The right to love refusal is black music. The song about desire always wants to disappear. In the second instance, she released in public chastity, flirting at the club and wound. Damaged from repeating, can you stay?
Fred Moten, “Frank Ramsay,” B Jenkins (via carrieabigstick)





wallacebarker:

The 64 hexagrams from the King Wen sequence of the I Ching.

wallacebarker:

The 64 hexagrams from the King Wen sequence of the I Ching.



neuromaencer:

original image by severrir thorolfsson

neuromaencer:

original image by severrir thorolfsson



swarmsofthings:

Swarm of Lizards, Ponta de Sao Lourenco (by Maci (VP))

swarmsofthings:

Swarm of Lizards, Ponta de Sao Lourenco (by Maci (VP))



Cyborg writing must not be about the Fall, the imagination of a once-upon-a-time wholeness before language, before writing, before Man. Cyborg writing is about the power to survive, not on the basis of original innocence, but on the basis of seizing the tools to mark the world that marked them as other.
Donna J. Haraway (via jswesterman)

(Source: mediamajor)



…When you fuck me,

you’ll fuck a kind of childhood:

no porn here, just goats

falling down deep wells, you’re

fucking bluebells, can you handle it?


Ana Božičević in Fence (via wol-ff)


mariecalloway:

Women + patriarchal structures: bodies legislated, written into society as decorative.



How many times have I wondered if it is really possible to forge links with a mass of people when one has never had strong feelings for anyone, not even one’s own parents: if it is possible to have a collectivity when one has not been deeply loved oneself by individual human creatures. Hasn’t this had some effect on my life as a militant—has it not tended to make me sterile and reduce my quality as a revolutionary by making everything a matter of pure intellect, of pure mathematical calculation?
Antonio GramsciIn a letter to (his future wife) Julia Schucht (1921)

(Source: levantineviper-archive)



Song

Love has no other friends
than those given it, as us,
in confusion of trust and dependence.

We want the world a wonder
and wait for it to become one
out of our simple bodies and minds.

No doubt one day it will
still all come true as people
do flock to it still until

I wonder where they’ll all find room
to honor love in their own turn
before they must move on.

It’s said the night comes
and ends all delusions and dreams,
in despite of our present sleeping.

But here I lie with you
and want for nothing more
than time in which to—

till loves itself dies with me,
at last the end I thought to see
of everything that can be.

No! All vanity, all mind flies
but love remains, love, nor dies
even without me. Never dies.


—- Robert Creeley, “Song”



uhhhhhhhhhhhhhh:

Dorothea Lasky

uhhhhhhhhhhhhhh:

Dorothea Lasky



mariecalloway:

"Oh, you mean you’re a woman speaking in public and therefore an object of relentless projection?"



STREAMSIDE EXCHANGE

CHILD 

River bird, river bird.
Sitting all day long,
on hook over grass,
River bird, river bird.
Sing to me a song,
Of all that pass
And say,
Will mother come back today?

BIRD

You cannot know
and should not bother;
Tide and market come and go
And so shall your mother.


—- John Pepper Clark



//

"On another page margin, it reads: ‘Xenopoetics has something to do with composing out of distorted materials. One page is missing, one or two lines are pseudonymously or anonymously quoted, one scene leaks from the future to the past, an object evades chronological sequences, a number turns into a cipher, everything looms as an accentuated clue around which all subjects aimlessly orbit, leading into an eclipsed riddle whose duty is not to enlighten but to make blind (aporos to the light). Fields of xenopoetics grow sporadically (until their final takeover of the work) around the regions overwhelming with a range of distortions from inauthenticity and corrupted authorship to structural holes (configurative bugs) and subterranean structures of hidden writing; xenopoetics does not necessarily insinuate adventurous modes of expression or prose. ’  "


—- Reza Negarestani (?), from Cyclonopedia: complicity with anonymous materials



(Source: weissesrauschen)



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