Darlene McCoy
Michael Ursell
LTEL 170C - Shakespeare
25 October 2011
Verse and Prose - the Effects that Affect
In the great tragedy Romeo and Juliet, Mercutio, a well-born man of Verona, alternates between speaking verse and prose. Shakespeare's choice to use verse or prose on Mercutio's behalf produces an effect. Yet, there is not one "catch all" effect associated with his use of verse, nor one with his use of prose. There are multiple effects that arise by his employment of one or the other. An analysis of a passage of verse and a passage of prose, both spoken by Mercutio, illustrate the number of effects verse and prose can create in the text.
Mercutio speaks the first passage in Act II, Scene 1, Lines 6-21. He calls after Romeo after he abandons the other Montagues in order to speak with Juliet again. He attempts to "conjure" him, as if Romeo were not himself, with images of a fair maid in which he was in love with just a few hours earlier. When Romeo does not answer to his name, the Montagues return home without him. This passage is written in verse.
Benvolio sparks the second passage. He urges Mercutio to retire in worry that they may come upon a conflict with the rival house of Capulet. Mercutio responds haughtily, telling Benvolio that he has no right to defer him from quarreling, because he has so often started pointless quarrels himself. Passage two is written in prose (3.1.15-29).
It is important to note that in each passage, Mercutio is in conversation with a different person. While Mercutio associates himself with both Romeo and Benvolio often, his relationship with either differs from the other, especially in the passages under observation. Mercutio finds Romeo in the world to be his dear friend, and while Benvolio is close with Mercutio as well, he is not as dear as Romeo. To look further into the difference of their relationships, the context in which Mercutio speaks to either needs to be assessed. Mercutio's call after Romeo is a formal plea for his friend to return to the identity that he knows him by. In the specific context of the passage, Romeo is not Romeo; Romeo is not Mercutio's dear friend. Mercutio calls after a man whom he does not know, so naturally, he does so in verse. Alternatively, Mercutio and Benvolio stroll about town while having their conversation. Benvolio never falls out of nor questions his identity in Romeo and Juliet. Therefore, Benvolio is Benvolio; and Mercutio addresses him in the language of chums: prose. This slight discrepancy caused by Shakespeare's use of either verse or prose further alludes to a questioning of identity theme of the play. It also builds upon the idea that because Romeo is be-smitten with love, Romeo is not Romeo.
The tone and subject of each of Mercutio's passages warrants a decision to use either verse or prose. The verse passage contains many words associated with love. Mercutio speaks of Venus and Cupid, and alludes to a tale in which a king decides to marry a beggar-maid just because he loves her. The diction of the passage contains words such as fair, love, dove, and sigh. The whole passage is in iambic pentameter, so the lines, when spoken, flow beautifully and take on a natural rhythm. It would be only natural for Mercutio to speak of the sweeter things in life using sweeter language. The prose passage conveys quite the different feeling. Mercutio gives Benvolio example after example of an instance where he started a quarrel for no reason. His subject is crass, rough, and far from the fairness that adorns the verse passage. He uses words such as "cracking," "meat," and "beaten." Those words are more vulgar and common; therefore Mercutio uses prose to speak of them. The use of verse and prose in these two instances pits the subject of love and the subject of quarreling against each other. Shakespeare's language implies that love is fair, while quarreling is vulgar and crass.
The punctuation or lack thereof in each passage creates an effect. In the verse passage, almost every single line is end-stopped, and there are end-stops mid-line as well. These stops slow the progression of the lines; they demand that the speaker take the time to pause at each stop. After Mercutio speaks in verse, Romeo and Juliet confess their undying love for each other. In contrast, substantially fewer punctuation marks dot the prose passage, causing them to become enjambed. The lack of punctuation accelerates the lines to the point where they seem rushed. After Mercutio speaks his prose passage, he and Benvolio find themselves presented with a conflict with the Capulets. Mercutio loses his life in the ensuing brawl. In Romeo and Juliet, the progression of time is an omnipresent theme. The use of verse or prose here foreshadows a later happening of the play, and further enhances the presence of the progression of time.
Verse is language written in a metric rhythm. Because it is written in a certain way, there are effects that can only take place when a passage is written in verse. Mercutio's verse passage is written in iambic pentameter, meaning that each line should contain ten syllables that alternate between stressed and unstressed sounds. In lines eight through fifteen, Mercuio's lines do not follow the usual order of iambic pentameter. There are indeed ten syllables in each line, but the stressed and unstressed sounds do not alternate as they would normally. Lines eight through fifteen are an example of irregular iambic pentameter. The context of lines eight through fifteen are now quite intriguing: Mercutio speaks of Romeo's irregular identity. The irregular iambic pentameter further emphasizes the point Mercutio makes, because the metric language used follows the same theme as the context of the words themselves. Prose simply cannot do the same as verse in this case; for prose does not follow any specific pattern, so it cannot be irregular.
On the other hand, there are effects of the use of prose that verse cannot accomplish. Verse is regulated speech, while prose allows for a more rapid and less stiff flow of thought. In Mercutio's prose passage, he uses a form of the word quarrel seven times. His passage is only fifteen an a half lines long. He uses the word "quarrel" in almost every other line that he speaks. The constant repetition of a word is not an uncommon occurrence in Romeo and Juliet, and the repetition of a word generally foreshadows its own meaning. This case follows the norm of the play, because just as soon as Mercutio finishes his reply to Benvolio, the Capulets appear and begin a quarrel. It is almost as if because he spoke so quickly and so unregulated that Mercutio invoked a quarrel by repeating the word constantly. While it is possible for verse to repeat a word, it is most uncommon, and generally remains a characteristic of prose. Prose takes the upper hand over verse in this case due to its ability to be more malleable than verse. An author can do whatever he pleases with prose, and it will forever be prose. Verse is only verse if it is written in a metric rhythm. Therefore, an author can repeat a word more naturally if he writes in prose, and the more natural feel of the words convey emotions that seem more genuine. The rigidity of verse makes verse passages seem too over-thought at times, which can take away from the emotion the passage may be attempting to conduct.
Shakespeare's use of verse and prose in Romeo and Juliet produces no single effect. On the other hand, his use of either works with the context of the passages to produce multiple meanings, and to promote themes or ideas of the text. There are some effects that prose can produce that verse cannot, and some effects that verse can produce that prose cannot, but Shakespeare's use of both in contrasting passages allows him to compare the ideas present in them without blatantly stating so. By examining these passages in this fashion, it only seems sensible to conclude that Shakespeare chose to use either verse or prose for a specific reason, and that the reason varies from passage to passage, from character to character, or from event to event.
Monday, October 31, 2011
Sunday, October 9, 2011
LTEL 170C - Essay #1 Double Entendres
Darlene McCoy
Michael Ursell
LTEL 170C - Shakespeare
9 October 2011
A first interpretation developed by Shakespeare's choice of words constructs the idea that "spirit" may be synonymous with "wit" - meaning one's ability to write poetry. The words "verse" and "write" further edge on the reader to interpret the line in this way, for they are associated with the act of writing. Line 5, "Was it his spirit, by spirits taught to write" invokes the image of the Muse, a spirit, as a bestower of wit. Furthermore, the phrase "above a mortal pitch" implies that the wit is above that of human capacity, moreso divine, and thus only available because the Muse bequeathed it upon a mortal. Referring to the spirit, the lines continue, "No, neither he, nor his compeers by night / Giving him aid, my verse astonished." The Muse visits her mortal during the night, and this association only bolsters the idea that "spirit" is synonymous with "wit." If the reader of Sonnet 86 interprets the word "spirit" in this way, the poem depicts a man who is so sure of his love for a beloved that the power the Muse may bestow upon his rivals does not alarm him in the least.
A second interpretation of the word "spirit" in Sonnet 86 may elicit a darker reading of the poem. A "spirit" is a supernatural being or personality frequently conceived as troublesome, terrifying, or hostile to mankind. The word "tomb" provides for the morbid atmosphere of this reading. The phrase "above a mortal pitch" implies that one is no longer mortal, which could possibly mean that they are a spirit returning from the dead. The emergence of the word "dead" at the end of the line aids in the creation of the idea of a spirit returning from the dead. The word "ghost" found in line nine further implies that an apparition of some sort visits the speaker's rival poets. Why an apparition, though? What's so wrong with rival poets praising the beloved? It is possible that Shakespeare is trying to imply that the "intelligence" gulled to his rivals is an intelligence born of something foul, such as lust. If the reader finds himself reading Sonnet 86 through this interpretation, he finds himself reading a poem about a man whose words shatter under the power of lust, for his beloved looks upon those lustful words more than his own.
A third interpretation of the word "spirit" extracts yet another reading from Sonnet 86. This reading, a bit indelicate, takes on a sexual meaning. The first word to cue a reader in on this reading is "womb," - an important participant in sexual reproduction. "Spirit," in this reading, may mean the ability of one to perform sexual acts. The "spirits" in this reading may be the rival poets that the beloved has learned his "spirit" from. The word "familiar" found in line nine hints that the relationship between the beloved and his visitor(s) may be intimate, thus implying sexual. Line ten, "Which nightly gulls him with intelligence," suggests more innuendo. The word "gull" means to to devour voraciously, and the fact that the visitor is gulling him with intelligence might imply that the visitor is giving him intelligence in the form of sexual performance by indulging in his own desires. If the reader finds himself dabbling in the indelicacies of this interpretation, he reads a poem about a man who fears not what his rivals can do for his beloved sexually, but who is distraught when his beloved goes to them for sexual favors.
