my sexual orientation is "Literally every person looks good in eyeliner, red lipstick, and gold glitter"

Transport Layer Security EP is out now!

"At the core of these tracks stands an inspiration of exploring machinic polyrythms and how they can be used to blur the distinction of what is really inorganic, or not. Below, however, this distinction of natural organism is a false promise, a blind alley, a dead end. We ... are all part of the same machinic phylum."

:patreon:
patreon.com/posts/39704025

:bandcamp:
music.lukaprincic.si/album/tra

🔷
lukaprincic.si/work/transport-

:cc_cc: :cc_by: :cc_sa:

#renoise

searching for a home when there seems to be no land to call

starting now because its were im at

rooting into soil that will yield peace

keeping going towards that destination, giving intelligent responses while maneuvering

finding solitude in the arrival through the means

d̿̏̒ȍ̼͂l̜̄̏ȁ͉̻z̛̏ͥy̶̏͞ m̥̖̏ȕ̷̻z̟̏ͅy̪̏̏k̢̓̏ą̏͒.̟̏ͅ

ṕ̏́ȍ̴̠g᷊̏͡l̎̏ͯỷ̏ͭč͇̏ͣȯ̏᷾v̲̏̈́ȁ̴͑nͦ̏͡ȁ̗᷈
t͂̏͌ȅ̵̍m̀̏ͤn̢᷀̏a̐̏͏

ȉ᷿̕z̡̏͡l͎̏̓ȁ͕͈z̧̠̏uͮ̏͂j̗̏ͤȕ̫᷉ ḅ̏ͬȍ͚͎l̟̏ͨe͊̏̚ć̔̏ͫe᷈̏̐ t̏̏᷄v̙̏̔ȁ̠᷇ȑ̲ͬy̏̏̿
(͍̪̏o̹̽̏v̶̏̍ ȅ̪̌x͙͎̏ṭ̏ͪȑ͓͠ȅ͔͌m͑̏́e᷾̏ͥ p͍̏᷉a͋̏̈ȉ̭̇n᷀̏̎,ͦ̏͘ d͖̏̔oͣ̏ͪu̍̏̀l͉̏᷁o͖͆̏ȕ̶͓ȑ͔͑)͚͍̏

k͙̏̒ȁ̟͐p̊̏ͧi̇̏᷃t̥͎̏a̗ͤ̏l̾̏ͅ e̘̍̏t̴̏̑ l̞̏ͧȁ̦᷃ d̏᷅͢ȍ̖̚ȕ̪̩l̓̏᷾ȍ̙̰ȕ̷͑ř̞̏
ḱ̏̄aͬ̏͡p̠̠̏ȉ̛̝t̪̏͏â̏̑l͚̏̐ ȅ̢͈t᷂̏̈ l̺̽̏ȁ̳ͩ d̛᷿̏ö́̏͐ȕͬ͞l̂̏͞ȏ̟̏ŭ̏̈́ȑ͢͝

a͎̓̏l͇ͫ̏ã̏͊ d̨̤̏o̓̏̂l͋̏͟ḁ̏̏z̟̮̏y̮͇̏ d̛᷊̏o̹᷀̏l᷊̬̏a̙ͤ̏z̢͔̏y͕᷁̏ ȍ̏ͯn̖̒̏ȁ̏͠,̏̚͢ m̜̏͒e͏᷿̏k̽̏᷇ȁ̬̰n͏͈̏â̏ͫ [͑̏ͪṣ̪̏ȍ̲̾f̄̏᷈t̗̏͒ s̰ͫ̏k̛᷊̏ȉ̦̙n͉᷉̏,̷̏͝ t̔̏ͤą᷉̏c᷃̏̃t̝̏ͨi͛̏ͩl͎̾̏ȅ̫͕ l͏̴̏iͨ̏͠k̩̉̏ȅ̹̮ å̏̀ n͙̂̏e̒̏̾ę̶̏ḏ̡̏l̯ͬ̏ę̏ͬ s̊̏͞l̖̪̏o̽̏͢w̏͞͝l̢̩̏y᷄̏ͮ s̙̞̏l̐̏̍ȍ̬͢w̠̏ͪl͐̏̆y̎̏̐]̪̏̏ s᷆̏ͦe͓᷄̏k̮̏ͨs̰̏̅ȍ̧͜l̔̏͞o͆̏̐g̻̏̎y̳̐̏a̧ͬ̏.̅̏́

