refrainings

"Promise me this: when you finally leave me, you’ll get creative. Tell me I was more disappointing..."

Sun, 19 May 2013 17:00:36 +0800

“Promise me this: when you finally leave me, you’ll
get creative. Tell me I was more disappointing than
your childhood. Send me your bloody ear with a letter
saying “I’ve got to Gogh. You’re making me crazy.”
I am hard to love but know this much: you are the
only thing I like doing more than writing poems.”

- Clementine von Radics

Photo

Sun, 19 May 2013 00:33:56 +0800

Dessert before dinner. All we ever do is eat!

Sat, 11 May 2013 16:32:32 +0800

Dessert before dinner. All we ever do is eat!

English Breakfast and an early morning goal-setting.

Fri, 10 May 2013 10:23:20 +0800

English Breakfast and an early morning goal-setting.

"It is not the critic who counts; not the man who points out how the strong man stumbles, or where..."

Mon, 22 Apr 2013 13:01:04 +0800

“It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood; who strives valiantly; who errs, who comes short again and again, because there is no effort without error and shortcoming; but who does actually strive to do the deeds; who knows great enthusiasms, the great devotions; who spends himself in a worthy cause; who at the best knows in the end the triumph of high achievement, and who at the worst, if he fails, at least fails while daring greatly, so that his place shall never be with those cold and timid souls who neither know victory nor defeat.”

- Theodore Roosevelt

Spot-on.

Sun, 21 Apr 2013 18:29:00 +0800

Spot-on.

Min Jeong Seo - To Live On (2005)

Fri, 19 Apr 2013 15:59:43 +0800

Min Jeong Seo - To Live On (2005)

latimes: odditiesoflife: Animals Acting Human, 1923-1956 Ever...

Fri, 19 Apr 2013 15:49:07 +0800

latimes:

odditiesoflife:

Animals Acting Human, 1923-1956

Ever since photography began, the genre of animals acting human as been a popular novelty. There is something about animals mimicking human behavior that is just too cute. Whether its “Carrots” the rabbit firing table tennis balls from a toy cannon, a lamb and a cat playing checkers or a cat hanging mice like laundry, its hard not to smile.

As it turns out, it wasn’t just the Internet that inspired people to take crazy photos of animals.

fuckyeahthenational: NEW SONG Graceless | The National | Live...

Sun, 07 Apr 2013 02:14:08 +0800

fuckyeahthenational:

NEW SONG

Graceless | The National | Live in Berlin, 04.05.13

(via: pitchfork)

fuckyeahthenational: NEW SONG Heavenfaced | The National | Live...

Sun, 07 Apr 2013 02:13:57 +0800

fuckyeahthenational:

NEW SONG

Heavenfaced | The National | Live in Berlin, 04.05.13

(via: pitchfork)

The relevance of The National’s message in Trouble Will...

Sun, 07 Apr 2013 01:41:14 +0800

The relevance of The National’s message in Trouble Will Find Me in my life right now is quite terrifying. And I love them more for it.

This morning’s sunrise sums up the @HeightsAteneo...

Thu, 04 Apr 2013 14:36:50 +0800

This morning’s sunrise sums up the @HeightsAteneo Transition Seminar.

Photo

Mon, 01 Apr 2013 09:48:06 +0800

explore-blog: Gorgeous covers for four Hemingway classics — A...

Sun, 31 Mar 2013 04:46:43 +0800

explore-blog:

Gorgeous covers for four Hemingway classics — A Farewell to Arms, For Whom the Bell Tolls, Death in the Afternoon, and The Old Man and the Sea — by artist Paul Rogers.

Gift, please?

artistbynecessity: Share your story to me, maybe a photo of the...

Wed, 20 Mar 2013 21:13:52 +0800

artistbynecessity:

Share your story to me, maybe a photo of the object too, and it’ll be a big help for a painting I’m working on. Hopefully, everyone’s contributions can amount to 100 objects to fill a 4 x 3 ft canvas. I will treat your input with utmost confidentiality upon request.

At present, my idea revolves around collating your narratives in the form of objects, laying them out on canvas as icons, and treating them as patterns similar to those of the taka, a folk art that originates from Paete (Laguna, Philippines). As commentary on the diverse yet deep-seated national identities that we assume in the contemporary context, my piece will attempt to craft a tangible Filipino spirit.

Hope you’ll send in your stories to abcmarasigan@yahoo.com until March 27 (with the subject title “My Story”)! Thank you very much, and watch out for the finished artwork on artistbynecessity.tumblr.com!

Friends, you might have stories you want to tell.

"Within the South Korean literary tradition, women poets are called yŏryu siin (female poet). Male..."

Mon, 18 Mar 2013 20:09:30 +0800

“Within the South Korean literary tradition, women poets are called yŏryu siin (female poet). Male poets are simply called siin (poet). According to Kim Hyesoon, this gendered terminology results in the marginalization of women poets’ authentic voices, as yŏryu siin are expected to write pretty, sentimental verse that speaks in a passive voice. It’s not a stretch to see this, as Kim does, as an extension of Korean gender norms that define “acceptable” behavior for women according to three rigid roles: ch’ŏnyŏ (young unmarried woman/virgin), ajuma (middle-aged woman/mother), and halmoni (grandmother). Each role requires the woman to serve a different master, Kim has noted: “She must first obey her father, then her husband when she becomes an ajuma, and finally obey her son as a halmoni. Any woman who violates or lives outside of these roles is called a ch’angyŏ (prostitute).”

In direct contrast to the sentimental and gentle poetry of the yŏryu siin, Kim Hyesoon’s work functions like the body of a female grotesque; her poetry seeps from the page, protruding with images of violence, vomit, trash, bodily decay, and death. Kim’s poems consistently resist the pressure to beautify; they take instead the subjects deemed appropriate to Korean women—family, motherhood, romantic love—and defile them with the violent expressions of an oppressed identity. However, this grotesqueness is no mere aesthetic choice; as Kim tells me in the interview that follows, her work serves as a kind of conduit for a collective voice: “Women who have been disappeared by violence are howling. The voices of disappeared women are echoing. I sing with these voices.” Thus, for Kim Hyesoon, poetry engages directly in a political struggle in which Korean women articulate a “new voice” that allows them to inhabit multiple and fluid identities free of restrictive gender norms. It’s an incredibly powerful tool in women’s struggle for equality because it is only the “language of [a] poetry that has schizophrenia” that can force the “father language down from power.””

- Ruth Williams, from an Interview with South Korean poet Kim Hyesoon, on “The Female Grotesque” (via commovente)

Hell week must-have: Adorable tea bags.

Thu, 14 Mar 2013 22:48:41 +0800

Hell week must-have: Adorable tea bags.

Dans le fond, ma vie.

Thu, 14 Mar 2013 20:53:03 +0800

Dans le fond, ma vie.

commovente: Music When The Lights Go Out, Pete Doherty (listen...

Thu, 14 Mar 2013 14:58:08 +0800

commovente:

Music When The Lights Go Out, Pete Doherty

(listen until the end dialogue; it does lil’ things to your heart)

"I am interested in impossible embodiments. I wish to write; I wish to write about certain things..."

Thu, 14 Mar 2013 14:44:13 +0800

“I am interested in impossible embodiments. I wish to write; I wish to write about certain things that cannot be held. I want to create a sea of freely-flowing words of no definite form and shape waves of fluent exactness.”

- Virginia Woolf, Passionate Apprentice: The Early Journals, 1897-1909 (via fuckyeahvirginiawoolf)