These three interpretations of Sonnet 86 are examples of the many different ways a poem can be read, and what a double entendre can do for the overall meaning of a poem. They are also examples of the great care Shakespeare took in choosing his words, and of his everlasting wit. May his spirit live forever in each man that reads his lines!
Michael Ursell
LTEL 170C - Shakespeare
9 October 2011
Shakespeare's Spirit
Scholars attribute William Shakespeare's Sonnets as the embodiment of his spirit through the flow of his pen. Double entendres found in the text expand the amount of meanings his verse can produce and enhance the wit of his work. The word "spirit," encountered twelve times as a noun in The Sonnets, connotates more meanings than those derived at first glance. Specifically, in Sonnet 86 "spirit" found on line five, once in the singular, and once in the plural, produces at least three different meanings, which in turn produces three different interpretations.A first interpretation developed by Shakespeare's choice of words constructs the idea that "spirit" may be synonymous with "wit" - meaning one's ability to write poetry. The words "verse" and "write" further edge on the reader to interpret the line in this way, for they are associated with the act of writing. Line 5, "Was it his spirit, by spirits taught to write" invokes the image of the Muse, a spirit, as a bestower of wit. Furthermore, the phrase "above a mortal pitch" implies that the wit is above that of human capacity, moreso divine, and thus only available because the Muse bequeathed it upon a mortal. Referring to the spirit, the lines continue, "No, neither he, nor his compeers by night / Giving him aid, my verse astonished." The Muse visits her mortal during the night, and this association only bolsters the idea that "spirit" is synonymous with "wit." If the reader of Sonnet 86 interprets the word "spirit" in this way, the poem depicts a man who is so sure of his love for a beloved that the power the Muse may bestow upon his rivals does not alarm him in the least.
A second interpretation of the word "spirit" in Sonnet 86 may elicit a darker reading of the poem. A "spirit" is a supernatural being or personality frequently conceived as troublesome, terrifying, or hostile to mankind. The word "tomb" provides for the morbid atmosphere of this reading. The phrase "above a mortal pitch" implies that one is no longer mortal, which could possibly mean that they are a spirit returning from the dead. The emergence of the word "dead" at the end of the line aids in the creation of the idea of a spirit returning from the dead. The word "ghost" found in line nine further implies that an apparition of some sort visits the speaker's rival poets. Why an apparition, though? What's so wrong with rival poets praising the beloved? It is possible that Shakespeare is trying to imply that the "intelligence" gulled to his rivals is an intelligence born of something foul, such as lust. If the reader finds himself reading Sonnet 86 through this interpretation, he finds himself reading a poem about a man whose words shatter under the power of lust, for his beloved looks upon those lustful words more than his own.
A third interpretation of the word "spirit" extracts yet another reading from Sonnet 86. This reading, a bit indelicate, takes on a sexual meaning. The first word to cue a reader in on this reading is "womb," - an important participant in sexual reproduction. "Spirit," in this reading, may mean the ability of one to perform sexual acts. The "spirits" in this reading may be the rival poets that the beloved has learned his "spirit" from. The word "familiar" found in line nine hints that the relationship between the beloved and his visitor(s) may be intimate, thus implying sexual. Line ten, "Which nightly gulls him with intelligence," suggests more innuendo. The word "gull" means to to devour voraciously, and the fact that the visitor is gulling him with intelligence might imply that the visitor is giving him intelligence in the form of sexual performance by indulging in his own desires. If the reader finds himself dabbling in the indelicacies of this interpretation, he reads a poem about a man who fears not what his rivals can do for his beloved sexually, but who is distraught when his beloved goes to them for sexual favors.
These three interpretations of Sonnet 86 are examples of the many different ways a poem can be read, and what a double entendre can do for the overall meaning of a poem. They are also examples of the great care Shakespeare took in choosing his words, and of his everlasting wit. May his spirit live forever in each man that reads his lines!
Thursday, October 6, 2011
Everything is Going to Be Okay.
We will be strong, and we will carry on.
Life is not too much for us to handle.
There is time to think.
There is time to reflect.
There is time to make a change.
Do not be afraid. It is possible.
Life is not too much for us to handle.
There is time to think.
There is time to reflect.
There is time to make a change.
Do not be afraid. It is possible.
Monday, October 3, 2011
LTEL 170C - Response #1
Reading Response #1
Ever since winter of last year, I've taken a great interest in Shakespeare's sonnets. I read a piece by Peter Stallybrass, "Editing as Cultural Formation: The Sexing of Shakespeare's Sonnets," and wrote a short little paper on it. As a short summary, this piece explained the history behind the forming of the sonnets in their modern-day form. The what was considered homosexual text was edited time and time again by 18th and 19th century editors to make it seem less homosexual. In fact, these editors were so obsessed with attempting to make Shakespeare look entirely heterosexual that they did not put as much effort in attempting to make him not look like a pedophile. By the time Shakespeare's text had gotten to modern times, it had been edited so many times that according to Stallybrass, it hardly resembled Shakespeare at all.
Then, this week, I was introduced to Segdwick's article on homosocial desire, and it got me to thinking about the sonnets again. After reading Stallybrass' essay, and then the sonnets themselves I was convinced that the first group of sonnets were written to a man - I had no doubts in my mind. Now, since I've read the Segdwick article - I'm not saying I have changed my mind entirely - but it seems that it is a possibility that Shakespeare was writing to nobody in particular through all of the sonnets. I believe that in the historical context of Shakespeare's time, it was possible that Shakespeare was writing sonnets to show off to his male companions. I also believe that he might not have been writing to anyone in particular because the sonnets form a very interesting type of narrative. It starts with a man in love with a Fair Youth, then moves to a betrayal by the Fair Youth, the eventually degradation of the man and Fair Youth's relationship, the depression that follows afterward, and the sad, sexual desire filled by the Dark Lady. To be fair - it's quite the interesting narrative, almost theatrical, and at least for me, provided a deal of entertainment. I also believe that it is a possibility that Shakespeare was showing off to his friends because of the sonnets that are mostly about how poems can immortalize a Fair Youth, and how the written word can challenge death. Those are both ideas that to me, sound magnificent and intelligent, and if I had come up with those ideas, I'd want to show them off to my friends, too.
It's sort of sad that we will never know of Shakespeare's true intentions, but then again, I don't believe that any author's true intentions in writing any work are discernible.
Ever since winter of last year, I've taken a great interest in Shakespeare's sonnets. I read a piece by Peter Stallybrass, "Editing as Cultural Formation: The Sexing of Shakespeare's Sonnets," and wrote a short little paper on it. As a short summary, this piece explained the history behind the forming of the sonnets in their modern-day form. The what was considered homosexual text was edited time and time again by 18th and 19th century editors to make it seem less homosexual. In fact, these editors were so obsessed with attempting to make Shakespeare look entirely heterosexual that they did not put as much effort in attempting to make him not look like a pedophile. By the time Shakespeare's text had gotten to modern times, it had been edited so many times that according to Stallybrass, it hardly resembled Shakespeare at all.
Then, this week, I was introduced to Segdwick's article on homosocial desire, and it got me to thinking about the sonnets again. After reading Stallybrass' essay, and then the sonnets themselves I was convinced that the first group of sonnets were written to a man - I had no doubts in my mind. Now, since I've read the Segdwick article - I'm not saying I have changed my mind entirely - but it seems that it is a possibility that Shakespeare was writing to nobody in particular through all of the sonnets. I believe that in the historical context of Shakespeare's time, it was possible that Shakespeare was writing sonnets to show off to his male companions. I also believe that he might not have been writing to anyone in particular because the sonnets form a very interesting type of narrative. It starts with a man in love with a Fair Youth, then moves to a betrayal by the Fair Youth, the eventually degradation of the man and Fair Youth's relationship, the depression that follows afterward, and the sad, sexual desire filled by the Dark Lady. To be fair - it's quite the interesting narrative, almost theatrical, and at least for me, provided a deal of entertainment. I also believe that it is a possibility that Shakespeare was showing off to his friends because of the sonnets that are mostly about how poems can immortalize a Fair Youth, and how the written word can challenge death. Those are both ideas that to me, sound magnificent and intelligent, and if I had come up with those ideas, I'd want to show them off to my friends, too.
It's sort of sad that we will never know of Shakespeare's true intentions, but then again, I don't believe that any author's true intentions in writing any work are discernible.
Thursday, September 29, 2011
So, It's Been a While.
I've more or less dropped out of the blogging scene as of late, and there's only one reason I can give for my absence: I'm happy.
Yes, this is probably going to end up being a sappy post about how much I love Ryan.
If you're not down with that, you might as well stop following my blog now, because there's gonna be a lot about Ryan in the next... however long we're together or so. All I gotta say is, in life, food, school, and my boyfriend are pretty much the most important things to me. My family too, y'know, but I'm not as close to my family as most of the other people I know. Shit I forgot to mention my friends -- man I'm a bad person sometimes, but hell, half the time I consider ya'll family anyway... meh... gonna stop talking about crap that doesn't need to be said...
Well, anyway... I just wanted to stop in a post a little something. See, I've got this issue where I need to blog at least once a month, because I want my archive to make sense. When I first started blogging, there were a few months were there were no posts for that month, and now I am upset with that because I like my archive to look pretty. Blogging and how my blog looks is srs buisness.
I sort of feel some reflection upon my life might be good, anyway. I guess I just got tired of it, or because I'm not lonely anymore, I didn't feel the need to talk to the world about the normal nonsense of my life. Actually, being with Ryan makes me want to keep it more private, because he's more private. Also, keeping it more private than I usually am about relationships makes me treasure the little things we do together so much more... and man, let me tell you, we are fucking cute, and we are a couple that is gonna last for quite some time.
