chaos without consequences

lets draw our straws richard parker

[nobrashfestivity]

John Cage, Photographs of Mushrooms, 1962-63

Scanned (imperfectly) from my copy of John Cage: A Mycological Foray: Variations on Mushrooms Variations on Mushrooms

[nobrashfestivity]

Happy Birthday John Cage

[lucienballard]

This 'impossible' crane shot from Mikhail Kalatozov's SOY CUBA (1964) ...

IS the greatest and quite remarkable one shot scene of them all.

[ralfmaximus]

Whatever you think this is gonna be, you're wrong. Please watch.

[archaeo-geek]

Holy crap!

[iconist]

Sarah Sitkin

[xiangqiankua]

I think this sign is interesting because the Chinese only says 請勿踩出路徑 (please don't trample out a path), whereas the English says "To preserve the meadow, please don't walk along the same desire path". Is there even a word for "desire path" in Mandarin? I can find an article 穿過草地的“心選小路” describing the concept of a desire path for English learners: 魯迅先生說過，世間本沒有路，走的人多了，也便成了路。小區草坪上的被人踩出的小路，獵人們在樹林里長期穿行走出的小路，都是我們今天要說的desire path。However, there does not seem to be a single specific word for it. I get the feeling that perhaps the sign writer decided to err on the side of over-explanation in an attempt to sway the hearts of lawless foreigners prone to disregarding signage.

[screen-studies]

Aftersun (2022) dir. Charlotte Wells

[myheartisanelephant]

</3

[noorshirazie]

“In ordinary life we are immortal, we think about death, but it doesn’t gnaw at us, it is down there, for later, it is weak, forgettable. But as soon as I love, death is there, it camps out right in the middle of my body, in daylight, getting mixed up with my food, dispatching from the far-off future its prophetic presence, taking the bread out of my mouth.”

— Hélène Cixous, Stigmata; Love of the Wolf

[taiturner]

THE LAST OF US ◆ 1x07 “Left Behind”

[myheartisanelephant]

</3

[264571956-deactivated20210621]

1.  / 2. / 3.  p.s. i still love you, jenny han / 4. the social network / 5. / 6. / 7. emma  / 8. / 9

[dongkelley]

to the wonder (terrence malick, 2012)

[adz]

daniel zhou

[adz]

context:

[julienbakerfavormp3-deactivated]

And we too can become stone. Think of the ‘stone butch’ in lesbian queer history, a history of those who become unyielding as a way of surviving, a history of those who might have to protect themselves by becoming stone. Here the stone becomes a willful gift, a quality we can assume. And if we think of ourselves as stony we are not simply bringing the stones back to ourselves. We are showing how human bodies cannot be made exceptional without losing something; how we matter by being made of matter; flesh, bone, skin, tangled up, tangled in. The entanglement of stone and skin matters; skin too, skin like stone, is capable of receiving impressions. Damage can be understood as a form of reception. Audre Lorde once wrote: “In order to withstand the weather, we had to become stone, and now we bruise ourselves upon the other who is closest.” It would be hard to overestimate the power of Lorde’s description. Social forms of oppression, racism, the hatred that creates some bodies as strangers, can be experienced as weather. They press and pound against the surface of a body; a body can surface or survive by hardening. For some bodies to stand is to withstand. Or, as I descried in chapter 4, sometimes you can only stand by standing firm. Willfulness helps us to describe the unequal distribution of material as well as social standing. But a stone too can be more and less hard. Hardening does not eliminate what made hardening seem necessary: that sense of being too soft, too receptive, too willing to receive an impression. Hardness is a relative condition even when we try and relate differently to a condition. What we become to withstand can become something that hardens us from others, those who might be closest, who might too have to survive the weather. We can damage each other in how we survive being damaged.

Sara Ahmed, from Willful Subjects (via tonguebreaks)

[disc80s]

Bong Joon-ho on the reception of Parasite

[myheartisanelephant]

“...in the same country called capitalism”

[wujun]

[myheartisanelephant]

thank you for the memories aac.

[jazbaaati]

Maggie Nelson, Bluets.

[myheartisanelephant]

susan meiselas x valerie kolakis

an exercise on pairing

[myheartisanelephant]

Looking in from the outside, the movement must look like I’ve fallen down. In just a second I feel hoary and weak, my face is as flat as the surface of a lake, a breeze blows, the wrinkles spread like ripples over my face. How to make you see just how real this all feels? I can stretch my hand to touch the gully. I can feel the outflow, drop by drop, of water from my body, and even my bones are beginning to soften into a malleable mass. If you saw me, you’d no longer be able to use “a being,” “a person” or “an occupation” as descriptive nouns; you’d only be able to use “a heap”; “a shore”; “a strand.” I’ve become less than nothing, better than nothing.

taken from one of the last ten entries of Renn Hang’s Depression Diary.

[yeotzeyang]

The Way Home

2015

Oil on canvas

92 x 122 cm

SOLD

Private Collection, Singapore