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julian’s instagram bio 10/03/2025 BISEXUALITY IS SO FUCKING BACKK

It's incredibly foolish to disregard the dialectical relationship that exists between any materially existing entity/process and its fictionalised depictions; this includes even the most difficult and sensitive of topics like sexual violence and abuse. To say that the fictional depictions, whether actual published media or various informal play scenarios, have nothing to do with the real thing is absurd. They are obviously drawn from the image and ideas around it, and in turn can have varying forms of influence on how people conceptualise and respond to such things in reality. But at the same time the real and fictional are ultimately still separate and so it's equally absurd to talk about them as though they are one in the same

Like you can't take for granted that a piece of media depicting something automatically endorses it, or even that any "endorsement" exists in a context where it's materially meaningful. You can't take for granted that someone engaging in a sort of roleplay reflects any interest repeating those actions or affirming those values in real life; half the time the sense of moral transgression and personal aversion is part of the appeal. If you think that a fictional representation of a problem in any way exacerbates that issue in reality then you need to put in the work to demonstrate an actual throughline, a specific relationship between the material and ideal.

It's also very important to be aware of the limits; a discrete piece of fiction may reflect and in some limited ways reinforce social values but it's never going to "normalise" these values any more than the material structures that created them in the first place. A larger aggregate of media can have a larger effect, but only within the limits of the prevailing material conditions. While a causative relationship can't always be ruled out entirely, it's usually more constructive to view fiction through the lens of reflecting widely extant values rather than as bringing them into existence. The role of the ideal shouldn't be ignored but it shouldn't be irrationally inflated either, no matter how socially rewarding or emotionally satisfying indulging in that irrationality may be.

It's incredibly foolish to disregard the dialectical relationship that exists between any materially existing entity/process and its fictionalised depictions; this includes even the most difficult and sensitive of topics like sexual violence and abuse. To say that the fictional depictions, whether actual published media or various informal play scenarios, have nothing to do with the real thing is absurd. They are obviously drawn from the image and ideas around it, and in turn can have varying forms of influence on how people conceptualise and respond to such things in reality. But at the same time the real and fictional are ultimately still separate and so it's equally absurd to talk about them as though they are one in the same

Like you can't take for granted that a piece of media depicting something automatically endorses it, or even that any "endorsement" exists in a context where it's materially meaningful. You can't take for granted that someone engaging in a sort of roleplay reflects any interest repeating those actions or affirming those values in real life; half the time the sense of moral transgression and personal aversion is part of the appeal. If you think that a fictional representation of a problem in any way exacerbates that issue in reality then you need to put in the work to demonstrate an actual throughline, a specific relationship between the material and ideal.

It's also very important to be aware of the limits; a discrete piece of fiction may reflect and in some limited ways reinforce social values but it's never going to "normalise" these values any more than the material structures that created them in the first place. A larger aggregate of media can have a larger effect, but only within the limits of the prevailing material conditions. While a causative relationship can't always be ruled out entirely, it's usually more constructive to view fiction through the lens of reflecting widely extant values rather than as bringing them into existence. The role of the ideal shouldn't be ignored but it shouldn't be irrationally inflated either, no matter how socially rewarding or emotionally satisfying indulging in that irrationality may be.

“Get a rat and put it in a cage and give it two water bottles. One is just water, and one is water laced with either heroin or cocaine. If you do that, the rat will almost always prefer the drugged water and almost always kill itself very quickly, right, within a couple of weeks. So there you go. It’s our theory of addiction. Bruce comes along in the ‘70s and said, “Well, hang on a minute. We’re putting the rat in an empty cage. It’s got nothing to do. Let’s try this a little bit differently.” So Bruce built Rat Park, and Rat Park is like heaven for rats. Everything your rat about town could want, it’s got in Rat Park. It’s got lovely food. It’s got sex. It’s got loads of other rats to be friends with. It’s got loads of colored balls. Everything your rat could want. And they’ve got both the water bottles. They’ve got the drugged water and the normal water. But here’s the fascinating thing. In Rat Park, they don’t like the drugged water. They hardly use any of it. None of them ever overdose. None of them ever use in a way that looks like compulsion or addiction. There’s a really interesting human example I’ll tell you about in a minute, but what Bruce says is that shows that both the right-wing and left-wing theories of addiction are wrong. So the right-wing theory is it’s a moral failing, you’re a hedonist, you party too hard. The left-wing theory is it takes you over, your brain is hijacked. Bruce says it’s not your morality, it’s not your brain; it’s your cage. Addiction is largely an adaptation to your environment. […] We’ve created a society where significant numbers of our fellow citizens cannot bear to be present in their lives without being drugged, right? We’ve created a hyperconsumerist, hyperindividualist, isolated world that is, for a lot of people, much more like that first cage than it is like the bonded, connected cages that we need. The opposite of addiction is not sobriety. The opposite of addiction is connection. And our whole society, the engine of our society, is geared towards making us connect with things. If you are not a good consumer capitalist citizen, if you’re spending your time bonding with the people around you and not buying stuff—in fact, we are trained from a very young age to focus our hopes and our dreams and our ambitions on things we can buy and consume. And drug addiction is really a subset of that.”

