aesthetic pleasure. Its core lies in transforming elements such as violence and blood into a pure visual experience and to highlight formal beauty through carefully designed scenes of gunfights, fighting, killing, etc., so as to achieve a dazzling and extreme visual effect.

GLUTTONY

Gluttony, a deviation from reason and piety and a short-term indulgence under the domination of desire.

A grotesque and variegated indulgence arouses a deeper and insatiable hunger—for food, and for a deeper desire. The “human body” crystals made of flesh and blood gleam with temptation in the dark and the plates are no longer filled with food. The limitations of traditional narrative and expression techniques are broken, creating a unique visual experience with postmodern aesthetic characteristics for the audience.

“Gluttony” is often understood as an excessive desire for food but, in essence, it’s an unrestrained indulgence of desire. Food is to the hungry as blood is to the Blood Clan and as your love is to Evan. Try to extend the literal meaning of “gluttony” to the realest and most basic desire. His craving for your love will never tire.

Thank you for your visit, and we hope you can enjoy a gluttonous banquet in “The Rules of Yesterday” where reason is banished and desire is served as food on a plate.

POSTMODERNISM

“Postmodernism” is a mainstream thought and culture that emerged in the United States after World War II and then spread to the world, and which is still popular today. Postmodernism originates from post-modernism and anti-modernism, with its prominent feature being “anti-traditionalism”. It emphasizes the deconstruction of traditional aesthetic concepts (such as unity, depth, and grand narrative) and focuses on pluralism, fragmentation, and superficiality. Postmodernism rejects absolute truth and grand narratives and advocates the use of collages, parody, and hybrid forms to display multiple aspects of culture, society, and personal experience. Combining the elites with the masses, high art with popular culture, and history with contemporary elements, postmodernism attempts to break the boundary between art and everyday life.

PRIDE

Pride, an arrogant sight like a sharp blade slices open the curtain of ordinary daily life.

Unconventional “intruders” swagger into this originally peaceful life, like the opening of an absurd farce. Furry monsters that would never appear in reality have broken into the most ordinary fashion office. Through the use of surrealist elements, the boundary between reality and fantasy is broken at this moment and the transformation of space is now complete.

This depiction of “pride” is not straightforward. The protagonist of the scene takes the center in an unquestionable manner, displaying “pride” with his posture, eyes, and presence itself. “Pride” is often interpreted as “arrogance and contempt for others” but it can also be self-affirmation and self-confidence. It is not a derogatory term, but rather a manifestation of inner strength. Don’t run away. Run towards him warmly, furrily, and with unbelievable yet incredible power. Just like the little monsters invading the office.

Thank you for your visit, and we hope you can appreciate an extraordinary feast dominated by pride and full of impact and shock in “Overturning the Noise”.

SURREALISM

“Surrealism” originated in France in the early 20th century and gradually spread to the world, affecting literature, painting, drama, movies, and other fields. Surrealism is guided by Freud’s psychoanalytic theory, and its creations have classic characteristics such as “exceeding reality”, “dreamlike narratives”, and “stream of consciousness”. These works often feature illogical combinations of objects and unreal effects that are beyond reality. Not only do they break the logic and conventions of reality, but they also create a dreamlike and unreasonable visual effect, triggering imagination and thought.

GREED

Greed, gather the longing gazes and project it into a vortex of desire.

A “good show” performed by the planner himself raises its curtains here. The pomegranate heart, which has been pecked to the point of dripping with blood, and the eagle statue, gilded like bloodstains, together form the footnote of the myth in the form of a symbolic metaphor. The bound “Prometheus” returns to the mortal world in flesh and blood and interprets a new story about “greed”.

The protagonist of the story not only expresses greed, but he also carries your greed. It even becomes the concrete manifestation of a pure and primitive desire—namely the essence of greed. Look at Charlie, face him, and face your “greed” caused by him. No need to criticize, let us face it, and face this part of human nature.

Thank you for the visit, and we hope you can enjoy a tireless and endless feast created by greed in “Insatiable Tide”.

SYMBOLS AND METAPHORS

Symbols and metaphors are important methods and means of artistic creation. They express abstract concepts through concrete images, which not only deepen themes but also enhance emotional resonances, and they also enrich the interpretation space of a work through ambiguity and openness. They give an artwork greater cultural influence and universality, while also transcending the limitations of language and regions in cultural exchange, and allow a work to present deeper ideological connotations and emotional appeal.

ENVY

Envy, a hidden and corrosive undercurrent of emotion, quietly surging in the depths of the soul.

Resplendent lights, a magnificent stage set, and gorgeous curtains, a grand play is about to begin. The reference and tribute to the classic Broadway stage design has set the dramatic tone for this “performance”. Illusory reflections sway in front of the eyes and puppets stretch out their hands to the stage, like a bizarre dream full of absurdity.

