nearlyb

"Tragic mental illness caused by woke mind virus'

[miamaimania]

Ablaze in Obscurity: Ana Mendieta’s ‘Silueta en Fuego’, 1976

[heteroglossia]

“The wound consists precisely in claiming to discover and to master meaning, in claiming to suture or to saturate, to fill this emptiness, to close the mouth. Imagine that someone claimed to have said everything that needed to be said on the subject of this poem or that line of Celan, that someone claimed to have exhausted the subject. That would be terrifying; it would be the destruction of the poem. In order not to destroy the poem, one must–and this is what I would like to do–try to speak of it in such a way, as Celan himself says, that the poem still speaks. It still speaks. One must speak in such a way as to give it the chance to speak. We are talking about this in reference to interpretive reading and the hermeneutics of the poem, but this also holds for life in general. One speaks, trying to listen to the other. One should speak while leaving to the other the chance to speak, while giving the floor to the other. It is a question of rhythm, of time: not to speak too much, thereby imposing silence on the other, and not to remain too silent. All this has to be negotiated.”

— Jacques Derrida, “The Truth that Wounds,” Sovereignties in Question: The Poetics of Paul Celan

[matchadolly]

stop playing it cool, just be passionate and intense and insane and whoever sticks around is meant for you

[thememedaddy]

[altcomics]

[my-kelde]

John Martin. from the Judgement series. The Great Day of His Wrath, 1851-53.

oil on canvas

This triptych was sold for 7 pounds in 1935.

[heteroglossia]

“If a society puts half its children into short skirts and warns them not to move in ways that reveal their panties, while putting the other half into jeans and overalls and encouraging them to climb trees, play ball, and participate in other vigorous outdoor games; if later, during adolescence, the children who have been wearing trousers are urged to “eat like growing boys,” while the children in skirts are warned to watch their weight and not get fat; if the half in jeans runs around in sneakers or boots, while the half in skirts totters about on spike heels, then these two groups of people will be biologically as well as socially different. Their muscles will be different, as will their reflexes, posture, arms, legs and feet, hand-eye coordination, and so on. (…) There is no way to sort the biological and social components that produce these differences. We cannot sort nature from nurture when we confront group differences in societies in which people from different races, classes, and sexes do not have equal access to resources and power, and therefore live in different environments.”

— Ruth Hubbard, The Political Nature of “Human Nature” (via philosophy-lesbian)

[dreaminginthedeepsouth]

soli :: @solisolsoli :: By Paul Weiner

* * * *

“Want the Change," Rilke said, "O be inspired by the Flame!" To laurel, to nightingale, to wind... to *wanting* it, to be taken, to embrace, to fall to-ward the flame growing to fill all the senses and... not to love because it was no longer possible to act... but to be helplessly in a condition of love...” ― Thomas Pynchon, Gravity’s Rainbow

[weepingwidar]

Rebecca Storm (Canadian, 1987) - Perfect Strangers (2025)

[earhartsease]

seen on a street in Clacton

[johnteagueart]

24" x 36"

acrylic on canvas

2013

Seeing The Wind....

[bowieography]

The Man Who Fell To Earth (1976)

with Candy Clark

[imkeepinit]

"When I joined the militia I had promised myself to kill one Fascist—after all, if each of us killed one they would soon be extinct." -- from Homage to Catalonia, an autobiographical account of Orwell's time in Spain fighting the Fascists.

“It was five o’clock in the morning. This was always a dangerous time, because we had the dawn at our backs, and if you stuck your head above the parapet it was clearly outlined against the sky . . . Suddenly, in the very middle of saying something, I felt—it is very hard to describe what I felt, though I remember it with the utmost vividness.”

"The Spanish war and other events in 1936-37 turned the scale and thereafter I knew where I stood. Every line of serious work that I have written since 1936 has been written, directly or indirectly, against totalitarianism and for democratic socialism, as I understand it. It seems to me nonsense, in a period like our own, to think that one can avoid writing of such subjects. Everyone writes of them in one guise or another. It is simply a question of which side one takes and what approach one follows. And the more one is conscious of one’s political bias, the more chance one has of acting politically without sacrificing one’s aesthetic and intellectual integrity." - Why I Write

In the summer of 1936, Spanish workers had taken up arms to oppose General Franco, who was leading the revolt against the nation’s left-leaning elected government. The fighting broke out on July 18th and as Orwell would write in his essay “Looking Back on the Spanish Civil War,” it is probable that every anti-Fascist in Europe felt a thrill of hope. Orwell determined to go to Spain to witness the fighting and to possibly take part in it. He left England on December 23, 1936, uncertain if he would fight or had the stamina to be a soldier.  -- James L. Franklin, George Orwell and the Spanish Civil War: A brush with death

Now might be a good time to re-read George Orwell.

[depsidase]

[charnel-grounds]

Albert Hasselwander (1877–1954)

“Ein Anatomischer Totentanz.” München: J.F. Bergmann, 1926

source

[autoreflexions-deactivated20250]

Indeed, at times dreams go back so far into an undefined, dateless past that clear memories of our childhood home appear to be detached from us. Such dreams unsettle our daydreaming and we reach a point where we begin to doubt that we ever lived where we lived. Our past is situated elsewhere, and both time and place are impregnated with a sense of unreality.

—Gaston Bachelard, The Poetics of Space (1957)

[funeral]

Many places have a "forest that shouldn't be entered." Even people who are used to working in the mountains feel there is something there. They are suddenly overcome with fear and it becomes the custom to avoid certain places. These places exist. I don't know what is there, but I think they are real . . . The world is more than we can fathom with our five senses. The world doesn't exist just for humans. So I think it is all right to have such things. This is why I think it's a mistake to think about nature from the idea of efficiency, that forests should be preserved because they are essential for human beings . . . I am concerned, because for me the deep forest is connected in some way to the darkness deep in my heart. I feel that if it is erased, then the darkness inside my heart would also disappear, and my existence would grow shallow.

Hayao Miyazaki, “Totoro Was Not Made as a Nostalgia Piece” in Starting Point: 1979-1996