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  • In our personal experience, intense arousal (which Chia indirectly recommends as part of his performance-oriented techniques) can lead to dopamine cycles of highs and lows…even without ejaculation, or conventional orgasm. Intense arousal can produce subsequent emotional flatness or anxious cravings in response to exciting cues (like an erotic image, or attractive body). These mood swings can actually change one's perception of one's current partner. He or she may appear less interesting, while a novel partner appears quite delicious. This is, of course, the Coolidge Effect…which has been observed in all mammals tested, both male and female.
  • According to him, a whole-body orgasm is superior to the genital orgasm in that it’s less depleting, but it has little to do with “fusing” with a partner. It is not a steppingstone to the “soul orgasm.” He says it still leaves him with a desire to ejaculate…eventually. This is in contrast with karezza, which leaves him feeling satisfied with recurring feelings of bliss. These may arise even after intercourse, or without intercourse - simply through hugging or gazing into his wife's eyes.


    Intense (conventional) orgasmic experiences may lead to altered states. But they also have hidden, subconscious hangovers that interfere, over time, with intimacy. They eventually promote stagnation or relationship friction. So conventional, and even "whole-body," orgasmic approaches are not a way to increase the union between male and female...although they do unite genitals briefly.

  • the increase in muscular tension and the urge to restrict breathing that coincide with the buildup to orgasm.
  • Initially Karezza therefore feels all wrong. It seems too non-goal-oriented and relaxed.
  • As far as actual intercourse goes, we move far more slowly than we did during conventional sex. In addition, we fall into total stillness frequently while making love. Some of the most gratifying and profound experiences occur when not moving. As a result, our lovemaking goes in waves, somewhat like breathing.

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  • “Whether you succeed or not is irrelevant—there is no such thing. Making your unknown known is the important thing—and keeping the unknown always beyond you…”
  • I feel that a real living form is the result of the individual’s effort to create the living thing out of the adventure of his spirit into the unknown—where it has experienced something—felt something—it has not understood—and from that experience comes the desire to make the unknown—known. By unknown—I mean the thing that means so much to the person that wants to put it down—clarify something he feels but does not clearly understand—sometimes he partially knows why—sometimes he doesn’t—sometimes it is all working in the dark—but a working that must be done—Making the unknown—known—in terms of one’s medium is all-absorbing—if you stop to think of the form—as form you are lost—The artist’s form must be inevitable—You mustn’t even think you won’t succeed—Whether you succeed or not is irrelevant—there is no such thing. Making your unknown known is the important thing—and keeping the unknown always beyond you—catching crystallizing your simpler clearer version of life—only to see it turn stale compared to what you vaguely feel ahead—that you must always keep working to grasp—the form must take care of its self if you can keep your vision clear.
  • I can never show what I am working on without being stopped—whether it is liked or disliked I am affected in the same way—sort of paralyzed—.

  • My dad was one of those kids in the 1930s who would have failed any test designed by a liberal thinktank. He left school at 15. A lifetime of trade unionism, workplace discussion and self-education meant he could sight-read music, grapple with serious novels and sit though five hours of Die Meistersinger von Nürnberg.
  • Suppress paternalism and solidarity for one generation and you create multigenerational ignorance and poverty.
  • Thatcherism didn’t just crush unions: alone that would not have been enough to produce this spectacular mismatch between aspiration and delivery in the education system. It crushed a story.

  • n 1982 she released her debut album,The Litanies Of Satan, a sparse soundscape of tormenting screams, incantations and poetry that showcased her famed vocal acrobatics and included an 18-minute performance piece titled Wild Women With Steak Knives.
  • It is described as “Piercing, guttural screams of pain, crescendos of raw human sound, visceral primeval calls and episodes of silence form the extended aria of pain” and deals with ideas surrounding torture within the restricted confines of a medical facility. A lot of your compositions deal with harrowing themes of a psychological or political nature, yet very few artists expose their audience to these dark and hard-to-swallow experiences, preferring to entertain. Should your concert come with a trigger warning?
     I don't know, I think what I do is entertaining [laughs]. I feel very ill, physically and mentally ill when I hear Christmas carols. I feel so angry, so much like getting out a sniper's rifle when I hear that kind of music. And Broadway shows with their sentimental songs, those kinds of things are terrifying for me because they call up memories from far back and I don't necessarily know what they are but they just break me, they break my heart, they break my soul.
  • It is prettiness that is very alarming to me, so I tend to do a juxtaposition of something that might be pretty with something that is harsh, just because I feel that they occur in life together. I do it to save myself, to protect myself so that I don't walk out like Bambi. I'm too afraid to do it and it's much better to be on guard.