Thousands of incarnations of his inner “him” are envious of “him” only because “you” choose to stand beside “him”. The interpretation of “envy” in this scene, turning it into a resonance of visual and emotional intertwinement, is a deep analysis of this complex emotion. Is it a weakness of human nature, a “sin” committed, or another expression of love?

Thank you for your visit, we hope you enjoy this confusing and profound drama feast ignited by envy in “Echo of Souls’ Desires”.

VISUAL INTERTEXTUALITY

“Intertextuality”, also known as “relationship between texts”, means that a text is not self-sufficient and must have other texts existing in various recognizable forms at different degrees. Its meaning can only be generated through mutual reference or cross-referencing other texts. The “reference” and “tribute” of a visual text are all manifestations of intertextuality. It enriches its own connotation and meaning by drawing upon and referencing other visual forms (such as the classic Broadway stage). This practice not only refers to drawing upon and imitating elements, composition, or overall styles of classic works, but also reinterpreting and innovatively using classic elements in creation to pay tribute to the original work or creator, including ridicule or even criticism.

[gojuo]

So condal said there’s no more reason for alicent to try to hold team green together. Didn’t her grandson get brutally murdered a week ago? Wasn’t she the one who dragged Aegon crying and screaming to his coronation and kept yapping about everything that was sacrificed for that throne? She CREATED team green. Team Green are her CHILDREN. I thought she would’ve gone down the path of scheming and obsessing over the safety of her family by securing the throne after Jaehaerys died. I thought that would be the moment where it’s all out war and there’s no more compromise. I would’ve preferred the cliche evil stepmom Alicent to whatever this is bruh i miss my book greens. Heck i miss season 1 greens

the changing of alicent's relationship with her children is one of the worst writing decisions this show has ever made. it is unbelievable how condal & co have chosen to make "le evil patriarchy (which they've abstractified beyond all hell because why in the fuck is this show deepthroating the actual patriarch of society VISERYS this much then??? fucking hell at least understand what patriarchy is first if you want to make use of it in your writing) ruined alicent's life" the central theme to her character & character arc instead of it being karma biting her in the ass bc the kids she did everything for to protect, even going to war for, all died in the end anyway. now we're stuck having to pretend a single mother who raised her children on her own even though their father was living in the same house as them suffers from her sons being patriarchal misogynistic cunts to her ... except, you know, that makes no sense as one son is her favorite and the fallout of their relationship was offscreened so there is no emotional investment at all in this random nonsensical fucking change in the dynamic, and the other son constantly seeks her approval and asks her opinion on everything. oh and daeron is also offscreened and helaena is not allowed to hold a conversation in this show. and somehow i'm supposed to find this change in the character arc more intriguing than the one in the book where she fought tooth and nail to save her children from the inevitable fate that awaited them if rhaenyra became queen ... only to have fate come to pass exactly like that anyway. god this show's view on tragedy SUCKS

[dazzelmethat]

Invertober 2- Malachite Butterfly

Sometimes I like to look at bug wings and try and understand why the veins branch out the way they do. How to abstractify the veins on a butterfly's wings so that they are flowy and fluttery. So here are some studies, I smashed them together in a sort of scrapbook fashion.

[sodachalice]

i think they (other anon) are confused about how having 3 kids correlates with anti-kink and autistic people. it doesn't really make sense. is that the point? that people make baseless accusations?

the point is that a large portion of this website has abstractified children to the point that theyre just ok with including them in their fetishes like ddlg and proshipping and whatever the fuck else and then are surprised that i, someone who raised three fucking children, all of them related to each other, am not cranking my fucking hog to fictionalized cp. thats it. i'm not answering any more questions about this. the point is that i keep seeing posts accusing people that are uncomfortable with any sort of kink that includes children or siblings are straight vanilla conservatives, when in reality the truth is i just fucking raised literal real life children and i think the idea of fetishizing them is disgusting, whether or not youre autistic.

[ereh-emanresu-tresni]

The reigning economic system is a vicious circle of isolation. Its technologies are based on isolation, and they contribute to that same isolation. From automobiles to television, the goods that the spectacular system chooses to produce also serve it as weapons for constantly reinforcing the conditions that engender "lonely crowds." With ever-increasing concreteness the spectacle recreates its own presuppositions.

The spectacle was born from the world's loss of unity, and the immense expansion of the modern spectacle reveals the enormity of this loss. The abstractifying of all individual labor and the general abstractness of what is produced are perfectly reflected in the spectacle, whose manner of being concrete is precisely abstraction. In the spectacle, a part of the world represents itself to the world and is superior to it. The spectacle is simply the common language of this separation. Spectators are linked solely by their one-way relationship to the very center that keeps them isolated from each other. The spectacle thus reunites the separated, but it reunites them only in their separateness.