Gonna put a random sidenote in here: if anyone thought that I was a rebound for Ryan, you are dead fucking wrong. Yes, we did get together right after Brytnny -- that doesn't mean he's using me, and that doesn't mean a fantastic relationship can't bloom out of an utter failure of one.
Hrm. I also wanna say that I really hope nobody has doubted my ability to be in a relationship. My relationship with Tanner was a disaster, and mine don't usually go like that. Furthermore, until the end of last year, my time with random boys was also quite horrid. Shit, Ryan figured out he cared about me the way he does now because I was so damned upset all the time because of other... boys. Stupid boys. Hah.
It's still a little awkward running into them. I hope they're doing well, though, and no hard feelings. For realsies.
I also wanna talk about Jocab Victario a little bit. He's been really, really good, and a lot less clingy than I thought he was gonna be. He's in the transfer building, making friends, doing his own thing. I'm really happy for him, but his recent happiness makes me worry that he's gonna ditch me for better people. And if he does, well, I kinda deserve it, but whatever. I'm just really glad his life doesn't suck anymore, and that UCSC worked a little magic in his favor.
I did a lot of thinking over the summer about friends. I'm just gonna leave that at that. Not really negative thinking, as that statement implies, but I am a little upset about one little incident over the summer that in all reality, did not concern me in the least.
Meh, I'ma talk about what made me upset over the summer...
Cory's birthday.
How could you guys ditch her? Like, seriously? I understand that Bouset had to go home, but you guys didn't want to come back to celebrate ever for a little with Cory? You didn't even have birthday cake... I'm sorry, guys, but ditching Cory on her birthday after she moved the date of her party so you guys could come down was kinda on the fucked up end. Well, it's mostly fucked up because the same night ya'll went to someone else's house and had a party.
Not to mention Tanner & Brytnny. WHOA. That was interesting.
Ah hell man, I guess this reflection stuff is pretty sweet. I guess. I kinda need to do more reading for Shakespeare, though. Stupid damned Lit classes with all their readings! HAH
I really hope nobody has taken offense to anything I've posted tonight. I'm not calling anyone a bad person/friend or anything, just stating some opinions.
And, uh, before I go, I want to note that this actually didn't turn into a OMG I LOVE RYAN SO MUCH post. Though I totally love him so much :)
Yes, this is probably going to end up being a sappy post about how much I love Ryan.
If you're not down with that, you might as well stop following my blog now, because there's gonna be a lot about Ryan in the next... however long we're together or so. All I gotta say is, in life, food, school, and my boyfriend are pretty much the most important things to me. My family too, y'know, but I'm not as close to my family as most of the other people I know. Shit I forgot to mention my friends -- man I'm a bad person sometimes, but hell, half the time I consider ya'll family anyway... meh... gonna stop talking about crap that doesn't need to be said...
Well, anyway... I just wanted to stop in a post a little something. See, I've got this issue where I need to blog at least once a month, because I want my archive to make sense. When I first started blogging, there were a few months were there were no posts for that month, and now I am upset with that because I like my archive to look pretty. Blogging and how my blog looks is srs buisness.
I sort of feel some reflection upon my life might be good, anyway. I guess I just got tired of it, or because I'm not lonely anymore, I didn't feel the need to talk to the world about the normal nonsense of my life. Actually, being with Ryan makes me want to keep it more private, because he's more private. Also, keeping it more private than I usually am about relationships makes me treasure the little things we do together so much more... and man, let me tell you, we are fucking cute, and we are a couple that is gonna last for quite some time.
Gonna put a random sidenote in here: if anyone thought that I was a rebound for Ryan, you are dead fucking wrong. Yes, we did get together right after Brytnny -- that doesn't mean he's using me, and that doesn't mean a fantastic relationship can't bloom out of an utter failure of one.
Hrm. I also wanna say that I really hope nobody has doubted my ability to be in a relationship. My relationship with Tanner was a disaster, and mine don't usually go like that. Furthermore, until the end of last year, my time with random boys was also quite horrid. Shit, Ryan figured out he cared about me the way he does now because I was so damned upset all the time because of other... boys. Stupid boys. Hah.
It's still a little awkward running into them. I hope they're doing well, though, and no hard feelings. For realsies.
I also wanna talk about Jocab Victario a little bit. He's been really, really good, and a lot less clingy than I thought he was gonna be. He's in the transfer building, making friends, doing his own thing. I'm really happy for him, but his recent happiness makes me worry that he's gonna ditch me for better people. And if he does, well, I kinda deserve it, but whatever. I'm just really glad his life doesn't suck anymore, and that UCSC worked a little magic in his favor.
I did a lot of thinking over the summer about friends. I'm just gonna leave that at that. Not really negative thinking, as that statement implies, but I am a little upset about one little incident over the summer that in all reality, did not concern me in the least.
Meh, I'ma talk about what made me upset over the summer...
Cory's birthday.
How could you guys ditch her? Like, seriously? I understand that Bouset had to go home, but you guys didn't want to come back to celebrate ever for a little with Cory? You didn't even have birthday cake... I'm sorry, guys, but ditching Cory on her birthday after she moved the date of her party so you guys could come down was kinda on the fucked up end. Well, it's mostly fucked up because the same night ya'll went to someone else's house and had a party.
Not to mention Tanner & Brytnny. WHOA. That was interesting.
Ah hell man, I guess this reflection stuff is pretty sweet. I guess. I kinda need to do more reading for Shakespeare, though. Stupid damned Lit classes with all their readings! HAH
I really hope nobody has taken offense to anything I've posted tonight. I'm not calling anyone a bad person/friend or anything, just stating some opinions.
And, uh, before I go, I want to note that this actually didn't turn into a OMG I LOVE RYAN SO MUCH post. Though I totally love him so much :)
Thursday, August 11, 2011
The Girlgasm.
OHMYGOD I'M SO EXCITED FOR TONIGHT HOLY BALLS SHITFUCK OMG OMG OMG OMG OMG OMG
:D :D :D :D :D :D
SO.
I'm sitting in Ryan's room. His band is here, and they're like, doing band stuff.
I'm just sitting here.
With the biggest smile on my face...
oh my good lorddddd
his voice ehehehehehehehe <3
EHEHEHEHEHEHEHEEHEHEH
I'M SO EXCITED
also his pants
yep.
good pants.
nyahahahahaha
I HOPE YOU READ THIS LATER RYAN 'CAUSE YOU LOOK FUCKING HOT
...but I've already said that a "few" times today.
I'm just so excited.
:D This is so awesome!
Oi I am going to be so hungry... hahahaha...
This post is entirely pointless... but being written anyway.
I hope I look good. I think I look good.
GODDAMN YOU GUYS SOUND GOOD.
nyahahahahaha! :D
OI I am gonna check Guildwork. 'Cause I want to. I may come back to this.
Man you're so hot.
hahahahahahahaha
:D :D :D :D :D :D
SO.
I'm sitting in Ryan's room. His band is here, and they're like, doing band stuff.
I'm just sitting here.
With the biggest smile on my face...
oh my good lorddddd
his voice ehehehehehehehe <3
EHEHEHEHEHEHEHEEHEHEH
I'M SO EXCITED
also his pants
yep.
good pants.
nyahahahahaha
I HOPE YOU READ THIS LATER RYAN 'CAUSE YOU LOOK FUCKING HOT
...but I've already said that a "few" times today.
I'm just so excited.
:D This is so awesome!
Oi I am going to be so hungry... hahahaha...
This post is entirely pointless... but being written anyway.
I hope I look good. I think I look good.
GODDAMN YOU GUYS SOUND GOOD.
nyahahahahaha! :D
OI I am gonna check Guildwork. 'Cause I want to. I may come back to this.
Man you're so hot.
hahahahahahahaha
Thursday, July 28, 2011
I Don't Want to Share You.
I'm not going to share you. You're mine. All mine. :)
I was gonna write more but now I'm talking to you.
<3 <3 <3
I was gonna write more but now I'm talking to you.
<3 <3 <3
Sunday, July 10, 2011
There's Always So Much I Want to Say
but somehow, I can't seem to just sit down and blog right now. It's annoying. I like blogging. :(
In other words: I am so happy to be in a relationship again! Everything is fan-fucking-tastic. ♥
In other words: I am so happy to be in a relationship again! Everything is fan-fucking-tastic. ♥
Saturday, July 9, 2011
Upset Again...
This post is in relation to the "K Now I'm Upset" post.
ANYWAY. So just now. Playin' some XI, doin' my thing, chillin'.
People are on Vent (this is a program that you can use to communicate with a group of people, mainly used by people who play MMOs/other online games)
I like Vent. Vent is fun.
Log in, connect, do all that shit.
First damn thing I hear is someone making a comment about how, "You can't say gay in this group. So we say 'hetero.'"
THESE PEOPLE DON'T FUCKING GET IT. IT'S SO ANNOYING.
The reason why I don't want people to use "gay" as an insult is because there's nothing fucking wrong with being gay. There's also nothing wrong with being heterosexual. What kind of backwater asshat state do these people come from? Jesus Christ.
Furthermore, all these people using "hetero" instead of "gay" is just fucking insulting to me. They're making fun of me caring. THEY'RE MAKING FUN OF ME CARING FOR OTHER PEOPLE'S RIGHTS. UGH.
They may not be meaning to hurt me personally, but this is fucked up. Not okay. People's rights aren't a joke. Ugh. ~.~
I don't want to further elaborate on this issue with these people. But I feel like I need to. Jesus, in the least to defend myself. I'm not okay with being made fun of for things I believe in.
