polyvibes [ˈpɒlɪ-ˈvbz] @polyvibes - Tumblr Blog

On our second wedding anniversary,

the words of Susan Sontag regarding the pain of others.

We dedicate this anniversary to our families, who walk with us in our discoveries.

Who gift us their blessings, with

which our lives are so much fuller

from the soft comfort of their support.

To commemorate our first year of marriage, the words of Margaret Atwood to describe the indescribable. Where as we try to draw the lines of the makings of a marriage, we find we're far from having the bricks laid to make a house. We've not yet even gotten to a Quechua tent in the wild. Despite our attempts to find an abode for the definition of marriage, those attempts perpetually seem makeshift and undone. It is because marriage is a cause that is only at its most primitive stages of discovery and potential.

We are only at the cusp of finding out how to live.

We are only learning to make fire.

wreckitros

Weekends are for Jem Hunting

Hampi, Vijaya Vittala Temple.

Chinese merchants trading in horses surveying teeth for the age of the animal.

#hampi #vijaya vittala temple

The Way The Forest Shelters

I know about love the way the fields know about light,

the way the forest shelters,

the way an animal’s divine raw desire seeks to unite with

whatever might please its soul—without a single

strange thought

of remorse.

There is a powerful delegation in us that

lobbies every moment for

contentment.

How will you ever find peace

unless you yield to love

the way the gracious earth

does to our hand’s

impulse.

- Rabia

Kurios, Cirque du Soleil, 16 Jul 2019

The spectacle of the body as the workplace.

#Rabia #Kurios

When man's consciousness is restricted only to the immediate vicinity of his human self, the deeper roots of his nature do not find permanent soil, his spirit is ever on the brink of starvation and in the place of healthful strength he substitutes rounds of stimulation. Then it is that man misses his inner perspective and measures his greatness by its bulk and not by its vital link with the infinite, judges his activity by its movement and not by the repose of perfection - the repose which is in the starry heavens in the ever-flowing rhythmic dance of creation.

Sadhana, Rabindranath Tagore

#Yeshwantpur #Bangalore #India

Sweet are the uses of adversity,

Which, like the toad, ugly and venomous,

Wears yet a precious jewel in his head;

And this our life, exempt from public haunt,

Finds tongues in trees, books in the running brooks,

Sermons in stones, and good in every thing.

As You Like It Act 2, scene 1, 12–17, William Shakespeare

Chamundeshwari Temple, Chamudi Hills, Mysuru

#mysore #Chamundeshwari #travel #travelphotography #india

Chamundeshwari Temple, Chamudi Hills, Mysuru

#mysore #chamundihills #mysuru

"We are devotees of the distinct and the articulate, but the infinite festers in our bones. We must circumscribe it, as our skin circumscribes a weave of stuff in which we might otherwise lose ourselves, and which includes, among other things, death herself. Yet this is the only way to live."

Robert Calasso, Ka

Take a leaf from the hallways of the ancients.

Tavis Bradley

"We must learn to love, learn to be kind, and this from earliest youth; if education or chance give us no opportunity, our soul becomes dry and unsuited to understanding even the tender inventions of loving people. Likewise, hatred must be learned and nurtured, if one wishes to be a proficient hater: otherwise the germ for that, too, will gradually wither." "People who go through many spiritual changes retain some views and habits from earlier stages, which then jut out into their new thinking and acting like a bit of inexplicable antiquity and gray stonework, often ornamenting the whole region." Friedrich Nietzsche, Man Alone With Himself

Easy, breezy, cover male @ljhrox

#katong #blue #Street Photography

unrar

Ontologically, however, a photograph is never a finished product of whomever has been established as its owner and wishes to impose sovereign control over it.Whatever is inscribed in the photograph always exceeds what its owner wished to put in it. In other words, the photograph is not a document belonging to a photographer, to a ruling power, or to any governmental or nongovernmental body. Its identification as any of these things undermines its civil potential. Instead, it is open at all times to additional participants who will not only interpret what is seeing in it as a given, but will also reshape the seen that is to be read. The photograph, then, is a very special kind of document. Even when it bears its creator’s unique “handwriting,” it is always drawn out of the relationship within which and from which it is produced. Furthermore, it is equally so, whether we talk about the relationship within which it was produced—between photographers, the photographed, and others who took direct or indirect part in its design—or about the relationship in which it is viewed at present, in which the viewers, too, take part in its constitution as a document. The photograph is a shared political document, but not one agreed upon by the various sides involved in its production and seeking to influence—sometimes in opposite ways—what is shown in it. While a ruling power can use photography among other means of shaping its public image, what is inscribed in a photograph is never merely what the ruling power wishes to inscribe in it or the way in which that power aspires to represent the regime in which it is elected to rule. On the contrary, the photograph is a preferred place in which to read the image of the regime not as it is represented on the paper that defines its institutions and their interrelations, but in the forms of relations layered between governmental power and the governed, including not only those who took part in the act of photography, but also those who take part in the act of viewing. Understanding a photograph from a disaster area as a document bearing the seal of the regime, one comprehends the limited nature of common categories such as “compassion,” “pity,” “empathy,” “rage,” “concern,” “empowerment,” and “victimization,” which in fact describe only a single axis of relations between the photographer and the photographed while erasing all other relationships that were inscribed in the photograph

Ariella Azoulay, Regime-made-Disaster (via unrar)