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i compleanni arrivano a ogni giro di anno. il cerchio si completa ma, per distrazione, per divertimento, per necessità, per caso, per poca destrezza, il punto d’arrivo non è proprio quello di partenza. c’è un piccolo scarto. lo stesso che salva la preda dalle grinfie del predatore e dalla morte sicura, quello pure che permette all’attaccante di smarcarsi e poi segnare. è lo scarto che lascia un segno, che suggerisce la direzione irreversibile delle cose e delle vite. tutto circola ma quasi. senza tornare esattamente al punto di partenza. lo scopo del viaggio è poi questo, spesso se non sempre. anche in geometria lo scarto è importante, la chiamano olonomia. e pure in fisica c’è questa curvatura intrinseca delle cose e dello spazio senza le cose che si percepisce solo andando e poi tornando. fa una sensazione strana vedere ritornare un oggetto che si era dato via. è l’idea stessa delle bottiglie che disperse nel mare impermeabilizzano il loro messaggio. sono segnali lanciati a noi stessi. speriamo, magari segretamente, di ritrovarle un giorno, più vecchie ma intatte. cerchiamo di verificare, ogni volta che il cerchio é una chiave, che c’é una anomalia che è solo una piccola variazione, che fa il bilico tra il caos e l’ordine. spegniamo le candeline per poterle riaccendere l’anno dopo un po’ più corte.


Tags: linee
Photo
mechante-ambiance:

Autoportrait dans un photomaton, Raymond Queneau, vers 1929.

mechante-ambiance:

Autoportrait dans un photomaton, Raymond Queneau, vers 1929.

(via clericalerror)

Photo
firsttimeuser:

Tilda Swinton by Fabio Lovino, 1999

firsttimeuser:

Tilda Swinton by Fabio Lovino, 1999

(via yama-bato)

Quote
"Since I saw him. – The female character and the ideal of femininity on which it is modeled are products of masculine society. The picture of undistorted nature originates first in distortion, as its opposite. There, where it claims to be humane, masculine society sovereignly breeds in women their own corrective and thereby shows itself through this restriction as the implacable master. The female character is the imprint of the positive one of domination. But for that reason just as bad as the latter. What generally passes for nature in the bourgeois context of delusion is merely the scar tissue of mutilation. If the psychoanalytic theory holds, that women perceive their physical constitution [Beschaffenheit] as the consequence of castration, then in their neurosis they intuit the truth. Those who feel themselves to be wounds when they bleed, know more about themselves than those who style themselves as flowers, because that’s what their husband likes. The lie is not merely that nature is affirmed, where it is merely tolerated and built in, but that what passes for nature in civilization is according to its substance the most removed from everything natural, the pure turning of oneself into an object. The kind of femininity which calls upon the instincts, is invariably the one to which every woman must compel herself with all manner of violence – with masculine violence: the little women are little men. One need only have experienced once, in the pangs of jealousy, how such female women access their femininity, deploying it where necessary, making their eyes flash, fueling their mood swings, in order to know what the sheltered unconscious, unscathed by the intellect, really amounts to. It is precisely its pristineness and purity which is the achievement of the ego, of censorship, of the intellect, and for that reason it adjusts itself without any conflict into the reality-principle of the rational social order. Without a single exception, female natures conform. That Nietzsche’s insistence stopped at this point, by adopting an unexamined and unversed picture of feminine nature from the Christian civilization which he otherwise so thoroughly mistrusted, ultimately allowed bourgeois society to subjugate the effort of his thought. He fell prey to the fraud of saying “woman,” [Weib: woman, wench, femmina] when he spoke of women [Frau: woman, wife, Mrs., donna]. Thus the perfidious advice to not forget the whip: the woman [Weib] is already the effect of the whip. It would be the emancipation of nature to abolish its self-positing. The glorification of the female character implies the degradation of all who bear it."

— Th. Adorno. Minima Moralia.  1951.

(Source: marxists.org)

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Messalina.

Messalina.

Video

Ci sono strane risonanze. Come quella tra la scena della principessa decapitata dal drago et quella della notizia della morte di Alessandra Cubeddo uccisa ieri dal convivente, che le ha fracassato il cranio contro il pavimento. Il risultato finale é lo stesso, il corpo senza vita della donna. Ma in entrambe i casi quello che conta é quello che conta per l’uomo: i giornali non dicono nulla della poveretta ma sappiamo tutto della sua depressione e a noi non interessa perché la principessa sia rinchiusa ma quando e come Mario avrà la sua ricompensa. Per la Principessa non c’é scampo: o da il bacio o é ingoiata dal drago. La principessa dovrebbe pensarci due volte e magari cercare di liberarsi da sola. Forse così riesce a restare viva. A Roma, ai tempi di Messalina, “certaines matrones se font inscrire ouvertement parmi les prostituées recensées par les autorités de police. Cela leur permettra, pensent-elles, d’aimer librement qui elles veulent sans encourir de sanctions.”(wikipedia).  Sembra uno spiraglio, che abbiamo perso per strada. Però pure Messalina fini decapitata.

Quote
"E’ di oggi l’ennesimo femminicidio di quest’anno: Alessandra Cubeddo di 36 anni è stata uccisa a mani nude dal convivente, che senza pietà le ha fracassato il cranio contro il pavimento."

—  (M. Murgia, 7 maggio 2012)

(Source: michelamurgia.com)

Photo
Three Legged Wonder, Francesco A. Lentini
“even with three legs, he still didn’t have a pair”
“He was born with three legs, two sets of genitals and one rudimentary foot growing from the knee of his third leg. So, in total, he had three legs, four feet, sixteen toes, and two sets of functioning male genitals, which were all that existed of a conjoined twin and jutted from the right side of his body. The doctors determined that since his twin was connected to his spine, removal could have resulted in paralysis. When his parents refused to acknowledge him, his aunt raised him but eventually handed him over to a home for disabled children. As a child Lentini had hated his extra body parts until he spent time at the home. There, he met children who were deaf, blind, and mute. He also learned to walk, ice skate, and jump rope.” (from the Wikipedia article)
Three Legged Wonder, Francesco A. Lentini

“even with three legs, he still didn’t have a pair”

He was born with three legs, two sets of genitals and one rudimentary foot growing from the knee of his third leg. So, in total, he had three legs, four feet, sixteen toes, and two sets of functioning male genitals, which were all that existed of a conjoined twin and jutted from the right side of his body. The doctors determined that since his twin was connected to his spine, removal could have resulted in paralysis. When his parents refused to acknowledge him, his aunt raised him but eventually handed him over to a home for disabled children. As a child Lentini had hated his extra body parts until he spent time at the home. There, he met children who were deaf, blind, and mute. He also learned to walk, ice skate, and jump rope.” (from the Wikipedia article)

(Source: frenchtwist)

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French female figure modeled in wax This is also the cover illustration for Rachilde’s notorious 1884 novel Monsieur Vénus.

French female figure modeled in wax

This is also the cover illustration for Rachilde’s notorious 1884 novel Monsieur Vénus.

Photo
auxiliofaux:


To Each His Own Symphony:
Pentax K1000
Arista 100 EDU - 35mm
©2012auxiliofaux

auxiliofaux:

To Each His Own Symphony:

Pentax K1000

Arista 100 EDU - 35mm

©2012auxiliofaux

(via yama-bato)