As you walk into the amazing Cathedrals and Churches that dot our planet, your first reaction is to look up towards the towering ceilings, the amazing stained glass, and sculptures. Photographer Richard Silver took panorama and turned it on its side to capture the magic of the vaulted ceilings and glorious testaments to religion. These photos may make you feel dizzy as you scroll through them. You feel as if you are rolling your head back to look towards the ceiling, but instead of stopping, you keep bending over until your completely reverse your view. The images capture the entire beauty of the interior of these amazing churches including, St. Vince de Paul in California, Cathedral of the Holy Name in Mumbai, Dominican Church in Krakow, and St. Mathias in Budapest, just to name a few.
The images give a magical view of the churches providing the feeling of just walking into their glory.
Church of the Transfiguration in Krakow
St. Cajetan in Goa, India
The Church of Saint Augustin in Vienna
St. Andreas in Düsseldorf
Potosi’s Convent of Santa Teresa in Bolivia
St. Mary’s Church in Poland
St. Mathias in Budapest
Iglesia de San Francisco in Mexico City
Dominican Church in Krakow
Cathedral of the Holy Name in Mumbai
St Vincent De Paul in California
Cathedral of Christ the King in Johannesburg
Franciszkanska Church in Krakow
As always, it is Flickr Friday on iGNANT and we present the best pictures we found while strolling around on Flickr during the week. Enjoy and have a nice weekend everybody.
Image © Elena Alhimovich
Image © haley luna
Image © rmcmackin
Image © Matt Nuzzaco
Image © Lou O’ Bedlam
Image © Kylie Turley
Image © Elias and Theresa Carlson
Image © Benoit Chailleux
2013 was a year filled with triumph, drama, disasters, and successes. Since we are rapidly approaching the end of 2013, we decided to take a look back at some of the most dramatic photographs of the year. Pictures snapped by a variety of photographers that embody the drama of 2013. We see the horror of a tornado in Moore Oklahoma, wildfires in Dunalley Australia, flood in Manila and Athens, and typhoon Haiyan in the Philippines. We see the drama of war and conflict in Rio De Janeiro, Bangkok, Cairo, Pakistan, and other corners of the world.
We look back and see the drama of Nik Wallenda’s amazing cable walk in Arizona. The thrill of Superman visiting children in Sao Paulo Brazil. We see the courage of Garrett McNamara surfing the massive waves of Portugal to break a world record. We see the joy of a new Pope leading the Catholic Church.
2013 was a year of amazing stories and amazing work by the world’s photographers and we thank you.
Hasan Jamali / AP / Bahraini anti-government protester getting engulfed in flames after riot police blow up his gasoline bomb.
Ueslei Marcelino / Reuters / Young couple at Mane Garrincha Stadium in Brasilia, Brazil, on Sept. 7 before a soccer match between Brazil and Australia.
Samantha Sais /The New York Times / Redux Pictures / Emotional photo of Renata Teodoro, 25, right, holds hands with her mother, Gorete Borges Teodoro, who was deported six years ago from the U.S., through the bars of a border fence in Nogales, Ariz.
Sanjay Kanojia / AFP / Getty Images / Indian youth dangles from a power line before diving into the floodwaters of an overflowing Ganges river in Allahabad in August.
John Tlumacki / The Boston Globe / AP / Bill Iffrig, 78, lies on the ground during the Boston marathon bombing.
Tó Mané / Barcroft Media / Landov / The brave Garrett McNamara attempting to break the Guinness World Record for largest wave ever surfed on in Nazare, Portugal.
Evan Vucci / AP Photo / President Obama standing at the “Door of No Return” on Goree Island off the Senegalese coast, which was the last stop for millions of slaves sent to the New World. Truly emotional.
Osman Orsal / Reuters / A Turkish riot policeman uses tear gas against a woman in Taksim Square in central Istanbul.
Philippe Lopez / AFP / Getty Images / Survivors of Super Typhoon Haiyan, which left 1.9 million homeless, take part in a religious procession in Tolosa on the eastern Philippine island of Leyte.
Christophe Simon / AFP / Getty Images / A demonstrator being shot by rubber bullets in Rio de Janeiro, Brazil.
Joe Burbank / Orlando Sentinel / AP Photo / George Zimmerman winks at his lawyer at the start of his trial in Seminole Circuit Court.
Nacho Doce / Reuters / A window cleaner dressed as Superman smiles at patient Joao Bertola, 2, and his father at the Hospital Infantil Sabara in Sao Paulo, Brazil. Truly incredible.
Goran Tomasevic / Reuters / Women tightly gripping her child as she runs for safety during a shooting spree in a shopping mall in Nairobi, Kenya that left 67 dead.
STR / AFP / Getty Images / A young man commits suicide minutes after a first individual commits suicide on the Yangtze River Bridge in Wuhan, China.
Marcio Jose Sanchez / AP / Capt. Michael Potoczniak marries his partner Todd Saunders, in a ceremony in San Francisco on June 29.
Tim Holmes / AP / Tammy Holmes and her grandchildren take refuge under a jetty as a wildfire rages in the Australian town of Dunalley.
China Stringer Network / Reuters / People watch water gushing from a section of the Xiaolangdi Reservoir on China’s Yellow River during a July 6 operation to remove built-up silt.
Brad Penner / USA TODAY Sports / Air Force sergeant surprises his wife and daughter during the second quarter of a game between the New York Giants and the Green Bay Packers.
AP Photos/Discovery Channel, Tiffany Brown / Aerialist Nik Wallenda walks a 2-inch-thick, quarter mile long steel cable over the Little Colorado River Gorge in northeastern Arizona in June. Absolutely insane!
Manuel Balce Ceneta / AP / Thania Sayne leans on the headstone marking the grave of her husband, who was killed in Afghanistan in 2011, at Arlington National Cemetery.
ADREES LATIF / Reuters / A couple stands on top of their once standing home in Moore, Oklahoma.
John Kolesidis / Reuters / A heroic man rescues a woman from her car on a flooded road in the Athens suburb of Chalandri in February.
Fred Dufour / AFP / Getty Images / Man kicking a topless activist of the Ukrainian feminist movement Femen as she raises her fist to protest against Islamists in front of the Great Mosque of Paris.