This sucks. I love playing 11, but the new Magitek crew is kinda shitty. I miss the old players. A lot.
Bleh.
ANYWAY. So just now. Playin' some XI, doin' my thing, chillin'.
People are on Vent (this is a program that you can use to communicate with a group of people, mainly used by people who play MMOs/other online games)
I like Vent. Vent is fun.
Log in, connect, do all that shit.
First damn thing I hear is someone making a comment about how, "You can't say gay in this group. So we say 'hetero.'"
THESE PEOPLE DON'T FUCKING GET IT. IT'S SO ANNOYING.
The reason why I don't want people to use "gay" as an insult is because there's nothing fucking wrong with being gay. There's also nothing wrong with being heterosexual. What kind of backwater asshat state do these people come from? Jesus Christ.
Furthermore, all these people using "hetero" instead of "gay" is just fucking insulting to me. They're making fun of me caring. THEY'RE MAKING FUN OF ME CARING FOR OTHER PEOPLE'S RIGHTS. UGH.
They may not be meaning to hurt me personally, but this is fucked up. Not okay. People's rights aren't a joke. Ugh. ~.~
I don't want to further elaborate on this issue with these people. But I feel like I need to. Jesus, in the least to defend myself. I'm not okay with being made fun of for things I believe in.
This sucks. I love playing 11, but the new Magitek crew is kinda shitty. I miss the old players. A lot.
Bleh.
Friday, June 24, 2011
K Now I'm Upset
Started playing FFXI again. 'Cause it's fun. I like FFXI.
The linkshell (guild-type thing) that I'm in has a lot of people who use the word gay as an insult.
I asked on our forums nicely and reasonably for people to stop.
Responses are fucking terrible. Ugh. Just tried to do something good, something easy, simple, and good. A small change. People fucking suck, though.
First bad response I got was "You shouldn't have posted this here."
Isn't the right to be a comfortable something to be discussed with everyone? Shouldn't everyone know there is nothing wrong with being gay? Or at least isn't the issue of respect something that should be discussed with everybody?
Jesus lord. This makes me so upset.
Another response I got that was more on the UGH I HATE PEOPLE side was, "I don't really care because I've known gay people who call stuff "hetero" as an insult."
I'd have the same damn problem with them, too. Fuck. This is so annoying to me.
The last response I got, right now, is "Gay is a derogatory term for homosexual people, so it doesn't matter that I use it in a derogatory way."
Since when is gay a derogatory term? Shit, I wasn't aware. If it is, someone let me know, please? Holy fuck.
All I've got to say is I'm fucking pissed. I was being so nice. So reasonable. Just wanted a small change.
Oh well, this is why I'm an ally. Fuck stupid people who can't think of others.
Here's the thread here if you want to check it out yourself.
The linkshell (guild-type thing) that I'm in has a lot of people who use the word gay as an insult.
I asked on our forums nicely and reasonably for people to stop.
Responses are fucking terrible. Ugh. Just tried to do something good, something easy, simple, and good. A small change. People fucking suck, though.
First bad response I got was "You shouldn't have posted this here."
Isn't the right to be a comfortable something to be discussed with everyone? Shouldn't everyone know there is nothing wrong with being gay? Or at least isn't the issue of respect something that should be discussed with everybody?
Jesus lord. This makes me so upset.
Another response I got that was more on the UGH I HATE PEOPLE side was, "I don't really care because I've known gay people who call stuff "hetero" as an insult."
I'd have the same damn problem with them, too. Fuck. This is so annoying to me.
The last response I got, right now, is "Gay is a derogatory term for homosexual people, so it doesn't matter that I use it in a derogatory way."
Since when is gay a derogatory term? Shit, I wasn't aware. If it is, someone let me know, please? Holy fuck.
All I've got to say is I'm fucking pissed. I was being so nice. So reasonable. Just wanted a small change.
Oh well, this is why I'm an ally. Fuck stupid people who can't think of others.
Here's the thread here if you want to check it out yourself.
Wednesday, June 22, 2011
It's Just the Small, Simple Things
...that make me so happy. That let me know you care.
It's fucking awesome.
It's fucking awesome.
Tuesday, June 21, 2011
Monday, June 20, 2011
Still Thinkin' About You
I want to write more blogs about you. I wish I had written more before all this, too, just so I could see you smile about them! Sunshine. You are my sunshine now. You're so wonderful for me. So wonderful. And I know you're worried. Worried that you might hurt me, but I promise you it'll be okay. I'm tough. And you're a lot less mean than you think, hun. I'm also super prepared to be there for you. I mean, I've always been, as much as possible anyway. But like, now, I really get to be there for you and it makes me so happy. Lean on me just as much as I lean on you. We're in this together now, y'know? This isn't a one-sided relationship. Because it is a relationship. I want to be there when you're upset. I want to be the one you talk to. The one that helps you get through your mind. I want to be the person who you can say anything to. So don't be afraid. Even if what's on your mind might possibly hurt me -- the best thing for us to do is talk. Even if things are upsetting, it'll be okay, we'll work through it. I know you're stubborn, and sometimes I am, too. But I'm not worried. I think it'll be fine. It'll be okay. And that everything is going to work out in the end and this will be wonderful. I mean, c'mon, it already is. I just still, cannot explain how damned excited I am to be with you. You have made me so happy in the last few weeks. There's been something of a hole in my life that needed filling (as cliche as it is) and you really, really, filled that space. And when I think of filling in holes I think of planting flowers... and I think our relationship will produce beautiful blooms. I'm so excited. I'm not scared in the least. I'm not worried in the least. I trust you. I know you trust me, too. So all we have to do is keep working together to make each other happy. I got this. You got this. Let's go. Keep going, keep strong. You're wonderful. Everything is going to be okay. We'll see each other lots this summer, I'll make sure of it. Gosh... I just want to be for you everything you are for me. And I know this is a lot, and a rather intense little post, especially for us only being together for not so long, but like, I'm not going to sit around and pretend I don't care about you as much as I do because of silly little time. I'm sure you already have an idea of how much I care by just how our friendship went -- or you should, anyway! You're one of the few people I would happily (this is a key word) drop anything for. You've always meant so much to me, and man oh man, now I get to be with you. I always want you to know that I'll be there for you, and I'm going to care, and I will not abandon you because you're going through a hard time. I like relationships. And the more work you put into them, the better they become. I'm prepared. I'm crazy about you. This blog. This blog, man. I don't write like this too often, but you inspire me. You inspire me to be better, and to write, and you make me feel beautiful. It's been so long since I've really felt beautiful. I just-- I just cannot fully express how happy I am. You're the best. And you're really freaking cool, too!
♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥
Also: Infected Mushroom is going to be fucking awesome.
♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥
Also: Infected Mushroom is going to be fucking awesome.
Sunday, June 12, 2011
Post 700
↑ Just so you know.
All I can really think to say right now is I am incredibly happy.
It has been a very long two years.
But this... this is so worth it.
The face... the smile... the goofy grin... so many things. So many things are right in the world right now.
It's one of those feelings that is sappy and cliche and silly, but y'know, man. Just so happy.
How can a person express how happy they are in mere words? I don't fuckin' know. I just try.
Try and try and try and try. That's all I can do. That's all I ever do.
And every once in a while, all that damn persistent hard ass work pays off.
God, I'm just so happy. So happy. I could cry. I really could, but I'm not going to. My brother will prolly make fun of me. Hah.
So I've not really been blogging a whole lot recently. Don't exactly know why. It's not Tumblr. Tumblr is a time kill. A silly, silly, silly time kill that happens to have lots of cute animals on it.
(Love cute animals!)
GOSH BUT I DON'T EVEN CARE 'CAUSE I'M SO DAMN HAPPY.
It's just like,
that feeling,
you get,
when you look into someone's eyes,
and you cannot help but smile,
can't think, can't do anything else,
because they've made such a wonderful impact on your life,
and silly words cannot express how... just simply how grateful you are that you got the chance to meet them,
and y'know, be in their life, too.
Man. Just so happy. So happy. SO HAPPY.
I miss him. But it'll be okay. It'll be good.
I'm so happy. So happy.
This is all for you. You are the cocaine in my veins, and the acid beneath my wings. :D
BWAHAHAHAHAAHAH
Good night word, I'll see ya in like 12 hours when I wake up.
Gotta see Cindy tomorrow, I think!
Oh and Churchy people, too! Yahoo!
All I can really think to say right now is I am incredibly happy.
It has been a very long two years.
But this... this is so worth it.
The face... the smile... the goofy grin... so many things. So many things are right in the world right now.
It's one of those feelings that is sappy and cliche and silly, but y'know, man. Just so happy.
How can a person express how happy they are in mere words? I don't fuckin' know. I just try.
Try and try and try and try. That's all I can do. That's all I ever do.
And every once in a while, all that damn persistent hard ass work pays off.
God, I'm just so happy. So happy. I could cry. I really could, but I'm not going to. My brother will prolly make fun of me. Hah.
So I've not really been blogging a whole lot recently. Don't exactly know why. It's not Tumblr. Tumblr is a time kill. A silly, silly, silly time kill that happens to have lots of cute animals on it.
(Love cute animals!)
GOSH BUT I DON'T EVEN CARE 'CAUSE I'M SO DAMN HAPPY.
It's just like,
that feeling,
you get,
when you look into someone's eyes,
and you cannot help but smile,
can't think, can't do anything else,
because they've made such a wonderful impact on your life,
and silly words cannot express how... just simply how grateful you are that you got the chance to meet them,
and y'know, be in their life, too.
Man. Just so happy. So happy. SO HAPPY.
