#texxture

[openingadoor]

Berlin, City Smell Research. Sissel Tolaas (Norwegian, born 1962) 2004.

Glass and smell simulation

Each bottle: 5 7/8 x 7 1/16 x 2 3/8" (15 x 18 x 6 cm)

“Smell immediately locates you in a space,” says artist, designer, chemist, and odor theorist Sissel Tolaas. “It gives you new tools to perceive your surroundings.” Throughout her career Tolaas has worked provocatively with smell, applying headspace technology—used in the perfume industry to capture and synthesize natural scents—to render essences ranging from the objectionable (sweat, rotten fish, dog feces) to the everyday (fresh laundry, kebabs, shoe shop) and put them into an archive of more than seven thousand scents. From this archive she has created fragrances that do not adhere to the usual definitions of what smells good or desirable; instead, her aim is to stimulate emotional responses, evoke memories, and recreate places in all their chaos and specificity. While conducting her City Smell Research, which was presented at the Berlin Biennale in 2004, Tolaasworked in various Berlin districts to distill an essential scent for each one, creating an olfactory map of the city. The scents are contained in bottles that physically recall the city map and compass points. This work is not simply the charting of a landscape of smell; it also explores the potential of smell as information that enhances and subverts the physical and symbolic boundaries of the urban ecosystem.

found via Talk to Me curated by Paola Antonelli

[ask-time-loop-curly]

Opinion on popcorn?

texxtur bad :( idon likee the colonelss gettin stuckk inmy teeht :(

[fatalism-and-villainy]

Theory is, more often than not, just balls-to-the-wall insane

[t4tklonoa]

🍓

KYLE YOUUU YOU POINTS AT YOU. for a good while I was liek ◕_◕ when u followed me bc. u were amv and sonic icebound guy 2 me. and still ar bc oghhh. sonic icebound drives me coocoo crazy Ithink abt it too long and Istart growling.

UR ART IS SOCOOL ALSO. lovvvv the brushes u use. texxture crunchy yummy.

[a-wild-person]

I watched a reveal of all the New Pokemon in Scarlet and Violet. I do not know who the designers are, but boy, it's just going to downhill. Pokemon has a specific visual, and in this game a lot of them look like they could be monsters in Dragon Quest that I played in 2010~ish. Which isn't necesserily bad, but it's a Pokemon game, not a Dragon Quest game.

Visuals are just at best lookable, at worst just horrible. I heard about performance issues. This is just not tolerable. I am not sold on the game at all. What I loved in Arceus, the catching mechanic, isn't here, so I will wait.

There's some part of me that says that games in that sorry state should not be allowed to release. This isn't a finished game. A lot of designs are clearly lacking, especially compared to better ones in this very game. There's a straight up flamingo and dolphin. At least make it a little more pokemon than that, I even wondered if someone had just put an actual picture of a flamingo in the game. The texxture on their 3D models are half-baked and just noise. Don't complicate a design.

Jesus. This game.

[aanlaiias-s]

affective structure is what points the attribution into already-distributed directions

affective structure of racism, for instance : irritability turned out from the white subject and dumped onto a racialized subject, through whom the bad affect may be vented without any risk of damaging a circuit of social exchange — dissociative structure of racism?  — yet irritability, at once crawling over the surface of the skin and coloring an outlook on everything, seems like a switchpoint where embodied sensitivity and something like a psychic disposition cross over one another, multiply or amplify or keep one another in equilibrium — so in that sense we shouldn’t jump too quickly to an operating concept of dissociation as a withdrawal of psyche from sensorium — a retreat into fantasy as that which frames (and thereby cuts off) the flux of sensation — rather, given that irritability hovers/bleeds from organic (nervous) response to perspective or psychic attitude, as a form of dissociation it actually depends on the association of one with the other —

anyway i’m thinking about irritability / irritation vis-a-vis euphoria through Kierkegaard (canonical bedfellow with Schopenhauer) — the state of euphoria can switch over into a scene of irritation — its fragility is the impossible / inevitable consequence of the speculative endlessness projected by the buoyancy it lets the body believe will last forever — until the bubble bursts euphoria rules irritation out — any possible irritant is absorbed seamlessly into the overall effortlessness of doing anything — it’s an attitude or mood that saturates everything one sees, everyone one may run into, any issue that may arise — yet for Kierkegaard it’s this infinitizing mood that makes the state of euphoria vulnerable — because when something does go wrong the unhappiness-cause (as Ahmed would put it) cascades and can wreck everything — a wedge / leak of irritation can blossom into dysphoria — something in your eye can make the asymptomatic cloud of good health (all body processes aligning) dissipate