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  • BP Portrait Award 2016 (First Prize £30,000)
  • Deadline for Entries - 2nd February 2016 
  • RWS Contemporary Watercolour Competition 2016

     The judges are looking for pieces that push at the boundaries of watercolour, promote water-based media at its most accomplished and ask audiences to see the medium in a new and contemporary light....  This is the UK's only major watercolour competition open to international artists.

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  • For many years, Mann taught painting at Camberwell School of Art, where he had himself been schooled in looking by Frank Auerbach and Euan Uglow. His real education, though, came from watching his sight diminish, and learning to compensate for it. It was Mann’s lived understanding that perception occurred not in the eyes, but in the brain. The day he came home blind he went to his studio, picked up a brush and his palette and “saw” a great flood of cobalt blue; he never looked back.
  • “His talk was going to be essentially about how painters teach us to see,” Peter says. His father’s defining example of this capacity was Monet, with his ability to “turn off” macular vision. Sargy experienced that shift for himself. “His loss of sight became like a mechanic taking an engine apart,” Peter said. “It doesn’t work any better but you can understand its constituent parts.”
Jan 04, 16

This is an interesting conversation to me, and makes me sad that I have neglected web design things the last few years/not diven deeper already

  • I see this pattern of rooting the dynamics of current conflicts too deeply in backstory a lot – I see it in myself & my own history, I see it in Letter Writers here who include details about childhood or past relationship dynamics to explain the current, adult ones, I see it in friends, and it is SO COMMON and SO HUMAN and SO NATURAL and yet it doesn’t quite work as a way to resolve current conversations and I have a hypothesis as to why.
  • For another example, there is a (bad) cultural narrative that victims of certain kinds of abuse are less able to be objective when they spot red flags in other situations, when in fact their experience makes them more likely to spot manipulation and coercive behaviors.
  • Accepting this might mean taking Darryl off his pedestal, relative to Kris, and I think that’s a very good thing.

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Jan 03, 16

I have not read this but sounds interesting, want to read later.

  • January 2016

    One advantage of being old is that you can see change happen in your lifetime. A lot of the change I've seen is fragmentation. US politics is much more polarized than it used to be. Culturally we have ever less common ground. The creative class flocks to a handful of happy cities, abandoning the rest. And increasing economic inequality means the spread between rich and poor is growing too. I'd like to propose a hypothesis: that all these trends are instances of the same phenomenon. And moreover, that the cause is not some force that's pulling us apart, but rather the erosion of forces that had been pushing us together.
  • Worse still, for those who worry about these trends, the forces that were pushing us together were an anomaly, a one-time combination of circumstances that's unlikely to be repeated—and indeed, that we would not want to repeat.

    The two forces were war (above all World War II), and the rise of large corporations.

  • Automation isn’t a neutral, inevitable part of capitalism. It comes about through the desire to break formal and informal systems of workers’ control—including unions—and replace them with managerially controlled and minutely surveilled systems of piecework. An entire political and legal infrastructure has been built up to make these so-called tendencies seem like the natural progression of capitalism, rather than the effects of fights—sometimes simple, sometimes violent—to deprive people of whatever sense of control they have over their work. The only reason such work has ever not been totally shitty is that some attempt to preserve such control was made. This — not some implausible notion of a fully automated postwork future—still remains the surest of utopian impulses, the one most likely to deliver the things we want.
  • found that quote fitting in that it points to one of the major weaknesses of Srnicek and William's argument for full automation: before any job can be automated it has to be ordered algorithmically (think: Taylorism, the Efficiency Movement, rationalisation, business process reengineering, audit cultures, neoliberal accountability mechanisms in the public sector and what not) long before anything we would usually identify as a machine has been introduced into the labor process. I would agree with the n+1 author that this ordering of the labour process as a first step toward its automation, and its attendant loss of worker autonomy, is one of the major sources of alienation, and has to be resisted rather than uncritically taken for granted. Unfortunately the accelerationist argument against "drudgery" has little to say about how spheres of (re)productive activity are made unbearable in the first place, and how they might be different. It would seem to me that a much better hashtag for the left's engagement with automation than #accelerate would be #shittyrobots as a way of identifying the dehumanising bullshit jobs most of us are forced to do with the crappy and reductive tech that is supposed to subsitute for them. /rant
  • All I am saying is that for the left to gain any traction outside of academia it better engage with alienation as it is actually experienced and realised in the workplace. Hence my argument for looking at the specific devices ordering the labour process and stripping workers of agency instead of naturalising production per se as drudgery when it becomes such only under specific social relations.
Jan 03, 16

