Sublime

An inspiration engine for ideas

welcome 2 π‘’π“‹π‘’π“‡π“Žπ‘œπ“ƒπ‘’ π’Ύπ“ˆ 𝒢 𝑔𝒾𝓇𝓁. a new forum for jagged and iridescent reflection on the β€œgirl online”, or rather, the necessity of being a girl online. what is it to be a girl? drawing our project’s name from alex quicho’s @amfq article << everyone is a girl online >>, we follow quicho in theorizing the girl as one who β€˜tactically’ submits to the wills of the digital algorithm, β€œvying for both privacy and visibility” through a delicately β€˜real’ performance of identity. to participate online is to be a feminine subject, because it subjects one to a self-surveillance from the perspective of the masses. girls embrace the β€˜dark forest’ (after bogna konior @bognamk ) of the internet in hopes to manipulate, collectivize, and forge the future. they can engage in π‘”π’Ύπ“‡π“π’·π“π‘œπ‘”π‘”π’Ύπ“ƒπ‘” in which the hypertextual leakages of online spaces become a watering ground for performances that perverse time/space. in addition to girls online, we focus on ester freider’s @stargir1z conception of π“Œπ‘’π“‰π“ƒπ‘’π“ˆπ“ˆ or the β€œinformational sublime”: a quality created through the hyperconnected nodes of today’s platforms. wetness opens endless opportunities for identity rebirth for girls online, while also necessitating the de-nuanced flattening of content and the capitalistic fetish of gnawing endlessness. through wetness’s infective kiss, girls online birth a new landscape: the π’Έπ“Žπ’·π‘’π“‡π’·π’Άπ“‡π‘œπ“†π“Šπ‘’. just as the baroque (coming from the Portuguese word for an odd, misshapen pearl) introduced entrails of illusion, drama, and subjectivity into early 18th century spaces, the girl, existing in the wet space that is the internet, adopts fluidity and illusion in her online performance. just as baroque ceilings were painted to replicate baby-blue, fluffy-cloud skies, the online girl fashions herself a character both real and saturated. in this project, we aim to record and weave the thought done by girls online as well as their predecessors in cyberfeminism. we discard the priority/possibility of authenticity online, if at all. instead we yield to the pearly cavern of artifice, play, and swarm that might reveal that there was no true self in the first place.

