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The first symptom
was ending my protest.
Only there were afternoons
of useless presence
waiting on the exact hour
to drown myself
in undeciphered silence.
If not the experts,
who will speak of giving up.
Neon lights on the road
say more of my everyday ruin.
Since then
I have stopped rummaging
in the past.
.
Martha Kornblith (1959-1997)
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o livro do desassossego - bernardo soares (pessoa)
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El cielo tiene playas donde evitar la vida
y hay cuerpos que no deben repetirse en la aurora.
Lorca
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Akio Hino (Japanese,contemporary)
Red fox, Hokkaido, 1980s
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Vaghe stelle dell'Orsa, dir. Luchino Visconti, 1965.
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“Paragraphic Single Stack” is the first Brian Thoreen's exploration in the use of manila paper stacks at furniture scale. Just like the tar paper wall works he has been making for some years, these chairs use a method of gluing individual sheets of wrinkled paper together. The glue is applied only in predetermined areas that build to form the final shape, as the wrinkles in the areas without glue need to release the tension from the areas being bonded. These seats define their own space and are both sturdy and fragile - while providing a place to rest, they don’t offer comfort.
interiors & stuff
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help me hako yamasaki
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La casa está quieta. Las cosas temen a sus habitantes. Un cuadro pernocta sobre otro cuadro. Una foto se lanza al precipicio. La noche es breve. Los visitantes son breves. Los peces navegan indiferentes. Soy el único que vive. La ensoñación se roba la idea. Queda la costumbre de la angustia. Buscar otro sueño. Otro destino. La casa está quieta. Ya no danza con sus invitados. La casa se resiste a sus habitantes.
.
Martha Kornblith
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Brighton Riviere - Circe and her swine or Circe and the Friends of Ulysses, 1896.
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qualquer vómito tem um mito lá dentro
Golgona Anghel
(mais da poeta distópica aqui. )
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Gertrude Stein, Tender Buttons, 1914
A SHAWL
A shawl is a hat and hurt and a red balloon and an under coat and a sizer a sizer of talks.
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Tender Buttons has come to be understood as one of the most important and challenging texts of twentieth-century literary modernism, what Charles Bernstein has called “the fullest realization of the turn to language and the most perfect realization of ‘wordness,’ where word and object are merged.”
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A Samian pottery stamp. It reads C.ATVLLVS with the ‘s’ reversed. As Wessex Archaeology note: “this is thought to relate to Catullus VI, a potter working in Trier, Western Germany during the second and third centuries AD.
Ancient Art
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