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June 15 2017

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My formula for greatness in a human being is amor fati: that one wants nothing to be different, not forward, not backward, not in all eternity. Not merely bear what is necessary, still less conceal it—all idealism is mendacity in the face of what is necessary—but love it.
— F. Nietzsche, "Ecce Homo"

June 13 2017

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Reposted byamkejt amkejt
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Reposted byamkejt amkejt

June 11 2017

Theoretically, it is not impossible to think of a language where the name of each thing says all the details of its destiny, past and future.
— J.. L. Borges, "The Analytical Language of John Wilkins"

June 08 2017

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All of us have once experienced those neverending discussions in which a dame, using lots of interjections and incoherences, swears to you that the word "luna" is more (or less) expressive than the word "moon".
— J. L. Borges, "The Analytical Language of John Wilkins"

June 07 2017

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I don’t ever have an idea. The material does it all. You have a figure and a flower and you add a cityscape and it makes the story. You have control if you want to take it but that’s something I never wanted to do much.
— J. Brainard, wywiad z Anne Waldman

June 04 2017

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Reposted fromatlantyda atlantyda viascorpix scorpix

I tak sobie kombinowałem, jakby mogło być, gdyby mogło być.

— E. Stachura, "Siekierezada"

June 02 2017

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Reposted bymyrla myrla
I said to my soul, be still and wait without hope, for hope would be hope for the wrong thing; wait without love, for love would be love of the wrong thing; there is yet faith, but faith and the love are all in the waiting. Wait without thought, for you are not ready for thought. So the darkness shall be the light, and the stillness the dancing.
— T.S. Eliot

May 28 2017

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Reposted fromundertow undertow viamaybeyou maybeyou

May 25 2017

The recipe of a work of art - it's ingredients - how to make it - the formula:
1. There must be a clear preoccupation with death – intimations of mortality... Tragic art, romantic art, etc., deals with the knowledge of death.

2. Sensuality. Our basis of being concrete about the world. It is a lustful relationship to things that exist.

3. Tension. Either conflict or curbed desire.

4. Irony. This is a modern ingredient – the self-effacement and examination by which a man for an instant can go on to something else.

5. Wit and play... for the human element.

6. The ephemeral and chance... for the human element.

7. Hope. 10 % to make the tragic concept more endurable.
— M. Rothko, "Writings on Art"

May 18 2017

I asked the painter why the roads are colored black
He said, "Steve, it's because people leave and no highway will bring them back".
— Silver Jews, "Random Rules"
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True beings are lived in a presence, the life of objects is in the past.
— M. Buber, "I and Thou"
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