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Sarah
https://www.goodreads.com/cainsgoat
“Let us dare, then, to make the following hypothesis: the raw materials of today’s production process are excitation, erection, ejaculation, and pleasure and feelings of self-satisfaction, omnipotent control, and total destruction.”
― Testo Junkie: Sex, Drugs, and Biopolitics in the Pharmacopornographic Era
― Testo Junkie: Sex, Drugs, and Biopolitics in the Pharmacopornographic Era
“Here is a possible pharmacopornographic definition of sexuality: a techno-organic activity corresponding to the type of work praxis in which—to follow Marx’s formulation—
“production is inseparable from the act of producing” and is thus “an activity that has no end product,” because it is “a practice that finds its own achievement in itself, without becoming objectified in any outcome that exceeds it.”
― Testo Junkie: Sex, Drugs, and Biopolitics in the Pharmacopornographic Era
“production is inseparable from the act of producing” and is thus “an activity that has no end product,” because it is “a practice that finds its own achievement in itself, without becoming objectified in any outcome that exceeds it.”
― Testo Junkie: Sex, Drugs, and Biopolitics in the Pharmacopornographic Era
“Love is always a cybernetics of addiction. Ending up with an addiction to someone, for someone, making someone the object of the addiction, or becoming addicted to a third substance for someone. To her, to me, to testosterone. Testosterone and I. She and I. She or the testosterone. She = the testosterone. Producing or consuming testosterone. Stopping testosterone for her. Absorbing her testosterone.”
― Testo Junkie: Sex, Drugs, and Biopolitics in the Pharmacopornographic Era
― Testo Junkie: Sex, Drugs, and Biopolitics in the Pharmacopornographic Era
“Butterflies have always had wings; people have always had legs. While history is marked by the hybridity of human societies & the desire for movement, the reality of most of migration today reveals the unequal relations between rich & poor, between North and South, between whiteness and its others.”
― Undoing Border Imperialism
― Undoing Border Imperialism
“Portraits of great war leaders or critical battles that looked flattering, well composed, and balanced always felt like propaganda. Tanaka had spent a lot of time in the halls of power. She’d seen many paintings of great men in uniform staring eagle-eyed into the distance where their future glory lay. She’d seen very few paintings of soldiers with only a ragged tent and a dying fire to hold back the cold nights before some stranger tried to bayonet them in the morning.”
― Leviathan Falls
― Leviathan Falls
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