Reuters/Romeo Ranoco / Boy carries his dog through floodwaters brought by the monsoon rain in Manila, Philippines.
Jonathan Palmer / Herald-Leader / Figo, a Kentucky police dog, pays his last respects to his human partner, Officer Jason Ellis.
Parwiz / Reuters / Afghan boys play with toy guns on the first day of Eid al-Adha.
Superbonnie via Reddt / Via reddit.com / Adorable little boy climbing and looking into the National Zoo in Washington, D.C., which was temporarily closed due to the government shutdown.
Roni Bintang / Reuters / Indonesian child watches as ash spews out of Mt. Sinabung.
Claudio Peri / EPA / Landov / Pope Francis blesses and prays with a severely disfigured man.
AP Photo/Wason Wanichakorn, File / Anti-government protester gives a rose to a Thai soldier at the Defense Ministry during a rally in Bangkok.
Jae C. Hong / AP Photo / Firefighters prepare to battle the Rim Fire near Yosemite National Park, Calif., in August.
Jason Lee / Reuters / Boy holds his mother’s leg as he cries in front of their damaged house after a strong 6.6 magnitude earthquake at Longmen village, Lushan county in Ya’an, Sichuan province.
AP Photo / Rescuers pull out a female survivor, Reshma, alive miraculously 16 days after a garment factory building collapsed in Bangladesh.
Luke Macgregor / Reuters / Runners incredibly observe a moment of silence for the victims of the Boston Marathon bombings before the start of the London Marathon in Greenwich, southeast London.
Reuters / Rescue workers carry a child who was rescued from the rubble at the site of a collapsed residential building in Mumbai, India, in September.
Michael Sohn / AP / Sea of phones, Catholics take photos with their phones and tablets of the newly-elected Pope Francis as he speaks from the central balcony of St. Peter’s Basilica at the Vatican. A truly incredible photo.
Mohammad Sajjad / AP / Pakistani man running for his life while carrying a child rushing away from the site of a car bombing in Peshawar, northwest Pakistan.
Make-A-Wish Bay Area / sf.wish.org / Via Twitter: @SFWish / Miles, the incredible five-year-old battling leukemia, dressed as “Batkid” as part of a day arranged by the Make-A-Wish Foundation in San Francisco on Nov. 15. Probably one of our favorite stories of the year.
Mike Blake / Reuters / It’s Superman over California
Nelson Rolihlahla Mandela / A South African revolutionary, politician, and philanthropist who served as President of South Africa from 1994 to 1999. / Tumblr
If you don’t want to see a naked Kate Moss, don’t click through. Because she’s naked. Gloriously, magnificently nude. But so powerful, so intensely a WOMAN that I look at these and almost don’t even see a naked person. I see a woman owning herself. When I wrote about Miley Cyrus, someone emailed me and told me that they too were conflicted about her. Was it empowerment, or something else? I don’t know either. But with Kate, it’s so clear. It was photographed by photographer duo Mert & Marcus and Kate wears bunny ears with Saint Laurent pumps on the magazine’s 60th anniversary cover. The spread is more Helmut Newton than it is Playboy, is it not? Like I would totally hang this.
I think about women and “modesty” a lot. The concept of the male gaze. Thoughts on how a woman should look and act in public. Dress codes for women. Patriarchy. Personally I think a burka and a bikini are more alike than they are different: both can be tools of the male gaze. Both can define women by their sexuality… if we let them I guess. I don’t know what the answer is, I really don’t. I really liked this art project called “Mormon Women Bare” – a mormon photographer photographed some mormon women naked (and unlike Kate, they LOOK naked) in protest of the societal pressures on mormon women. “Mormon Women Bare is about reclaiming. It is about women reclaiming our bodies from a culture that teaches us that we belong to men, to God, to the society that objectifies us. It is about reclaiming the female body as more than just an object of lust or resistance.” – is the description of the project. Is nudity the answer to the problem? Is being naked really reclaiming anything? I REALLY DONT KNOW. For myself, I have problems – real philosophical problems- with a dress code for women. I just do. To me, it means that I’m being defined by my sexuality at all times- no matter my age, no matter my status, no matter what else I’m doing. And I just know that I am so much more than a sum of body parts. I also won’t take responsibility for how men look at me. That’s part of a rape culture ideology- aka she was asking for it. But I do think I dress myself and carry myself in a way that I would be comfortable in all situations. And when I look at Miley’s reclaiming of her sexuality- it makes me uncomfortable, because, well BECAUSE. It’s a tough swim upstream in a rapids infested river for us women, and all I want is a canoe. There are no right answers right now. ANYWAY…. I could go on and on about this. I just want women to feel powerful and make choices for themselves fully in the know of what they are doing. What those choices are doesn’t matter to me. RA RA RA – WOMEN! Now back to the nudity.
This might be the first Playboy I buy for myself.
Baleen whales have no need for Q-tips. Water blocks off the ear canal, which has a unique anatomy, so over time wax builds up into what researchers call an earplug. Previously, scientists counted the layers of wax, like counting tree rings, to help determine a whale’s age, but a team at Baylor University in Texas recently discovered that the gunk contains even more information. Because fluctuations in hormones and chemical exposures are documented in the earwax, it can provide a chronological archive of a deceased whale’s life. And while blubber samples can yield one data point on exposure, earwax can reveal when that exposure happened—details that weren’t available before now. Museums have hundreds of earplugs from the baleen whale group, which contains 14 species. So far, the Baylor team has used one (about a foot long) from a male blue whale to figure out when it hit puberty, what pollutants its mother passed along during nursing, and when it encountered pesticides and mercury. Next, the researchers plan to try to answer questions such as how many pregnancies a female has had and whether the noise of passing ships has physiological effects.
This article originally appeared in the December 2013 issue of Popular Science.
(Dir. Antonio Johns)
I saw this on a train. I was traveling from Seattle to Portland by train, and the person sitting next to me asked me if I wanted to watch a movie with him.
It’s nice, I think, that Americans on trains are still willing to ask strangers if they’d like to watch a movie with them. It makes me feel good about the country. It gives me hope. Like, real hope, though. Voting for a guy may have given me a kind of hope, but it was a hope I was fairly certain was mostly just a mask of hope. A surface kind of hope. A hope that I was participating in with a group of people. We were all putting on the hope. That’s a kind of hope, sure, but maybe not the best kind of hope.