I miss him. But it'll be okay. It'll be good.
I'm so happy. So happy.
This is all for you. You are the cocaine in my veins, and the acid beneath my wings. :D
BWAHAHAHAHAAHAH
Good night word, I'll see ya in like 12 hours when I wake up.
Gotta see Cindy tomorrow, I think!
Oh and Churchy people, too! Yahoo!
Monday, June 6, 2011
Darlene McCoy
Karen Barad
FMST 80K
6 June 2011
The Supernova's Entanglement with Philosophy, Physics, and the World
The lights in the sky have fascinated human kind ever since they had the capability to tilt their heads up toward the heavens and see them. They were once believed to be messages of the Gods by early priests, who then declared that their interpretations of the stars were divine. Since then, the stars have always been recorded, and among those recordings lay an enormous flux in luminosity from one area in the night sky. This gigantic flux in luminosity, recorded by Chinese astronomers in 185 CE, is the first supernovae on record. A supernova is the final event in a star's life: it is a massive explosion that reduces the star to a mere fraction of its original mass in a few seconds. A supernova releases an enormous amount of radiation, even as much as the sun is expected to over its entire life, at 10% the speed of light. The radiation drives a shock wave through the surrounding space, and the shock wave sweeps up the expanding gas and dust from the star, then leaves it behind as a supernova remnant. The explosion is so bright that it can possibly outshine an entire galaxy, thus making mankind wonder as to why one section of their sky is incredibly bright for some amount of months. Through they wondered, it took almost 2,000 years for the term "Supernovae" to be coined by Fritz Zwicky. How is it that this image of a star exploding materialized in the human mind? How did history, science, people, and the world have to intra-act for supernovae to exist as they do today?
Astronomy began with the Gods, and it took some time for human thought to disassociate the stars with them. The common masses believed that the Earth was the center of the universe, as they were taught by the Bible. They also believed that the universe was centered around the Earth due to the work of Claudius Ptolemaeus, an astronomer from Egypt, who published the treatise Almgest, which explained the universe as celestial bodies revolving around Earth, which remained at rest in the center of the universe. This geocentric model of the universe was not called into question until the Renaissance, when Nicolas Copernicus looked to the skies himself, and challenged all that people thought they knew about the world and its workings. He published his ground-breaking book, On the Revolutions of the Celestial Spheres shortly before he died due to either fear of religious persecution or the philosophical or scientific rejection of his idea of a heliocentric model of the universe. In his book, Copernicus appeals to the Pope, and tries to explain why he would question the teachings of the Bible:
Occasioned by this [the disagreements] I also began to think of the motion of the earth, and although the idea seemed absurd, still as others before me had been permitted to assume certain circles [the epicycles and loops] in order to explain the motions of the stars, I believed it would readily be permitted me to try whether on the assumption of some motion of the earth better explanations of the revolutions of the heavenly spheres might be found. . . . When the motions of the other planets are referred to circulation of the earth and are computer for the revolution of each star, not only do the phenomena necessarily follow thereform, but the order and magnitude of the stars and all their orbs and the heavens itself are so connected that in no part can everything be transposed without confusion to the rest and to the whole universe. (Motz, Llyod, Weaver, 63)
Nicolas' intra-actions with prior knowledge allowed him to build new knowledge, and bring about a new way of thinking about the universe. Though he did not have physical objects to deem as apparatus at the time, Copernicus had his mind to make agential cuts -- he included some of the work of his predecessors, but not all of it. He chose to exclude prior knowledge to create new knowledge. The cost to make new knowledge was the work of his predecessors that did not continue to be regarded as fact after his work was published. Copernicus' work also cost him peace of mind, for he was far too afraid to publish his work until he thought it was definitive and true.
Copernicus' work was taken up by Tycho Brahe, who attempted to create a model to appease science and religion. He did not readily accept Copernicus' model, so he created a model of the universe with the Earth at the center of the universe, with the Sun revolving around it, and the planets revolving around the Sun. Tycho was also one of the first men to observe a supernova. He noticed an incredibly luminous star in the sky in 1572 and watched as it eventually returned to the brightness of the other stars. Tycho was indeed brilliant, but because he rejected Copernicus' heliocentric model, he could not progress scientific knowledge as far as his mind would allow. Instead, his assistant, Johannes Kepler, became the man to be revered for his progress in figuring out the workings of the world.
Kepler, in looking over Brahe's work and doing some of his own, discovered that the planetary obit of Mars was off by about eight minutes of arc. After some computations, he deemed that Mars' orbit was off by eight minutes not due to an error in observation made by Brahe, but because the orbits of the planets are elliptical, not circular. This discovery, also known as Kepler's first law of planetary motion, broke through scientific thought at the time and did away with the idea of the planets having circular orbits. He also discovered that there had to be some force in the universe propelling the planets to move as they were, which lead to the most famous light-bulb moment of all time. (Motz, Llyod, Weaver 69-89).
That light-bulb moment would be none other than the moment an apple fell on Isaac Newton's head. Newton formed his theory of gravity from this minor incident, and then changed the scientific world forever. Newton might not have formed his theory of gravity if Kepler did not propose the idea of some force holding the universe together, but because he did, gravity is a force that no man in the scientific world would willingly question today. The intra-action of their knowledge allowed Newton to be in the right place and mindset to have the breakthrough that he did. Furthermore, that breakthrough solidified more questionable science from the past, meaning Kepler's laws of planetary motion, and helped materialize man's conception of the universe and its workings.
Without Isaac Newton's theory of gravity and the creation of calculus by his hand, more modern scientists would have never gotten the chance to think about how to contend with Newton's strict determinism. They would not have even had the apparatus, calculus, to make cuts that determined the new scientific laws each man set forth. If Einstein did not have the correct tools to formulate his Theory of Relativity, he might not have at all, but because he was blessed with the earlier intra-actions of the history of physics and astronomy, he was able to cut out from the knowledge formulating in his head the speed of light, which is quite the necessary component in measuring supernovae.
In 1803, Thomas Young performed a two slit experiment that changed the way people thought about physics forever (Barad 98). He found that if diffracted one way, a particle would behave as a wave, and if diffracted in another way, it would behave as a particle. Because of this experiment, other scientists began to study light diffraction more in depth, and discovered how to create lasers, and how to record light visible and invisible to the human eye. Light diffraction is fundamental in understanding how supernovae are measured.
The key way astronomers measure supernovae in the present time is through technology known as optical interferometry. Supernovae are not local phenomenon -- they are light years away -- and so the naked human eye cannot hope to measure one. Technology today, even, has just barley gotten to the point where stars outside of the Milky Way Galaxy can be measured using telescopes. Optical interferometry works much as Young's diffraction experiment did -- there are just some additional steps in order to ensure accuracy. On each side of the apparatus, a telescope collects light from whichever source is the current subject of interest. The light is then propagated by mirrors into an area where it is combined into a beam. The beam is further propagated by mirrors into what is called a delay line, which accommodates for the Earth's rotation. Then, the light is sent to a beam-splitter, and depending on the phase relationship of the waves, differing amounts of energy will be transmitted or reflected at the site of the beam splitting. Then, single-pixel detectors can measure the energy on both sides (Monnier 810-816). From those recordings, computers can generate images of supernovae, and scientists can use the energy measurements to determine an array of characteristics of the star of which the energy came from. Thus, because humans have a visual stimulant and scientific data proving a supernova's existence, the idea of a supernova materializes in the human mind as an object. Yet, it seems now that the word object seems like such a funny way to describe a supernova. The intra-actions of the world and its inhabitants in a certain way at certain times that allowed the supernova to materialize in the human mind are not so common as to simply label them as things that just exist. Supernovae only exist due to the material-discursive pratices that brought about the technology to cut them from their apparatuses into something that has meaning and matters. How could they simply be describes as objects, then? Is it not phenomenal that the world worked in a certain way to create a concept in the human mind?
What if all objects in the world were thought of as phenomena? How would a different epistemological look on the world change it? Supernovae were also only brought into the human mind by the practices that were not included in their development. By looking at the past and conceptualization of supernovae, the entirety of the history of physics becomes incredibly entangled. But for those physics to take place, other science, other ideas, other people, had to be excluded. Science is generally seen as wholly objective, but even in sciences that do not directly affect different types of people, purely physical sciences, there are ideas that are excluded, there are ideas that have been lost, and not all of them have been in the name of science alone, for which human can truly say that he is entirely objective in his work? What has that exclusion cost the world?
Karen Barad
FMST 80K
6 June 2011
The Supernova's Entanglement with Philosophy, Physics, and the World
The lights in the sky have fascinated human kind ever since they had the capability to tilt their heads up toward the heavens and see them. They were once believed to be messages of the Gods by early priests, who then declared that their interpretations of the stars were divine. Since then, the stars have always been recorded, and among those recordings lay an enormous flux in luminosity from one area in the night sky. This gigantic flux in luminosity, recorded by Chinese astronomers in 185 CE, is the first supernovae on record. A supernova is the final event in a star's life: it is a massive explosion that reduces the star to a mere fraction of its original mass in a few seconds. A supernova releases an enormous amount of radiation, even as much as the sun is expected to over its entire life, at 10% the speed of light. The radiation drives a shock wave through the surrounding space, and the shock wave sweeps up the expanding gas and dust from the star, then leaves it behind as a supernova remnant. The explosion is so bright that it can possibly outshine an entire galaxy, thus making mankind wonder as to why one section of their sky is incredibly bright for some amount of months. Through they wondered, it took almost 2,000 years for the term "Supernovae" to be coined by Fritz Zwicky. How is it that this image of a star exploding materialized in the human mind? How did history, science, people, and the world have to intra-act for supernovae to exist as they do today?
