not some wounded angel after all

we should be belted in, but you still can’t get beyond your skin, and they’re trying to drive you into the ground, to see if anything walks away.

[nobrashfestivity]

Helen Frankenthaler, Deep Sun

© 2019 HELEN FRANKENTHALER FOUNDATION, INC. / ARTISTS RIGHTS SOCIETY (ARS), 

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[real-language-facts]

couples costume idea: signifier and signified

[firstfullmoon]

Leila Chatti, “I Too Was Worthy,” in Wildness Before Something Sublime

[havingapoemwithyou]

The Way Things Have Been Going Lately by Ada Limón

[yama-bato]

Carol Sawyer, Last Known Photograph of Natalie Brettschneider, 1986

[perlahs]

this never-sent letter from eve to joan is CRAZY (published in didion & babitz by lili anolik)

[nobrashfestivity]

Unknown, Cave painting of Buddhas hands, in sacred Mustang Kingdom.

[improvisedliturgy]

Emotions tell us a lot about time; emotions are the very ‘flesh’ of time. They show us the time it takes to move, or to move on, is a time that exceeds the time of an individual life. Through emotions, the past persists on the surface of bodies. Emotions show us how histories stay alive, even when they are not consciously remembered; how histories of colonialism, slavery, and violence shape lives and worlds in the present. The time of emotion is not always about the past, and how it sticks. Emotions also open up futures, in the ways they involve different orientations to others. It takes time to know what we can do with emotion.

Sara Ahmed, The Cultural Politics of Emotion

[nobrashfestivity]

Basim Magdy, Investigating the Color Spectrum of a Post-Apocalyptic Future Landscape, 2013

Film Projections

Guggenheim Museum

[nobrashfestivity]

Georgia O'Keeffe, Road - Mesa with Mist, 1961

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[sanminzhuyi]

Movie night in a chinese rural village, 1965.

From People's Pictorial, issue of november 1965.

[baredmirror]

“One goes to a horror film in order to have a nightmare—not simply a frightening dream, but a dream whose undercurrent of anxiety both presents and masks the desire to fulfill and be punished for certain conventionally unacceptable impulses. This may be a matter of unconscious wish-fulfillment, following Freud: of confronting a hidden evil in the culture, as in Alien or The Stepford Wives; or of voyaging through the Land of the Dead and indulging a nostalgia for ritual, as we shall see when we turn to Frazer. Horror films function as nightmares for the individual viewer, as diagnostic eruptions for repressive societies, and as exorcistic or transcendent pagan rituals for supposedly post-pagan cultures. They can be analyzed in all these ways because they represent a unique juncture of personal, social, and mythic structure and because each of these structures has a conscious/official and an unconscious/repressed dualism, whose dialectic finds expression in the act of masking.”

— Bruce Kawin, “The Mummy’s Pool,” Planks of Reason: Essays on the Horror Film (Ed. Barry Keith Grant)

[funeral]

Dissociation is a trick the psyche plays on itself. It allows life to go on by dividing up the unbearable experience and distributing it to different compartments of the mind and body, especially the "unconscious" aspects of the mind and body. This means that the normally unified elements of consciousness (i.e., cognitive awareness, affect, sensation, imagery) are not allowed to integrate. Experience itself becomes discontinuous. Mental imagery may be split from affect, or both affect and image may be dissociated from conscious knowledge. Flashbacks of sensation seemingly disconnected from a behavioral context occur. The memory of one's life has holes in it—a full narrative history cannot be told by the person whose life has been interrupted by trauma.

Donald Kalsched, The Inner World of Trauma: Archetypal Defenses of the Spirit

[days-of-reading]

“Desire has made her strange to herself by attuning her to the strangeness of another, since there is nothing stranger, nothing more amazing or concerning, than to see yourself reflected through another person’s interested gaze, or for your reflection to melt and resurface as the person moves closer and further away.”

— Merve Emre, “On the dizzy edge” [review of Helen Garner] in the London Review of Books

[retroavangarda]

Sean Scully – Dreamland, 1987

[nobrashfestivity]

David Hockney William Eggleston

[thedireful]

the mystical event is a being-fissure, or rather—a tearing-open wherein being discloses itself as such. disclosure erupts at the edges of intelligibility, prior to form, anterior even to the self who might receive it. theology errs truth-as-correctness—propositional, verifiable, doctrinal—for truth-as-disclosure. heidegger writes: “only from the truth of being can the essence of the holy be thought.”

[thedireful]

thus art persists because it does not orient toward a reconciled whole—it moves instead within the interval, recognizing that truth does not arrive as correspondence but as disturbance, exposing the fault line where such distinctions [of the human and the divine] first arise.