č᷂̫̏ȅ̲͟k̓̏᷆ȁ᷂͡jͨ̏͢,̏̚͜ p̳̲̏o͓͆̏lͪ̏᷁a̍̏ͥk̛̞̏oͪ̏̕,̤̿̏
č̙̮̏ḛͥ̏k͌̏̌ā̯̏j̛̐̏ s̟̏̈́͢t̹̏͠ȁ̌͢l̙͛̏n̨͎̏o̠᷇̏,̟̣̏ ȉ̭̔ d̾̏᷅o᷅̏͢ć᷿̉̏y̏᷾͜ ć̯͍̏ȅ̤̜/͕̜̏/̍̏̑/̬̏̑

theory, longish, on life, animal, vegetable 

>>... Foucault argues that with the emergence of the human sciences at the birth of biopower, the animal is not excluded or forgotten but quite the opposite: animality is the dominant apparatus for investigating both what life is and what life does. Th e living is no longer primarily vegetable (sessile and awaiting mere categorization) but understood as evolving, appetite-driven, secret, discontinuous, mendacious, inscrutable, always on the prowl, looking for an opening to break free. As Foucault puts it, “Transferring its most secret essence from the vegetable to the animal kingdom, life has lef t the tabulated space of order and become wild once more” (OT 277). And this is of course not just a development within the narrow conf i nes of biology. Foucault could in fact cue here the advent of philosophical modernity itself. One might speculate that Hegel’s 1807 Phenomenology of Spirit (where human life itself is refash-ioned as nothing other than unfathomable discontinuity and animal appetite— in short, desire) shows the way for later nineteenth-century thought, which in turn opens a path directly to our day: from Darwin’s evolution of life, through Freud’s life of the unconscious, and Nietzsche’s life of self-overcoming, all the way to Schumpeter’s neoliberal life of creative destruction. All of these forma-tions depend completely on the bedrock connection of life to an animating, hidden, “wild” animality of desire: both prior to and beyond the human yet somehow still constituting that humanity as its secret essence.<<

[from Plant Theory: Biopower and Vegetable Life by Jeffrey Nealon]

Postmodern control is designated as turbulence simulation or programmed catastrophe- a runaway process of accident or emergency quantizing typified by implosive turbulence in the core of the world system and its overexposure. Sector 5 pushes the cartography towards an antifascist
fluid mechanics otherwise denoted as an ethics of speed or a tao of turbulence.

Turbulence : a cartography of postmodern violence - WRAP: Warwick Research Archive Portal
wrap.warwick.ac.uk/36343/

Contemplating Aesthetics Directions : halfway between coldwave (à la 6th circle) and glitch-electroacoustic braindance (à la qebrus) with a lot of south-east-european witchy polyphonie

Usnila sam,
kako plovi moj sahtijan,
silnim valom o hridi razbijan,
al' ne otvoren,
usnila sam,
kako mladost moja prolazi,
kako dragi drugoj odlazi,
al ne ljubi je

Zato šumite,
zelen vali njemu recite,
da i ja bez njega ne mogu,
da i ja bez njega ne umijem,
ako vidite,
moj sahtijan prinesite,
i na obali otvorite,
u njemu ruho svo moje je,
za njega vezeno,
za njega ljubljeno.