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𝙸 πšŠπš– πšπšŽπš•πš’πšπš‘πšπšŽπš 𝚝𝚘 πšŠπš—πš—πš˜πšžπš—πšŒπšŽ πš–πš’ πšžπš™πšŒπš˜πš–πš’πš—πš πšœπš‘πš˜πš . π™Έπš πš’πšœ πšŠπš— πš‘πš˜πš—πš˜πšžπš› πšŠπš—πš πš™πš•πšŽπšŠπšœπšžπš›πšŽ 𝚝𝚘 πš‹πšŽ 𝚜𝚘 πšŒπš•πš˜πšœπšŽ 𝚝𝚘 π™ΏπšŠπšžπš•πšŠβ€˜πšœ πš’πš—πšŒπš›πšŽπšπš’πš‹πš•πšŽ πšπšŽπš—πšœπšŽ πš™πšŠπš’πš—πšπš’πš—πšπšœ. 𝙸 πš™πšŽπš›πšŒπšŽπš’πšŸπšŽ πšπš‘πšŽπš– 𝚊𝚜 πš˜πšžπšπšœπšπšŠπš—πšπš’πš—πš πšŠπš—πš πšπš’πš–πšŽπš•πšŽπšœπšœ. β€žπš…πš’πšŸπš’πšŠπš— π™Άπš›πšŽπšŸπšŽπš— πš’πš— π™³πš’πšŠπš•πš˜πšπšžπšŽ πš πš’πšπš‘ π™ΏπšŠπšžπš•πšŠ π™Όπš˜πšπšŽπš›πšœπš˜πš‘πš— π™±πšŽπšŒπš”πšŽπš›β€œβ€˜ 𝚊𝚝 π™ΏπšŠπšžπš•πšŠ π™Όπš˜πšπšŽπš›πšœπš˜πš‘πš—-π™±πšŽπšŒπš”πšŽπš› π™ΌπšžπšœπšŽπšžπš–, π™±πš›πšŽπš–πšŽπš—, 𝙳𝙴 𝟸𝟸.𝟼.-𝟷𝟻.𝟿.𝟸𝟢𝟸𝟺 - πš˜πš™πšŽπš—πš’πš—πš 𝚝𝚘𝚍𝚊𝚒 / 𝟹 πš™πš– π™°πš πšπš’πš›πšœπš πšπš•πšŠπš—πšŒπšŽ, πšπš‘πšŽ πš™πšŠπš’πš—πšπš’πš—πšπšœ 𝚘𝚏 π™³ΓΌπšœπšœπšŽπš•πšπš˜πš›πš πš™πšŠπš’πš—πšπšŽπš› πš…πš’πšŸπš’πšŠπš— π™Άπš›πšŽπšŸπšŽπš— (*𝟷𝟿𝟾𝟻) πšœπšŽπšŽπš– 𝚝𝚘 πš‘πšŠπšŸπšŽ πš•πš’πšπšπš•πšŽ πš’πš— πšŒπš˜πš–πš–πš˜πš— πš πš’πšπš‘ πšπš‘πš˜πšœπšŽ 𝚘𝚏 π™ΏπšŠπšžπš•πšŠ π™Όπš˜πšπšŽπš›πšœπš˜πš‘πš—-π™±πšŽπšŒπš”πšŽπš›. π™°πš•πšπš‘πš˜πšžπšπš‘ πš‹πš˜πšπš‘ πšŠπš›πšπš’πšœπšπšœ 𝚏𝚘𝚌𝚞𝚜 πš˜πš— πšπš‘πšŽ πšπš’πšπšžπš›πšŠπšπš’πšŸπšŽ πš’πš— πšπš‘πšŽπš’πš› πš πš˜πš›πš”, πšπš‘πšŽ πšπš›πšŽπšŠπšπš–πšŽπš—πš 𝚘𝚏 πšπš‘πšŽ πšœπšžπš›πšπšŠπšŒπšŽπšœ πšŒπš˜πšžπš•πš πš—πš˜πš πš‹πšŽ πš–πš˜πš›πšŽ πšπš’πšπšπšŽπš›πšŽπš—πš: π™Έπš— πšπš‘πšŽ 𝚌𝚊𝚜𝚎 𝚘𝚏 πšπš‘πšŽ πš˜πš•πšπšŽπš› πšŠπš›πšπš’πšœπš, 𝚊 πš–πš˜πšœπšπš•πš’ πš’πš–πš™πšŠπšœπšπš˜ πšœπšπš’πš•πšŽ 𝚘𝚏 πš™πšŠπš’πš—πšπš’πš—πš, πš’πš— πš πš‘πš’πšŒπš‘ πšœπš‘πšŽ πšœπš˜πš–πšŽπšπš’πš–πšŽπšœ πšŒπšŠπš›πšŸπšŽπš πš’πš—πšπš˜ πšπš‘πšŽ πšŒπš‘πš’πš™πš™πš’ πš™πšŠπš’πš—πš πš–πšŠπšπšŽπš›πš’πšŠπš• πš πš’πšπš‘ 𝚊 πš‹πš›πšžπšœπš‘; πš’πš— πšπš‘πšŽ 𝚌𝚊𝚜𝚎 𝚘𝚏 πšπš‘πšŽ πš’πš˜πšžπš—πšπšŽπš› πšŠπš›πšπš’πšœπš, πšŠπš— πšŠπš›πšπš’πšπš’πšŒπš’πšŠπš•-πš•πš˜πš˜πš”πš’πš—πš πš™πš›πšŽπšŒπš’πšœπšŽ πš™πšŠπš’πš—πšπš’πš—πš πš πš’πšπš‘ πšœπš–πš˜πš˜πšπš‘, πš–πš˜πšπš’πš˜πš—πš•πšŽπšœπšœ πšœπšžπš›πšπšŠπšŒπšŽπšœ. πšƒπš‘πšŽ πšŒπš˜πš—πš—πšŽπšŒπšπš’πš˜πš—πšœ πš•πš’πšŽ πš˜πš— 𝚊 πšπš’πšπšπšŽπš›πšŽπš—πš πš•πšŽπšŸπšŽπš•: πšπš‘πšŽ πšŽπš‘πšŠπš–πš’πš—πšŠπšπš’πš˜πš— 𝚘𝚏 πšπš‘πšŽ πšŠπš—πšπš’πššπšžπšŽ πšπš’πšπšžπš›πšŽ, πšπš˜πš› πšŽπš‘πšŠπš–πš™πš•πšŽ, πšŠπš—πš πšŠπš‹πš˜πšŸπšŽ πšŠπš•πš• πšπš‘πšŽ πšœπš™πšŽπšŒπš’πšŠπš• πšŠπšπš–πš˜πšœπš™πš‘πšŽπš›πšŽ, πšπš‘πšŽ πšœπšπš’πš•πš•πš—πšŽπšœπšœ πšŠπš—πš πšπš‘πšŽ πšπšŽπšŽπš•πš’πš—πš 𝚘𝚏 πšπš’πš–πšŽπš•πšŽπšœπšœπš—πšŽπšœπšœ πšπš‘πšŠπš πšŽπš–πšŠπš—πšŠπšπšŽ πšπš›πš˜πš– πšπš‘πšŽ πš πš˜πš›πš”πšœ. π™Έπš–πšŠπšπšŽ: π™ΌπšŠπš›πš’, 𝟸𝟢𝟸𝟸 πš˜πš’πš• πš˜πš— πšŒπšŠπš—πšŸπšŠπšœ 𝟷𝟻𝟢 Γ— 𝟸𝟸𝟢 πšŒπš– πš™πš‘πš˜πšπš˜: π™ΈπšŸπš˜ π™΅πšŠπš‹πšŽπš› #πš™πšŠπšžπš•πšŠπš–πš˜πšπšŽπš›πšœπš˜πš‘πš—πš‹πšŽπšŒπš”πšŽπš› #πš™πšŠπšžπš•πšŠπš–πš˜πšπšŽπš›πšœπš˜πš‘πš—πš‹πšŽπšŒπš”πšŽπš›πš–πšžπšœπšŽπšžπš– #πšŸπš’πšŸπš’πšŠπš—πšπš›πšŽπšŸπšŽπš— πšƒπš‘πšŠπš—πš” 𝚒𝚘𝚞 @frankschmidt49 πšπš˜πš› πš–πšŠπš”πš’πš—πš πšπš‘πš’πšœ πš™πš˜πšœπšœπš’πš‹πš•πšŽ. 🌷

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New work by American painter, Elise Ansel β€˜Woman Reading IX’, oil on linen, 102cm x 86cm

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Photographer and new media artist Olivia Alonso Gough, aka @bug_girl_69, discusses working with different tiers of creativity, establishing a routine, and not going to grad school unless it's free.

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