1. 11:32 21st Oct 2014

    Notes: 295

    Reblogged from hamletmaschine

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    16chakras:

Miles Cleveland Goodwin

    16chakras:

    Miles Cleveland Goodwin

    (Source: wonderingaesthetic)

     
  2. Consciously or not, Flynn’s quasi-feminist, Lifetime Channel posturing (her poorly structured, back-and-forth narrative) manipulates public prurience about the gender wars, but her real subject is class — always Hollywood’s hidden subject. Although Flynn flaunts her success as girlish (her term not mine), she’s not motivated by feminism but by a freaky self-reproach presented as entertainment — a paradox only a parvenu from the privileged media class can pull off.

    Armond White

    A lot of people despise Armond White, not without reason, and I don’t really agree with what I take to be his essentially Tolstoyan conception of what art is supposed to be and do.  But the above is correct, as is the rest of the review; sex-and-gender is Gone Girl's fig-leaf for class, as it was for the Victorians we are busily emulating.  For a variety of reasons dispiriting to contemplate, a reactionary is better positioned to observe this these days than anyone left of center, probably due to the intellectual left's increasing status as a hereditary managerial elite lost in its own increasingly labyrinthine social codes.  (Let us be clear, though: White's review is conservative, but the novel and the film are fascist.  I unpleasantly suspect that recovering the conservative critique of fascism will be an important task over the next decade—Roudinesco’s defense of the surprising “enlightened conservatism” of Lacan and the other ‘68ers might provide a lead here.)  The rage of parvenues like Gillian Flynn and Nick Dunne at their exclusions is more readily recognized by their culture-class counterparts outside the Ivy walls of the progressive clerisy.  In other words, it takes one to know one.  I didn’t—and wouldn’t—put it quite as pungently as White does, and I enjoyed the novel (and, to a lesser extent, the film) more than he did, but my analysis of this parvenu’s angry narrative is complementary to his.  I’m just shocked that, writing in The National Review of all places, he failed to make the Bill-and-Hillary connection!

     
  3. 11:31

    Notes: 13

    Reblogged from leprincelointain

    leprincelointain:

Edward Burne-Jones (1833-1898), Garden of the Hesperides - 1869/73

    leprincelointain:

    Edward Burne-Jones (1833-1898), Garden of the Hesperides - 1869/73

     
  4. 11:30

    Notes: 25

    Reblogged from fleurdulys

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    fleurdulys:

The Garden of Opportunity - Evelyn de Morgan
1892

    fleurdulys:

    The Garden of Opportunity - Evelyn de Morgan

    1892

     
  5. 15:05 20th Oct 2014

    Notes: 574

    Reblogged from fakedeaths

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    derrierelasalledebains:

Scrapbook by William Burroughs and Brion Gysin, from Paperwork: A Brief History of Artists’ Scrapbooks (ltd edition book, 500 copies).

    derrierelasalledebains:

    Scrapbook by William Burroughs and Brion Gysin, from Paperwork: A Brief History of Artists’ Scrapbooks (ltd edition book, 500 copies).

     
  6. Time in Orlando is all affect—it is a frock that can be changed at will. It is nothing other than the sum of its parts—its technologies, its politics, its disasters—and as such, any given age can be adopted or discarded.

    The solution to reconciling time on the clock with time of the mind is a cosmic detachment, a god’s-eye view in which the passage of eons is as unserious as the changing of fashion. This preternatural embodiment of the past not only offers the means to understand the world, it also seems to necessitate a withdrawal from it. While the other major protagonists of Woolf’s fiction were all, one way or another, crushed by history, Orlando, given a cosmoslike understanding of the passage of time, maintains a serenity toward events. If in Orlando Woolf had finally created a character who could transcend chronos entirely, the novel by its end cannot help but pose the question: is it worth it?

    As any vampire will tell you, immortality isn’t without its price. Watching the ages fly by, Orlando is detached, without allegiance to any century or its petty concerns. Loneliness is a constant preoccupation of Woolf’s ostensible immortal, who seems capable of connecting with the world and others only in brief flashes, moments of intensity that dissipate in an instant. The loneliness of Clarissa Dalloway or Mrs. Ramsay is a loneliness of melancholy and regret, of looking back across the space of years and taking stock of a life that has passed by too soon. Having loved and lost, their recollections are at least bittersweet. Regret is quite the opposite for Orlando, having spent centuries trying and failing to carry out E. M. Forster’s dictum to “only connect.” Her loves are wild with passion, but seem to leave no trace, and by the novel’s end she is left occasionally wounded, but always without the pleasure of a scar.

     
  7. 07:00

    Notes: 88

    Reblogged from templeofapelles

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    templeofapelles:

Democritus in Meditation (1650 - 1651) Salvator Rosa

    templeofapelles:

    Democritus in Meditation (1650 - 1651)
    Salvator Rosa

     
  8. 06:30

    Notes: 7

    Reblogged from jaded-toddler

    Some have told me that these poems might do harm; I have not rejoiced at that. Other good souls, that they might do some good; and that has given me no regret. I was equally surprised at what the former feared and what the latter hoped, which only served to prove once again that this age has lost all sense of the classical notions of literature.
    Notes for a Preface to Les Fleurs du Mal by Charles Baudelaire (via jaded-toddler)
     
  9. 01:29

    Notes: 498

    Reblogged from architectureofdoom

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    lakiubeogradu:

Belgrade is really not the city of high-rises, but the geographical position really nurtures it’s panoramas well. :)- pic from Twitter: https://twitter.com/BgDisident/status/524062921136291840

    lakiubeogradu:

    Belgrade is really not the city of high-rises, but the geographical position really nurtures it’s panoramas well. :)
    - pic from Twitter: https://twitter.com/BgDisident/status/524062921136291840

     
  10. 01:14

    Notes: 154

    Reblogged from jaded-toddler

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    art-yeti:

Jacques de La Joue the Younger, Allegory of Winter; date unknown (b.1686- 1761)

    art-yeti:

    Jacques de La Joue the Younger, Allegory of Winter; date unknown (b.1686- 1761)

    (Source: metmuseum.org)

     
  11. 21:50 19th Oct 2014

    Notes: 21

    Reblogged from lilithsplace

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    lilithsplace:

 In a Strange Land, 1919 - Dod Procter (1890–1972) 

    lilithsplace:

     In a Strange Land, 1919 - Dod Procter (1890–1972) 

     
  12. 08:25

    Notes: 443

    Reblogged from fleurdulys

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    fleurdulys:

Sunset (Medusa) - Eugene Berman
1945

    fleurdulys:

    Sunset (Medusa) - Eugene Berman

    1945

     
  13. 07:30

    Notes: 5

    Reblogged from aboulian

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    aboulian:

Franz Kafka, Letters to Milena, tr. Philip Boehm (New York: Schocken Books,1990), 271–72.

    aboulian:

    Franz Kafka, Letters to Milena, tr. Philip Boehm (New York: Schocken Books,1990), 271–72.

     
  14. 07:00

    Notes: 542

    Reblogged from crisdehaine

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    denisforkas:

Study for Hypostatic Lovers, 2014
Acrylics on paper, 15.7 x 24.8 cm

    denisforkas:

    Study for Hypostatic Lovers, 2014

    Acrylics on paper, 15.7 x 24.8 cm

     
  15. 06:30

    Notes: 24

    Reblogged from crisdehaine

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    speciesbarocus:

Giorgio Ghisi - Allegory of Life (1561).

    speciesbarocus:

    Giorgio Ghisi - Allegory of Life (1561).