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i'm seated front row of a losers show. a show i would not pay or attend. a show that is lasting way too long..

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WOODZ - Journey

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Clark Ashton Smith.

«Bow down: I am the emperor of dreams; I crown me with the million-colored sun Of secret worlds incredible, and take Their trailing skies for vestment when I soar, Throned on the mounting zenith, and illume The spaceward-flown horizons infinite. Like rampant monsters roaring for their glut, The fiery-crested oceans rise and rise, By jealous moons maleficently urged To follow me for ever; mountains horned With peaks of sharpest adamant, and mawed With sulphur-lit volcanoes lava-langued, Usurp the skies with thunder, but in vain; And continents of serpent-shapen trees, With slimy trunks that lengthen league by league, Pursue my flight through ages spurned to fire By that supreme ascendance; sorcerers, And evil kings, predominanthly armed With scrolls of fulvous dragon-skin whereon Are worm-like runes of ever-twisting flame, Would stay me; and the sirens of the stars, With foam-like songs from silver fragrance wrought, Would lure me to their crystal reefs; and moons Where viper-eyed, senescent devils dwell, With antic gnomes abominably wise, Heave up their icy horns across my way. But naught deters me from the goal ordained By suns and eons and immortal wars, And sung by moons and motes; the goal whose name Is all the secret of forgotten glyphs By sinful gods in torrid rubies writ For ending of a brazen book; the goal Whereat my soaring ecstasy may stand In amplest heavens multiplied to hold My hordes of thunder-vested avatars, And Promethèan armies of my thought, That brandish claspèd levins. There I call My memories, intolerably clad In light the peaks of paradise may wear, And lead the Armageddon of my dreams Whose instant shout of triumph is become Immensity’s own music: for their feet Are founded on innumerable worlds, Remote in alien epochs, and their arms Upraised, are columns potent to exalt With ease ineffable the countless thrones Of all the gods that are or gods to be, And bear the seats of Asmodai and Set Above the seventh paradise.»

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today marks the birthday of the queen of the underworld..

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Yohji Yamamoto.

«I think perfection is ugly. Somewhere in the things humans make, I want to see scars, failure, disorder, distortion.»

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my forever mood

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Anaïs Nin.

«I dreamed you, I wished for your existence. You will always be part of my life. If I love you, it must be because we have shared at some time the same imaginings, the same madness, the same stage.»

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Vali Myers.

«The ancient Celts believed that we had two selves one that lived in this world and at the same time, one in the Otherworld. This mysterious ‘other’ is usually separate from our knowing but in Vali it co-existed with ease. The Australian Aboriginals call the Otherworld the Dreamtime and Vali used this word often and with love as if it were the real world, a place where creations are born, ancestors reside and the future was already known. Vali was a walker between the worlds. She even called her paintings ‘spirit drawings’ as if pulled from the ether. She drew only for herself with no intention of selling for years, so what you are holding in Night Flower is a book of paintings and writings created by her spirit for her spirit – to romance the other. By opening this book you are crossing a once secret threshold.» via gypsypagan

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Julia de Burgos.

«I gamble everything to be what I am.»

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Pamela Singh, Chipko Tree Huggers of the Himalayas, 1994.

«I have always loved the Himalayas. I grew up in the foothills and later I traversed across many of its great landscapes and its lofty glacial peaks, lush meadows full of magical indigenous flowers and most importantly its awe inspiring trees. So when I heard about the loggers and contractors I scrambled up the mountain to see for myself as to what was happening to its endangered forests.

A Himalayan woman who practiced Gandhian principles invited me to participate. She took me to her village to partake and record a unique non-violent demonstration of tree hugging to protect them from being felled down. It was an all female operation that day and their intervention was to drive home a point that they could stop the loggers by their peaceful persistence. This is how I came upon the Chipko movement of the Himalayas that took place in the early 90’s. Chipko literally means to embrace or to hug. I previously had an idea of the spiritual protection of forests and animals by villagers in northern India as I had been in areas where the first Chipko movement had taken place in a village called Khejarli in 1730 AD in the Jodhpur district of Rajasthan. In this instance, the villagers of the Bishnoi community led by Amrita Devi had sacrificed their lives while protecting green khejri trees considered sacred by the community by hugging them.

Today, Chipko is seen as an ecofeminism movement. Although many of its supporters were men, women were not only its backbone, but also its mainstay, because they were the ones most affected by the rampant deforestation, which led to a lack of firewood and fodder as well as water for drinking and irrigation. Women’s participation in the Chipko agitation was a very novel aspect of the movement. The forest contractors of the region also doubled up as suppliers of alcohol to men of the area who spent their entire day gambling, playing cards and drinking while women toiled in the fields and forests irrigating and gathering wood. Women held sustained agitations against the habit of alcoholism and broadened the agenda of the movement to cover other social issues. The movement achieved a victory when the government issued a ban on felling of trees in the Himalayan regions for fifteen years until the green cover was fully restored. One of the prominent Chipko leaders, Gandhian Sunderlal Bahuguna, took a 5,000-kilometer trans-Himalaya foot march in spreading the Chipko message to a far greater area. Gradually, women set up cooperatives to guard local forests, and also organized fodder production conducive to local environments.»

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Georgia O'Keeffe holding a stone, by Ralph Looney, 1966.

«I said to myself ‘I have things in my head that are not like what anyone has taught me — shapes and idea so near to me — so natural to my way of being and thinking that it hasn’t occurred to me to put them down.’ I decided to start anew — to strip away what I had been taught — to accept as true my own thinking. This was one of the best times in my life. There was no one around to look at what I was doing — no one interested — no one to say anything about it one way or another. I was alone and singularly free, working on my own, unknown — no one to satisfy but myself.»

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Bernard Rudofsky, Architecture without Architects, moving day in Guinea and Vietnam, p. 119-120, 1964.

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Angela Carter, The Lady of the House of Love.

«Wearing an antique bridal gown, the beautiful queen of the vampires sits all alone.. she counts out the Tarot cards, ceaselessly construing a constellation of possibilities as if the random fall of the cards on the red plush tablecloth before her could precipitate her from her chill, shuttered room into a country of perpetual summer.. Her voice is filled with distant sonorities, like reverberations in a cave: now you are at the place of annihilation, now you are at the place of annihilation. And she is herself a cave full of echoes, she is a system of repetitions, she is a closed circuit. ‘Can a bird sing only the song it knows or can it learn a new song?’»

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Tsering Rhitar Sherpa, Karma, 2006.

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Webb’s First Deep Field, NASA’s James Webb Space Telescope deepest and sharpest infrared image of the distant universe to date, 12 July 2022. © NASA, ESA, CSA, and STScI