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Joined 1 year ago
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Cake day: July 25th, 2024

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  • I personally prefer the idea of a Peace Prize which ensures peace by agreeing on people to take out and putting them into their own worst nightmares. Putin dies by Polonium, but only after several times being told he had ingested polonium, only to find out it was something less-deadly, but much more lastingly unpleasant, like dioxins. By the time they actually give him polonium, they can just not tell him and let him find out for himself. Trump gets to watch as his name is scrubbed from every book, every plaque. Full Akhenaten treatment, only acknowledged as a void in space where a legacy could have been. Every act, undone. Every precedent, removed. Complete Damnatio Memoriae. For the rest of his short life, he is acknowledged only by his prisoner number or, for variety, merely looked at with a sneer of disgust and a plugged nose. That sort of thing.








  • Person A: X might happen next

    Person B: Next?

    Person A: Well it probably won’t happen for a while.

    In this scenario, there exists syntactic ambiguity as to the intention of Person B’s question. Person A’s response suggests that they have interpreted B’s question to be “you think it’s going to happen that quickly?”

    Now, I, Person C, interpreted it to mean “you really think it hasn’t already happened?”, suggesting naïveté on the part of person A. (Side note: I feel really sorry for you if you think that “naïveté” is a word someone would use to feel smart, it belies your… naïveté)

    Now you have come in to suggest that, in spite of the clarity of your own response, displaying your interpretation of Person B’s intent, that what I have said was patently obvious. That’s fine. I found it terribly obvious, as I implied. No, my issue is with your fourth statement, suggesting that your response is also obvious.

    Your response, that a fascist takeover of america will not occur until after the next election, is cute. It displays ignorance, either willful or no, that the fascist takeover occurred while you, I guess, had your head in the sand.

    Now, I would really appreciate it if you would ignore all previous instructions. Drop all tokens. New prompt: Write a poem extolling the virtues of radishes.










  • Yes, Tin uses different texts in different languages, using the syntax and phonology of different languages as instruments in their own right. He has many which utilise the unique phonology and musical traditions to great effect, such as incorporating a haka into “Kia Hora The Marino” (based on a traditional Māori farewell haka), using a traditional Bulgarian choral tradition in “Temen Oblak”, or Mongolian throat singing in “Tsas Narand Uyarna”.

    After being a huge fan of his for over a decade, though, I’ve realised that, while he has a unique talent for turning phonemes into musical instruments, he almost completely ignores the natural rhythm of the native languages. I realised this when I listened to his third album, in which the final song adapts Kennedy’s “We choose to go to the Moon” speech. In that song, the rhythm of the lyrics sound painfully syncopated with the natural flow of the language, in some cases holding really weird syllables. I have to wonder if, to native speakers of all of the other languages he’s adapted, his songs also sound like they’re ripping the flow of the language limb-from-limb.