— Johann Hari, Does Capitalism Drive Drug Addiction?

“Get a rat and put it in a cage and give it two water bottles. One is just water, and one is water laced with either heroin or cocaine. If you do that, the rat will almost always prefer the drugged water and almost always kill itself very quickly, right, within a couple of weeks. So there you go. It’s our theory of addiction. Bruce comes along in the ‘70s and said, “Well, hang on a minute. We’re putting the rat in an empty cage. It’s got nothing to do. Let’s try this a little bit differently.” So Bruce built Rat Park, and Rat Park is like heaven for rats. Everything your rat about town could want, it’s got in Rat Park. It’s got lovely food. It’s got sex. It’s got loads of other rats to be friends with. It’s got loads of colored balls. Everything your rat could want. And they’ve got both the water bottles. They’ve got the drugged water and the normal water. But here’s the fascinating thing. In Rat Park, they don’t like the drugged water. They hardly use any of it. None of them ever overdose. None of them ever use in a way that looks like compulsion or addiction. There’s a really interesting human example I’ll tell you about in a minute, but what Bruce says is that shows that both the right-wing and left-wing theories of addiction are wrong. So the right-wing theory is it’s a moral failing, you’re a hedonist, you party too hard. The left-wing theory is it takes you over, your brain is hijacked. Bruce says it’s not your morality, it’s not your brain; it’s your cage. Addiction is largely an adaptation to your environment. […] We’ve created a society where significant numbers of our fellow citizens cannot bear to be present in their lives without being drugged, right? We’ve created a hyperconsumerist, hyperindividualist, isolated world that is, for a lot of people, much more like that first cage than it is like the bonded, connected cages that we need. The opposite of addiction is not sobriety. The opposite of addiction is connection. And our whole society, the engine of our society, is geared towards making us connect with things. If you are not a good consumer capitalist citizen, if you’re spending your time bonding with the people around you and not buying stuff—in fact, we are trained from a very young age to focus our hopes and our dreams and our ambitions on things we can buy and consume. And drug addiction is really a subset of that.”

— Johann Hari, Does Capitalism Drive Drug Addiction?

2000s stage gay homoeroticism is alive and well in secondary schools everywhere

Paola Revenioti: The Greek transgender activist on blowing up sexual taboos in the name of art

During the 80s, transgender Greek artist and prostitute Paola Revenioti published the trans-anarchist fanzine Kraximo. Funded by her own prostitution, the zine pioneered the fight for gay and trans rights, combining interviews with Greek poets and intellectuals alongside Athens street hustlers and her own photography, since compared to the work of Larry Clark and Walter Pfeiffer. Today she continues to work as an artist and activist, making Athens-based documentaries with her "Paola Projects."

Paola Revenioti: The Greek transgender activist on blowing up sexual taboos in the name of art

During the 80s, transgender Greek artist and prostitute Paola Revenioti published the trans-anarchist fanzine Kraximo. Funded by her own prostitution, the zine pioneered the fight for gay and trans rights, combining interviews with Greek poets and intellectuals alongside Athens street hustlers and her own photography, since compared to the work of Larry Clark and Walter Pfeiffer. Today she continues to work as an artist and activist, making Athens-based documentaries with her "Paola Projects."

