miscfisc

"This is what moves us, this is the light
uncoiling like a braid.

See how we breathe in
without trying."

— Shivani Mehta, from “After the World has Ended” (via weissewiese)

Gerhard Richter, Turned Sheets, 1965-1966

"Now the sun was slanting in at one side, so that the shadows were where they ought to be. Again he fell into that strange mood of speculation that was so foreign to him. If faces were different when lit from above or below—what was a face? What was anything?"

— William Golding, Lord of the Flies (via likeafieldmouse)

(via thesnowmaidenofnorway)

Sergio Larraín / London / 1959 / via : luzfosca

Sergio Larraín / London / 1959 / via : luzfosca

(via membrane)

"It is a nostalgic time right now, and photographs actively promote nostalgia. Photography is an elegiac art, a twilight art. Most subjects photographed are, just by virtue of being photographed, touched with pathos. An ugly or grotesque subject may be moving because it has been dignified by the attention of the photographer. A beautiful subject can be the object of rueful feelings, because it has aged or decayed or no longer exists. All photographs are memento mori. To take a photograph is to participate in another person’s (or thing’s) mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time’s relentless melt."

— Susan Sontag, ‘In Plato’s Cave’, in On Photography, 1977 (via funeral-wreaths)

(via thesnowmaidenofnorway)

"Poetry leads to the same place as all forms of eroticism — to the blending and fusion of separate objects. It leads us to eternity, it leads us to death, and through death to continuity. Poetry is eternity; the sun matched with the sea."

— Georges Bataille, from Death and Sensuality (via violentwavesofemotion)

(Source: ljosio, via batvalentinworld)

Marie Bønløkke Pedersen, Royal College of Art - Exhibition Hall, 1990

Marie Bønløkke Pedersen, Royal College of Art - Exhibition Hall, 1990

hiddenshores:

Landscapes as wide as any eyes. Yellow and green curving into endless sky and clouds. The light changes constantly, especially inland like the sea currents. Cities dusty and dirty, a lingering sense of a melancholy for another time. People dark and hardy, who should we trust but ourselves? Europe and even Rome are far away. Driving through this island is like a metaphor for surviving something bigger than the sunlight reveals.

hiddenshores:

Landscapes as wide as any eyes. Yellow and green curving into endless sky and clouds. The light changes constantly, especially inland like the sea currents. Cities dusty and dirty, a lingering sense of a melancholy for another time. People dark and hardy, who should we trust but ourselves? Europe and even Rome are far away. Driving through this island is like a metaphor for surviving something bigger than the sunlight reveals.

heteroglossia:

"I used to write messages on the undersides of shelf fungi I found growing on trees in the woods — in Norfolk, at Saratoga, in Vermont — messages that no one could ever see."

— Hayden Carruth, Besides the Shadblow Tree

"Much of the exposure and confession we have grown used to in recent years ends in dullness. Instead of mystery we have information; nothing, or almost nothing, is withheld. Yet poetry lies as much in concealment as in revelation, more often in what is not said or shown. We should remember the hiddenness of so much early art, in caves, places where it would not be seen easily and stripped of its meaning. There were places once that one did not go, mountains no one thought to walk on, for the sake of the spirit living there. Our compulsion now is to climb every peak, to pry into every corner of life, to expose every secret. In the end we find the world empty, the mystery vanished, retreated stubbornly to a place we will never find by looking for it."

— John Haines, “On Our Way to the Address,” Transtromer: A Special Issue, IRONWOOD, NO. 13

archaicwonder:

The Scottish Declaration of Independence, April 6th 1320

The Declaration of Arbroath was made in the form of a letter, composed in Latin and submitted to Pope John XXII in the year of 1320. Its purpose was to get the pope to acknowledge Robert the Bruce as the country’s lawful king, to assert Scotland’s status as an independent, sovereign state and to defend Scotland’s right to use military force when unjustly attacked. It was most likely drafted in the scriptorium of Arbroath Abbey by Abbot Bernard on behalf of the nobles and barons of Scotland. Eight earls and about forty barons attached their seals to the Declaration. The following is one of its most popular excerpts:

"As long as but a hundred of us remain alive, never will we on any conditions be brought under English rule. It is in truth not for glory, nor riches, nor honours, that we are fighting, but for freedom - for that alone, which no honest man gives up but with life itself."