Astronomy began with the Gods, and it took some time for human thought to disassociate the stars with them. The common masses believed that the Earth was the center of the universe, as they were taught by the Bible. They also believed that the universe was centered around the Earth due to the work of Claudius Ptolemaeus, an astronomer from Egypt, who published the treatise Almgest, which explained the universe as celestial bodies revolving around Earth, which remained at rest in the center of the universe. This geocentric model of the universe was not called into question until the Renaissance, when Nicolas Copernicus looked to the skies himself, and challenged all that people thought they knew about the world and its workings. He published his ground-breaking book, On the Revolutions of the Celestial Spheres shortly before he died due to either fear of religious persecution or the philosophical or scientific rejection of his idea of a heliocentric model of the universe. In his book, Copernicus appeals to the Pope, and tries to explain why he would question the teachings of the Bible:
Occasioned by this [the disagreements] I also began to think of the motion of the earth, and although the idea seemed absurd, still as others before me had been permitted to assume certain circles [the epicycles and loops] in order to explain the motions of the stars, I believed it would readily be permitted me to try whether on the assumption of some motion of the earth better explanations of the revolutions of the heavenly spheres might be found. . . . When the motions of the other planets are referred to circulation of the earth and are computer for the revolution of each star, not only do the phenomena necessarily follow thereform, but the order and magnitude of the stars and all their orbs and the heavens itself are so connected that in no part can everything be transposed without confusion to the rest and to the whole universe. (Motz, Llyod, Weaver, 63)
Nicolas' intra-actions with prior knowledge allowed him to build new knowledge, and bring about a new way of thinking about the universe. Though he did not have physical objects to deem as apparatus at the time, Copernicus had his mind to make agential cuts -- he included some of the work of his predecessors, but not all of it. He chose to exclude prior knowledge to create new knowledge. The cost to make new knowledge was the work of his predecessors that did not continue to be regarded as fact after his work was published. Copernicus' work also cost him peace of mind, for he was far too afraid to publish his work until he thought it was definitive and true.
Copernicus' work was taken up by Tycho Brahe, who attempted to create a model to appease science and religion. He did not readily accept Copernicus' model, so he created a model of the universe with the Earth at the center of the universe, with the Sun revolving around it, and the planets revolving around the Sun. Tycho was also one of the first men to observe a supernova. He noticed an incredibly luminous star in the sky in 1572 and watched as it eventually returned to the brightness of the other stars. Tycho was indeed brilliant, but because he rejected Copernicus' heliocentric model, he could not progress scientific knowledge as far as his mind would allow. Instead, his assistant, Johannes Kepler, became the man to be revered for his progress in figuring out the workings of the world.
Kepler, in looking over Brahe's work and doing some of his own, discovered that the planetary obit of Mars was off by about eight minutes of arc. After some computations, he deemed that Mars' orbit was off by eight minutes not due to an error in observation made by Brahe, but because the orbits of the planets are elliptical, not circular. This discovery, also known as Kepler's first law of planetary motion, broke through scientific thought at the time and did away with the idea of the planets having circular orbits. He also discovered that there had to be some force in the universe propelling the planets to move as they were, which lead to the most famous light-bulb moment of all time. (Motz, Llyod, Weaver 69-89).
That light-bulb moment would be none other than the moment an apple fell on Isaac Newton's head. Newton formed his theory of gravity from this minor incident, and then changed the scientific world forever. Newton might not have formed his theory of gravity if Kepler did not propose the idea of some force holding the universe together, but because he did, gravity is a force that no man in the scientific world would willingly question today. The intra-action of their knowledge allowed Newton to be in the right place and mindset to have the breakthrough that he did. Furthermore, that breakthrough solidified more questionable science from the past, meaning Kepler's laws of planetary motion, and helped materialize man's conception of the universe and its workings.
Without Isaac Newton's theory of gravity and the creation of calculus by his hand, more modern scientists would have never gotten the chance to think about how to contend with Newton's strict determinism. They would not have even had the apparatus, calculus, to make cuts that determined the new scientific laws each man set forth. If Einstein did not have the correct tools to formulate his Theory of Relativity, he might not have at all, but because he was blessed with the earlier intra-actions of the history of physics and astronomy, he was able to cut out from the knowledge formulating in his head the speed of light, which is quite the necessary component in measuring supernovae.
In 1803, Thomas Young performed a two slit experiment that changed the way people thought about physics forever (Barad 98). He found that if diffracted one way, a particle would behave as a wave, and if diffracted in another way, it would behave as a particle. Because of this experiment, other scientists began to study light diffraction more in depth, and discovered how to create lasers, and how to record light visible and invisible to the human eye. Light diffraction is fundamental in understanding how supernovae are measured.
The key way astronomers measure supernovae in the present time is through technology known as optical interferometry. Supernovae are not local phenomenon -- they are light years away -- and so the naked human eye cannot hope to measure one. Technology today, even, has just barley gotten to the point where stars outside of the Milky Way Galaxy can be measured using telescopes. Optical interferometry works much as Young's diffraction experiment did -- there are just some additional steps in order to ensure accuracy. On each side of the apparatus, a telescope collects light from whichever source is the current subject of interest. The light is then propagated by mirrors into an area where it is combined into a beam. The beam is further propagated by mirrors into what is called a delay line, which accommodates for the Earth's rotation. Then, the light is sent to a beam-splitter, and depending on the phase relationship of the waves, differing amounts of energy will be transmitted or reflected at the site of the beam splitting. Then, single-pixel detectors can measure the energy on both sides (Monnier 810-816). From those recordings, computers can generate images of supernovae, and scientists can use the energy measurements to determine an array of characteristics of the star of which the energy came from. Thus, because humans have a visual stimulant and scientific data proving a supernova's existence, the idea of a supernova materializes in the human mind as an object. Yet, it seems now that the word object seems like such a funny way to describe a supernova. The intra-actions of the world and its inhabitants in a certain way at certain times that allowed the supernova to materialize in the human mind are not so common as to simply label them as things that just exist. Supernovae only exist due to the material-discursive pratices that brought about the technology to cut them from their apparatuses into something that has meaning and matters. How could they simply be describes as objects, then? Is it not phenomenal that the world worked in a certain way to create a concept in the human mind?
What if all objects in the world were thought of as phenomena? How would a different epistemological look on the world change it? Supernovae were also only brought into the human mind by the practices that were not included in their development. By looking at the past and conceptualization of supernovae, the entirety of the history of physics becomes incredibly entangled. But for those physics to take place, other science, other ideas, other people, had to be excluded. Science is generally seen as wholly objective, but even in sciences that do not directly affect different types of people, purely physical sciences, there are ideas that are excluded, there are ideas that have been lost, and not all of them have been in the name of science alone, for which human can truly say that he is entirely objective in his work? What has that exclusion cost the world?
Saturday, June 4, 2011
It's Going to Be Really Hard
to express how happy I am in coherent words...
so I'm just going to sit here and make weird noises instead.
adbjfwwiuarhg;kfbvak;ebrg NER NERRR NERRR
:) <3
so I'm just going to sit here and make weird noises instead.
adbjfwwiuarhg;kfbvak;ebrg NER NERRR NERRR
:) <3
Wednesday, June 1, 2011
Darlene McCoy
Bruce Thompson
LTMO 144D
31 May 2011
Ghosts in the Big City
Isaac Bashevis Singer wrote short stories. He wrote stories about life, loss, love, religion, and his uncanny nack to do so at such a high ability earned him the Nobel Prize in Literature in 1978. He was a man raised in the Jewish Orthodox tradition in a shtetl; and a man who brought his experiences there with him when he immigrated to the United States in 1935. He was a man who lived through the times of the Holocaust, and who saw the decimation of his people. He was a man who believed in the supernatural, and who wrote them into his tales of American-Jewish life. Two of his greatest tales, "The Cafeteria" and "A Wedding in Brownsville" are examples of his great work.
Both of these works take place in New York, a place not particularly known for the supernatural and ghosts, yet Singer manages to make his stories seem plausible through his characters' musings and the settings where said characters ponder. The setting for each tale is essentially the title of the story -- in "A Wedding in Brownsville" action comes to pass at a wedding, and "The Cafeteria's" central plot revolves around a cafeteria. The two places share a common attribute: the local masses are a large presence in each setting. These local masses call themselves Jewish, but the protagonist of each story cringes at their self-description. Aaron, "The Cafeteria's" protagonist, describes the unruly masses he finds in the cafeteria as "People who try in their own way with all their means to grab as many honors and as much money and prestige as one can" (287-289). He does not see how they can call themselves Jewish, for the Jewish faith does not endorse a money-grubbing way of life. When he arrives at the wedding, Solomon, "A Wedding in Brownsville's" narrator notes the self-indulgent joy taking place in the room, "The room was filled with people and music, with tables heaped with food, a bar stacked with bottles. Guests kept arriving, pushing their way through the crowd, some still in their hats and coats, munching hors d'oeuvres, drinking schnapps" (46). All of the people in attendance of the wedding denote themselves as Jewish as well, but the Solomon does not feel that a self-indulgent lifestyle is much of the Jewish tradition. He even feels that some of the attendees will regard him as a snob for not wanting to take part in the festivities as other guests. The main theme that emerges from both of these settings is that American Judaism has evolved into a way of life that is no longer traditionally Jewish. It is plausible that the more traditionally Jewish people may be seen as ghosts of the past.
