"Where does this black sun come from? Out of what eerie galaxy do it’s invisible, lethargic rays reach me, pinning me down to the ground, to my bed, compelling me to silence, to renunciation?"
"Capitalist realism insists on treating mental health as if it were a natural fact, like weather (but, then again, weather is no longer a natural fact so much as a political-economic effect). In the 1960s and 1970s, radical theory and politics (Laing, Foucault, Deleuze and Guattari, etc.) coalesced around extreme mental conditions such as schizophrenia, arguing, for instance, that madness was not a natural, but a political, category. But what is needed now is a politicization of much more common disorders. Indeed, it is their very commonness which is the issue: in Britain, depression is now the condition that is most treated by the NHS. In his book The Selfish Capitalist, Oliver James has convincingly posited a correlation between rising rates of mental distress and the neoliberal mode of capitalism practiced in countries like Britain, the USA and Australia. In line with James’s claims, I want to argue that it is necessary to reframe the growing problem of stress (and distress) in capitalist societies. Instead of treating it as incumbent on individuals to resolve their own psychological distress, instead, that is, of accepting the vast privatization of stress that has taken place over the last thirty years, we need to ask: how has it become acceptable that so many people, and especially so many young people, are ill?"
― Mark Fisher, Capitalist Realism: Is There No Alternative? (via toxicwinner)
"An image of impending disaster can be located in the foundational mythology of film. In January 1896, as the story goes, the audience at one of the first public film screenings – of the Lumiere Brothers’ L’arrivée d’un train en gare de La Ciotat – rose to their feet and fled their seats terrified, perhaps traumatised, by what they saw. The image was that of a train moving toward them that apparently threatened to smash forth from the screen onto which it was projected and careen through the room. This embellished story isn’t a precise fit with academic definitions of disaster such as that offered by sociologist Charles Fritz who considers a disaster to be“an event concentrated in time and space, in which a society or one of its subdivisions undergoes physical harm and social disruption, such that all or some essential functions of the society or subdivision are impaired” (655). However, the invocation of panic induced by the projected image of a speeding train, perhaps here a symbol of the increasing progression of technology and its role in everyday life, suggests that to early film audiences the idea of the moving image itself may have seemed disastrous. As well as conjuring a threat of physical harm in this particular instance, the proliferation of moving image technology constituted a disruption of known ways of experiencing the world; a fracturing of time and space, an entry point into shifting worlds of representation that have since become essential to how contemporary society functions and which artists and theorists have struggled to apprehend."
I’ve been trying to write this paragraph for two and a half years
My sun soaked skin // If the Gods are fair then I am fucked
"The abiding American myth of the self-made man comes attached to another article of faith - an insistence, even - that every self-made man can sustain whatever self he has managed to make. A man divided - thwarting or interrupting his own mechanisms of survival - fails to sustain this myth, disrupts out belief in the absolute efficacy of willpower, and in this failure also forfeits his right to our sympathy. Or so the logic goes."
Leslie Jamison, ‘Devil’s Bait’
"It is clear that the promotion of the ego today culminates in, in conformity with the utilitarian conception of man that reinforces it, in an ever more advanced realization of man as individual, that is to say, in an isolation of the soul ever more akin to its original dereliction"
/\/\/\ ARCTIC ULULATION /\/\/\
"Contemporary psychoanalysis, responding to what appears on the couch, is witness less to the struggles with paternal law that Freud tracked in his confrontation with the neuroses (Oedipus) than to complaints about lacks of love, meaning, and self-orientation, as Kristeva frequently avers. These are the sufferings of a “borderline” subjectivity, that is to say, of a subject sent to and abandoned at its borders, at the limit of the ties between the individual and society. The borderline subject shows up where a society does not accompany the subject to those limits, which are also the society’s own limits"
from ‘Julia Kristeva: Psychoanalysis and Modernity’ by Sara Beardsworth
your sentence fragments
like cirrus smashing into atoms by violent sunshine
cushion my slow motion
vertiginous descent into
a sense of youth
for another cursed season