This, instead, is a hope from inside me. A hope I nurtured in my barren, dry soul.
Anyway, the movie was pretty good. I felt like Ryan Gosling delivered an above-average performance as the owner of a pawn shop. I liked the girl who was in it, too. What’s her name again? The one with the shorter hair?
Imagine, though. The guy sitting next to me just wanted to watch a movie with a stranger. What a nice way to connect with someone you don’t know.
(Dir. Kiki Belard)
I was on my way into one theater in one of those enormous theater complexes with multiple floors and multiple screens when I dropped a quarter. It rolled into the theater opposite the one I was going in. It’s always nice to have quarters, so I followed my quarter into the wrong theater. This was the movie that was playing, and it had just started. I couldn’t find my quarter because it was dark so I decided to sit through the movie and look for the quarter when the house lights came back up.
I don’t really know why I feel like it’s always nice to have quarters. We have a washer, so I don’t need the quarters for laundry. I have a bus pass, so I don’t need quarters for my commute. I have a cell phone, so I don’t need quarters to make a call. I drink coffee instead of sodas from a soda machine.
I think maybe the reason I want to have a quarter or two on me is that I’m never sure when I might be at a hotel with a game room and a 720° machine. I used to be pretty good at that one. I think if I were to find myself in a hotel game room with a 720° and a couple of quarters, I might be able to pick it up again. I might be good at it still.
Remember that one? With the skateboards and the bees and the weird joystick? On the 720° Wikipedia page, someone has attempted to describe the joystick like this: “The main control is also unique. This joystick moves in a circular fashion, instead of in compass directions like standard joysticks.” I checked the Wikipedia Talk page, hoping that someone had started an argument over the way the 720° joystick works, but no one has. Not yet. I feel like someone should start an argument.
The ending was pretty good. I thought it was nice when they found their dog and he was unharmed.
We Met at the Sonic
(Dir. William Pinter)
I like to walk home from work. A couple of months ago, I was walking home and I crossed through an alley. In the alley, three people were sitting on a couch. They were projecting a movie against the wall of the alley. They said I could watch, too.
Usually I listen to my iPod when I walk home. I like podcasts and audiobooks. I don’t really listen to music that much. Not this year, anyway.
But my iPod battery had died, so when they asked me if I wanted to watch the movie with them, I heard them and said yes. If the battery hadn’t died, I probably wouldn’t have heard them, and I’d have passed them by and not seen this movie which is now on my Top Five Films of 2013 list.
It’s nice when something like that happens, isn’t it?
About three quarters of the way through this movie, there’s a really harrowing scene involving river rafting.
I was supposed to make dinner that night, and I still feel bad for failing to make dinner. But the movie was worth it.
This was just in my mailbox. A CD: No sleeve, no writing on it. I’m not really sure why I decided to put it in my laptop and see what was on it.
Actually, that’s not true. I know exactly why I decided to put it in my laptop and see what was on it. I was trying to avoid writing. I think I’m a pretty good writer. I know I am an excellent not-writer. Just excellent. It’s remarkable, the things I’ll do to avoid writing. I should livestream it—me sitting down to write and not-writing and twisting myself in all sorts of ways to not-write. You’d love it.
The movie didn’t have opening or closing credits. The words “Filtered Water” appeared and dissolved and then stuff happened for an hour and a half. Then it stopped.
I’m pretty sure Marcus (“Marky”) Kelly is in this, though. I’ve always been fascinated by Marcus Kelly’s story: the early ’60s teen idol film and TV work, the bland but kind of charming pop songs (Adrianne Coleman wrote “Standing in the Snow” and her psychedelic solo stuff from ’69 – ’72 is amazing), the huge controversy that happened when he tried to mature and released the seemingly pro-suicide ballad, “I’m Just A Little Lonelier Than You.” I’ll try to write a longer post about Kelly before the end of the year.
There’s an actor in this who I swear is Kelly. He has a face like a never-oiled baseball glove. But his eyes are Kelly’s eyes.
I don’t know who left this movie in my mailbox, but I’d like to publicly thank you.
BEASTS! BEASTS! GIANTS! BEASTS!
(Dir. Dot Lemon)
The less said about this, the better, I think. If this is playing in your town, go see it. Don’t rent it or VOD it unless you have an insanely large TV. You’ll lose so much not feeling intimidated by the shifts in scale.
You might consider bringing in something to listen to during the movie. Find something more useful to do with your ears other than listen to the music or the dialogue, because the movie’s music and dialogue are just terrible.
Looks great, though. Looks just great.
I did this last year and some folks seemed to dig it; plus, I enjoy the hell out of making lists and reading lists like these so I’m doing it again this year.
Even granting that these represent my own interests (film, philosophy, art, literature, etc.) and therefore omit plenty of titles I’m sure were great but fall outside my purview, with so many badass nonfiction books published this year it was nearly impossible to select only twenty titles. Tough cuts had to be made.
So my thinking behind this list was to present you with books that might not already be on your radar. Which is to say, a brilliant book such as Scott McClanahan’s Crapalachia: A Biography of Place, or Rebecca Solnit’s The Faraway Nearby, or Jamie Iredell’s I Was a Fat Drunk Catholic School Insomniac, for instance, aren’t on this list because I figure you’ve already read them or are at least aware that they are completely awesome and that you need them.
Without further blah blah, you can expect two more of these in the coming days, one for fiction and one for poetry.
If you’re like me and haven’t even begun shopping yet, hopefully this list will help you find something for someone. Oh and for those who care, my click-throughs use my Amazon Affiliate number…the pennies that come back to me when you click on the titles go toward diapers and baby soap for my four month old son.
My 1980s and Other Essays
by Wayne Koestenbaum
My 1980s and Other Essays opens with a series of manifestos—or, perhaps more appropriately, a series of impassioned disclosures, intellectual and personal. It then proceeds to wrestle with a series of major cultural figures, the author’s own lodestars and lodestones: literary (John Ashbery, Roberto Bolaño, James Schuyler), artistic (Diane Arbus, Cindy Sherman, Andy Warhol), and simply iconic (Brigitte Bardot, Cary Grant, Lana Turner). And then there is the personal—the voice, the style, the flair—that is unquestionably Koestenbaum. It amounts to a kind of intellectual autobiography that culminates in a string of passionate calls to creativity; arguments in favor of detail and nuance, and attention; a defense of pleasure, hunger, and desire in culture and experience.
