El cuadro más lindo de una escena (y nuevo cover photo de redes y wallpaper).
Now that the numbers are in on same-sex marriage, many Republicans are falling like dominos all over themselves to express their support for something that only a few months ago they steadfastly claimed to stand against. They’ll probably soon claim that this is how they felt all along, and they were simply too hamstrung by politics to be able to say what they really meant. Well, okay. In the spirit of openheartedness and what life is really all about, I’ll go so far as to say that the fear of others may mask some deep-seated desire to understand, and maybe even to love. Because really, what is there to be afraid of?For Mother’s Day, the New Yorker celebrates marriage equality with this heart-warming cover of a two-mom family by cartoonist extraordinaire Chris Ware.
We do not talk - We bludgeon one another with facts and theories gleaned from cursory readings of newspapers, magazines and digests
— Henry Miller
“Get distracted by my music, think of nothing else but art.
I’ll write my loneliness in poems, if I can just think how to start…”
Esos actos de la imaginación, en el sentido más estricto, no son personales. A través de ellos se vincula a la mejor parte de la humanidad. Él lo siente así y nunca puede estar aislado, abandonado. Tiene una comunidad. Yo tengo esta caja de seis lados. Y la bondad se alcanza no en un vacío, sino en compañía de otros hombres, junto con el amor. Yo, en esta habitación, separado, alienado, desconfiado, no tengo en mi meta un mundo abierto, sino una cárcel cerrada y sin esperanza. Mis perspectivas terminan en las paredes. Nada del futuro viene a mi encuentro. Solo el pasado, con su ruina y su inocencia. Algunos hombres parecen saber exactamente dónde están sus oportunidades; se fugan de prisiones y cruzan Siberias enteras en su busca. Una habitación me retiene.
— El hombre en suspenso, Saul Bellow (1944)
“You must be willing to risk everything to really express it all”, amen, John.
John Cassavetes: The Art of Feeling
An influential figure in film history, John Cassavetes is known as the father of independent film. His self-financed films portray his interest in the human individual and his or her emotional experiences, while the works themselves exemplify the non-traditional ways that a filmmaker is able to take in order to bring a story onto the screen.
Art films aren’t necessarily photography. It’s feeling. If we can capture a feeling of a people, of a way of life, then we made a good picture.
John Cassavetes
(Source: howtocatchamonster, via offworldcolonies)
Iveta Vaivode - Opera: The Spectacle of Society
Opera was once seen as the exclusive reserve of aristocracy, a polite social occasion or an event to attend to affirm your cultural capital as a member of a social elite. Iveta Vaivode’s images tell a different story of intense participation by a more heterogeneous audience in a drama unfolding out of the frame. She watches the watchers, much as painters like Edgar Degas or Walter Sickert did at the music hall a hundred years ago. The long exposures she employs render the subject in a high contrast impressionistic way, like Édouard Manet, but instead of Baudelaire’s Flaneurs, Vaivode sees a more stratified contemporary audience. From box to balcony to stalls the make-up of the spectators clearly differs, but the difference from seat to seat is equally enthralling as many people sit virtually stock-still for the entire 45 minutes of the performance & exposure, whilst others move around to the point of visual extinction. Some sit forward in their seats wringing their hands as the narrative grips them, whilst others coolly recline, arms folded.
In one image Vaivode shoots looking down from the balcony on the red velvet curve that separates the orchestra pit from the stalls. The marked contrast either side of the line, one of light activity against dark observation, puts us in mind of Plato’s cave or Debord’s Society of the Spectacle, as those in the dark sit transfixed by the energy of others—passion by proxy. And yet the work is less social critique than affective visual feast as the audience is drawn into the play.
(Source: arpeggia)
