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Ontological Synaesthesia

@ontologicalsynaesthesia / ontologicalsynaesthesia.tumblr.com

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“One day there was an anonymous present sitting on my doorstep—Volume One of Capital by Karl Marx, in a brown paper bag. A joke? Serious? And who had sent it? I never found out. Late that night, naked in bed, I leafed through it. The beginning was impenetrable, I couldn’t understand it, but when I came to the part about the lives of the workers—the coal miners, the child laborers—I could feel myself suddenly breathing more slowly. How angry he was. Page after page. Then I turned back to an earlier section, and I came to a phrase that I’d heard before, a strange, upsetting, sort of ugly phrase: this was the section on “commodity fetishism,” “the fetishism of commodities.” I wanted to understand that weird-sounding phrase, but I could tell that, to understand it, your whole life would probably have to change. His explanation was very elusive. He used the example that people say, “Twenty yards of linen are worth two pounds.” People say that about every thing that it has a certain value. This is worth that. This coat, this sweater, this cup of coffee: each thing worth some quantity of money, or some number of other things—one coat, worth three sweaters, or so much money—as if that coat, suddenly appearing on the earth, contained somewhere inside itself an amount of value, like an inner soul, as if the coat were a fetish, a physical object that contains a living spirit. But what really determines the value of a coat? The coat’s price comes from its history, the history of all the people involved in making it and selling it and all the particular relationships they had. And if we buy the coat, we, too, form relationships with all those people, and yet we hide those relationships from our own awareness by pretending we live in a world where coats have no history but just fall down from heaven with prices marked inside. “I like this coat,” we say, “It’s not expensive,” as if that were a fact about the coat and not the end of a story about all the people who made it and sold it, “I like the pictures in this magazine.”A naked woman leans over a fence. A man buys a magazine and stares at her picture. The destinies of these two are linked. The man has paid the woman to take off her clothes, to lean over the fence. The photograph contains its history—the moment the woman unbuttoned her shirt, how she felt, what the photographer said. The price of the magazine is a code that describes the relationships between all these people—the woman, the man, the publisher, the photographer—who commanded, who obeyed. The cup of coffee contains the history of the peasants who picked the beans, how some of them fainted in the heat of the sun, some were beaten, some were kicked.For two days I could see the fetishism of commodities everywhere around me. It was a strange feeling. Then on the third day I lost it, it was gone, I couldn’t see it anymore.”

Wallace Shawn, The Fever

(To understand it, your whole life would probably have to change.)

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postmarxed

I saw Wallace Shawn at the end of this quote and thought surely it’s a different Wallace Shawn surely it’s not the fucking dinosaur from Toy Story this can’t be the fucking Sicilian from the Princess Bride but it is. It’s the same fucking guy I just read an explanation of commodity fetishism written by Mr. Incredible’s tiny boss at the insurance company

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cat-cat-cat-cat-potatoes

I’d completely forgotten that Wallace Shawn played the Grand Nagus, somehow. You’d think the voice would be unmistakable.

Anyway, everyone should still read the full piece this is from!

[ID: tumblr tags read: the grand negus has a moment of enlightenment. / end ID]

public service announcement

I keep getting people asking about bowling on this post so I’m just gonna repost this drawing I made on Twitter

How did her grandmother fill 4 vases?

She was a very large woman. Easily 12 feet tall.

then why the heck is her family not tall too?!?!

Pop-pop was very small so it canceled out.

My piece for @tbczine, a Nick and Maya zine! Honestly one of my fave parts of the og trilogy was the relationship between Phoenix, Maya and Pearl, they truly are THE disaster sibling trio ever 😆

I always liked the idea of the three of them going around Japanifornia and getting into random situations outside of the usual law case stuff. So here they are attending Will Powers' Walk of Fame star ceremony! I deffo experimented with a looser style for this piece, working directly off my sketch instead of doing line art, and I think it helped a bit with making my lines more dynamic~ (Tho handpainting the whole crowd was uhhhh maybe not the smartest choice lmao)

In any case, I'm glad I was able to contribute to this lovely zine! If you wanna see more, it's FREE to download here! Thank you again for having me! 🫶

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