Corridor: Media Architectures in American Fiction
by Kate Marshall
Corridor offers a series of conceptually provocative readings that illuminate a hidden and surprising relationship between architectural space and modern American fiction. By paying close attention to fictional descriptions of some of modernity’s least remarkable structures, such as plumbing, ductwork, and airshafts, Kate Marshall discovers a rich network of connections between corridors and novels, one that also sheds new light on the nature of modern media.
The corridor is the dominant organizational structure in modern architecture, yet its various functions are taken for granted, and it tends to disappear from view. But, as Marshall shows, even the most banal structures become strangely visible in the noisy communication systems of American fiction. By examining the link between modernist novels and corridors, Marshall demonstrates the ways architectural elements act as media. In a fresh look at the late naturalist fiction of the 1920s, ’30s, and ’40s, she leads the reader through the fetus-clogged sewers of Manhattan Transfer to the corpse-choked furnaces of Native Son and reveals how these invisible spaces have a fascinating history in organizing the structure of modern persons.
The Body of Writing: An Erotics of Contemporary American Fiction
by Flore Chevaillier
The Body of Writing: An Erotics of Contemporary American Fiction examines four postmodern texts whose authors play with the material conventions of “the book”: Joseph McElroy’s Plus (1977), Carole Maso’s AVA (1993), Theresa Hak Kyung Cha’s DICTEE (1982), and Steve Tomasula’s VAS (2003). By demonstrating how each of these works calls for an affirmative engagement with literature, Flore Chevaillier explores a centrally important issue in the criticism of contemporary fiction. Critics have claimed that experimental literature, in its disruption of conventional story-telling and language uses, resists literary and social customs. While this account is accurate, it stresses what experimental texts respond to more than what they offer. This book proposes a counter-view to this emphasis on the strictly privative character of innovative fictions by examining experimental works’ positive ideas and affects, as well as readers’ engagement in the formal pleasure of experimentations with image, print, sound, page, orthography, and syntax.
Aisthesis: Scenes from the Aesthetic Regime of Art
by Jacques Rancière
Composed in a series of scenes, Aisthesis–Rancière’s definitive statement on the aesthetic–takes its reader from Dresden in 1764 to New York in 1941. Along the way, we view the Belvedere Torso with Winckelmann, accompany Hegel to the museum and Mallarmé to the Folies-Bergère, attend a lecture by Emerson, visit exhibitions in Paris and New York, factories in Berlin, and film sets in Moscow and Hollywood. Rancière uses these sites and events—some famous, others forgotten—to ask what becomes art and what comes of it. He shows how a regime of artistic perception and interpretation was constituted and transformed by erasing the specificities of the different arts, as well as the borders that separated them from ordinary experience. This incisive study provides a history of artistic modernity far removed from the conventional postures of modernism.
Kara Walker: Dust Jackets for the Niggerati
Text by Hilton Als, James Hannaham, Christopher Stackhouse, Kevin Young
African-American artist Kara Walker (born 1969) has been acclaimed internationally for her candid investigations of race, sexuality and violence through the lens of reconceived historical tropes. She had her first solo show at The Drawing Center in New York City in 1994 and, at the age of 28 in 1997, was one of the youngest people to receive a MacArthur Fellowship. This publication documents Dust Jackets for the Niggerati–and Supporting Dissertations, Drawings Submitted Ruefully by Dr. Kara E. Walker, a major series of graphite drawings and hand-printed texts on paper that grew out of Walker’s attempts to understand how interpersonal and geopolitical powers are asserted through the lives of individuals. In scenes that range from the grotesque to the humorous to the tragic, these works vividly and powerfully explore the themes of transition and migration that run through the African-American experience. The accompanying essays take us through Walker’s saga of American experience–the dual streams of renewal and destruction that trace parallel lines through the last century’s rapid urbanization and the complementary emergence of a “New Negro” identity. Fully illustrated with reproductions of the entire series, and designed by award-winning design studio CoMa with Walker’s close collaboration, Dust Jackets for the Niggerati represents a major contribution to the career of one of our most significant and complex contemporary artists.
What Art Is
by Arthur C. Danto
What is it to be a work of art? Renowned author and critic Arthur C. Danto addresses this fundamental, complex question. Part philosophical monograph and part memoiristic meditation, What Art Is challenges the popular interpretation that art is an indefinable concept, instead bringing to light the properties that constitute universal meaning. Danto argues that despite varied approaches, a work of art is always defined by two essential criteria: meaning and embodiment, as well as one additional criterion contributed by the viewer: interpretation. Danto crafts his argument in an accessible manner that engages with both philosophy and art across genres and eras, beginning with Plato’s definition of art in The Republic, and continuing through the progress of art as a series of discoveries, including such innovations as perspective, chiaroscuro, and physiognomy. Danto concludes with a fascinating discussion of Andy Warhol’s famous shipping cartons, which are visually indistinguishable from the everyday objects they represent.
by Craig Dworkin
In No Medium, Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature, and music point to a new understanding of media and the limits of the artistic object. Dworkin considers works predicated on blank sheets of paper, from a fictional collection of poems in Jean Cocteau’s Orphée to the actual publication of a ream of typing paper as a book of poetry; he compares Robert Rauschenberg’s Erased De Kooning Drawing to the artist Nick Thurston’s erased copy of Maurice Blanchot’s The Space of Literature (in which only Thurston’s marginalia were visible); and he scrutinizes the sexual politics of photographic representation and the implications of obscured or obliterated subjects of photographs. Reexamining the famous case of John Cage’s 4’33″, Dworkin links Cage’s composition to Rauschenberg’s White Paintings, Ken Friedman’s Zen for Record (and Nam June Paik’s Zen for Film), and other works, offering also a “guide to further listening” that surveys more than 100 scores and recordings of “silent” music. Dworkin argues that we should understand media not as blank, base things but as social events, and that there is no medium, understood in isolation, but only and always a plurality of media: interpretive activities taking place in socially inscribed space.