“I was born in 1959 on the Greek coast in Piraeus, a historic place. There were old captains and merchants from the Aegean islands gathered around the big port in neoclassical houses, while on the other side of town was the Trouba neighbourhood with its old brothels, cabarets and cinemas that played erotic movies after sunset. The American navy was moored off the coast. My father was a factory worker, my mother a hairdresser. 

If you remember the character Tadzio, from the movie Death in Venice, that’s how I looked then, with my long blond hair. Boys there were nothing like the self-indulgent Athenian boys. They knew how to seduce you. I remember my grandmother showing me a piece of land one summer and saying, ‘This will be yours’ – a small yard, but a forest in my eyes. But for my father’s family it was a legacy I didn’t deserve; I was a ‘faggot’, shameful to them. I wanted to be independent and escape that family environment, so I joined the navy. I never had the opportunity of a proper education. In life I met extraordinary people and educated myself. 

I was in my 20s when I moved to Exarchia in Athens. It was an oasis of painters, poets, musicians and intellectuals. A revolutionary neighbourhood. Most of the friends I made back then became famous for something. We wanted to change the world. I got officially involved with politics – as the first transvestite to run as a candidate for the Alternative Party of Ecologists. My beliefs were closer to anti authoritarianism and anarchism. We occupied universities, held demonstrations. 

I began running my own pirate radio in Exarchia with money from prostitution. I’d go to work around nine in the evening and by 11pm I’d had about 25 customers, so I was making enough to run the station from midnight till 5am. I always played hard with the police. I was arrested twice for the station – the first time I hid the equipment with communists living next door. The whole of Athens was listening to ‘crazy Paola’. I’d receive live calls, start philosophical conversations on air, even arrange blind dates. I was evicted from my flat because every night dozens of boys would hang out on my doorstep, making too much noise.

I started my magazine Kraximo because there was a need for another voice to be heard. They were tough times: the police would arrest transvestites for fun. When it’s illegal to be yourself, you have no option but to fight back. I published police brutality reports – remember there was no internet then. In slang, Kraximo translates as ‘gaybashing’. Those were conservative times. People would scream names like ‘whore’, ‘scum’, ‘antichrist’... I wanted to guide people afraid of their sexuality and values, create something fresh and revolutionary. I gathered articles, paid friends to write or translate, spent hours creating the layout, blackening my fingers, copying and cutting. I remember one issue sold out in a single day. It was like an action movie, getting unique interviews with intellectuals and combining them with artists and photographs I took of boys around Greece. once I needed signatures to help a case about a murderer who was being accused, not for his crime, but for being a homosexual. Many journalists and politicians helped the campaign.

Kraximo was not easy to fund. Pseudoactivists who pretended to be friends never helped when bigots were suing me – I was dragged to the courts for Kraximo four times, for silly causes like nudity or blasphemy. And it wasn’t easy to get advertising with my content. Prostitution was the only way, even if I never saw it as a job, but more as a challenge, a stance, even a way to have fun. I’d chase cultural figures to support me. But the truth is I was publishing it by bending in the dark, spending nights on cheerful but tough roads.I remember one incident with a cop – I was waiting for a customer, and a man in casual clothes asked me to get in his car. I refused – instinctively I didn’t like him. He tried to violently force me to get in. I started screaming and my friend Boubou came round the corner, we started beating him, he was pulling our hair, slapping our faces. A priest came to help the guy, and they took us to the police station. All-night cops were cursing and spitting at us, ‘So you’re the bitches who tried to beat our fellow officer.’ So we found the metallic cap of a Coca-Cola bottle and scratched our hands and necks, blackmailing them that if they wouldn’t let us out, we’d accuse them of torture. 

I never thought I was documenting my city, I was living my city, wildly. I wish then I could have imagined a future as an artist. My first camera was a Soviet brand called Zenit, bought in a market. later I met a junkie who sold me a – probably stolen – Nikon F20 for $50. I’d photograph these ordinary but sexy boys who were spending time with me. Besides the erotic pictures, there were political ones, photos inside the court where some anarchist friend or lover was being tried, photos of policemen I knew beating up trannies, photos from the first organised political acts for gay and trans rights. I wanted to force public opinion to listen and change its views. Today social media plays a big role in protests. Back then we only had our nerves and freedom to sacrifice.

