Prolog – House I
lobster on the leash, let him set the pace. the crowd rushes past me, while I lurk for the catch.
Cosimo Galluzzi

⁂
Lint Roller? I Barely Know Her
No title available
taylor price
One Nice Bug Per Day

tannertan36
🪼
cherry valley forever
YOU ARE THE REASON
Sweet Seals For You, Always
Keni

祝日 / Permanent Vacation
Xuebing Du

blake kathryn

if i look back, i am lost

pixel skylines
Mike Driver
ojovivo
KIROKAZE
seen from United States
seen from United States

seen from Poland

seen from United States
seen from France

seen from United States
seen from Türkiye

seen from Germany

seen from United States
seen from United States

seen from Indonesia
seen from Bahrain

seen from Russia

seen from United States

seen from Malaysia

seen from United Kingdom
seen from China
seen from United States
seen from Greece
seen from United States
@do-you-know-yourself
Prolog – House I
lobster on the leash, let him set the pace. the crowd rushes past me, while I lurk for the catch.
II
they flow with the current, but I whirl them up. my claws are ready, when will they snap.
III
i catch their attention, to define myself. because I’m a player of life, and never roll the dice the same twice.
Prolog – Lenny I
fabric in my hands, let the texture dictate the cut. only bespoke is precise enough, the lining has to fit.
II
my methods are like my mind, sharp, differentiated, exact. traditional has stood the test of time, but I always look ahead.
III
to stand out from the crowd, you have to understand it. i work like a croupier and guide the game.
Lenny: Tell me, my Muse, what monstrous, dire offence happened to you? [1]You seem dreadfully tired.[2]
House: I walked in the street with modest air and downcast eyes, as if I had been alone in the world.[3] I was tired, tired, but unable to stop.[2] I repeated it again and again,[4] but it’s not the same anymore. This recent change in my moral concerns time, space and the relations between humans.[5]
Lenny: It’s not just about making an effort and repeating the same thing every day.[6] Every activity and property of your being, every one of your vital urges, becomes a need, a necessity, which your self seeking transforms into seeking for other things and beings outside yourself.[4] It is one thing to know virtue and another to conform the will to adapt.[7]
House: I’m not afraid of adapting. You know that I constantly change and that’s why I need you. It is a world connected globally [8]and we are part of it. I was one of a kind before I was connected, but not anymore. In a word, esteem of the others became the criterion for esteem of self.[9] If I continue on this wise, soon, very soon, the kingdom will pass out of my hand.[10]
Lenny: You are unique, amazingly unique in fact, suspiciously unique.[2] You guide me with your sharp contours, your lovely body and wit mind. Let me look at you, we’ll get you back on your feet.
House: You flatter me. I do not wish to reflect on what is past.[11] Because I like the dreams of the future better than the history of the past.[12]
[1] Wollstonecraft, Complete Works. .
[2] Asimov, Complete Robot Anthology. .
[3] Michelet, Priests Women and Families. .
[4] Marx, Collected Works. .
[5] Serres, Hominescence. .
[6] Hovestadt Buehlmann, Quantum City. .
[7] Butler, Bodies That Matter. .
[8] Duncan, The James Bod Archives. .
[9] Marion, On Descartes Passive Thought The Myth of Cartesian Dualism
[10] The Book of the Thousand and One Nights Supplementary Nights. .
Lenny: I’ll examine you with my greatest attention and measured you very precisely.[1] Put yourself in position.[2]
House: How should I pose for you?
Lenny: First you need to liberate yourself from the original objects of love.[3] Then you need to give up your control, so that the forces run on their own.[4] Now it belongs to my wisdom to arrange you in due manner and order.[5]
House: I know that you have trust in me, so I will trust you.[6] But please make sure that no parts are lost at the end.
Lenny: There is an end to nothing; all things are connected in a sort of circle; if they flee, then I will pursue them.[7] I will only change your form with the same mass of values.[8] You are in safe hands.
Lenny: In your limited surface I cannot get the sublimity of extent, but we may have the beauty of peace, and the majesty of depth.[9] I like the asymmetric motion of your white facade with the regularly placed openings. That you contrast it with a classical symmetry in your spaces testifies to style. I sense that you strive for a profound and eternal stillness.[10] We will work with that.
House: You already told me this last week. You know I see myself and explore myself right into my inwards; I know what pertains to me.[11] We must go farther and become crazier.[12]
Lenny: As you wish, I hope you are you ready and longing to affront dangers and difficulties? [13]
House: All parts are ready for the start.[18]
Lenny: First we will mark out the body. After that, we will continue to add existing parts, cut them to size and extend them with new ones.
House: But we already did this, can’t you come up with a more radical change?