by Karen Green
With fearlessness and grace, Bough Down reports from deep inside the maelstrom of grief. In this profoundly beautiful and intensely moving lament, artist and writer Karen Green conjures the inscrutable space of love and loss, clarity and contradiction, sense and madness. She summons memory and the machination of the interior mind with the emotional acuity of music as she charts her passage through the devastation of her husband’s suicide. In crystalline fragments of text, Green’s voice is paradoxically confessional and non-confessional: moments in her journey are devastating but also luminous, exacting in sensation but also ambiguous and layered in meaning. Her world is haunted by the unnameable, and yet she renders that world with poetic precision in her struggle to make sense of not only of death but of living. In counterpoint, tiny visual collages punctuate the text, each made of salvaged language and scraps of the material world-pages torn from books, bits of paper refuse, drawings and photographs, old postage stamps and the albums which classify them. Each collage–and the creative act of making it–evinces the reassembling of life. A breathtaking lyric elegy, Bough Downuses music and silence, color and its absence, authority of experience and the doubt that trembles at its center to fulfill a humane artistic vision. This is a lapidary, keenly observed work, awash with the honesty of an open heart.
by Alain Badiou
For Alain Badiou, films think, and it is the task of the philosopher to transcribe that thinking. What is the subject to which the film gives expressive form? This is the question that lies at the heart of Badiou’s account of cinema.
He contends that cinema is an art form that bears witness to the Other and renders human presence visible, thus testifying to the universal value of human existence and human freedom. Through the experience of viewing, the movement of thought that constitutes the film is passed on to the viewer, who thereby encounters an aspect of the world and its exaltation and vitality as well as its difficulty and complexity. Cinema is an impure art cannibalizing its times, the other arts, and people – a major art precisely because it is the locus of the indiscernibility between art and non-art. It is this, argues Badiou, that makes cinema the social and political art par excellence, the best indicator of our civilization, in the way that Greek tragedy, the coming-of-age novel and the operetta were in their respective eras.
VARIOUS SMALL BOOKS: Referencing Various Small Books by Ed Ruscha
Edited by Jeff Brouws, Wendy Burton and Hermann Zschiegner
In the 1960s and 1970s, the artist Ed Ruscha created a series of small photo-conceptual artist’s books, among them Twentysix Gas Stations, Various Small Fires, Every Building on the Sunset Strip, Thirtyfour Parking Lots, Real Estate Opportunities, and A Few Palm Trees. Featuring mundane subjects photographed prosaically, with idiosyncratically deadpan titles, these “small books” were sought after, collected, and loved by Ruscha’s fans and fellow artists. Over the past thirty years, close to 100 other small books that appropriated or paid homage to Ruscha’s have appeared throughout the world. This book collects ninety-one of these projects, showcasing the cover and sample layouts from each along with a description of the work. It also includes selections from Ruscha’s books and an appendix listing all known Ruscha book tributes. These small books revisit, imitate, honor, and parody Ruscha in form, content, and title. Some rephotograph his subjects: Thirtyfour Parking Lots, Forty Years Later. Some offer a humorous variation: Various Unbaked Cookies (which concludes, as did Ruscha’s Various Small Fires, with a glass of milk), Twentynine Palms (twenty-nine photographs of palm-readers’ signs). Some say something different: None of the Buildings on Sunset Strip. Some reach for a connection with Ruscha himself: 17 Parked Cars in Various Parking Lots Along Pacific Coast Highway Between My House and Ed Ruscha’s. With his books, Ruscha expanded the artist’s field of permissible subjects, approaches, and methods. With VARIOUS SMALL BOOKS, various artists pay tribute to Ed Ruscha and extend the legacy of his books.
The Chelsea Hotel, since its founding by a visionary French architect in 1884, has been an icon of American invention: a cultural dynamo and haven for the counterculture, all in one astonishing building. Sherill Tippins, author of the acclaimed February House, delivers a masterful and endlessly entertaining history of the Chelsea and of the successive generations of artists who have cohabited and created there, among them John Sloan, Edgar Lee Masters, Thomas Wolfe, Dylan Thomas, Arthur Miller, Allen Ginsberg, Bob Dylan, Janis Joplin, Leonard Cohen, Patti Smith, Robert Mapplethorpe, Andy Warhol, Sam Shepard, Sid Vicious, and Dee Dee Ramone. Now as legendary as the artists it has housed and the countless creative collaborations it has sparked, the Chelsea has always stood as a mystery as well: Why and how did this hotel become the largest and longest-lived artists’ community in the known world? Inside the Dream Palace is the intimate and definitive story.
Stubborn Poetries: Poetic Facticity and the Avant-Garde
by Peter Quartermain
Stubborn Poetries is a study of poets whose work, because of its difficulty, apparent obduracy, or simple resistance to conventional explication, remains more-or-less firmly outside the canon.The focus of the essays in Stubborn Poetries by Peter Quartermain is on nonmainstream poets–often unknown, unstudied, and neglected writers whose work bucks preconceived notions of what constitutes the avant-garde. “Canonical Strategies and the Question of Authority: T.S. Eliot and William Carlos Williams” opens the collection and sounds a central theme: Quartermain argues that Williams, especially in his early work, soughtnoncanonical status, in contrast to Eliot, who rapidly identified his work with a literary and critical establishment. As is well known, Eliot attracted early critical and academic attention; Williams did not. Williams’s insistence that the personal and individual constituted his sole authority is echoed again and again in the work of the writers examined in the subsequent essays.
Women of the Avant-Garde 1920-1940
Edited by Michael Juul Holm, Mette Marcus, Kirsten Degel, Jeanne Rank
Women of the Avant-Garde 1920-1940 presents eight female artists who made major contributions to Dada, Surrealism, Constructivism and other European avant-gardes of the modernist era: Claude Cahun, Sonia Delaunay, Germaine Dulac, Florence Henri, Hannah Höch, Katarzyna Kobro, Dora Maar and Sophie Taeuber-Arp. The artists are constellated in relation to one another across five themed sections that illuminate the nature of their respective innovations: “Composing Color,” “Constructing Space,” “Different Rules,” “New Identities” and “Another Reality.”