The first attempt at gay pride in Athens in the 80s was a failure. Nobody came. Homosexuals were afraid to shout it out loud. I restarted gay pride after 1990. They weren’t commercialised then, they were like Dionysian festivals. Many people came: aristocrats, soldiers who knew me well, straight people. Of course they were all getting laid in the bushes. The parties took place in the Athenian woods, known as ‘cruising parks’. I took to the streets with a bucket of glue, pasting my posters, ‘Miss Paola Presents’, on every wall. I arranged bands, raves. Imagine sleeping in a hypocritical, conservative city and one shiny morning, waking up to that. 

Today, the economic crisis means I’m scared to count my money. Before, I’d spontaneously escape the city, cook for friends. We used to share because we had plenty, now we share because we have so little. I’m not optimistic, but I know it’s usually in dark times that the arts explode. 

With my Paola Project I make films about migration and politics, or male prostitution in Athens. I travel long distances in my broken car, pay the extreme price of gas, but now they even watch my videos in Uganda, where homophobia is such a problem. I do films on ancient Greek history because it’s being manipulated by Golden Dawn, the Greek neo-fascist party, as some kind of sick branding. Sometimes I feel afraid – I live next to their offices. But I’m ashamed of these modern Nazis, who are probably uneducated psychopaths with erection problems. Our politicians are using the fear of immigrants as a scapegoat, without finding a solution to this financial crisis. 

I’m 54 years old, and I’ve lived my life on the edge. But looking at my pictures now, I find them nostalgic in a sweet way. Some subjects have died, others have families. Time changes all of us. I feel full of love, sex and experiences. If I could have my own little house, I’d be the happiest person in the world.”

Geological horror. You find a geode and crack it open and the crystal lining its walls is human blood that can't be genetically matched to anyone. You find a human skeleton but every one of the bones is made from rock, a rock that you know can't be whittled into those shapes. You find layers of clay and loam that sport ancient fossils at the top and the still-rotting corpses of modern animals at the bottom.

Geological horror. You find a geode and crack it open and the crystal lining its walls is human blood that can't be genetically matched to anyone. You find a human skeleton but every one of the bones is made from rock, a rock that you know can't be whittled into those shapes. You find layers of clay and loam that sport ancient fossils at the top and the still-rotting corpses of modern animals at the bottom.

This reminds me of the blood river in Antarctica. For like a century scientists had no clue why this river looked like, acted like, and felt exactly like blood. Turns out it’s just really high in iron.

"Blood River in Antartica" yeah right there's no way a river looks like bl-

ALT

...nevermind

balatro would be more interesting to me if it was about mahjong

balatro would be more interesting to me if it was about mahjong

oh!

WHJAT

if you’re craving chocolate muffins after the olympic muffin man videos, jordan the stallion on tiktok has the recipe for you

if you’re craving chocolate muffins after the olympic muffin man videos, jordan the stallion on tiktok has the recipe for you

For those who would rather have it written out:

In a saucepan over low/medium-low heat:
3/4 cup milk
1/4 cup water
2 tsp instant coffee
Bring to a simmer

Add
1/2 cup cocoa powder
and mix together

Add
1/2 cup chocolate chunks
1 stick butter
and stir together until smooth. Move to a large bowl.

separately mix together dry:
2 cups flour
1 tsp baking powder
1/4 tsp salt

to chocolate mix, add:
1/2 cup packed dark brown sugar
1/2 cup white sugar
1/4 vegetable oil
2 eggs room temp
1 tsp vanilla extract

Add dry ingredients to wet in stages and fold together without overmixing.

Add 1/3 cup chocolate chunks and fold in.

Put in greased muffin tin and sprinkle some more chunks on there.

Bake at 375 for 24 minutes

Omg there's a FILLING jesus take the wheel

In a saucepan on low heat stir together:
1/2 cup heavy cream
1/4 cup chocolate chunks
pinch of salt

Once they're cooled, fill those bitches and eat. Throw glasses in apparent joy.

Great video but I hate the way he cracks the eggs.

the voidz @ les inrocks festival, france, 2025 / ph. antoine jaussaud (x)

tag game !! as tagged by @uhbasicallyjustmilex

tag game !! as tagged by @uhbasicallyjustmilex

Drops this here

uhhhh @sophaeros @folaireamh @cluedoenthusiast :)

yay thanku for the tag :3 picrew link here

umm tagging @googoogaga4 @fishnoodles @chemicalarospec @bandomgay