Melissa Catanese, from her new collection of anonymous photos in Dive Dark Dream Slow
(Source: yourhost, via pedagogy-of-images)
Russian Surrealism, The Color of Pomegranates, Сергей Параджанов
dir. Sergei Parajanov
(via pedagogy-of-images)
(Source: dreamsgoneastray, via mizenscen)
(Source: criterioncollection)
Harmony Korine on Letterman is always a nice way to end the day
Something/Anything by Alexandra Busgang
(Source: vimeo.com, via alexandrabusgang)
All literature is an attempt to make life real. As all of us know, even when we don’t act on what we know, life is absolutely unreal in its directly real form; the country, the city and our ideas are all absolutely fictitious things, the offspring of our complex sensation of our own selves. Impressions are incommunicable unless we make them literary. Children are particularly literary, for they say what they feel and not what someone has taught them to feel. Once I heard a child, who wished to say that he was on the verge of tears, say not ‘I feel like crying,’ which is what an adult, i.e. an idiot, would say, but rather, ‘I feel like tears.’ And this phrase – so literary it would seem affected in a well-known poet, if he could ever invent it – decisively refers to the warm presence of tears about to burst from eyelids that feel the liquid bitterness. ‘I feel like tears’! That small child aptly defined his spiral.
To say! To know what to say! To know how to exist via the written voice and the intellectual image! This is all that matters in life; the rest is men and women, imagined loves and factitious vanities, the wiles of our digestion and forgetfulness, people squirming – like worms when a rock is lifted – under the huge abstract boulder of the meaningless blue sky.
—Fernando Pessoa, The Book of Disquiet, trans. Richard Zenith [Penguin, 2002], p.107-8.