Matthew Barney: The Conversation Series: Volume 27
by Hans Ulrich Obrist
Over the course of about ten years, Hans Ulrich Obrist and Matthew Barney met several times to discuss Barney’s past work, current projects and his plans for the future. The resulting collection of interviews provides a rare insight into how the work and working method of one of the most prominent artists of a generation has developed over time, and uncovers the ideas, influences and collaborations that lie behind his multi-layered and multimedia creative output. The conversation covers all of his major pieces to date, from the internationally acclaimed Cremaster cycle to the somewhat less well-known Drawing Restraint series, as well as looking at particular projects in more detail, such as the recent “Khu” performance and Barney’s participation in Il Tempo del Postino, curated by Obrist at the 2007 Manchester International Festival.
by Fred Moten and Stefano Harney
In this series of essays Fred Moten and Stefano Harney draw on the theory and practice of the black radical tradition as it supports, inspires, and extends contemporary social and political thought and aesthetic critique. Today the general wealth of social life finds itself confronted by mutations in the mechanisms of control, from the proliferation of capitalist logistics through governance by credit and management of pedagogy. Working from and within the social poesis of life in the undercommons Moten and Harney develop and expand an array of concepts: study, debt, surround, planning, and the shipped. On the fugitive path of an historical and global blackness, the essays in this volume unsettle and invite the reader to the self-organised ensembles of social life that are launched every day and every night amid the general antagonism of the undercommons.
Testo Junkie: Sex, Drugs, and Biopolitics in the Pharmacopornographic Era
by Beatriz Preciado
What constitutes a “real” man or woman in the twenty-first century? Since birth control pills, erectile dysfunction remedies, and factory-made testosterone and estrogen were developed, biology is definitely no longer destiny.
In this penetrating analysis of gender, Beatriz Preciado shows the ways in which the synthesis of hormones since the 1950s has fundamentally changed how gender and sexual identity are formulated, and how the pharmaceutical and pornography industries are in the business of creating desire. This riveting continuation of Michel Foucault’s The History of Sexuality also includes Preciado’s diaristic account of her own use of testosterone every day for one year, and its mesmerizing impact on her body as well as her imagination.
Gaga Feminism: Sex, Gender, and the End of Normal
by J. Jack Halberstam
Why are so many women single, so many men resisting marriage, and so many gays and lesbians having babies?
In Gaga Feminism: Sex, Gender, and the End of Normal, J. Jack Halberstam answers these questions while attempting to make sense of the tectonic cultural shifts that have transformed gender and sexual politics in the last few decades. This colorful landscape is populated by symbols and phenomena as varied as pregnant men, late-life lesbians, SpongeBob SquarePants, and queer families. So how do we understand the dissonance between these real lived experiences and the heteronormative narratives that dominate popular media? We can embrace the chaos! With equal parts edge and wit, Halberstam reveals how these symbolic ruptures open a critical space to embrace new ways of conceptualizing sex, love, and marriage.
Using Lady Gaga as a symbol for a new era, Halberstam deftly unpacks what the pop superstar symbolizes, to whom and why. The result is a provocative manifesto of creative mayhem, a roadmap to sex and gender for the twenty-first century, that holds Lady Gaga as an exemplar of a new kind of feminism that privileges gender and sexual fluidity.
Following his acclaimed history of the Situationist International up until the late sixties, The Beach Beneath the Street, McKenzie Wark returns with a companion volume which puts the late work of the Situationists in a broader and deeper context, charting their contemporary relevance and their deep critique of modernity. Wark builds on their work to map the historical stages of the society of the spectacle, from the diffuse to the integrated to what he calls the disintegrating spectacle. The Spectacle of Disintegration takes the reader through the critique of political aesthetics of former Situationist T.J. Clark, the Fourierist utopia of Raoul Vaneigem, René Vienet’s earthy situationist cinema, Gianfranco Sangunetti’s pranking of the Italian ruling class, Alice-Becker Ho’s account of the anonymous language of the Romany, Guy Debord’s late films and his surprising work as a game designer.
At once an extraordinary counter history of radical praxis and a call to arms in the age of financial crisis and the resurgence of the streets, The Spectacle of Disintegration recalls the hidden journeys taken in the attempt to leave the twentieth century, and plots an exit from the twenty first.
Theorizing Art Cinemas: Foreign, Cult, Avant-Garde, and Beyond
by David Andrews
The term “art cinema” has been applied to many cinematic projects, including the film d’art movement, the postwar avant-gardes, various Asian new waves, the New Hollywood, and American indie films, but until now no one has actually defined what “art cinema” is. Turning the traditional, highbrow notion of art cinema on its head, Theorizing Art Cinemas takes a flexible, inclusive approach that views art cinema as a predictable way of valuing movies as “art” movies—an activity that has occurred across film history and across film subcultures—rather than as a traditional genre in the sense of a distinct set of forms or a closed historical period or movement.
David Andrews opens with a history of the art cinema “super-genre” from the early days of silent movies to the postwar European invasion that brought Italian Neorealism, the French New Wave, and the New German Cinema to the forefront and led to the development of auteur theory. He then discusses the mechanics of art cinema, from art houses, film festivals, and the academic discipline of film studies, to the audiences and distribution systems for art cinema as a whole. This wide-ranging approach allows Andrews to develop a theory that encompasses both the high and low ends of art cinema in all of its different aspects, including world cinema, avant-garde films, experimental films, and cult cinema. All of these art cinemas, according to Andrews, share an emphasis on quality, authorship, and anticommercialism, whether the film in question is film festival favorite or a midnight movie.
