painting - francis bacon
1946
oil and pastel on linen
wallacepolsom

No title available
Stranger Things

izzy's playlists!

No title available
sheepfilms

★
Jules of Nature

shark vs the universe
Mike Driver
Xuebing Du

JVL

PR's Tumblrdome
PUT YOUR BEARD IN MY MOUTH
No title available

Janaina Medeiros
No title available
🪼
will byers stan first human second
I'd rather be in outer space 🛸

seen from United States

seen from Nepal
seen from United States

seen from United States

seen from United States
seen from United States
seen from Sweden

seen from Canada

seen from Malaysia
seen from Malaysia
seen from United States
seen from United States

seen from United States

seen from Malaysia

seen from T1

seen from Canada
seen from United States

seen from Lithuania

seen from Australia
seen from Singapore
@kultur3d
painting - francis bacon
1946
oil and pastel on linen
APPROACHING ABJECTION
No Beast is there without glimmer of infinity, No eye so vile nor abject that brushes not Against lightning from on high, now tender, now fierce.
Victor Hugo, La Legende des siecles
NEITHER SUBJECT NOR OBJECT
There looms, within abjection, one of those violent, dark revolts of being, directed against a threat that seems to emanate from an exorbitant outside or inside, ejected beyond the scope of the possible, the tolerable, the thinkable. It lies there, quite close, but it cannot be assimilated. It beseeches, worries, and fascinates desire, which, nevertheless, does not let itself be seduced. Apprehensive, desire turns aside; sickened, it rejects. A certainty protects it from the shameful—a certainty of which it is proud holds on to it. But simultaneously, just the same, that impetus, that spasm, that leap is drawn toward an elsewhere as tempting as it is condemned. Unflaggingly, like an inescapable boomerang, a vortex of summons and repulsion places the one haunted by it literally beside himself. When I am beset by abjection, the twisted braid of affects and thoughts I call by such a name does not have, properly speaking, a definable object. The abject is not an ob-ject facing me, which I name or imagine. Nor is it an ob-jest, an otherness ceaselessly fleeing in a systematic quest of desire.
What is abject is not my correlative, which, providing me with someone or something else as support, would allow me to be more or less detached and autonomous. The abject has only one quality of the object—that of being opposed to I. If the object, however, through its opposition, settles me within the fragile texture of a desire for meaning, which, as a matter of fact, makes me ceaselessly and infinitely homologous to it, what is abject, on the contrary, the jettisoned object, is radically excluded and draws me toward the place_where meaning collapses. A certain "ego" that merged with its master, a superego, has flatly driven it away. It lies outside, beyond the set, and does not seem to agree to the latter's rules of the game. And yet, from its place of banishment, the abject does not cease challenging its master. Without a sign (for him), it beseeches a discharge, a convulsion, a crying out. To each ego its object, to each superego its abject. It is not the white expanse or slack boredom of repression, not the translations and transformations of desire that wrench bodies, nights, and discourse; rather it is a brutish suffering that, "I" puts up with, sublime and devastated, for "I" deposits it to the father's account [verse au pere—pere-uersion]: I endure it, for I imagine that such is the desire of the other. A massive and sudden emergence of uncanniness, which, familiar as it might have been in an opaque and forgotten life, now harries me as radically separate, loathsome. Not me. Not that. But not nothing, either. A "something" that I do not recognize as a thing. A weight of meaninglessness, about which there is nothing insignificant, and which crushes me.
On the edge of nonexistence and hallucination, of a reality that, if I acknowledge it, annihilates me. There, abject and abjection are my safeguards. The primers of my culture.
steps - frank o'hara
how funny you are today new york like ginger rogers in swingtime and st. bridget’s steeple leaning a little to the left here i have just jumped out of a bed full of v-days (i got tired of d-days) and blue you there still accepts me foolish and free all i want is a room up there and you in it and even the traffic halt so thick is a way for people to rub up against each other and when their surgical appliances lock they stay together for the rest of the day (what a day) i go by to check a slide and i say that painting’s not so blue
where’s lana turner she’s out eating and garbo’s backstage at the met everyone’s taking their coat off so they can show a rib-cage to the rib-watchers and the park’s full of dancers with their tights and shoes in little bags who are often mistaken for worker-outers at the west side Y why not the pittsburgh pirates shout because they won and in a sense we’re all winning we’re alive
the apartment was vacated by a gay couple who moved to the country for fun they moved a day too soon even the stabbings are helping the population explosion though in the wrong country and all those liars have left the un the seagram building’s no longer rivalled in interest not that we need liquor (we just like it) and the little box is out on the sidewalk next to the delicatessen so the old man can sit on it and drink beer and get knocked off it by his wife later in the day while the sun is still shining
