Hold childhood in reverence, and do not be in any hurry to judge it for good or ill. Leave exceptional cases to show themselves, let their qualities be tested and confirmed, before special methods are adopted. Give nature time to work before you take over her business, lest you interfere with her dealings. You assert that you know the value of time and are afraid to waste it. You fail to perceive that it is a greater waste of time to use it ill than to do nothing, and that a child ill taught is further from virtue than a child who has learnt nothing at all. You are afraid to see him spending his early years doing nothing. What! is it nothing to be happy, nothing to run and jump all day? He will never be so busy again all his life long. Plato, in his Republic, which is considered so stern, teaches the children only through festivals, games, songs, and amusements. It seems as if he had accomplished his purpose when he had taught them to be happy; and Seneca, speaking of the Roman lads in olden days, says, ‘They were always on their feet, they were never taught anything which kept them sitting.’ Were they any the worse for it in manhood? Do not be afraid, therefore, of this so-called idleness. What would you think of a man who refused to sleep lest he should waste part of his life? You would say, ‘He is mad; he is not enjoying his life, he is robbing himself of part of it; to avoid sleep he is hastening his death.’ Remember that these two cases are alike, and that childhood is the sleep of reason.

Jean-Jacques Rousseau, from Émile, Or Treatise on Education

There is a sacred boundary between those who are close,
And it cannot be crossed by passion or love—
Though lips fuse in dreadful silence
And the heart shatters to pieces with love.

Friendship is helpless here, and years
of exalted and ardent happiness,
When the soul is free and a stranger
To the slow languor of voluptuousness.

Those who strive to reach it are mad, and those
Who reach it—stricken by grief…
Now you understand why my heart
Does not beat faster under your hand.

Anna Akhmatova, untitled poem “There is a sacred boundary between those who are close,” from The Complete Poems of Anna Akhmatova (Zephyr Press, 2000, first published in 1973)  (via apoetreflects)

We require just a little order to protect us from the chaos. Nothing is more distressing than a thought that escapes itself, than ideas that fly off, that disappear hardly formed, already eroded by forgetfulness or precipitated into others that we no longer master. These are infinite variabilities, the appearing and disappearing of which coincide. They are infinite speeds that blend into the immobility of the colourless and silent nothingness they traverse, without nature or thought. This is the instant of which we do not know whether it is too long or too short for time. We receive sudden jolts that beat like arteries. We constantly lose our ideas. That is why we want to hang on to fixed opinions so much. We ask only that our ideas are linked together according to a minimum of constant rules. All that the association of ideas has ever meant is providing us with these protective rules – resemblance, contiguity, causality – which enable us to put some order into ideas, preventing our “fantasy” (delirium, madness) from crossing the universe in an instant, producing winged horses and dragons breathing fire.

Deleuze and Guattari, from What is Philosophy? (via lovevoltaireusapart)

This week, try to let your muscles get loose, try to let your thoughts wander, try not to worry too much about all your big plans. You can think of yourself like you’re made of water, you can think of yourself like you aren’t even solid. You can take on so many forms. You can move at so many different speeds. You can stay home and watch movies all week long, if you need to. You can sit on the porch and watch the sky. You can walk and walk and walk until you know what to do.

Madame Clairevoyant

There was this very deliberate move to just overlay an American reality in Iraq. I’ve never actually seen the map, but apparently Americans thought the names of places were just too complicated so they got decent maps of Baghdad and just renamed everything with familiar names. This neighborhood would be Hollywood, that neighborhood would be Manhattan, and that one’s Madison, you’re going to drive down Oak and take a left on Main Street. That’s all fine if everyone was reading off the same map. But then they would have to deal with the translators, and the translators at first were not allowed to see the map because the maps were classified. So the Americans would say, “Right now we’re going to ‘Dallas,’ what’s the best way to get to Dallas from here? Should we take Main Street or Roosevelt Avenue?” And the translators would look at them bewildered!

So finally the translators are brought into the system and they learn how to use the names—they won’t say Khark, they’ll say Manhattan. That’s so they can talk to the Americans. But then the translators are at a checkpoint, and they’re told to explain to pedestrians: “You need to do a U-turn, turn left, and head over to Dallas.” The Americans would be yelling this at pedestrians and then insisting that the translators had to translate. So there are literally two maps these guys would have to deal with and they would have to learn and translate between these maps. That for me is a great metaphor for the kind of project that we’re talking about. In the Green Zone you have your radio, you have your food, you have your own electricity, your own toilets. Everything is a sealed American reality overlaid on top of an infrastructure that is crumbling.

Grays in the Emerald City , Henry Peck interviews Elliott Colla - Guernica / A Magazine of Art & Politics (via guernicamag)

What makes a material a medium is that it is used to express a meaning which is other than that which it is in virtue of its bare physical existence: the meaning not of what it physically is, but of what it expresses.

John Dewey,from Art as Experience 

In order to understand, it is immensely important for the person who understands to be located outside the object of his or her creative understanding—in time, in space, in culture. For one cannot even really see one’s own exterior and comprehend it as a whole, and no mirrors or photographs can help; our real exterior can be seen and understood only by other people, because they are located outside us in space, and because they are others.

Mikhail Bakhtin, Speech Genres and Other Late Essays (via heteroglossia)



n. the awareness of the smallness of your perspective, by which you couldn’t possibly draw any meaningful conclusions at all, about the world or the past or the complexities of culture, because although your life is an epic and unrepeatable anecdote, it still only has a sample size of one, and may end up being the control for a much wilder experiment happening in the next room.