sampling another white tea cake from fuding, this one from 2018. ☁️
noise dept.
Keni

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wallacepolsom
cherry valley forever
Aqua Utopia|海の底で記憶を紡ぐ

tannertan36

Kiana Khansmith

❣ Chile in a Photography ❣
official daine visual archive

Product Placement
will byers stan first human second

pixel skylines
Jules of Nature

if i look back, i am lost
ojovivo

JVL
Lint Roller? I Barely Know Her

bliss lane

Andulka
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@toadstool
sampling another white tea cake from fuding, this one from 2018. ☁️
ouro preto, brasil (2015): participants dressed as angels during the traditional holy week procession. photography by mario tama.
Thaddeus Holownia
I would take a job pushing the Sisyphus rock if it paid 20 an hour and I could wear my headphones
Look at my birthday cake...
Joan Baez performing at Culver Academies, 1962
EGYPT. Cairo. 1987. Harry Gruyaert
something about late summer train rides
"Rest Energy" by Marina Abramović & Uley (1980)
when mike flanagan's carrie ends w her mother's love saving her from the town
via pauloctavious on instagram
Jardim Botânico Tropical de Belém, Lisboa, Portugal, 02-06-23
the evolution of Medea is inseparable in Seneca’s text from the foundation and expansion of Rome, its conquest of – and tormented relationship with – the ocean. The play hints that this first century Medea must be a product as well as an enemy of empire: we must grapple with the possibility that the temporospatial distortions Medea achieves are in some abominable way analogous to empire’s opening up and reordering of the known world. Her story is – almost – Rome’s story, a narrative of re-foundations which must struggle with and embrace exile, fratricide, civil war and maternal power even as it externalizes all those things in the shape of this witch, child-killer, and banished poet. In making Medea director of her own body as theatre of representation, Seneca reminds his audience of the extent to which Rome’s other is internal to its own logic, is, indeed, the place from which it came
- from "The Labour of Empire: Womb and World in Seneca's Medea," Victoria Rimell
From the belly of the darkness there issues forth a voice that was not hers, a voice that was neither angry, nor sad, nor frightened, nothing more than a voice saying: ‘The lawyers were fighting over my body. It was not I who was important but the case. Professor Maxwell Foster-Keen — one of the founders of the Moral Rearmament movement in Oxford, a Mason, and a member of the Supreme Committee for the Protestant Missionary Societies in Africa — did not conceal his dislike of me. In the days when I was a student of his at Oxford he would say to me with undisguised irritation: “You, Mr Sa’eed, are the best example of the fact that our civilizing mission in Africa is of no avail. After all the efforts we’ve made to educate you, it’s as if you’d come out of the jungle for the first time.” And here he was, notwithstanding, employing all his skill to save me from the gallows. Then there was Sir Arthur Higgins, twice married and twice divorced, whose love affairs were notorious and who was famous for his connections with the left and Bohemian circles. I had spent the Christmas of 1925 at his house in Saffron Walden. He used to say to me, “You’re a scoundrel, but I don’t dislike scoundrels because I’m one myself.” Yet in court he employed all his skill to place the hangman’s noose around my neck. The jurors, too, were a varied bunch of people and included a labourer, a doctor, a farmer, a teacher, a businessman, and an undertaker, with nothing in common between them and me; had I asked one of them to rent me a room in his house he would as likely as not have refused, and were his daughter to tell him she was going to marry this African, he’d have felt that the world was collapsing under his feet. Yet each one of them in that court would rise above himself for the first time in his life, while I had a sort of feeling of superiority towards them, for the ritual was being held primarily because of me; and I, over and above everything else, am a colonizer, I am the intruder whose fate must be decided. When Mahmoud Wad Ahmed was brought in shackles to Kitchener after his defeat at the Battle of Atbara, Kitchener said to him, “Why have you come to my country to lay waste and plunder?” It was the intruder who said this to the person whose land it was, and the owner of the land bowed his head and said nothing. So let it be with me. In that court I hear the rattle of swords in Carthage and the clatter of the hooves of Allenby’s horses desecrating the ground of Jerusalem. The ships at first sailed down the Nile carrying guns not bread, and the railways were originally set up to transport troops; the schools were started so as to teach us how to say “Yes” in their language. They imported to us the germ of the greatest European violence, as seen on the Somme and at Verdun, the like of which the world has never previously known, the germ of a deadly disease that struck them more than a thousand years ago. Yes, my dear sirs, I came as an invader into your very homes: a drop of the poison which you have injected into the veins of history. ‘I am no Othello. Othello was a lie.’
— Tayeb Salih, Season of Migration to the North
holly smart in the english national ballet’s alice in wonderland.
“He is always on the brink of suicide … because he seeks salvation through the routine formulas suggested to him by the society in which he lives.” — Umberto Eco on Charlie Brown
Carousel Dogs by Tim Racer