oh god it’s wonderful to get out of bed and drink too much coffee and smoke too many cigarettes and love you so much
couple kissing at beach - vivian maier coney Island, new york 1955
weerdinge men
between 160 BC - 220 AD
cause of death unknown
derelict church
schull - west cork, ireland
september 2013
justify my love - madonna
1990
that perfect high - shel silverstein
there once was a boy named gimme-some-roy... he was nothin’ like me or you,‘cause laying back and getting high was all he cared to do.
as a kid, he sat in the cellar...sniffing airplane glue. and then he smoked banana peels, when that was the thing to do. he tried aspirin in coca-cola, he breathed helium on the sly, and his life became an endless search to find the perfect high.
but grass just made him wanna lay back and eat chocolate-chip pizza all night, and the great things he wrote when he was stoned looked like shit in the morning light.
speed made him wanna rap all day, reds laid him too far back, cocaine-rose was sweet to his nose, but the price nearly broke his back.
he tried pcp, he tried thc, but they never quite did the trick. poppers nearly blew his heart, mushrooms made him sick. acid made him see the light, but he couldn’t remember it long. hash was a little too weak, and smack was a lot too strong. quaaludes made him stumble, booze just made him cry, then he heard of a cat named baba fats who knew of the perfect high.
now, baba fats was a hermit cat...lived high up in nepal, high on a craggy mountain top, up a sheer and icy wall. “well, hell!” says roy, “i’m a healthy boy, and i’ll crawl or climb or fly, till i find that guru who’ll give me the clue as to what’s the perfect high.”
so out and off goes gimme-some-roy, to the land that knows no time, up a trail no man could conquer, to a cliff no man could climb. for fourteen years he climbed that cliff...back down again he’d slide . . .
he’d sit and cry, then climb some more, pursuing the perfect high.
grinding his teeth, coughing blood, aching and shaking and weak, starving and sore, bleeding and tore, he reaches the mountain peak. and his eyes blink red like a snow-blind wolf, and he snarls the snarl of a rat, as there in repose, and wearing no clothes, sits the god-like baba fats.“what’s happenin’, fats?” says roy with joy, “i’ve come to state my biz . . . i hear you’re hip to the perfect trip... please tell me what it is. “for you can see,” says roy to he, “i’m about to die, so for my last ride, tell me, how can i achieve the perfect high?”
“well, dog my cats!” says baba fats. “another burned out soul, who’s lookin’ for an alchemist to turn his trip to gold. it isn’t in a dealer’s stash, or on a druggist’s shelf... son, if you would find the perfect high, find it in yourself.”
“why, you jive mother-fucker!” says roy, “i climbed through rain and sleet, i froze three fingers off my hands, and four toes off my feet! i braved the lair of the polar bear, i’ve tasted the maggot’s kiss. now, you tell me the high is in myself? what kinda shit is this?
my ears, before they froze off,” says roy, “had heard all kindsa crap; but i didn’t climb for fourteen years to hear your sophomore rap. and i didn’t climb up here to hear that the high is on the natch, so you tell me where the real stuff is, or i’ll kill your guru ass!”
“okay...okay,” says baba fats, “you’re forcin’ it outta me... there is a land beyond the sun that’s known as zabolee. a wretched land of stone and sand, where snakes and buzzards scream, and in this devil’s garden blooms the mystic tzutzu tree. now, once every ten years it blooms one flower, as white as the key west sky, and he who eats of the tzutzu flower shall know the perfect high. for the rush comes on like a tidal wave...hits like the blazin’ sun. and the high? it lasts forever, and the down don’t never come. but, zabolee land is ruled by a giant, who stands twelve cubits high, and with eyes of red in his hundred heads, he awaits the passer-by. and you must slay the red-eyed giant, and swim the river of slime, where the mucous beasts await to feast on those who journey by. and if you slay the giant and beasts, and swim the slimy sea, there’s a blood-drinking witch who sharpens her teeth as she guards the tzutzu tree.”
“well, to hell with your witches and giants,” says roy, “to hell with the beasts of the sea-- why, as long as the tzutzu flower still blooms, hope still blooms for me.” and with tears of joy in his sun-blind eyes, he slips the guru a five, and crawls back down the mountainside, pursuing the perfect high.
“well, that is that,” says baba fats, sitting back down on his stone, facing another thousand years of talking to god, alone. “yes, lord, it’s always the same...old men or bright-eyed youth... it’s always easier to sell ‘em some shit than it is to tell them the truth.”
the doge's palace (le palais ducal) - claude monet
1968
GET REPROGRAMED
boston-based artists kenji nakayama and christopher hope conduct interviews and make signs as part of their Signs for the Homeless project
drinking water out of air
a billboard that produces around 100 liters of water a day (about 26 gallons) from nothing more than humidity, a basic filtration system and a little gravitational ingenuity
design for change - more than just an eyesore
violent women - duane michals
1982