The two protagonists of the tales share a common trait as well: they are mostly alone in the world. Aaron is a single bachelor who is quite devoted to his work as a writer. His main interaction with other people comes from his visits to the cafeteria, but he sees them as people who come and go, and does not care for anyone in particular. He describes his interactions with his community as, "I know each block, each house. There has been little building here on uptown Broadway in the last decades, and I have the illusion of having put down roots here. They known me in some of the stores and in the vegetarian restaurants. Even the pigeons know me" (288). Solomon is married, but he is married to a woman who best fits him, not the woman who he was madly in love with in the old country. Furthermore, Solomon attends the wedding alone, and the story describes his relationship with the other attendees as "Dr. Margolin knew everybody, and yet knew nobody" (46). Even among people who should be considered his own, he feel as if he is a misfit. A ghost among a crowd of living people would be quite misfitted, indeed.
A more physical attribute of each setting is the simple fact that a significant number of people congregate at weddings and in cafeterias. While a ghost representing an old way of life would still be unexpected to appear, it is more plausible for a ghost to appear in a public area with lots of people than a secluded one without masses.
Each tale is written from a limited point of view. "The Cafeteria" is a first person narrative, and "A Wedding in Brownsville" is written in a third-person limited point of view. The reader only knows as much as the narrator can see, and he can only recount his experience from his perspective to his audience. Therefore, the experiences in each tale may be quite different if told by another. This discernment allows for the idea of a more supernatural narrator to creep into the minds of the audience.
At a point in the text of a well-written short story, a reader becomes engaged with the text. Since "The Cafeteria" and "A Wedding in Brownsville" are regarded as well written short stories, there are points of engagement in each tale. The exact point of engagement will differ from reader to reader, since all people think differently and have different interests, but the point that seems most prominent as the point of engagement in these two tales is the point in the short story where there is a mentioning of fallen Jewish values. In "The Cafeteria," Aaron mentions that "None of us learn from all of these deaths. Old age does not cleanse us. We don't repent at the gate of hell" (288). These words imply that simply growing old does not wash the sins of youth away. In "A Wedding in Brownsville," the narrator says, in regards to Solomon's wife Gretl, "Even she, born a Christian, could see that American Judaism was a mess" (43). These points in each text seem so prominent because of the original audience these short stories were published for. "The Cafeteria" and "A Wedding in Brownsville" were both originally written in Yiddish and published in Jewish newspapers in New York, the greatest center for Jewish life in the world at the time. The fall of Jewish values would have been quite the issue for the population of that place, at that time.
Another general goal of short story telling is to invoke some sort of emotion out of the reader or audience. Singer's ability to invoke emotion is at its highest when he describes incredibly human values and feelings. In "The Cafeteria," one of the stories Aaron hears is about a man who had a shop in Auschwitz, the largest German concentration camp. When he inquires more about the tale, a man responds, "God help us. He kept his merchandise in the straw where he slept - a rotten potato, sometimes a piece of soap, a tin spoon, a little fat. Still, he did business. Later, in Germany, he became such a big smuggler that they took forty thousand dollars away from him" (293). The image of a man selling "merchandise" out of the very straw he sleeps on to other people in the same, grotesque situation as he, is not only heartbreaking, but infuriating. How could this man even think to call himself Jewish? How could he deny any help to others in sure dire need? Is money worth humanity? This small little story in Singer's larger tale is one to tug at the heartstrings of all who call themselves human. It invokes horrid images, and even more horrid behavior due to situations that should have never been fathomed as reality. In "A Wedding in Brownsville," the narrator states at the beginning of the story that Solomon never married his true love, Raizel. At the end of the tale, Solomon is reunited with this young lady, and the narrator describes the situation in fantastic detail, "He wanted to take her in his arms and kiss her, but at any moment someone might come in. He stood besides her, ashamed that he had married someone else, that he had not personally confirmed the reports of her death" (48). The moment at which a person reunited with a long lost love is not a moment to be scoffed at. It is a wonderful, amazing beautiful moment and also a moment that many a human has the ability to imagine. The idea of love is also one that is universally moving. People sometimes die for love and whatnot. It's quite the emotion.
Because ghosts in New York city are a little out of the ordinary, it comes as a surprise to the reader that there are ghosts in these stories. Singer is extremely skilled at turning a story upside down in a line or two. In "A Wedding in Brownsville," the plot takes an unexpected twist when the Solomon realizes that the girl before him is indeed Raizel, but she is of the age that he knew her back in the old country. He is older. The progression of time makes no sense in his head, as it should, so he begins to consider other, otherworldly reasons why Raizel stands before him. Solomon comes to the conclusion that he may have died as well. He might have died earlier in the story, when his taxi cab's driver slammed on the breaks due to a collision in front of them. He realizes that he has no clue as to whether he is living or dead. He then recalls dancing in a drunk-dead state. A drunken dead state would be much out of the Jewish tradition, and it might have just "killed" his Jewishness and converted him to the American-Jewish tradition he is so unaffectionate towards. He might have gained the ability to see Raizel through death, because she, in his eyes, is dead, and has been. "The Cafeteria's" plot twist comes as just as much as a surprise as the one in "A Wedding in Brownsville." Aaron, while at the cafeteria, meets a woman named Esther, and continues to have casual, sparatic, and strange relations with her. They become friends, but Esther sometimes disappears for random amounts of time, and Aaron generally does not have much of an idea about her whereabouts. One day, Esther tells Aaron that she has been deemed insane by many a person. He inquires as to why anyone would think so, and she tells him a little tale. One late night, she could not sleep, so she decided to wander the streets of Broadway around three AM. She came upon a cafeteria, and observed an eerie, glowing light emitting from he building. She could not peer in due to drawn blinds, but when she opened the revolving door to the premises, she saw a scene that would haunt her, and cause her insanity. Esther says that she saw Hitler and some fellow followers sitting around a table, dressed in white robes. She stood in terror, shocked, until one of the followers noticed her, and then she fled. She found the building burnt to the ground the following day, and attributed it to the scene she had seen the night before. Later in the tale, Aaron is wandering about Broadway late at night when he spies Esther, in the best shape he had ever seen her, with an old man from his past. Due to time constraints, Aaron decides not to make contact with her, and instead spends nights wondering who exactly the man with her was. In order to learn more, he inquires about Esther a few days later at the cafeteria. A man there tells Aaron that she had committed suicide quite some time ago. Confused and baffled, Aaron comes to the conclusion that ghosts could walk the streets of New York, and therefore, there is no reason why Hitler would not be present at a cafeteria in New York. He draws the conclusion that Esther and Hitler would both be ghosts, but his perception of the world only allowed him to see Esther.
These elements of the two short stories by Isaac Bashevis Singer are small scratches at the meaning behind his words. They are simply general elements of most short stories, and therefore more readily discussable. He was indeed, a fantastic author whose work will echo throughout Jewish literature for times to come.
Bruce Thompson
LTMO 144D
31 May 2011
Ghosts in the Big City
Isaac Bashevis Singer wrote short stories. He wrote stories about life, loss, love, religion, and his uncanny nack to do so at such a high ability earned him the Nobel Prize in Literature in 1978. He was a man raised in the Jewish Orthodox tradition in a shtetl; and a man who brought his experiences there with him when he immigrated to the United States in 1935. He was a man who lived through the times of the Holocaust, and who saw the decimation of his people. He was a man who believed in the supernatural, and who wrote them into his tales of American-Jewish life. Two of his greatest tales, "The Cafeteria" and "A Wedding in Brownsville" are examples of his great work.
Both of these works take place in New York, a place not particularly known for the supernatural and ghosts, yet Singer manages to make his stories seem plausible through his characters' musings and the settings where said characters ponder. The setting for each tale is essentially the title of the story -- in "A Wedding in Brownsville" action comes to pass at a wedding, and "The Cafeteria's" central plot revolves around a cafeteria. The two places share a common attribute: the local masses are a large presence in each setting. These local masses call themselves Jewish, but the protagonist of each story cringes at their self-description. Aaron, "The Cafeteria's" protagonist, describes the unruly masses he finds in the cafeteria as "People who try in their own way with all their means to grab as many honors and as much money and prestige as one can" (287-289). He does not see how they can call themselves Jewish, for the Jewish faith does not endorse a money-grubbing way of life. When he arrives at the wedding, Solomon, "A Wedding in Brownsville's" narrator notes the self-indulgent joy taking place in the room, "The room was filled with people and music, with tables heaped with food, a bar stacked with bottles. Guests kept arriving, pushing their way through the crowd, some still in their hats and coats, munching hors d'oeuvres, drinking schnapps" (46). All of the people in attendance of the wedding denote themselves as Jewish as well, but the Solomon does not feel that a self-indulgent lifestyle is much of the Jewish tradition. He even feels that some of the attendees will regard him as a snob for not wanting to take part in the festivities as other guests. The main theme that emerges from both of these settings is that American Judaism has evolved into a way of life that is no longer traditionally Jewish. It is plausible that the more traditionally Jewish people may be seen as ghosts of the past.
The two protagonists of the tales share a common trait as well: they are mostly alone in the world. Aaron is a single bachelor who is quite devoted to his work as a writer. His main interaction with other people comes from his visits to the cafeteria, but he sees them as people who come and go, and does not care for anyone in particular. He describes his interactions with his community as, "I know each block, each house. There has been little building here on uptown Broadway in the last decades, and I have the illusion of having put down roots here. They known me in some of the stores and in the vegetarian restaurants. Even the pigeons know me" (288). Solomon is married, but he is married to a woman who best fits him, not the woman who he was madly in love with in the old country. Furthermore, Solomon attends the wedding alone, and the story describes his relationship with the other attendees as "Dr. Margolin knew everybody, and yet knew nobody" (46). Even among people who should be considered his own, he feel as if he is a misfit. A ghost among a crowd of living people would be quite misfitted, indeed.