This is the evil phone that I have stupid desires for. ca. 2x as expensive as my current one, with 70 % less features -.-

  • Aus Sicht der Täter   

      Für den "Islamischen Staat" haben sie getötet – aber dann flohen sie in die Türkei. Dort sprachen die beiden syrischen Kämpfer mit unserem Autor.
  • Als mein Bruder starb, riefen sie mich ins Krankenhaus und zeigten mir seine Leiche: im Kampf gefallen. Aber ich war lange genug im Krieg. Man hatte ihm von hinten in den Kopf geschossen. Ich hörte mich um: Er wollte gegen Assad kämpfen, nicht gegen Minderheiten. Das war sein Todesurteil. Danach durfte ich zu meiner Familie in Majadin. Ich organisierte einen Fahrer, der uns in die Türkei brachte. Zwei Tage danach setzten sie unser Haus in Brand.
  • Wenn die Türkei es ernst meinen würde, wäre der IS in ein paar Monaten erledigt. Aber die Grenze war immer offen für den IS. Wir sahen es so, dass die Türkei uns hilft. Sie ließen uns gewähren gegen die Kurden. Jetzt sind Tausende IS-Kämpfer in der Türkei, und ich weiß, dass die Türkei begonnen hat, sie festzunehmen. Wenn es so weitergeht, wird der IS die Türkei angreifen.  


      Nein, ich sehe den IS nicht als sunnitische Armee, denn in Syrien bringt er mehr Sunniten um als Schiiten oder Alawiten. Der IS ist ein gottloser Geheimdienststaat unter dem Deckmantel der Religion. Die Ideologen haben uns unseren Krieg gestohlen. Sie sind radikal. Sie kommen, um zu sterben. Sie wollen nicht siegen, sie wollen zu Gott.

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  • too liked to fail

    Get rich or die vlogging: The sad economics of internet fame

  • t was all so painfully awkward. That night, Brittany Ashley, a lesbian stoner in red lipstick, was at Eveleigh, a popular farm-to-table spot in West Hollywood. The restaurant was hosting Buzzfeed’s Golden Globes party. For the past two years, Ashley has been one of the most visible actresses on the company’s four YouTube channels, which altogether have about 17 million subscribers. She stars in bawdy videos with titles like “How To Win The Breakup” or “Masturbation: Guys Vs. Girls,” many of which rack up millions of views.


    The awkward part was that Ashley wasn’t there to celebrate with Buzzfeed. She was there to serve them. Not realizing that her handful of weekly waitressing shifts at Eveleigh paid most of her bills, a coworker from the video production site asked Ashley if her serving tray was “a bit.” It was not.

  • Why would someone with 90,000 Instagram followers be serving brunch?

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  • It was Alexander Berkman’s life-long habit to keep diaries. Even during the fourteen years’ purgatory he had endured in the Western Penitentiary in the United States, Alexander Berkman had managed to keep up his diary which he succeeded in sending out sub rosa to me. On the S.S. “Buford” which took us on our long perilous cruise of 28 days, my comrade continued his diary and he kept up this old habit through the 23 months of our stay in Russia.


     Prison Memoirs of an Anarchist, conceded by conservative critics even to be comparable with Feodor Dostoyevsky’s Dead House, was fashioned from his diary. The Kronstadt Rebellion and his Bolshevik Myth are also the offspring of his day-by-day record in Russia.

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