(Božo Vrećo performs as both female and male, as he sees himself as a person of both genders. At the beginning of his career, Vrećo wore men's suits, then decided to perform as what he considers his true self. It is his belief that a person who sings songs of courage should present nothing but honesty to their audience, which is one reason why more traditional audiences love him. He takes offense at those who consider him a drag performer.)

youtube.com/watch?v=I8SS55_ZqN

Echoing
echoing
echoing
echoing
echoing
echoing
reverberations
reverberating
echoes
through out
ECHOES
REVERBERATING
echoing
through the day
through today
reverberating
echoing
vibes
through out
through out
OUT
today
The vibes
THE IMAGES
arrested
frozen
hot
vibing
reverberating
images
pictures
visions
Echo of
Black lace,
Red lace
Black and red
Echoes
dark and humid
sweaty echoes
fingers running through
echoing
the kisses
their breathing
echoes
hard
tension
under the skin
the beating
the underwear
the lace
pressed
pressed
to our skin
to my face
devices of eros
devices of death
echoes of excitement
rush
blush
reverberating
through the day
last night
food and their thighs
feet, hair, eyes,
lips, nails, breasts
echoing echoing echoing echoing...

Lewd 

Too much unreleased érotisme.
New underwear is functional part 1.
Fishnets, lace.
Slowly.
Breathing in your face.
The light getting dark, and bluish, and reddish at the same time.
Flows run deep. Abyss of anger,
outputs so wanted, so
needed.
Fucking
to run away,
to find islands of pleasure.

Sweating,
to the beats,
to the slow bites of sadness.

Gasps for black liquid,
enveloping,
embracing.

ov.
ank.
Le.

Did you know that you don't need X-Windows for graphics on Linux? Here's a few console programs that can display graphics using the framebuffer:

- fbi
Display and manage images directly from the command line.

- links2
A simple web browser without CSS and JS, can display inline images when switched to graphics mode with the -g param: 'links2 -g'

- mplayer
Play videos straight from the console! Can be a little tricky.

(And yes, I used a 5:4 monitor the screenshots.)

:crt_w_prompt: :blobowo:

