rewiring kitchen. @cunning-kitchen - Tumblr Blog

everyone in the comments like “its just focaccia” “he’s never seen someone bake focaccia before?” shut the fuck up

And also, everyone has different experiences and an experience can be a person’s first time, even if it’s something you’ve seen over and over again. I was going on a hike in Central Jersey with a bunch of kids from Trenton, inner city. There were squirrels and birds singing. Typical suburban forest. It was a normal hike for me but this was the wilderness for them and they were excited and frightened because this was the furthest they had ever been from the city and they didn’t have any idea what a poisonous plant looked like or where snakes might be and it was all exciting and new, this suburban New Jersey forest. It’s really nice when you can just celebrate the exciting moment with a person without showing off how much of the world you have experienced.

quasarkisses

I’m always grateful I got to see this xkcd strip when I was young enough to change

lascitasdelashoras

David Hockney - The boy hidden in a fish, 1969

suchscary

various doodles I did on scraps of paper while being grumpy at work

propertiesofjoy

night of furs, pedro lemebel

firagasoap

Broccoli Knuckle Duster by David Delahunty

soundcarvings

I think we should all fuck off. I think we should all go to the library and just fuck off.

disorientation

Having a "stupider people have done this" attitude about the things you want to do can open so many doors

thesoftestcloud

i took one step out the front door and got soaking wet

slaughterhousebrutality

i'm like if a hedonist didn't derive pleasure out of anything

blackcoffeestudies

Mutual fascination is always a risky business. Lacan suggests that it is the consequence of an imaginary identification in which the self strives to incorporate the other in an act as aggressive as it is loving. It is never clear who, snake or snake charmer, is mesmerized by whom.

Elizabeth Grosz, Jacques Lacan: A feminist introduction

kaylmao

wizardarchetypes

when i was curating the marine science museum i was up in the archives looking for something and when i walked out i had to go through the main museum hall and i heard some kids speculating something about a whale skeleton so i walked up and started talking to them about it. they started asking me follow up questions and then another and another and another and then their parents came over and immediately zeroed in on my "curator" nametag and told their kids i was probably very busy and i said no not at all keep asking me questions. soon their parents asked some questions too (after a few more apologies, because somewhere along the line they learned shame that i want to undo) and in the end i talked to them for like 30 minutes as a few more people joined.

a few months later one of the parents wrote me a letter that i still keep with me and in the letter they asked the kids what they learned at the museum and one of the kids said, "i learned i'm special."

choked up just typing that now LMAO. they didn't mention the whales or the squids or the seals or the tides or the seaweed i told them all about. they learned that their questions matter so much that even the person in charge should stop and answer them. they learned they don't need to apologize for not knowing and for asking questions. they learned that they're special!!!!!!!! what could possibly matter more???

wovi

we studied a lot of car crashes, and came up with a few interesting details. the fact that, very often, the seat belt won’t give you a cut on the side of your neck, for example. but, despite the fact that this movie caused a huge furor in just about every country it played in, i still maintain that i was very restrained in making it, certainly compared with the realities of car crashes. and, as i will discuss later, even in terms of the sexuality, i think the movie is really quite restrained. so it obviously was pushing some buttons that were very deeply embedded and rarely pushed, i think, is really what was happening. i think, a lot of people end up thinking the film is very violent, when in fact, it's really not violent at all, but it’s conceptually violent. it does violence to people’s concepts of what is proper and acceptable and conceivable even. and i think that’s really why it got the reaction it did. because i think frame by frame, there’s nothing really particularly gory or grotesque or -- it's really in the flow of the thing, and the organic life of it, that it is disturbing, and that then is ideal, i mean, it’s the conceptual level that it works on most strongly, and to me, that’s perfect.

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cronenberg’s commentary for crash 1996