in dreams

today, I took a rest (2007)

it's incredible how much this changes the messaging of the image. dreams of ecological participation stained with a creeping theme of alienation from their native biosphere. the thumbprint of colonialism, clear as day. a hopeful vision of the future, kneecapped by its own symbology. hundreds of individual artists so alienated from their own ecosystems that even their fantasy of participation with nature is inextricable from colonialist trophies. trying to imagine reclaiming the world.

These surrealists who made the early films were shooting in the dark, they were feeling their way. But they've left behind a sign on a door that said: once this door is opened, in the future, it will make a way for a brand new kind of film. I'm very happy to be a fellow traveler with any of these guys. David Lynch in Arena - Ruth, Roses and Revolver (Feb 20 1987)

Same mutuals on instagram: Wow, it was a crazy weekend hiking with my friends 🌄 and then celebrating my little brother's 11th birthday! 7th grade will be wonderful for you little man 🤘

Conception de pièce pour l'exposition 'Visiona' par Bayer AG, conçue par Verner Panton, 1968

tara rodgers, "synthesis" (in keywords in sound, ed. david novak & matt sakakeeny, 2015)

"While nature and artifice are well-worn topics for twenty-first-century readers familiar with cultural theory, these categories held great significance to the inventors, musicians, and listeners who greeted new sound synthesis technologies over the last century. Indeed, stories of synthesized sound in practice are often marked by movements around and across perceived boundaries of nature and artifice, of human and machine, and of what counts as fully human in the course of human histories. Many inventors of electronic musical instruments have devised and revised touch-sensitive interfaces in efforts to humanize expressive possibilities of otherwise unwavering electronic tones (Chadabe 1997: 14; Holmes 2002). Disco and house music producers, and their dance floor interpreters, have heard in 'unnatural' (i.e., not acoustic) electronic beats and synthesized strings a sonic metaphor for queer identities and communities (Dyer 1990; Currid 1995; Gilbert and Pearson 1999: 61-66, 91). R & B musicians have taken up the vocoder and other explicitly technologized voice synthesis effects to challenge cultural inscriptions of black subjects and voices as 'the epitome of embodiment' and authentic 'soul' (Weheliye 2002: 30-31). In these examples, sonic artifice-- as it is so marked by distinctive timbral and tone-shaping dimensions of synthesized sound-- is a machine-produced veneer that always reflects back on human conditions, relations, desires. Synthesized sounds themselves are complex naturecultures-- instances of the imploded and deeply interwoven categories of natural and cultural, 'where the fleshy body and the human histories are always and everywhere enmeshed in the tissue of interrelationship where all the relators aren't human' (Haraway and Goodeve 2000: 106)."

Form Unformed

C.P. Family Publishers

August 11, 1900 Rilke and Andreas-Salomé: a love story in letters (1897-1926)

Need for Speed III: Hot Pursuit (1998)

Affandi - Crab and Lobster

Fabienne Verdier

Hiroo Isono, 1982

Oil and acrylic on canvas , 10.6 x 8.7  in.

Laura Makabresku - Two souls guard their shared solitude

― Rainer Maria Rilke

'tongues + clams' by e.v. day