hello vonnie

Discoholic đȘ©
Lint Roller? I Barely Know Her
Alisa U Zemlji Chuda
Game of Thrones Daily
styofa doing anything

if i look back, i am lost

#extradirty
Monterey Bay Aquarium
noise dept.
ojovivo
Peter Solarz

Love Begins

blake kathryn
PUT YOUR BEARD IN MY MOUTH

Kiana Khansmith

JBB: An Artblog!
Cosmic Funnies
RMH
Xuebing Du
seen from United States
seen from Malaysia
seen from United States

seen from Malaysia

seen from Spain

seen from United States

seen from United States

seen from United States
seen from Malaysia

seen from Malaysia
seen from United States
seen from United States
seen from Singapore

seen from Brazil

seen from France

seen from Brazil

seen from United Kingdom
seen from United Kingdom
seen from Netherlands

seen from Saudi Arabia
@trees-waiting
Anna Karina in Le Petit Soldat (Jean-Luc Godard, 1960)
Jean-Luc Godard in Room 666 (1982) dir. Wim Wenders
âI am a stranger to myself, so strange that when I hear my tongue speaks it surprises my ear, and maybe I see my laughing inner self,crying ,fighting,frightened. So my being admires it self, and my soul wonders to my soul, but I remain unknown, hidden and submerged by the mist, covered by the silenceâ -Khalil Gibran
Appassionata (1974)
Circulation within the Skull
ph. Danko Maksimovic - Bochum, Germany 92024)
Film: Kodak Portra 800
Eduard GĂŒbelin. Nepal, Patan, circa 1977.
Lena Olin + Daniel Day-Lewis in The Unbearable Lightness of Being (1988)
I long for the day we sleep side by side, skin against skin, bone against bone; a completeness that dissolves the border between âIâ and âyouâ without erasing it. That bodily, existential entwining which denies distance, and turns distance itself into another name for closeness.
What sustains my restraint, what lets me wear the mask of stillness, are those sudden tremors that strip me without warning: our chaos folded into a single home, a system that ceases to be a system and descends into layers of mutual intrusionâeach of us rewriting the otherâs order, becoming simpler, or more intricate, in a vanishing kind of ecstasy.
Our smallest details crash into me, one after another; cups that refuse their place, books open at the middle of thought, clothes neither surrendered nor properly keptâeverything slipping away from its first logic into another, governed not by order, but by a silent complicity between two existences that have chosen to remain together, simply.
You, who makes me less definable. in this expanse no longer named a home, neither of us imposes form upon the other. We seep into each otherâs habits as breath passes between body and air, until disorder becomes harmony, as though clay were shaped between familiar hands that do not command, only recreate. Chaos sheds its strangeness and becomes a shared structure of being. What was separate reveals itself as a postponed possibility of this interlacing.
There is no longer âIâ and âyou,â as language once insistedâonly a single expanse holding two pulses learning to remain without devouring, to differ without breaking.
In this closeness, the body forgets rest and turns toward the erasure of distance itself. I do not ask for you as presence, but as something that consumes me to the edge of breath. We no longer move toward each other, but toward the collapse of what separates usâthe unmaking of definition, the trembling of every idea of independence under contact.
A slow undoing that does not resemble falling, but absorption; one dissolving into the other as though surrender came before motion. Borders rewritten from within until they forget why they existed at all. I do not seek closeness that can be measuredâI seek the moment where nearness itself ceases to name anything. I step out of its grammar entirely, until the distinction between us becomes only a delayed illusion, already vanishing at the instant of its becoming.
Emily Brontë, Wuthering Heights
Listening to Radioheadâs âAll I Need,â and reading wuthering heights, to peel away the weight of resentment and the heaviness that creeps into these inexplicable evenings when nothing quite makes sense, yet everything feels too loud, too close, too much to carry.
âOf all that is written, I love only what a person has written with his blood.â Nietzsche says, and I feel the same. Blood here is everything that distills your being into its purest form. To write in blood is to house your soul within words, to move through them as one moves through a mirror that reflects you as you are, not as the world prefers you to be. Language, in this sense, unveils. It excavates. It creates an echo within the readerâas if the letters themselves breathe with the writerâs blood, as if the very act of expression becomes an existential experience. «Blood is spirit.» And in writing with his blood, one secures the immortality of that spirit within the text. When we read what someone has written in blood, we are, in a way, eavesdropping on their attempts to strip away what threatens their undoing.