martian cybotron 

searching for words.̬̕
͖͆
̼̐e͈͡x͙̅p̋͜l͈̉ò̘r̝̂i̭͂n̜̓g̦̎ ̙̒e̦̎r̟͊ŏ͙t͓͘į̓s͔͐ṃ̅ī͉k̛̰o͟͝s͙̿ḿͅi̧̚c̩̑s̫̽
̯̓o͍͊f̖͛ ̢̚g͇͂ê̲n̛͇d̗̅e̗͋ř̹ ͎̈́ḧ͉́ä̯́c̹͐k̙͞i̓ͅn̠̋g̗̈.̮̀
̞̓
̓ͅș̂l̟͑a̮͘v̝̌į̾c̥̾ ̬͗š͍ẗ͈ơ̤r͙̈į̈́e̜͌s͖̑
͕͝ŗ̓ó̳m͈͝a̅͟n̬̐i̲̔ ̜̈́r͈̈o͈͊o̟͞t̙̄s̠̐
̯̇d̘̉ī̘g͓̀i̬͌t̨́a̖̿l̡͗ ̤̌j̛̞e͚͞w̖̋s̏͜
̦͘d͒ͅę̌e̼̔ṕ͇ ̙́d͆͜ȑ̩e̡̿ă̡m̫̔i̹̾n̗͗g͔̿
̟̋o͂͢f̬͠ ̝͒ť̹e̮̍c͓̆h̹̕n̖͆ō͢d̘̈́i͠ͅg̻̓i̪̔t̺̿å̺ĺ̦s̛̪c͖͝a̼̕p̧̉e̖͑.̱̌
̡̓
̨̂d̼̕r͈͌o͔̊w̥̅n̫̂i̅͟ń̖ģ̉ ̦̓
̭͊ḭ̄n̹͘ ̛̯m̭͆y͎͞ ̹͊o̩̾w͖͞n̥̎ ̳͐d̘̔ả̩r̤̉k̯̄ṅ͎e̤̒s̘̓s͖̐
̲͑ṷ͌n̡̒a̟̐b̥̀l̪̽e͞ͅ ̯͐t͖̀o͍͝ ̧̈řͅe̱̽a̒ͅc͚͡ĥ̜ ̮͝ơ̮u̳͂t̚͜
̻̀f͙̐o̩͑r̞͊ ̹̋ṭ͝h̜̿ê̱ ̒͟p̗̓a͎͐s̰̊t̲͛ ͗͢p͈̏a̺͌i͉̽ṅ̳.̭́
̠̕
̳͐m̮̅ẹ͒m͕̋r̝͝i̯̿s̖͡t̖̊o̢͘r͔̈s͚͌ ̜͛f̯̚r͉͋i̐͜e͓͡d̼͌.̦͆
̬̋b̰̉ḭ͗f͉̕ā̦c̢͞ẽ̳ ̢̆b̻̽o̹̓ř̩k̺̄e͉͛d̬̅.̧̛
͚̀o̤̿ľ̳d̳̕ ̗̽g̖͌o͕̽d͍͂s̬̈ ͎́ţ̃o̥̓ ̩̋t̡͗h̢̛è̦ ͉̊r̤͡e̬̎s̘̐c̹̈́ú̫é͔.̲͗
͖̎c̣͐h͚͘i̧̕ ͚̓ę͒ṇ͠e̡̕ȓ̝g͈̓y̧̿ ̞̏ȃ͎n̲͆d̻͘ ̋͢v̻̔ę̇l̻̚e͕̋s̳͂.̡͌
͙̿ẅ͟i̼̋n̠͞d̲̽,̋ͅ ͔̒s͈̆w̨͛ȅ̯ẻ͔p̝̈ ̜̓a̲͊ẁ̗a̲̕y͘͟ ̳̐t̰̓ĥ̫e͖̍ ̬̽p̦͂i͖͡x̗̾e̮̿l͚̓s̫̉
̡͒s̄ͅo̹̚ ̝́Ḯͅ ͞ͅc̙͊a͓͑n̼̄ ͎̈́c͋ͅl̿͜e̞͐a͍͂n̡̍
͌͟m̹̀y̠̍ ̧͘s̱̊h̳͒i͈̕n̦̈y͍̓ ̭̎b͚̐ò͢ḍ͛y͈͛ ̹̈ó̺f̔ͅ ͙͝
͔͝m̡̉ǎ͕r͉͆t̩͝ì̬à̼ń̝ ̦̉d̥͐r̛̮ì̟ḛ͋ḋ̗ ͟͠g̳̈o͉͊o̻̒.̭͘

"I notice that the people who are afraid of machine super-intelligence are almost exclusively white men. I don't think anxiety about AI is really about AI at all. I think it's some white men's displaced anxiety upon realizing that women and people of color have and have always had sentience, and are beginning to act on it on scales they're unprepared for. There's a reason that AI is almost exclusively gendered as female."

youtube.com/watch?v=Lk1cHTof-E

You think you're cool, but you're not goth girl with a raven on the subway cool.

