"She is weighing gold in a pair of scales, or perhaps also weighing the pearls strewn on the table. Her interest is commercial. In the way the scene is painted, the substantiality and tangibility of everything is emphasized. Everything suggests the solidity of a Dutch middle-class home, even the painting of the Last Judgement on the wall behind her. A painting on the wall is a mark of prosperity. But go on looking...
Gradually the painting becomes more mysterious, less easily explainable in my terms. The light falls on her face, on her fingers, on the scales, on the pearls. The moment has been preserved. And as we realize that, the way that it has been preserved, we realize that, like every moment, it was unrepeatable. It as though she's holding the moment between her forefinger and thumb- on the scales of the past and the future. Despite its celebration of property, this painting is about the mystery of light and time as we look up at the stars."
never not thinking about how powerful superheroes would be if they were allowed to exist naturally as a folk cultural phenomenon rather than being controlled by capital, like if every individual storyteller had the ability to make the characters mean what they wanted them to mean without there being a sense that only the people who Own those characters are allowed to tell stories about them, the people’s cinematic universe etc
The New Yorker has rediscovered a 2003 Abercrombie & Fitch catalogue which reveals that the editorial team invited contemporary critical theorist Slavoj Zizek to comment on the photos they had prepared.