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Nikolay Punin, from a diary entry featured in The Diaries of Nikolay Punin: 1904 - 1953

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how’s that house that raised you?

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— Anne Sexton, Live or Die; A Little Uncomplicated Hymn.

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Nikita Gill, from Your Heart is the Sea: Poems; "Detachment," originally published in 2018

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“To be able to say: I loved this person, we had a hell of a nice time together, it's over but in a way it will never be over and I do know that I for sure loved this person, to be able to say that and mean it, that's rare— that's rare and valuable.”

— Ernest Hemingway, The Complete Short Stories (via 7-weeks)

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— Anna Akhmatova, You Will Hear Thunder

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— Sanober Khan, A Thousand Flamingos

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Nikita Gill, from Your Heart is the Sea: Poems; "The Difference Between Alone and Lonely,"

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Jane Austen // Nizar Qabbani

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—Andrea Gibson, "Good Light," Lord of the Butterflies

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— Enzo Silon Surin

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— Jenny Slate, Little Weirds

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“Forgive yourself for not knowing what you didn’t know before you learned it.”

— Maya Angelou

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The gelatin in film stock was made from the hide, bones, cartilage, ligaments, and connective tissue of calves (considered the very best), sheep (less desirable), and other animals who passed through the slaughterhouse. Six kilograms of bone went into a single kilogram of gelatin. Eventually, the demands of photographic industries generated so much need for animal byproducts that slaughterhouses became integrated into the photographic production chain. Controlling the supply chain became key to Kodak's success. In 1882, as Kodak began to grow as a company, widespread complaints of fogged and darkened plates stopped production. The crisis almost ruined Kodak financially and resulted in the company tightly monitoring the animal by-products used in gelatin. Decades later, a Kodak emulsion scientist discovered that cattle who consumed mustard seed metabolized a sulfuric substance, enhancing the light sensitivity of silver halides and enabling better film speeds. The poor-quality gelatin in 1882 was due to the lack of mustard seeds in the cows' diet. The head of research at Kodak, Dr. C. E. Kenneth Mees, concluded, "If cows didn't like mustard there wouldn't be any movies at all." By controlling the diet of cows who were used to make gelatin, Kodak ensured the quality of its film stock. As literary scholar Nicole Shukin reflects, there is a "transfer of life from animal body to technological media." The image comes alive through animal death, carried along by the work of ranchers, meatpackers, and Kodak production workers.

—Siobhan Angus, Camera Geologica: An Elemental History of Photography

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The most valuable frequency for female body health is relaxation. When we try to build connections with people and there is ongoing anxiety or fear humming in the background, where we are worried that something we said was interpreted the wrong way or we think we are constantly doing the “wrong” thing according to the person’s perceptions, whenever we relate to this particular person, our bodies will be in a pattern of fight or flight, wondering what we will do next to trigger the person. Women wonder why our bodies don’t work well. For the female body, it’s the smallest, subtlest details that have the largest impact on our nervous system, female health, natural beauty, quality of moon cycles, and ability to regenerate overtime. Building connections should be easeful, flowy, honest, communicative, and more relaxing than fight or flight, even in their learnings and imperfections. —India Ame’ye

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“I learned that just beneath the surface there’s another world, and still different worlds as you dig deeper. I knew it as a kid, but I couldn’t find the proof. It was just a feeling. There is goodness in blue skies and flowers, but another force - a wild pain and decay - also accompanies everything.”

— David Lynch

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