Richard Diebenkorn Spades, 1981

if i look back, i am lost

shark vs the universe
almost home
EXPECTATIONS
Show & Tell
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Jimmy Eat World
Cosimo Galluzzi
macklin celebrini has autism
$LAYYYTER

bliss lane

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Phantogram Three
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Today's Document

oozey mess
One Nice Bug Per Day
The Bowery Presents
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@infiniterichesinalittleroom
Richard Diebenkorn Spades, 1981
Oh Mariana, Mariana, Mariana - by Maurizio Cattelan (1960), Italian
Siouxsie Sioux and John Cale mixing The RaptureĀ in New York, 1995.
WEāRE ALL MONSTERS. EVERYBODY IS A MONSTER, OR EVERYBODY FEELS LIKE A MONSTER ā AND THEREāS AN ELEMENT OF SHAME THERE. EVERYBODY FEELS SHAME AND SELF-LOATHING AT SOME POINT. AND BY EXPOSING THAT ā BY TALKING ABOUT SOMETHING THAT ALL OF US ARE GOING THROUGH AT ONE TIME OR ANOTHER ā WE ALLOW OURSELVES TO EXPOSE OUR VULNERABILITIES, BE MORE HONEST, AND NOT BE ASHAMED. IF WEāRE ALL MONSTERS, THEN THEREāS NOTHING TO BE ASHAMED OF. WEāRE ALL FLAWED. WE ALL HAVE OUR POWERS, WE ALL HAVE OUR WEAKNESSES ā I THOUGHT IT WAS A NICE WAY TO TALK ABOUT ALL THAT.
RICK OWENS
āHe seriously thought that there is less harm in killing a man than producing a child: in the first case you are relieving someone of life, not his whole life but a half or a quarter or a hundredth part of that existence that is going to finish, that would finish without you; but as for the second, he would say, are you not responsible to him for all the tears he will shed, from the cradle to the grave? Without you he would never have been born, and why is he born? For your amusement, not for his, thatās for sure; to carry your name, the name of a fool, Iāll be bound ā you may as well write that name on some wall; why do you need a man to bear the burden of three or four letters?ā
ā Gustave Flaubert, November
Something strange has happened to the idea of privacy in our surreal time. Instead of being cherished, it appears to have become, for many people in the West, especially young people, a valueless qualityāactually undesirable. If a thing is not made public, it doesn't really exist. Your dog, your wedding, your beach, your baby, your dinner, the interesting meme you recently sawāthese things need, on a daily basis, to be shared. In India, privacy is a luxury of the rich. The poor, living in small, overcrowded spaces, are never alone. Many impoverished Indians have to perform the most private of acts, their natural bodily functions, out of doors. To have a room of one's own, one must have money. (I don't think Virginia Woolf ever went to India, but her dictum stands, even there, even for men.) Scarcity creates demand, and in the poor majority of the world, a room of one's ownāespecially for womenāis still a thing to be yearned for. But in the greedy West, where attention has become the thing most hungered for, where the quest for followers and likes is the new gluttony, privacy has become unnecessary, unwanted, even absurd. Eliza and I decided to be private people. This did not mean we kept our relationship secret. My family knew, and so did hers. Her friends knew, and so did mine. We dined out together, went to the theater, cheered at Yankees games at the Stadium, walked around art galleries, bopped at rock concerts. We led, in short, the ordinary life of New Yorkers. But we stayed off social media. I didn't "like" her, she didn't "like" me. And as a result, for five years, three months, and eleven days, we flew almost completely under the radar. Then, cutting that life apart, came the knife.
Knife: Meditations After an Attempted Murder by Salman Rushdie
Stillleben mit Kind und schwarzer Katze (Still Life with Child and Black Cat) ⢠Gabriele Münter
Apocalypse Now (1979)
I suspectāIām not saying Iāve been successful at it. But I think that if avant-garde stuff can do its job, it is tremendously difficult and not that accessible, and seduces the reader into making extraordinary efforts that he wouldnāt normally make. And that thatās the kind of magic that really great art can do. Except of course the hard thing is to do both at the same time. Because a book has to teach a reader how to read it. So the structure stuff starts right at the beginning. We sit around and bitch about how TV has ruined the audience for readingāwhen really all itās done is given us the really precious gift of making our job harder. You know what I mean? And it seems to me like the harder it is to make a reader feel like itās worthwhile to read your stuff, the better a chance youāve got of making real art. Because itās only real art that does that. You teach the reader that heās way smarter than he thought he was. I think one of the insidious lessons about TV is the meta-lesson that youāre dumb. This is all you can do. This is easy, and youāre the sort of person who really just wants to sit in a chair and have it easy. When in fact there are parts of us, in a way, that are a lot more ambitious than that. And what we need, I thinkāand Iām not saying Iām the person to do it. But I think what we need is seriously engaged art, that can teach again that weāre smart. And that thereās stuff that TV and moviesāalthough theyāre great at certain thingsācannot give us. But that have to create the motivations for us to want to do the extra work, you know, to get these other kinds of art. And I think you can see it in the visual arts, I think you can see it in music ā¦
David Foster Wallace ⢠Although Of Course You End Up Becoming Yourself: A Road Trip with David Foster Wallace