- Guy Debord, Society of the Spectacle, 1967

[sumerianlanguage]

Hi! Would you be willing to translate "To learn is to live"?

Hello! Infinitives (the English "to" form of the verb) aren't used very often in Sumerian, and in fact take the form of a participle, so the most natural way to translate this sentence is more like "learning is living". The verb "to learn", zu 𒍪, is the same as "to know", and there is a specific form, ningzu 𒃻𒍪, for "learning", literally "learn thing" or "knowledge". There are several words for "to live" (which I've answered about before but can't now find the post!) including til 𒋾 "life, to live, to be alive", abstractifiable as namtil as well as the noun zi 𒍣 "breath, life", which I've previously used in this post.

So a few constructions for this sentence could be: Ningzu namtilam 𒃻𒍪 𒉆𒋾𒀀𒀭 "learning is living" or "knowledge is life"; zu tilam 𒍪 𒋾𒀀𒀭 "learning is living" or "the one learning is the one living"; and zu zim 𒍪 𒍣𒅎 "learning is life". I hope one or more of these works for you!

[legallybrunettedotcom]

The spectacle was born from the world’s loss of unity, and the immense expansion of the modern spectacle reveals the enormity of this loss. The abstractifying of all individual labor and the general abstractness of what is produced are perfectly reflected in the spectacle, whose manner of being concrete is precisely abstraction. In the spectacle, a part of the world presents itself to the world and is superior to it. The spectacle is simply the common language of this separation. Spectators are linked solely by their one-way relationship to the very center that keeps them isolated from each other. The spectacle thus reunites the separated, but it reunites them only in their separateness.

— Guy Debord, The Society of the Spectacle

[dogboygirl]

decided to further work on this to make it look like a kind of abstractified advertisement :3 experimenting with deco elements is fuuun i should have been doing this sooner tbh!!!

[txttletale]

Maybe if you abstractify it more?

yeah 100% -- but i think that if you abstractify it more then you lose something about the core idea of civ, right?

[idontwanttospoiltheparty]

have you been in other fandoms with a lot of shipping? if so how would you say the evidence compares?

Well, I was in the Sherlock fandom Back In The Day and definitely witnessed TJLC unfolding in front of me – but that's fiction anyways so "evidence" isn't a great term for it (I guess outside the whole "showmakers are doing this On Purpose and have a plan" stuff).

The main real person tinhat theory I'm deeply familiar with is Gaylor (majoring in Kaylor specifically). That's a theory I've followed at least casually for about 9 years and even kind of hyperfixated on between like 2018 and late 2020 – without ever really believing it (though I like to think I gave it a fair shake back when I first discovered it in 2015 and also when it seemed a bit likely in 2019).

Anyways, there is very definitely less evidence for Gaylor than for something having happened between John and Paul… But the evidence is also extremely different because there simply aren't nearly as many accounts about Taylor's day-to-day life and relationships and business dealings as there are about the Beatles. Most of the things thought to be known about her private life come from her own songs, making the theory basically based on an extremely subjective and abstractified account of her life.

Oh also so much of their evidence is either stuff which may or may not be ~queer symbolism (and often almost definitely isn't) or it's like… she and whoever her theorized lover is posting pictures wearing the same colour on instagram. Like, it's not analysing her actual relationships and trying to draw conclusions from that (there was a bit of that when we were actually getting a lot of content of Taylor and Karlie Kloss in 2014/15 but… it's been a decade lol) it's purely based on what Taylor is trying to say to us, the audience. This also makes gaylors VERY resentful towards non-shippers, because the "hetlors" Just Don't Get It. (also gaylors are pretty ostracized, partially for homophobic reasons but partially because they um don't make sense)

There's also no one who is actually close to Taylor or at least claims to be who is making any claims even tangentially like this about her. So yeah, the quality of the best evidence is incomparable.

However, there is stuff I'd consider very poor evidence for McLennon which is quite similar to some Gaylor arguments. For example ,Paul allegedly saying "Oh Johnny" on Oh! Darling… a bunch of kaylors think the song Call It What You Want is actually a "pun" on "Karlie, what you want". So I always cringe a bit when I see that type of thing gets paraded as evidence. (also: "I buried Paul" anyone?)

[numinous-scribe]

Hi Scribe! :D Saw you posted an ask game! So let's have some fun! H: How would you describe your writing style?

Like Victor Hugo Lite™️ lmfao

When I was reading Hunchback of Notre Dame I was absolutely floored by how passionate he was about describing the life of Paris in the 14th century through the architecture, because the way he wrote struck a chord in me regarding how much I enjoy writing evocative descriptors.

My style is a lot looser than Victor Hugo's, in a sense, because I enjoy abstractifying things to build up the atmosphere/emotions, whereas his imagery felt much more "solid". But we're both Wordy Bitches so point for that XD