it seems as though, unlike the abrupt/awkward/disjunctive interface of the tactile and the attitudinal in irritability (thus a switchpoint), the state of euphoria is one that dissolves the interface — each touch is immediately a pleasure or it doesn’t impart any pressure at all because you’re flowing and streaming through the world with such minimal resistance — a cross-dissolving

it’s perhaps the susceptibility of euphoria to collapse (ruin, crash, offloading, panic, cascading divestment of the body’s ease in relating to the world as something nobody needs to possess) that differentiates it from happiness — not just because euphoria is a more extreme version of happiness (though perhaps we can see an inherent fragility in happiness too, its minimal difference from being ok — but it’s not as dramatic, more ordinary — though maybe euphoria isn’t so drastically set off either — it can be ordinary in the way an episode is ordinary — esp. if you like getting high) — but also because that extremity is posed as an excess or inflation — feeling too good — over-optimism, over-confidence — happiness corresponds to a sort of reconciled finitude, whereas euphoria infinitizes that relation and takes its idealizing tendency (which can bypass fantasy, sometimes, it feels so good) past the reality of the situation and thus lapses into unreality — maybe happiness and euphoria are on a sort of spectrum — but how can a spectrum run from the finite to the infinite? their magnitude is different, or we should say that one can be sized up and the other can’t, exactly

just to squeeze one last drop out of this passage: intensification as accumulation of intensity — again, this would suggest that we can see euphoria as the accumulation of happiness — if it’s just an intensification of it — but it’s more like where happiness goes wild, goes off the rails, comes ungrounded — and thus no longer feels happiness as an accumulated disposition, but just something that radiates from everything or suffuses the flow that puts one in everything — i think i’m interested in that always displaced threshold : between the finite and infinite, a non-space / not a liminal space because it’s as if there’s no in-between — yet, in an ordinary way, euphoria pulses into happiness as an episode of unconditionality —

on foxy Rue says “I’m so happy” — she cries happy tears, which are also cosmetic affects: scintillating glitter -- as if in their sheen (Renu Bora) the tears betray the gravitas of her underlying depression — pathos — i’m skeptical of that reading, though — in part because it tries to get out before it’s too late — that is, prematurely — as if to say: not to burst your bubble but this is actually really sad — this plays out formally in a really graphic way — Rue evicted from the scene by overdose, spewed out of the entactogenic seclusion and slumped into a numb, cold dissociation — blanket of intimacy ripped off — to restore that condition i think fails to take the episode seriously as a narrative/affective enclosure — or rather it’s necessary but it’s important not to just read the immediate boundaries of the vignette but also to look back to Rue’s fantasy / premonition about what taking foxy would be like — notably, though, she doesn’t anticipate happiness — Jules and Rue don’t take the drug to find happiness, they just think it’s cool —

anyway the point of bringing this scene up here is to say that the lightened bearability of a euphoric sensorium in some ways puts it on a spectrum with happiness — such that Rue can say “I’m so happy” — to name the feeling as happiness — when it seems like it’s something else — namely euphoria — which is also the moment getting overcoded by the name of the show, awkwardly — like when they say the movie title in the movie —

yet saying “I’m so happy” (I’m dwelling on this bc Ahmed talks about the  normative transparency and queer opacity of self-reported affect) in that moment is not really an index of a feeling — it’s not really naming what she’s feeling but rather is a substitute or approximation for something she doesn’t even need to say — the ineffability of a euphoric state — (also skeptical of this, btw, but…) — this sort of ineffability is represented in the scene by inarticulacy — nose to nose, Rue and Jules feel each other’s faces and coo “whoa” — as if preverbal (fitting with the thing about queer infinitude — felt as / filtered through / running away from maternal love for infinite plasticity) — and sort of infantile (the blanket tent) — “I’m so happy” is where happiness and euphoria converge, but it’s also where language fails or melts into affective/oral/tactile goo — gushes, without feeling possible insincerity — so fitting that it ends in abjection of vomiting, sure, (too much milk, cloying pleasure) — the abjection of vomiting and the induction of voiceover (acousmatic orality: abstract, at a narrative remove, in a non-scene, an unexposed voice) but also how euphoria separates the senses from a fantasy of happiness — how it recedes from language / the symbolic order of moral/medical consequentialism — recedes into what though? — it’s not enough to say “flux” (infinite plasticity, which is actually no longer plasticity because no form takes), it’s not enough to say polymorphous narcissism swap, it’s not enough to say the senses — maybe in reaching for ineffability i’m reaching for a negative theology — but euphoria isn’t ecstasy — it’s a somatic / neurochemical effect — it’s a phenomenological texture, maybe — or more precisely the texxture of shine, which alludes to texturelessness, unconditionality — in other words what’s important is the effect-as-effect — a technically produced, designed state — a special effect, an effect that makes the moment feel special — this is why i’m interested in Ngai’s gimmick book, i guess — also why i’m interested in ASMR

