Body my house
my horse my hound
what will I do
when you are fallenWhere will I sleep
How will I ride
What will I huntWhere can I go
without my mount
all eager and quick
How will I know
in thicket ahead
is danger or treasure
when Body my good
bright dog is deadHow will it be
to lie in the sky
without roof or door
and wind for an eyeWith cloud for shift
how will I hide?
May Swenson, “Question” (via malevichsquare)
I’ve come back to read this a dozen times.
Anrealage, AW12, Tokyo.
In the same way that some of the Futurist artists used stuttering lines to indicate speed and movement, Japanese label Anrealage was able to give the impression of blurry human movements, seen as though captured through the passing of time for the Autumn-Winter 2012 collection.
At first some of the garments trick the viewer into believing the photos are out of focus, with exaggerated silhouettes enhanced using prints and patterns that blur on the edges. However the effect is created through carefully considered print placements and precise pattern cutting.
Blows my mind.
Rivalries are born from teams that play each other a lot. When you’re not in the rivalry and you look back at it, you’re thinking, Well, I hated that guy because he would have made a great teammate.
Scot Pollard. Cf. Carolyn Hax: “Competitive people are most annoying to other competitive people.”
The Last Word On Nothing | Guest Post: The Art (& Science) of Lefty Portraits.
Consider these simple line drawings of half-smiley, half-frowny faces. In a literal sense, each is equal parts sad and happy. But to most people the emotion on the left side of each face (from the viewer’s point of view) dominates, and determines the overall emotional tenor. There are a few reasons for this…
With a bottle of Soylent on your desk, time stretches before you, featureless and a little sad. […] Soylent makes you realize how many daily indulgences we allow ourselves in the name of sustenance.
Lizzie Widdicombe: Could Soylent Replace Food? : The New Yorker
Doubt is what drives me, the nervousness that I don’t have it anymore. There’s nothing a coach or anyone can say to me that’s more powerful than my own fear that I can’t do it anymore.
Under the Skin. Even now, a couple weeks later, I’m still not sure if I liked it or not. Which technically is a “yes”, I think. At the least, I appreciate that there’s nothing quite like it.
My father was a very disciplined and punctual man; it was a prerequisite for his creativity…. No matter what time you get out of bed, go for a walk and then work, he’d say, because the demons hate it when you get out of bed, demons hate fresh air.
Linn Ullmann talking about her father Ingmar Bergman. Via Matt Thomas.
Kill Bill: Vol. 2. The lesser of the two Bills, I say, because there’s so much more talk-talk-talk. It’s thoughtfully done, but I just like the more action-y first one.
Kill Bill: Vol. 1. The better of the two Bills. Kind of exhausting at times, being submerged in a fanatic’s imagination and obsessions for two hours, but it’s good goofy fun.
