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brendan coke

@brendancoke14.bsky.social

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brendan coke @brendancoke14.bsky.social · 14h

whilst cooking some chicken. marinated in some thai green curry paste or something..(oh i don't know..)

brendan coke @brendancoke14.bsky.social · 15h

go and watch a documentary on "richard nixon"

brendan coke @brendancoke14.bsky.social · 15h

or go and think about watching "apocalypse now" for the umpteenth time.."the smell of napalm in the morning.." seems far more entertaining and (yes)..somewhat inviting..(and it's still about white recklessness and violence and war torn storytelling..)

brendan coke @brendancoke14.bsky.social · 15h

go and watch bukayo saka..on repeat..

brendan coke @brendancoke14.bsky.social · 15h

personally (in "the last of us" II) after strumming a guitar, jumping over a few rocks and beating to death a few "infected people's"..I said to myself "nah..laters..!"

brendan coke @brendancoke14.bsky.social · 15h

just imagine if (the games listed above) were "all about black games" and "black genres" and "black mythologies" (with black forms and black ways of storytelling..)

brendan coke @brendancoke14.bsky.social · 15h

it's like walking down the street..."do you see colour..?" "do you see sameness..?" "or do you see differénce..?"

brendan coke @brendancoke14.bsky.social · 15h

just wondered..when people play games like "the last of us", red dead redemption II and god of war..(ragnarök - or otherwise) do they actually see colour..?

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brendan coke @brendancoke14.bsky.social · 15h

don't they..? (at least once..?) nothing quite like it...(vanities..?????) nothing mysterious about that..(is there..?)

brendan coke @brendancoke14.bsky.social · 16h

everyone wants to be the toast of london..(the metropolitana)..at least once..

brendan coke @brendancoke14.bsky.social · 16h

The King of Comedy: "Better to be king for a night than a schmuck for a lifetime".

brendan coke @brendancoke14.bsky.social · 19h

Daily Rothko.

brendan coke @brendancoke14.bsky.social · 19h

Daily Rothko. 𝗠𝗔𝗥𝗞 𝗥𝗢𝗧𝗛𝗞𝗢, Untitled {Brown on Red}, 1964, oil on canvas, 90" × 69" (228.6 cm × 175.3 cm) © 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York. 𝚂𝚒𝚐𝚗 𝚞𝚙 𝚏𝚘𝚛 𝚁𝚘𝚝𝚑𝚔𝚘 𝚛𝚎𝚕𝚊𝚝𝚎𝚍 𝚗𝚎𝚠𝚜 𝚘𝚛 𝚖𝚊𝚔𝚎 𝚊 𝚝𝚊𝚡 𝚍𝚎𝚍𝚞𝚌𝚝𝚒𝚋𝚕𝚎 𝚍𝚘𝚗𝚊𝚝𝚒𝚘𝚗. 𝙻𝚒𝚗𝚔𝚜 𝚒𝚗 𝚋𝚒𝚘

Daily Rothko @dailyrothko.bsky.social · 2d

𝗠𝗔𝗥𝗞 𝗥𝗢𝗧𝗛𝗞𝗢, Untitled {Brown on Red}, 1964, oil on canvas, 90" × 69" (228.6 cm × 175.3 cm)
© 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York
𝚂𝚒𝚐𝚗 𝚞𝚙 𝚏𝚘𝚛 𝚁𝚘𝚝𝚑𝚔𝚘 𝚛𝚎𝚕𝚊𝚝𝚎𝚍 𝚗𝚎𝚠𝚜 𝚘𝚛 𝚖𝚊𝚔𝚎 𝚊 𝚝𝚊𝚡 𝚍𝚎𝚍𝚞𝚌𝚝𝚒𝚋𝚕𝚎 𝚍𝚘𝚗𝚊𝚝𝚒𝚘𝚗. 𝙻𝚒𝚗𝚔𝚜 𝚒𝚗 𝚋𝚒𝚘

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brendan coke @brendancoke14.bsky.social · 19h

1-No. 5 / No. 22, 1950 and left, No. 5/No. 24, 1948. 2- from left, No. 5 / No. 22, 1950, No. 3/No. 13, 1949, No. 37/No. 19 (Slate Blue and Brown on Plum), 1958. 3- No. 37/No. 19 (Slate Blue and Brown on Plum), 1958, No. 16 (Red, Brown, and Black), 1958, No. 14 (Horizontals, White over Darks), 1961

brendan coke @brendancoke14.bsky.social · 19h

Daily Rothko. 𝗠𝗔𝗥𝗞 𝗥𝗢𝗧𝗛𝗞𝗢, Installation view of the exhibition, Abstract Expressionist New York: The Big Picture at MoMA, New York October 3, 2010 📸 Photographs by Thomas Griesel © 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York

Daily Rothko @dailyrothko.bsky.social · 1d

𝗠𝗔𝗥𝗞 𝗥𝗢𝗧𝗛𝗞𝗢, Installation view of the exhibition, Abstract Expressionist New York: The Big Picture at MoMA, New York October 3, 2010
📸 Photographs by Thomas Griesel
© 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York

brendan coke @brendancoke14.bsky.social · 19h

Daily Rothko.

brendan coke @brendancoke14.bsky.social · 19h

Daily Rothko. 𝗠𝗔𝗥𝗞 𝗥𝗢𝗧𝗛𝗞𝗢, Panel from the Seagram Murals, 1958-1959. illustrating the gloss of the foreground image contrasting with the more matte background. Oil on canvas © 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York 𝚂m

Daily Rothko @dailyrothko.bsky.social · 19h

𝗠𝗔𝗥𝗞 𝗥𝗢𝗧𝗛𝗞𝗢, Panel from the Seagram Murals, 1958-1959
illustrating the gloss of the foreground image contrasting with the more matte background.
Oil on canvas
© 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York
𝚂m

brendan coke @brendancoke14.bsky.social · 19h

(well..I didn't see anything there...)

brendan coke @brendancoke14.bsky.social · 19h

tony..?

brendan coke @brendancoke14.bsky.social · 19h

fab indeed..

brendan coke @brendancoke14.bsky.social · 21h

but as virtual, that may or may not actualize and become concrete. Historical subjects can therefore simultaneously have complex, contradictory and competing sets of interests which might emerge given different contexts and perceived possibilities and horizons.

brendan coke @brendancoke14.bsky.social · 21h

While at first glance, this may seem an unusual choice, given the appearance of the split subject (although they do not name it as such), it is perhaps not so unexpected. Deleuze’s concept of multiplicity allows the authors to conceptualise interests not as fixed and stable

brendan coke @brendancoke14.bsky.social · 21h

Gilbert and Williams offer a detailed and methodical analysis which helps think through complexity, but also miss some key points which could add to their analysis.

More: In order to do this, they turn to Deleuze and Guattari’s seminal work Capitalism and Schizophrenia.

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brendan coke @brendancoke14.bsky.social · 21h

They trace the securing of neoliberal hegemony and strategic position of influence by big tech and financial capital. They argue that platform capitalism poses major challenges for progressive politics, but may also offer opportunities for collective organisation.

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brendan coke @brendancoke14.bsky.social · 21h

hegemony has been too simplistic a framework for analysis. Gilbert and Williams argue, however, that Gramsci’s concepts, especially if updated to accommodate the complexity of the contemporary world, are crucial for analysing power relations in the current conjuncture.