The Declaration of Arbroath represents the founding of the Scottish nation and it has been credited as being part of the inspiration for the American Declaration of Independence.

Photos and info about each individual seal…

PDF transcript and translation of the Declaration of Arbroath…

First page of an early draft of Blood Meridian circa 1975 (via murmuju)

First page of an early draft of Blood Meridian circa 1975 (via murmuju)

(Source: fusionkelvar, via daskabinett)

Jack Kerouac - Essentials of Spontaneous Prose

SET-UP The object is set before the mind, either in reality. as in sketching (before a landscape or teacup or old face) or is set in the memory wherein it becomes the sketching from memory of a definite image-object.

PROCEDURE Time being of the essence in the purity of speech, sketching language is undisturbed flow from the mind of personal secret idea-words, blowing (as per jazz musician) on subject of image.

METHOD No periods separating sentence-structures already arbitrarily riddled by false colons and timid usually needless commas-but the vigorous space dash separating rhetorical breathing (as jazz musician drawing breath between outblown phrases)—“measured pauses which are the essentials of our speech”—“divisions of the sounds we hear”-“time and how to note it down.” (William Carlos Williams)

SCOPING Not “selectivity’ of expression but following free deviation (association) of mind into limitless blow-on-subject seas of thought, swimming in sea of English with no discipline other than rhythms of rhetorical exhalation and expostulated statement, like a fist coming down on a table with each complete utterance, bang! (the space dash)-Blow as deep as you want-write as deeply, fish as far down as you want, satisfy yourself first, then reader cannot fail to receive telepathic shock and meaning-excitement by same laws operating in his own human mind.

LAG IN PROCEDURE No pause to think of proper word but the infantile pileup of scatological buildup words till satisfaction is gained, which will turn out to be a great appending rhythm to a thought and be in accordance with Great Law of timing.

TIMING Nothing is muddy that runs in time and to laws of time-Shakespearian stress of dramatic need to speak now in own unalterable way or forever hold tongue-no revisions (except obvious rational mistakes, such as names or calculated insertions in act of not writing but inserting).

CENTER OF INTEREST Begin not from preconceived idea of what to say about image but from jewel center of interest in subject of image at moment of writing, and write outwards swimming in sea of language to peripheral release and exhaustion-Do not afterthink except for poetic or P. S. reasons. Never afterthink to “improve” or defray impressions, as, the best writing is always the most painful personal wrung-out tossed from cradle warm protective mind-tap from yourself the song of yourself, blow!-now!-your way is your only way-“good”-or “bad”-always honest (“ludi- crous”), spontaneous, “confessionals’ interesting, because not “crafted.” Craft is craft.

STRUCTURE OF WORK Modern bizarre structures (science fiction, etc.) arise from language being dead, “different” themes give illusion of “new” life. Follow roughly outlines in outfanning movement over subject, as river rock, so mindflow over jewel-center need (run your mind over it, once) arriving at pivot, where what was dim-formed “beginning” becomes sharp-necessitating “ending” and language shortens in race to wire of time-race of work, following laws of Deep Form, to conclusion, last words, last trickle-Night is The End.

MENTAL STATE If possible write “without consciousness” in semi-trance (as Yeats’ later “trance writing”) allowing subconscious to admit in own uninhibited interesting necessary and so “modern” language what conscious art would censor, and write excitedly, swiftly, with writing-or-typing-cramps, in accordance (as from center to periphery) with laws of orgasm, Reich’s “beclouding of consciousness.” Come from within, out-to relaxed and said.

[via]

Stella Asia Consonni, from Our not so defined identities, pinhole on 120mm color film, hand printed (via leslieseuffert).

(via jawhitaker)

"

Do you see the space between our bodies?
Barely a hand, hardly a breath,

it is the space mountains and rivers are made of.
It is the beginning of oceans, the space

between either and or, both and neither.

"

— Li-Young Lee, from “Trading for Heaven” (via yesyes)

(via contramonte)