serenity-the-firefly

[serenity-the-firefly]

What are you even supposed to eat for dinner

[serenity-the-firefly]

the thing about LLM discourse is that, like all discourse, 90% of it on all sides is just people regurgitating some vaguely relevant phrase based on kinda similar keywords in the post they're replying to

which is ironic, because

[serenity-the-firefly]

ykno the thing about poetry is that 99% of it is bullshit and the other 1% will cut you like a material knife, and for every person that 1% is a different section of the whole. this is probably true about all art.

[serenity-the-firefly]

i don’t have a five year plan because every two years i realize i need a different life

[serenity-the-firefly]

Running Running Running

[serenity-the-firefly]

“I want you to do this with me for one month. One month. Write 10 observations a week and by the end of four weeks, you will have an answer. Because when someone writes about the rustic gutter and the water pouring through it onto the muddy grass, the real pours into the room. And it’s thrilling. We’re all enlivened by it. We don’t have to find more than the rustic gutter and the muddy grass and the pouring cold water.”

— Marie Howe, Boston University’s 2016 Theopoetics Conference  (via mothersofmyheart)

[serenity-the-firefly]

Somewhere along I-90 in South Dakota

[serenity-the-firefly]

[serenity-the-firefly]

This dog was documented chasing a 'Kakao Maps' street view camera around a small South Korean island, it is featured in more than 1000 images of the island.

[serenity-the-firefly]

[関口碧@aoi_sekigu]

[serenity-the-firefly]

british fantasy name: wicklebort smee

american fantasy name: aethiraimia “mia” windfeeler

chinese fantasy name: zhang youming (minimum two pages of in-text etymology about why they’re called this)

[serenity-the-firefly]

Do you think that Lazzaro’s openness to others and his passivity is the only way to be happy?

No, absolutey not. I don’t think that we must be happy. The film is not about ‘being’ happy, but about ‘seeing’ happy, which are two very different sentiments. One is a search for adolescent empathy for the character, as though the film told us to be like him. But there’s another mode of spectatorship, where the character is instead something that we have to watch and remember. Perhaps the memory of Lazzaro’s innocence is both painful and pleasant because it’s an original yearning, something from which we’ve been separated but which we remember.

[…]

Lazzaro never changes; the world changes around him. We often imagine that a good man does good, but it’s an illusion. A real good man doesn’t know what is good or bad, he’s simply open to everything, without a filter. Lazzaro is a mystery and a form of gentle revolution. A script is often seen as something to dominate, but here I admit that there are few Lazzaros and I watch him like I would watch a saint, or a tree.

[…]

I don’t think it’s Lazzaro’s point of view, but rather that of the world on Lazzaro. He is sometimes embarrassing because he shows us something that, deep inside, we recognize in ourselves too, but we pretend not to. We are embarrassed when someone sings badly because maybe we don’t sing well either. We’re embarrassed by things that we participate in but that we hide. 

[…]

For me, it was very important to talk about things that, in the past, have remained in the past but aren’t solved. My way of looking at the past is by no means nostalgic, but not at all a rhetorical kind of looking at the past either. It’s not something gone and therefore we miss it. It’s something that hasn’t been solved. I felt that we no longer have time because the world changes quickly. Therefore, it’s not like I could talk about this at a later stage. Now is the time to make this movie. It’s true, people migrate because they’re escaping from big deception. There are people that are responsible for this deception, made their lives ugly, deceived them without solving the issues [that made them migrate] - and, actually, confounding them. Therefore, this kind of meaning, which in a way could be a bit rhetorical and boring - we go beyond that. And the reason we manage not to fall into this trap is that we have this [Lazzaro’s] gaze, the gaze of a child, which is somewhat lighthearted.

[…]

He [the actor] approached it as if he [Lazzaro] was a window, not a wall […] This sort of strange sanctity without miracies is something which, in the past, he had a role of the person we exploit. In the present, it can generate fear and scare us because he’s no longer the person we exploit. How did we pull that off? We pulled that off because the story is a fable or fairy tale, so you have a clear-cut distinction between the good guy and bad guy with no ambiguity there […] In the movie, he has a line where he says he doesn’t know who his parents are and who he is - that is true. I didn’t know all these things, so there was no higher power who knew all these things. We say that he was found under a cabbage, and that’s what he wanted, and we respected his wishes. 

Lazzaro Felice (2018) dir. Alice Rohrwacher

Alice Rohrwacher Slant Magazine: the Past in the Present Tense, 2018.

[serenity-the-firefly]

*logs off tumblr and rereads the source material* phew... it was all just a bad dream.. . thank god...

[serenity-the-firefly]

[serenity-the-firefly]

The għonnella was a traditional Maltese women's garment that functioned as a hooded cloak. Typically made of a heavy, dark fabric, it covered the entire body except for the face, which remained partially obscured due to its unique curved frame. The għonnella was distinct from other European garments as it did not rely on a headpiece like a hat or bonnet; instead, it was structured using whalebone or other stiff materials to create its signature arched shape. Popular from the 17th to early 20th centuries, it symbolized modesty and Maltese cultural identity. Today, the għonnella is no longer in use but remains an iconic symbol of Malta's heritage.

[serenity-the-firefly]

Sooner or later leftists will have to deal with the issue that capitalism has made many people used to wanton excess and sooner or later we'll have to legit tell everyone we can't have plastic treats and luxury produce or cruises instantly available year round and it's gonna make so many people mad and call you a big meanie worse than stalin over it. It will not be popular at all but someone's gotta hold a firm no or the planet will never stop collapsing. We can't save the planet by living exactly how we do now just with a communist banner over it we have to take a loss sorry, shein product cycles shouldn't have been normalized to begin with.

[serenity-the-firefly]

THE JURASSIC PARK (1993) — dir. Steven Spielberg