N̷̷̡͈̙᷽̪̈́̈͘A̷͔̰̾̈́
̴͖̆Č̸̹̫́̒Ṛ̵͉̉̈́N̷̶̴̷̷̳̼᷽͖̫᷽̹᷽̞̯᷽͍̞̒̏̔͐̀̒̚͝A̷̗̯̽̊
̷͔́Č̸̦̊͝Ŕ̷̵̵̛̩᷽͙̫̐︦́ͅŇ̵̛̠A̸̶̬̱̹͂̽︦̃̈
̶̨̞͑Č̶̩̃̿͜R̸̨̨̕̚N̶͎͈̈́Ḁ̷̷̷᷎͖͖͖͊̌︦̈́̔
̸̳́͊ͅČ̵̩̞͛R̷̵̥̼͔̳̆͌︦́͋N̸̢̩͠A̷̡̭͒̋
̴͓͗Ç̴̌̔Ṙ̴͓̳Ń̴̵͓᷽̼̗̅͑Ä̶͍̘́̑
̶̲̲̆Č̸̬͉́̚R̸̷᷎̮̬̳͑̏N̸̲̖̒̔Á̸̵̡͖͚̠︦͆
̴̣͑Č̴̢͒R̴̼̳̆̏Ṇ̸̓͗A̸͙͆
̶̧̞̽Č̴͈̄͜R̸̶̴̸̷̷᷎᷎̖̖̤᷿̱᷿̰᷿̙͗̿̈́͑̏́̄̐͠Ņ̸̷̵̵̷̴᷎᷎᷎᷎᷎̛̟̞̙͕͇̻̦͗̈͋̿̀͛̊̆͜A̵̴̶̧᷎᷎͍͈̤͓͛͋̇͗͝
̸̹̊͝Č̶̼͑̇R̵̲̍N̷̡͘A̴̺͐
̶̬̣̅͝Č̶͙͍̅̅R̴͍͒̕ͅN̸̝̻͗̑Ã̴̶̧᷎͈̟̺̌̓
̸̮̈́Č̶̞̏̂R̶̶̝͐︦̈́͜N̸͈͒A̶̰̘̚
̵̘̀͝Č̷̨̽͜R̵̜̙̈́N̸̸᷎̪̩̭̊͆̓A̸̶᷎͕̰̎̇̆ͅ
̴̮́̇Č̷̛̼̀R̴̰̈́̚N̶̠̖̈Ȁ̵̤̲
̸͍̺̎Č̸̢̬͆R̸̶̵͎̝̯᷿̼̓︦̒̒̀̀N̶̻̊A̴̲͐͝
̴̖̣̎Č̷͍̬͋R̷̞̦̄N̸̠͗Ä̴̷̵͍̻᷽̣̪᷽̥̥́̏̆̈́̈́
̴͙͙̈́͝Č̴̷̨᷎͖͍͓͑͋̓̚Ṙ̶̟̞N̵̘̞̽͘Ä̷̩͍́͛
̸̳͕́Č̷͎́̈́R̸̵̴̵̷̶̪̘͖̗᷽͉̬᷽̝᷽͎̿︦̏̇︦͗̔̅̅͑͠ͅN̵̘̉͐A̶͚͑
̷̺͙̈́Č̵̫̙͗R̸̻͑N̴̷͎͓̪̜̂̓︦̊̐Ä̷̶̵̜͎᷽̙́̓︦̄͝
̶͙́ͅČ̵̩̰̃R̸̯̔́N̵̶̶᷎̝̪͖͖̈́︦̀̈́͠A̷̴̵̵̵̶̵̵̡᷎᷎᷎᷎᷎᷎̛͇͖̠͇̯̣͕̼᷽̹̋̆͛̔̇͐̊̉̃̂̓̈́̚̚͠
̴̘͆͘Č̴̥̈Ṙ̶̷͓͇᷿̖̩͊Ņ̶̷̛̯͚͑︦̚Ą̸̶̴̡᷎̦̙̯͂︦̾̓̔
̶̣̬͗Č̶̗̳̍Ř̴̡̘Ň̷̙̱͐Ã̴̸̷᷎̖̣̠᷽͕̗̄͐̓͋
̶̻͒̃Č̴͎͇͊Ȓ̸̶̜̗᷿͖̱̈Ṅ̸͚͕̈A̷̸̷̵̸̢᷎᷎᷎᷎̹̦͎͍͚̝̒̓̓͒̎͂̚
̵͇̠̕Č̷̻̆̓Ṛ̴͗̉N̸͕͑A̵̴̵͈͚᷿̖᷿͛̆͑͜͠
̵̣̐Ç̸̗̌̃R̶̴̘̳͕̳̽︦̅N̶̮̰̑̇A̶
̷̦̕Č̸̵̩͖̯͆̎︦̏̍R̶̲͗͜͠N̸̺̅A̴͔͠

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