Edward Weston
Tupátaro Michoacán, Mexico
1926
Tupátaro Michoacán, Mexico
1926
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@herebroadcast
A somewhat chaotic multidisciplinary collection of visual art, photography, design, architecture, poetry, and literature.
Tiny, but cosy discussion group [Not to be taken too seriously!]:
https://t.me/+I522TcNiXNwwYTM6
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11 Jan, 17:34
here we listen to broadcast
11 Jan, 15:29
WHERE DO WE GO FROM HERE?
Does dance depend? Or is it independent? Questions that seem political. They arose in an aesthetic situation. What's to be said? People and sounds interpenetrate.
We thought that sounds took place in time. We see they're vibratory movements of particles in air. Each one, setting out from its point in space, gets to all its arrivals from a single departure. Thoughts about time drop off like dead skin. Dance takes place with one foot in the grave. "Dance or I'll shoot"- each time the curtain goes up.
John Cage, from A Year from Monday: New Lectures and Writings, 1967
[x]
Does dance depend? Or is it independent? Questions that seem political. They arose in an aesthetic situation. What's to be said? People and sounds interpenetrate.
We thought that sounds took place in time. We see they're vibratory movements of particles in air. Each one, setting out from its point in space, gets to all its arrivals from a single departure. Thoughts about time drop off like dead skin. Dance takes place with one foot in the grave. "Dance or I'll shoot"- each time the curtain goes up.
John Cage, from A Year from Monday: New Lectures and Writings, 1967
[x]
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11 Jan, 14:32
Joaquim Gomis
Joan Miró Workshop at Passatge del Crèdit
Barcelona, 1946
Joan Miró Workshop at Passatge del Crèdit
Barcelona, 1946
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07 Jan, 16:18
Hermann Finsterlin
Stilspiel (The Play with Styles)
1916
[x]
Stilspiel (The Play with Styles)
1916
[x]
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07 Jan, 14:23
THIS TOO
This too is your lot: to witness bitterly lewd silence
and just at those moments when only the Underworld knows
what a woman dares before a man decides,
both right in the middle between the fallen tree of youth
and the excrement of an old age.
This too is your lot:
bitterly to witness the adulterous lechery of music, exactly at those moments when, she, pushed into her crotch,
thrusts forth her breasts
so as to sough then from her nefarious mouth
through the wall cracked by Agamemnon's fall to you…
Vladimír Holan, This Too, from Walls, trans. Josef Tomáš
This too is your lot: to witness bitterly lewd silence
and just at those moments when only the Underworld knows
what a woman dares before a man decides,
both right in the middle between the fallen tree of youth
and the excrement of an old age.
This too is your lot:
bitterly to witness the adulterous lechery of music, exactly at those moments when, she, pushed into her crotch,
thrusts forth her breasts
so as to sough then from her nefarious mouth
through the wall cracked by Agamemnon's fall to you…
Vladimír Holan, This Too, from Walls, trans. Josef Tomáš
here we listen to broadcast
05 Jan, 17:14
John Berger
After “Madonna of the Pomegranate”
2000-2010
From the brochure “John Berger - Permanent Red”, Centre de la Imatge, Barcelona
[x]
After “Madonna of the Pomegranate”
2000-2010
From the brochure “John Berger - Permanent Red”, Centre de la Imatge, Barcelona
[x]
here we listen to broadcast
05 Jan, 15:08
“[…]
What I did not know when I was very young was that nothing can take the past away: the past grows gradually around one, like a placenta for dying.”
— John Berger, from And Our Faces, My Heart, Brief As Photos
What I did not know when I was very young was that nothing can take the past away: the past grows gradually around one, like a placenta for dying.”
— John Berger, from And Our Faces, My Heart, Brief As Photos
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