Black Mountain College: Experiment in Art
edited by Vincent Katz
Although it lasted only twenty-three years (1933–1956) and enrolled fewer than 1,200 students, Black Mountain College was one of the most fabled experimental institutions in art education and practice. Faculty members included Anni Albers, Josef Albers, Ilya Bolotowsky, John Cage, Harry Callahan, Merce Cunningham, Buckminster Fuller, Walter Gropius, Clement Greenberg, Lou Harrison, Franz Kline, Willem de Kooning, Jacob Lawrence, Robert Motherwell, Roger Sessions, Ben Shahn, Aaron Siskind, Esteban Vicente, and Stefan Wolpe. Among their students were Ruth Asawa, John Chamberlain, Ray Johnson, Kenneth Noland, Robert Rauschenberg, Dorothea Rockburne, Cy Twombly, and Susan Weil. Literature teachers included Robert Creeley, Robert Duncan, Charles Olson, and M.C. Richards, with students Fielding Dawson, Ed Dorn, Francine du Plessix Gray, Joel Oppenheimer, Arthur Penn, John Wieners, and Jonathan Williams. This book — the paperback edition of a milestone work that has been unavailable for several years — documents the short but influential life of Black Mountain College.
acosmist - One who believes that nothing exists
paralian - A person who lives near the sea
aureate - Pertaining to the fancy or flowery words used by poets
dwale - To wander about deliriously
sabaism - The worship of stars
dysphoria - An unwell feeling
aubade - A love song which is sung at dawn
eumoirous - Happiness due to being honest and wholesome
mimp - To speak in a prissy manner, usually with pursed lips
Continuando minha obsessão em aguçar o lado mais visual das mulheres, resolvi fazer uma listinha de alguns dos tumblrs mais excitantes que encontrei nesse mundo internético de mil-e-uma-utilidades. Procurei selecionar aqueles com imagens e gifs animados que poderiam excitar e agradar mais as mulheres. Como o universo erótico é predominantemente masculino, não foi muito fácil achar conteúdos sob medida para o olhar feminino. Mas esses tumblrs já ajudam (e muito) a estimular os sentidos e a imaginação.
Romantic Pornography – para começar com calma, pelas preliminares, um conteúdo mais romântico. Fotos em preto e branco de casais sem roupa se abraçando, se beijando e, claro, se pegando. Mas tudo por um viés sensual, estético, mais insinuante do que explícito. Dá para perceber que existe uma mulher por trás dessa seleção. Vem daqui a imagem que abre esse post.
Tumblerotic – mostra sem mostrar. Algumas fotos parecem amadoras, outras revelam diferentes ângulos ou partes dos corpos unidos, deixando bastante espaço para a imaginação completar a cena. Esse é mais light, para as mulheres que ainda estão treinando a visão erótica.
Sexsutra – ainda na linha clássica, misturando arte e pornografia, esse tumblr também é composto por imagens em preto e branco. A diferença aqui é que as cenas são explícitas, realistas, com closes em chupadas e gozadas. O olhar feminino é percetível nas escolhas das imagens e nas frases, porém também há várias cenas de sexo entre mulheres, ménages e afins.
Stereo Smut – sexo vintage. Esse é para aqueles que têm curiosidade em saber como era o pornô que nossos pais e avós curtiam. Para quem não têm medo de pelos e curvas em abundância.
That´s crazy sexy – miscelânea de imagens e gifs. A autora é uma mulher de 30 anos, bissexual, então tem bastante rock das aranhas. Fotos em preto e branco, coloridas, atuais e antigas. De tudo um pouco, menos muita identidade.
Escravo Sexual – esse é um tumblr multimídia e hiperativo, mantido por uma brasileira. Tem um monte de vídeos, contos eróticos, fotos, gifs, uma loucura. Mas a maioria do conteúdo é tipicamente masculino. Tem sexo oral, anal, orgia, mulher com mulher. Durante a navegação, o ícone do mouse vira um minipau estilizado.
For Her Eyes Only – como o próprio nome anuncia, o conteúdo “em tese” é mais voltado para a visão feminina. Muitos closes, fotos artísticas e bastante sexo oral. Uma curadoria bem interessante para gostos variados. Alguns gifs animados excitantes também. Vale dedicar uns bons minutos para explorá-lo.
Mon Doux Poison – apesar do título em francês, a autora também é brazuca. Uma seleção bem gostosa de imagens em close e gifs. Várias cenas deliciosas de homens fazendo sexo oral divinamente. Para se perder nas páginas de doce veneno e esquecer da vida.
Divirta-se, pense em sexo, goze, faça gozar e compartilhe mais tumblrs eróticos e gostosos.
The 2D or Not 2D series isn’t the first time Russian photographer Alexander Khokhlov has dabbled in painting his models faces and taking striking portraits of the results. His Weird Beauty series got quite popular, with black and white designs jumping out at you from the faces of his made-up models.
2D or Not 2D, however, is different — and not just because he used color this time. It’s different because the point of each photo is to trick your mind into thinking you’re looking at a two-dimensional painting.
If the idea sounds familiar, that’s because Alexa Meade does something similar using entire scenes. Khokhlov’s series is different though, because it intentionally straddles the line between painting and reality, playing tricks on your mind, whereas Meade intends to fully convince you you’re looking at a painting and not a photograph.
The portraits in 2D or Not 2D sometimes look quite painted, and optical illusions frequently play a role in making you wonder if you’re looking at a two-dimensional object. But the majority of the photos give themselves away on purpose by leaving the models’ eyes open — two pools of reality in an otherwise two dimensional-looking object.
Here’s a look at the whole series:
As with Weird Beauty, Khokhlov teamed up with Valeriya Kutsan, one of the best make-up artists in Russia, to create the designs on the models’ faces. To see more from Khokhlov, head over to our previous coverage of the Weird Beauty series or check out his website by clicking here.
(via Visual News)
Image credits: Photographs by Alexander Khokhlov and used with permission.
Capricious Magazine is a New York based journal founded by Swedish photographer Sophie Mörner and dedicated to celebrate, showcase and support emerging photographers. Not only a bi-annual magazine but also a series of books, a publishing house and a newly-opened gallery, the Capricious family is growing. Through these channels it’s Mörner’s aim to offer a solid platform for underrepresented fine art photographers from all over the…read more »
The Strongest Anti-Racism Ads Of The Last 20 Years
- 1996 Benetton
- 1996 UK
- 1999 campaign via the UK by the Commission for Racial Equality
- 2001 For the National Congress Of American Indians
- 2002 Via the UK for the National Assembly Against Racism
- 2002 Via the UK
- 2002 National Union of Students
- 2003 Red Cross of Finland
- 2004 campaign via the UK
- 2007 A More Perfect Union via the USA
19 November 1957
Dear Monsieur Germain,
I let the commotion around me these days subside a bit before speaking to you from the bottom of my heart. I have just been given far too great an honour, one I neither sought nor solicited.