Lenny: Yes I can arrange this. We should change your pattern in its form, but not in its direction.[14] The result is a pattern of stripes with fine lines. Your world is made of straight lines, but we use curves now.[15] The only change here lies in the shift of our perspective.[16]
House: So we not only adjust my form but also my perspective?
Lenny: Yes, we will use the same parts, but we will assemble and look at them differently. In a continuously revolving circle, every point is simultaneously a point of departure and point of return. [8] This rotary movement, in which the linear progress of time is suspended in a repetitive loop, is our drive at its most elementary.[16]
[1] Le Roy, The Ruins of the Most Beautiful Monuments of Greece. .
[2] Asimov, Complete Robot Anthology. .
[3] Klein, The Psychoanalysis of Children. .
[4] Bunz, Symptoms of the Planetary Condition. .
[5] Aquinas, Summa Theologica. .
[6] Michelet, The History of France Vol 2. .
[7] Seneca, Complete Works. .
[8] Marx, Collected Works. .
[9] Ruskin, The stones of Venice. .
[10] Gartman, From Autos to Architecture Fordism and Architectur. .
[11] de Montaigne, The complete essays. .
[12] Burrows, Fictioning. .
[13] The Book of the Thousand and One Nights Supplementary Nights
[14] Ackroyd, London A Biography. .
Lenny: Let us go further.[1]
House: I’ll move when I’m told to move and stop when I’m told.[2]
Lenny: We proceed with the fitting. It is used to ensure that the garment fits perfectly.[3]
It should be flexible but specific, with the potential for all shapes but fitting one only, individual and voluble, open and shut, holding firmly but allowing to dance.[4]
House: Touch me.[5] Fit me. It’s a marvelous feeling.[5]
Lenny: It obliges one to think in the same place, at the same time and in the same relationship the stable and the changing, the one and the multiple, reference and variation.[4]
House: Go on or be silent, and let me go on in my own way.[6]
Lenny: Let me push and pull the fabric through slits to expose as much fabric as desired.[7]
House: This effect is enhanced by the growth of [my] ruff.[8]
Lenny: All the pleasure you can have in anything I do is in its proud breeding, its rigid formalism, its perfect finish, its cold tranquillity.[6]
House: I hope that this will never come to an end.[9]
Lenny: Bear everything well in mind: mark well the bright spring when it comes, and the rain in good season.[10] That’s when I’m coming back.
[1] Marx, Collected Works. .
[2] Rand, The Fountainhead. .
[3] Roetzel, Gentleman A Timeless Fashion. .
[4] Serres, The Five Senses. .
[5] Asimov, Complete Robot Anthology. .
[6] Ruskin, The stones of Venice. .
[7] Wada, Memory on Cloth. .
[8] Laver, The Concise History of Costume and Fashion. .
[9] Hugo, Les Miserables. .
[10] Hesiod, Works and Days. .
[11] de Montaigne, The complete essays. .
He wore a suit, beautifully tailored, of a color to which he referred as “merde d’oie”[1] The large colored areas were delineated with small stitches and gathered so that the cloth could be fitted tightly at top and bottom.[2] Because of the large amount of white in it.[3] It is tailored to the [..] body and comprised of a tripartite system of base, columns, and hood.[4] The Waistcoat was short and square cut, with a couple of inches showing below the front parts of the coat. [5] The upper buttons were left undone to display the frill of the shirt.[5] The spring season promises well for this year.[6] It assumes every odour, colour and flavour, and of itself it has nothing.[7]
[1] Rand, The Fountainhead. .
[2] Wada, Memory on Cloth. .
[3] Roetzel, Gentleman A Timeless Fashion. .
[4] Leatherbarrow Eisenschmidt, Twentieth Century Architecture. .
[5] Laver, The Concise History of Costume and Fashion. .
[6] Proust, In Search of Lost Time Vol V The Captive The Fugitive. .
[7] da VInci, The Notebooks of Leonardo da Vinci. .
I can’t say enough about the importance of accessories. They are what transforms a dress. I like a dress to be sober and combinated with a crazy accessory.
Accessories help to give a coherence to the whole while guaranteeing uniqueness.[1]
Make a careful selection so that you may have a succession of bloom and so that the colors [..] shall not clash with each other[..].[2] They often become associated with certain seasons of the year, and reappear in the offspring at a corresponding season.[3]
This combination gives variety of texture and lends itself to an interesting color scheme.[2]
The diversity of movements with their variety of experimental gropings indicates the vitality of the period.[4] My unusual perspectives, set in eye catching colour and arrangement, reflect my joyous sensitivity.[5]
This is another of those instances in which something that initially seems subservient [..] proves on closer examination to contain the principle of an idea that is growing and developing in spectacular direction.[6]
[1] Yves Saint Laurent, 1977. .
[2] Stickley, Gustav Stickley s Craftsman Homes and Bungalows. .
[3] Darwin, The Variation of Animals and Plants under Domestication. .