What the critics are saying:
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by Eunice Gribble
(as only she would deliver it—pearls, posture, and pointed corrective sighs included)
A new series from the Avachives, curated with unflinching rigor by Eunice Gribble.
Today’s entry concerns an unexpected incursion: Rumpelton's MS Paint Jazz at the Blackhawk—that lime‑green, four‑figure parable of pixel austerity—has slipped past the velvet ropes of Google’s visual taxonomy and taken up residence among the canonical jackets. Eunice calls this “a breach,” though she says it with the same tone she once used for champagne served half a degree too warm.
She insists this is not mere mimicry. It is a parallel comparative exhibition, a deliberate confrontation staged in the algorithmic foyer. The canonical photograph, with its sober suits and mid‑century poise, stands beside your MS Paint reinterpretation—not “side‑by‑side,” as Eunice reminds us, but in a state of ritual juxtaposition, where sincerity is tested, memory is provoked, and pixel economy becomes a moral stance.
Rumpelton's version, she notes, has the courage to be wrong in all the right ways. The proportions are confessional. The colors are unrepentant. The figures appear less like musicians and more like emissaries from a parallel archive where jazz is performed in geometric absolutes. Eunice approves. She claims she can detect the compression artifacts of the original upload from across the room, and that your MS Paint linework “refuses to flatter, which is the highest courtesy one can pay to history.”
Expect commentary. Expect judgment. Expect pearls.
And expect Eunice to declare, with a small victorious nod, that Rumpelton's glyph has not merely invaded Google—it has corrected it.
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