But when I heard the news, my first thought, after my mother, was of you. Without you, without the affectionate hand you extended to the small poor child that I was, without your teaching and example, none of all this would have happened.
I don't make too much of this sort of honour. But at least it gives me the opportunity to tell you what you have been and still are for me, and to assure you that your efforts, your work, and the generous heart you put into it still live in one of your little schoolboys who, despite the years, has never stopped being your grateful pupil. I embrace you with all my heart.
Here’s what the iconic SF landscape looked like in the 1930s. Also, heights: scary.
Construction on San Francisco's Golden Gate Bridge began in 1933 and opened in 1937. These photos show the suspension bridge between 1935 and 1937 as it begins to take form. This iconic landscape looks so very different, doesn't it?
Underwood Archives / Getty Images
General Photographic Agency / Getty Images
OFF/AFP / Getty Images
Billed as a sequel to the ancient Kama Sutra, The Married Kama Sutra: The World’s Least Erotic Sex Manual is a hilarious and/or depressing illustrated guide to the (nonsexual) positions of married life. The positions have unhappy names like “The Dishwasher Position” and “Interrupted Congress” and are accompanied by humorous captions on the travails of marriage. The Married Kama Sutra is by comedy writer Simon Rich and cartoonist Farley Katz and will be released on October 29, 2013. It is available for pre-order on Amazon.
Tem muita mulher que detesta filme pornô. Não suporta tantos gemidos falsos, os roteiros mais do que previsíveis, seguindo a velha sequência vaginal-anal-gozada-na-cara, os closes exagerados de buracos que nem imaginávamos tão elásticos, além do machismo onipresente, que transforma as mulheres em meros objetos de prazer, sempre prontas a satisfazer todos os desejos masculinos. A predominância de filmes feito por homens para homens no mercado erótico traumatizou um pouco a mulherada e também provocou o desinteresse delas por esse tipo de produto. Mas existe uma luz (ou uma trepada diferente) no fim do túnel. Várias cineastas mulheres estão quebrando o monopólio masculino da indústria pornô. Erika Lust é uma dessas desbravadoras, que trabalham para fazer as mulheres também gozarem com os olhos.
A cineasta sueca não faz o tipo depravada, muito menos boca do lixo. Erika Lust é formada em Ciência Política, com especialização em estudos de gênero e direitos humanos. A vontade de dar voz às mulheres em uma indústria até então tipicamente machista foi o que motivou Erika a escrever, produzir e dirigir filmes pornôs. Fez seu primeiro curta em 2004 e debutou com o longa Five Hot Stories for Her em 2007. Seus filmes seguem a linha que se tornou conhecida como female friendly, ou seja, em que a mulher não é subjugada e as atrizes seguem padrões estéticos mais próximos à realidade. A diretora também não costuma incluir em seus roteiros sexo anal ou gozo na cara, para fugir do “status quo” da pornografia masculina.
Para quem nunca assistiu a nenhum filme de Erika Lust ou de outra cineasta pornô feminista, vou tentar descrever a experiência. Esses filmes possuem uma carga erótica mais intensa e geralmente o prazer feminino é o principal protagonista. As produções de Erika têm boa qualidade técnica, os filmes são mais ricos na história e buscam estimular todos os sentidos, caprichando mais no figurino, cenário, na iluminação, música, dando ênfase aos detalhes. O sexo aparece explícito, porém sem closes exagerados. Os corpos das atrizes representam bem a realidade. Muitas delas têm pneuzinhos, estrias, celulites e até espinhas na bunda. Não se esconde nada e os corpos se movimentam com mais naturalidade na tela, sem aquela preocupação excessiva com o melhor ângulo.
Cabaret Desire, o mais recente lançamento da cineasta sueca que mora em Barcelona, ganhou vários prêmios, inclusive de filme do ano de 2012 no Feminist Porn Awards. O filme narra diferentes histórias eróticas, que começam sendo contadas no ambiente de um cabaré. A primeira delas é sobre a dona de um bar que se envolve simultaneamente com um homem e uma mulher. As cenas de sexo entre mulheres são frequentes nas produções de Erika Lust, ao que tudo indica essa também é uma fantasia feminina, entretanto elas não acontecem como mais uma forma de deleite masculino. O prazer entre elas fica somente entre elas. Alternando o sexo com o rapaz e a moça, a cineasta consegue criar um paralelo interessante de força e suavidade.
O sexo oral feminino aparece com tanta frequência nos pornôs para mulheres quanto o boquete nas produções voltadas para homens. O mais gostoso de assistir a esses filmes é ser colocada em primeiro plano, tudo o que acontece tem como objetivo principal satisfazer a mulher. Mesmo as cenas de submissão têm essa finalidade. Esses filmes se desenrolam em um ritmo mais lento, com a intenção de criar um clima e ir despertando os sentidos aos poucos, o que costuma agradar as mulheres. Mas não sei se os homens conseguem assistir até o final, ainda mais sabendo que não haverá aquela gozada clássica na cara.
Desconto – não é jabá
Erika Lust mantém o portal Lust Cinema, com suas produções e outros filmes pornôs alternativos. Para assistir aos filmes online e por download, é preciso fazer uma assinatura mensal, trimestral ou anual. Entrei em contato com a produção da Lust Cinema e pedi um desconto para as leitoras e leitores do Para Pensar em Sexo. Eles me enviaram um código (voucher) que dá direito a 50% de desconto em qualquer assinatura. O valor de uma assinatura mensal é de $ 34,95 dólares, mas com o voucher sai por $ 17,47 dólares. Isso não é jabá, não tenho nenhuma parceria com a Erika Lust, nem recebi nada por esse post, inclusive paguei minha assinatura para poder assistir aos filmes e escrever esse texto. Para receber o voucher, mande e-mail no firstname.lastname@example.org solicitando o desconto, que responderei enviando o código.
Para saber mais
Você já assistiu a um filme pornô feito para mulheres? Gostou do que viu? Você gosta dos filmes pornôs convencionais?
* As imagens que aparecem nesse post (making of e o cartaz de Cabaret Desire) são da Erika Lust Films.