[fortyflightower]

i dont know how im going to get my texxtures to. work

[lampsforme]

Ilyen webshop kell! A lézervágott teamécseseken keresztül találtam rájuk.

[openingadoor]

“If it is a human thing to do to put something you want, because it's useful, edible, or beautiful, into a bag, or a basket, or a bit of rolled bark or leaf, or a net woven of your own hair, or what have you, and then take it home with you, home being another, larger kind of pouch or bag, a container for people, and then later on you take it out and eat it or share it or store it up for winter in a solider container or put it in the medicine bundle or the shrine or the museum, the holy place, the area that contains what is sacred, and then next day you probably do much the same again--if to do that is human, if that's what it takes, then I am a human being after all. Fully, freely, gladly, for the first time.” from The Carrier Bag Theory of Fiction by URSULA K. LE GUIN.

[ruikangjin]

My work wants to let listeners feeling fly in the galaxy. And I started with a Drone. It can build the atomsphere.

Then I use air flute to build the feflection melody. And I begin the beats and bass and texxtures all at 30s.

Then I start to write my drums, bass , hi hats ...

| changes the delay from 50%(origin) to 30%, because I want the delay is not that too much. And the Kalimba's sound more clear.

Use the Hybrid Reverb and turn the Dry/Wet from 50% down to the 30%. The Kalimba's sound became better. It sounds like I flying in the galaxy and many stars I saw.

For the Air Flute I use Hybrid Reverb and Eq Eight. And I also want to make some special part for my work. I add an operator. And I give it Ping-Pong and I use Echo and Delay. I reflect it to make a better sound for me.

drive the decay down to make the sound tricky,and turn the feedback On, to make the tricky sound exist longer

Low cut of this.

And I do the Cataplexy Structure Map, to give the sound Low cut and High cut to avoid all my layers comes at one time.

[sillybert]

do you enjoy this old texture

Yes,, butt i havent aactuallly seen many of tthe new texxtures or noticced them

[petecaswell]

New Post has been published on https://petecaswell.co.uk/wp2/product/longest-black-run-in-the-alps-at-alpe-dhuez-ski-painting/

Longest Black Run in the Alps at Alpe d'Huez Ski Painting

From Pic Blanc in Alpe d’Huez head down the longest Black in the alps, Chateau Noir, through the superb glacial rocks and gullies before ending up back at Alpe d’Huez 1860. Lots of texture and rich colours in the rocks. Use the zoom feature with mouse over to see all the texxture and colours. Acrylic on canvas 30cm x 30cm x 1.7cm

[mindahofer]

plants and natural texxtures. http://bit.ly/2HUfvqp

[taytaypierre]

Texxture #taytaypierre #printmaking #fashion

[openingadoor]

Piece of an Article from Joanna Walsh's Theory of Style column at Spike Art Magazine. This is from On Texture: “The coat has no price but it has a description. It’s a “Coat in cream glossy viscose twill with all-over hand-combed embroidery. The coat has elongated bell sleeves. Close-fitting at the top of half of the body, full from the waist down. Textured surface.” In queer theorist Eve Kosofsky Sedgwick’s 1997 critical anthology Novel Gazing, Renu Bora proposed “texxture” as an interface for interchange, a space in which one object can affect another – in which people become things and objects touch back. These “surfaces” aren’t experienced by the senses but via writing, an invitation to feel (both physically and emotionally) via what I’d call “text objects” – adjective and adverb-laden passages that suggest a person or an object’s capacity to carry affect. This process creates an interface between the reader and writer for feelings that have often been kept in the literal closet. Bora claims these sensual descriptions as profoundly queer.”

How wonderful it is that we can wear our own/ persons words and apply our meaning/carry someone else’s. a shirt can be a Text Box. wow

[bntailor]

Bird-Eye Texture Double-Breast Suit