Itās weird, because I realize I had advantages my students didnāt. Like, before dinner, um, there was just this weird hour, late in the afternoon, when, you know, dinner was more or less simmering. And thereād be music on, and theyād be reading, and weād be reading. Weād all sit around the living room, and weād each be reading our own thing. And every once in a while, weād talk about what we were reading. And I for a long time, I think, thought all families were like that.
David Foster Wallace ⢠Although Of Course You End Up Becoming Yourself: A Road Trip with David Foster Wallace
We never keep to the present. We recall the past; we anticipate the future as if we found it too slow in coming and were trying to hurry it up, or we recall the past as if to stay its too rapid flight. We are so unwise that we wander about in times that do not belong to us, and do not think of the only one that does; so vain that we dream of times that are not and blindly flee the only one that is. The fact is that the present usually hurts. We thrust it out of sight because it distresses us, and if we find it enjoyable, we are sorry to see it slip away. We try to give it the support of the future, and think how we are going to arrange things over which we have no control for a time we can never be sure of reaching. Let each of us examine his thoughts; he will find them wholly concerned with the past or the future. We almost never think of the present, and if we do think of it, it is only to see what light it throws on our plans for the future. The present is never our end. The past and the present are our means, the future alone our end. Thus we never actually live, but hope to live, and since we are always planning how to be happy, it is inevitable that we should never be so.
Blaise Pascal ⢠Penseés rendered into english by A. J. Krailsheimer
WhatĀ IĀ lusted to get was the printed picture that had chanced to absorb my trespassing image while theĀ GazetteāsĀ photographer was concentrating on Dr. Braddock and his group. Passionately I hoped to find preserved the portrait of the artist as a younger brute. An innocent camera catching me on my dark way to Lolitaās bed - what a magnet for Mnemosyne! I cannot well explain the true nature of that urge of mine. It was allied, I suppose, to that swooning curiosity which impels one to examine with a magnifying glass bleak little figures - still life practically, and everybody about to throw up - at an early morning execution, and the patientās expression impossible to make out in the print.
Vladimir Nabokov ⢠Lolita
'My application's not bought,' I am telling them, calling into the darkness of the red cave that opens out before closed eyes. 'I am not just a boy who plays tennis. I have an intricate history. Experiences and feelings. I'm complex. 'I read,' I say. 'I study and read. I bet I've read everything you've read. Don't think I haven't. I consume libraries. I wear out spines and ROM-drives. I do things like get in a taxi and say, "The library, and step on it." My instincts concerning syntax and mechanics are better than your own, I can tell, with due respect. 'But it transcends the mechanics. I'm not a machine. I feel and believe. I have opinions. Some of them are interesting. I could, if you'd let me, talk and talk. Let's talk about anything. I believe the influence of Kierkegaard on Camus is underestimated. I believe Dennis Gabor may very well have been the Antichrist. I believe Hobbes is just Rousseau in a dark mirror. I believe, with Hegel, that transcendence is absorption. I could interface you guys right under the table,' I say. I'm not just a creÄtus, manufactured, conditioned, bred for a function.' I open my eyes. 'Please don't think I don't care.'
David Foster Wallace ⢠Infinite Jest
We never keep to the present. We recall the past; we anticipate the future as if we found it too slow in coming and were trying to hurry it up, or we recall the past as if to stay its too rapid flight. We are so unwise that we wander about in times that do not belong to us, and do not think of the only one that does; so vain that we dream of times that are not and blindly flee the only one that is. The fact is that the present usually hurts. We thrust it out of sight because it distresses us, and if we find it enjoyable, we are sorry to see it slip away. We try to give it the support of the future, and think how we are going to arrange things over which we have no control for a time we can never be sure of reaching. Let each of us examine his thoughts; he will find them wholly concerned with the past or the future. We almost never think of the present, and if we do think of it, it is only to see what light it throws on our plans for the future. The present is never our end. The past and the present are our means, the future alone our end. Thus we never actually live, but hope to live, and since we are always planning how to be happy, it is inevitable that we should never be so.
Blaise Pascal ⢠Penseés rendered into english by A. J. Krailsheimer
Alas, I was unable to transcend the simple human fact that whatever spiritual solace I might find, whatever lithophanic eternities might be provided for me, nothing could make my Lolita forget the foul lust I had inflicted upon her. Unless it can be proven to me - to me as I am now, today, with my heart and by beard, and my putrefaction - that in the infinite run it does not matter a jot that a North American girl-child named Dolores Haze had been deprived of her childhood by a maniac, unless this can be proven (and if it can, then life is a joke), I see nothing for the treatment of my misery but the melancholy and very local palliative of articulate art. To quote an old poet: The moral sense in mortals is the duty We have to pay on mortal sense of beauty.
Vladimir Nabokov ⢠Lolita
Jone Reed