Je ne suis qu'une vermine bourrée d'esthétique. Rien de plus.

"Choice feminism is motivated by a fear of politics. It arises in response to three common criticisms of feminism: that feminism is too radical, too exclusionary, and too judgmental. In response, choice feminism offers a worldview that does not challenge the status quo, that promises to include all women regardless of their choices, and that abstains from judgment altogether. Moreover, it enables feminists to sidestep the difficulties of making the personal political: making judgments and demanding change of friends, family, and lovers. Yet, judgment, exclusion, and calls for change are unavoidable parts of politics. If feminists are not to withdraw from political life altogether, we have to acknowledge the difficulty of engaging in politics. Political claims are partial; we will inevitably exclude, offend, or alienate some of those whom we should wish to have as allies."

Artist:Unknown Tricky
Title: UnknownPonderosa
68 plays

blaaargh:

TRICKY — Ponderosa

c0ssette:

Detail of the veiled angel of death,from Honor Roll Monument in Prospect Park,Augustus Lukeman.

escapekit:

Closed sky

Austrian photographer Lukas Furlan has captured beautiful shots of the South Tyrolean Alps.

girlannachronism:

Fei Fei Sun in “A Clean Getaway” by Patrick Demarchelier for W Magazine, November 2013

"Every word we utter is but the utterance of a drowsy phantom in our blood, the opening of the lips of a spectre. For this reason
in rare moments of self-consciousness our voice sounds strange, far away, not ours. It is the sudden perception of that great
truth: We are not ourselves."

Benjamin De Casseres, Chameleon  (via poeticsofdeath)

nnmprv:

No Lifeguard on Duty by j bennett fitts.

"As long as the social function is not criticized, then all film criticism is symptomatic criticism and itself has a symptomatic character. It exhausts itself on questions of taste and remains completely imprisoned in class prejudice. It never recognizes that taste is merchandise and the weapon of a particular class, but rather it sets taste as an absolute (which everyone has access to, which everyone can buy, even if, in fact, everyone cannot pay)."

Bertolt Brecht, “On Cinema” (via concretesorrow)

L’autre côté du ciel, Jessica Miller by Mario Sorrenti for Vogue Paris November 2001

RF