(Source: gappy-kun)

26 Jul 2014 / Reblogged from harperisafairy with 45,465 notes

briar_boys

alan and i sang some briar-themed songs earlier

12 May 2014 / 0 notes / briar briarcore 

Ravissement de Frank N Stein (George Schwizgebel, 1982)

was linked to this by david a while back. it is incredible

"Thus in order to keep an effective grip on the zones of production, representation must inflate itself with all the power of myth and tragedy, it must give a *mythic and tragic* presentation of the family — and a familial presentation of myth and tragedy. Yet aren’t myth and tragedy. too, productions — forms of production? Certainly not; they are production only when brought into connection with real social production, real desiring-production. Otherwise they are ideological forms, which have taken the place of the units of production."

Jumping Nothing: JN006 - John Cena Is The Greatest Of All Time

jumpingnothing:

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Things get tense as Karl turns heel and shoots on these marks in defence of John Cena, the greatest of all time. It’s an in-depth look into Ol’ Steroid Skin himself, his merits and drawbacks, the excitement…

13 Nov 2013 / Reblogged from jumpingnothing with 1 note

fuckyeahdjotzi:

DJ Otzi touching a child dressed exactly like DJ Otzi.

fuckyeahdjotzi:

DJ Otzi touching a child dressed exactly like DJ Otzi.

11 Nov 2013 / Reblogged from fuckyeahdjotzi with 3 notes

"Only in appearance is Oedipus a beginning, either as a historical or prehistorical origin, or as a structural foundation. In reality it is a completely ideological beginning, for the sake of ideology. Oedipus is always and solely an aggregate of destination fabricated to meet the requirements of an aggregate of departure constituted by a social formation. It can be applied to everything, in that the agents and relations of social production, and the libidinal investments corresponding to them, are made to conform to the figures of familial reproduction. In the aggregate of departure there is the social formation, or rather the social formations: the races, the classes, the continents, the peoples, the kingdoms, the sovereignties; Joan of Arc and the Great Mongol, Luther and the Aztec Serpent. In the aggregate of destination, there remains only daddy, mommy and me."

Deleuze & Guattari. Anti-Oedipus

"We must speak of “castration” in the same way we speak of oedipalization, whose crowning moment is: castration designates the operation by which psychoanalysis castrates the unconscious, impels castration into the unconscious. Castration as a practical operation on the unconscious is achieved when the thousand breaks-flows of desiring-machines — all positive, all productive — are projected into the same mythical space, the unary stroke of the signifier."

Deleuze & Guattari. Anti-Oedipus.

"Life in the asylum as Tuke and Pinel constituted it permitted the birth of that delicate structure which would become the essential nucleus of madness — a structure that formed a kind of microcosm in which were symbolised the massive structures of bourgeois society and its values: Family-Child relations, centred on a theme of paternal authority; Transgression-Punishment relations, centred on the theme of immediate justice; Madness-Disorder relations, centred on the theme of social and moral order. It is from these that the physician derives his power to cure; and it is to the degree that the patient, by so many old links, already alienated in the doctor, within the doctor-patient couple, that the doctor has the almost miraculous power to cure him."

Michel Foucault. Madness and Civilization (Ch. 9 “The Birth of the Asylum”)

"The science of mental disease, as it would develop in the asylum, would always be only of the order of observation and classification. It would not be a dialogue. It could not be that until psychoanalysis had exorcised the phenomenon of observation, essential to the nineteenth century asylum, and substituted for its silent magic the powers of language. It would be fairer to say that psychoanalysis doubled the absolute observation of the watcher with the endless monologue of the person watched — thus preserving the old asylum structure of non-reciprocal observation but balancing it, in a non-symmetrical reciprocity, by the new structure of language without response."

Michel Foucault, Madness and Civilization (Ch. 9 “The Birth of the Asylum”)

"Instead of submitting to a simple negative operation that loosened bonds and delivered one’s deepest nature from madness, it must be recognised that one was in the grip of a positive operation that confined madness in a system of rewards and punishments, and included it in the movement of moral consciousness. A passage from a world of Censure to a universe of Judgement. But thereby a psychology of madness became possible, for under observation madness is constantly required, at the surface of itself, to deny its dissimulation. It is judged only by its acts; it is not accused of intentions, nor are its secrets to be fathomed. Madness is responsible only for that part of itself which is visible. All the rest is silence. Madness no longer exists except as *seen*."

Michel Foucault on Tuke’s asylum, Madness and Civilization (Ch. 9 “The Birth of the Asylum”)

31 Oct 2013 / 1 note

"One might say that the fortresses of confinement added to their social role of segregation and purification a quite opposite cultural function. Even as they separated reason from unreason on society’s surface, they preserved in depth the images where they mingled and exchanged properties. The fortresses of confinement functioned as a great, long silent memory; they maintained in the shadows an iconographic power that men might have thought was exorcised; created by the new classical order, they preserved, against it and against time, forbidden figures that could thus be transmitted in tact from the sixteenth to the nineteenth century."

Michel Foucault, Madness and Civilization (Ch. 7 “The Great Fear”)

"Confinement merely manifested what madness, in its essence, was: a manifestation of non-being; and by providing this manifestation, confinement thereby suppressed it, since it restored it to its truth as nothingness … Confinement is the practice which corresponds most exactly to madness experienced as unreason, that is, the empty negativity of reason; by confinement madness is acknowledged to be *nothing* … Confinement sketches, on the surface of phenomena and in a hasty moral synthesis, the secret and distinct structure of madness."

Michel Foucault. Madness and Civilisation (Ch. 4 “Passion and Delirium”). 109

Foucault, on Pinel’s 18th C. account of a Scottish farmer who ‘cured’ the mad by forcing them to do the work of beasts of burden:

"In the reduction to animality, madness finds both its truth and its cure; when the madman has become a beast, this presence of the animal in man, a presence which constituted the scandal of madness, is eliminated: not that the animal is silenced, but man himself is abolished. In the human being who has become a beast of burden, the absence of reason follows wisdom and its order: madness is then cured, since it is alienated in something which is no less than its truth."

- Michel Foucault. Madness and Civilization (Ch.3 “The Insane”). 71

Foucault, on the public exhibition of madness

"It was doubtless a very old custom in the Middle Ages to display the insane. In certain of the Nurrtürmer in Germany, barred windows had been installed which permitted those outside to observe the madmen chained within. They thus constituted a spectacle at the city gates. The strange fact is that this custom did not disappear once the doors of the asylum closed, but that on the contrary it then developed, assuming in Paris and London an almost institutional character. As late as 1815, if a report presented in the House of Commons is to be believed, the hospital of Bethlehem exhibited lunatics for a penny, every Sunday. Now the annual revenue from these exhibitions amounted to almost four hundred pounds; which suggests the astonishingly high number of 96,000 visits a year …

"The only extenuation to be found at the end of the eighteenth century was that the mad were allowed to exhibit the mad, as if it were the responsibility of madness to testify to its own nature …

"Here… is madness elevated to spectacle above the silence of asylums, and becoming a public scandal for the general delight. Unreason was hidden in the silence of the houses of confinement, but madness continued to be present on the stage of the world — with more commotion than ever … Until the beginning of the nineteenth century… madmen remained monsters — that is, beings or things to be shown …

"Confinement hid away unreason, and betrayed the shame it aroused; but it explicitly drew attention to madness, pointed to it. If in the case of unreason, the chief intention was to avoid scandal, in the case of madness that intention was to organise it."

- Michel Foucault. Madness and Civilization (Ch. 3 “The Insane). 64-65