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Claire Keane
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Lint Roller? I Barely Know Her

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Misplaced Lens Cap
will byers stan first human second

if i look back, i am lost
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Acquired Stardust

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Aqua Utopia|海の底で記憶を紡ぐ
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seen from Indonesia

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@trees-waiting
Anna Karina in Le Petit Soldat (Jean-Luc Godard, 1960)
Jean-Luc Godard in Room 666 (1982) dir. Wim Wenders
“I 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 silence” -Khalil Gibran
Appassionata (1974)
Circulation within the Skull
ph. Danko Maksimovic - Bochum, Germany 92024)
Film: Kodak Portra 800
Eduard Gübelin. 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 “I” and “you” 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 intrusion—each of us rewriting the other’s 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 kept—everything 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 other’s 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 “I” and “you,” as language once insisted—only 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 us—the 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 measured—I 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 Radiohead’s “All I Need,” 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.
“Of all that is written, I love only what a person has written with his blood.” 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 reader—as if the letters themselves breathe with the writer’s 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.