A more physical attribute of each setting is the simple fact that a significant number of people congregate at weddings and in cafeterias. While a ghost representing an old way of life would still be unexpected to appear, it is more plausible for a ghost to appear in a public area with lots of people than a secluded one without masses.
Each tale is written from a limited point of view. "The Cafeteria" is a first person narrative, and "A Wedding in Brownsville" is written in a third-person limited point of view. The reader only knows as much as the narrator can see, and he can only recount his experience from his perspective to his audience. Therefore, the experiences in each tale may be quite different if told by another. This discernment allows for the idea of a more supernatural narrator to creep into the minds of the audience.
At a point in the text of a well-written short story, a reader becomes engaged with the text. Since "The Cafeteria" and "A Wedding in Brownsville" are regarded as well written short stories, there are points of engagement in each tale. The exact point of engagement will differ from reader to reader, since all people think differently and have different interests, but the point that seems most prominent as the point of engagement in these two tales is the point in the short story where there is a mentioning of fallen Jewish values. In "The Cafeteria," Aaron mentions that "None of us learn from all of these deaths. Old age does not cleanse us. We don't repent at the gate of hell" (288). These words imply that simply growing old does not wash the sins of youth away. In "A Wedding in Brownsville," the narrator says, in regards to Solomon's wife Gretl, "Even she, born a Christian, could see that American Judaism was a mess" (43). These points in each text seem so prominent because of the original audience these short stories were published for. "The Cafeteria" and "A Wedding in Brownsville" were both originally written in Yiddish and published in Jewish newspapers in New York, the greatest center for Jewish life in the world at the time. The fall of Jewish values would have been quite the issue for the population of that place, at that time.
Another general goal of short story telling is to invoke some sort of emotion out of the reader or audience. Singer's ability to invoke emotion is at its highest when he describes incredibly human values and feelings. In "The Cafeteria," one of the stories Aaron hears is about a man who had a shop in Auschwitz, the largest German concentration camp. When he inquires more about the tale, a man responds, "God help us. He kept his merchandise in the straw where he slept - a rotten potato, sometimes a piece of soap, a tin spoon, a little fat. Still, he did business. Later, in Germany, he became such a big smuggler that they took forty thousand dollars away from him" (293). The image of a man selling "merchandise" out of the very straw he sleeps on to other people in the same, grotesque situation as he, is not only heartbreaking, but infuriating. How could this man even think to call himself Jewish? How could he deny any help to others in sure dire need? Is money worth humanity? This small little story in Singer's larger tale is one to tug at the heartstrings of all who call themselves human. It invokes horrid images, and even more horrid behavior due to situations that should have never been fathomed as reality. In "A Wedding in Brownsville," the narrator states at the beginning of the story that Solomon never married his true love, Raizel. At the end of the tale, Solomon is reunited with this young lady, and the narrator describes the situation in fantastic detail, "He wanted to take her in his arms and kiss her, but at any moment someone might come in. He stood besides her, ashamed that he had married someone else, that he had not personally confirmed the reports of her death" (48). The moment at which a person reunited with a long lost love is not a moment to be scoffed at. It is a wonderful, amazing beautiful moment and also a moment that many a human has the ability to imagine. The idea of love is also one that is universally moving. People sometimes die for love and whatnot. It's quite the emotion.
Because ghosts in New York city are a little out of the ordinary, it comes as a surprise to the reader that there are ghosts in these stories. Singer is extremely skilled at turning a story upside down in a line or two. In "A Wedding in Brownsville," the plot takes an unexpected twist when the Solomon realizes that the girl before him is indeed Raizel, but she is of the age that he knew her back in the old country. He is older. The progression of time makes no sense in his head, as it should, so he begins to consider other, otherworldly reasons why Raizel stands before him. Solomon comes to the conclusion that he may have died as well. He might have died earlier in the story, when his taxi cab's driver slammed on the breaks due to a collision in front of them. He realizes that he has no clue as to whether he is living or dead. He then recalls dancing in a drunk-dead state. A drunken dead state would be much out of the Jewish tradition, and it might have just "killed" his Jewishness and converted him to the American-Jewish tradition he is so unaffectionate towards. He might have gained the ability to see Raizel through death, because she, in his eyes, is dead, and has been. "The Cafeteria's" plot twist comes as just as much as a surprise as the one in "A Wedding in Brownsville." Aaron, while at the cafeteria, meets a woman named Esther, and continues to have casual, sparatic, and strange relations with her. They become friends, but Esther sometimes disappears for random amounts of time, and Aaron generally does not have much of an idea about her whereabouts. One day, Esther tells Aaron that she has been deemed insane by many a person. He inquires as to why anyone would think so, and she tells him a little tale. One late night, she could not sleep, so she decided to wander the streets of Broadway around three AM. She came upon a cafeteria, and observed an eerie, glowing light emitting from he building. She could not peer in due to drawn blinds, but when she opened the revolving door to the premises, she saw a scene that would haunt her, and cause her insanity. Esther says that she saw Hitler and some fellow followers sitting around a table, dressed in white robes. She stood in terror, shocked, until one of the followers noticed her, and then she fled. She found the building burnt to the ground the following day, and attributed it to the scene she had seen the night before. Later in the tale, Aaron is wandering about Broadway late at night when he spies Esther, in the best shape he had ever seen her, with an old man from his past. Due to time constraints, Aaron decides not to make contact with her, and instead spends nights wondering who exactly the man with her was. In order to learn more, he inquires about Esther a few days later at the cafeteria. A man there tells Aaron that she had committed suicide quite some time ago. Confused and baffled, Aaron comes to the conclusion that ghosts could walk the streets of New York, and therefore, there is no reason why Hitler would not be present at a cafeteria in New York. He draws the conclusion that Esther and Hitler would both be ghosts, but his perception of the world only allowed him to see Esther.
These elements of the two short stories by Isaac Bashevis Singer are small scratches at the meaning behind his words. They are simply general elements of most short stories, and therefore more readily discussable. He was indeed, a fantastic author whose work will echo throughout Jewish literature for times to come.
Friday, May 27, 2011
Wednesday, May 25, 2011
Darlene McCoy
Karen Barad
FMST 80K
25 May 2011
Week 8 Readings
I found the lecture on Biomimicry yesterday incredibly interesting. For some reason, I guess I had just never thought to look to nature for technological inspiration. I found the animals, specimens, creatures, or whatever they shall be called to be so fascinating! It was crazy to note that the pattern a shark’s scales were in helped it keep clean. The brittle star is quite the odd little creature as well, and it was entertaining to be able to just chat about it, and how a scientist like Karen would describe it. I can’t recall her name for the life of me – but the woman who headed the entire biomimicry project seemed incredible to me. I understand Karen’s concern for her work, since ethics really are a big deal and all, but I was just so amazed at what she had already done in her life and how apparent it was that she did actually care about science and nature.
The article on nanotechnology more or less really made me think how much science influences daily life. Honestly, it’s just sort of hard to comprehend sometimes. The fact that there is nanotechnology in sunscreen seems kind of silly to me when I think about it, because sunscreen seems to be something so simple and mundane. But – I think because most people in the world are of the same mindset about sunscreen – it is important to know how it’s formed, and for who, and what it takes to form it. If something were to be mass distributed to the public, I’m sure the public would like to know what they’re applying on their skin.
The Nature article also shed some light on the idea that humans sometimes play around with things they don’t quite fully comprehend the workings of yet, and because of that, there may be some serious consequences. I feel like because humans don’t understand the natural science behind such phenomenal creatures like the brittle star, they might be diving into unknown worlds. The results could be good or bad, and I think what Karen might have been trying to say is that scientists must take responsibility all outcomes, and not attempt to hide a more negative consequence because it makes their life easier.
Monday, May 23, 2011
I Swear to Freaking God
There will be real blog posts. Soon. Maybe soon? I don't know. But there are things that need discussing. DISCUSSION IS REQUIRED GODDAMNIT! Where are you Janet omg omg omg omg omg D: SLUUUUUT NOT YET GIVE HER TIME . . . Argh. Seriously. My brain right now is just a jumble of men, fishnets and Lady Gaga. Also: orgies. What the fuck? I'm so tired. So tired. Fem studies reading can die in a fire! I don't know how I feel about anything and everything at the same time. Next weekend is going to be batshit insane. More insane than everything ever that I could imagine. I think. I also think it might be one of the best weekends ever. I'm really excited to see UAWS again. It's been too long since I rocked out with my cock out. :D Rocky cast party is going to be the fucking shit, but I don't think I'm going to get to take the person I want to... small sacrifice, though! It's not like I wouldn't do anything to make things cheel anyway. I'd do anything. Hah. Haha. Hahaha. I'm so fucking cracked out and insane right now. You can tell by the not organized train of thought, right reader-friend person thing? Good lord. Good lord, good lord. I'm just a jumble. A hot mess jumble and I have every right to be. But I'm also incredibly happy. And incredibly grateful for peach milkshakes. I fucking love peaches. Anyway, dude. Dude, anyway. There's going to be so much to talk about soon, my friendly friend bloggin' buddies. There's so much happening right now, but I can't post anything about it, yet. I'm really excited, though. And I think you guys will be, too.
I really love you all more than you think.
xoxo foreva,
meeeeeeeeeeeeeeeeeeeeeeeeeeeeee <3
I really love you all more than you think.
xoxo foreva,
meeeeeeeeeeeeeeeeeeeeeeeeeeeeee <3
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