11 4 / 2014

newyorker:

image

Richard Brody on Jim Jarmusch’s new film, “Only Lovers Left Alive”: http://nyr.kr/PVEUSE

“The movie, with its vehemently anti-pop orientation, sets up a hidden cultural aristocracy that burrows, termite-like, through the history of art to deliver the highest treasures surreptitiously, communicating secretly with the other sanguinary hipsters while satisfying the vulgar zombie clamor.”

Photograph by Sandro Kopp/Sony Pictures Classics.

(Source: newyorker.com)

02 4 / 2014

01 4 / 2014

aliterationmag:

A plane… a bird…
You know you do it; every writer has. You write yourself into your characters. You romanticize your blind spots. You poeticize mistakes until the line blurs between foolishness and good fortune. You write the story the way it should have played out.     Going through life, we take our defeats for granted. We pretend we make no mistakes. We lie to ourselves and believe every word. We forget reality, forget possibility.     Why? Why do we write only the best, or only the worst, of what we see in the mirror? Why either superhero/ine or supervillain/ess?
To you we posit that the honest rollercoaster ride of reality is more intriguing, more telling of the human condition, than flight or freefall fantasies of hindsight. Every day is an exercise in dissociation; we want to see the clockwork ticking behind hindsight, the mechanism of more false promise than understanding._____
Poetry: The cover     — Veil reality until the truth is less important than belief.Prose: The Kryptonite     — Tear down everything we come to base our beliefs on.Visual Arts: The revelation     — Take off the mask. Make us wish for it. Make us fear it.
Submissions close 10PM EST April, 15th
Make your way to aliteration.org and drop off slices of harsh reality.

aliterationmag:

A plane… a bird…

You know you do it; every writer has. You write yourself into your characters. You romanticize your blind spots. You poeticize mistakes until the line blurs between foolishness and good fortune. You write the story the way it should have played out.
     Going through life, we take our defeats for granted. We pretend we make no mistakes. We lie to ourselves and believe every word. We forget reality, forget possibility.
     Why? Why do we write only the best, or only the worst, of what we see in the mirror? Why either superhero/ine or supervillain/ess?

To you we posit that the honest rollercoaster ride of reality is more intriguing, more telling of the human condition, than flight or freefall fantasies of hindsight. Every day is an exercise in dissociation; we want to see the clockwork ticking behind hindsight, the mechanism of more false promise than understanding.
_____

Poetry: The cover 
    — Veil reality until the truth is less important than belief.
Prose: The Kryptonite 
    — Tear down everything we come to base our beliefs on.
Visual Arts: The revelation 
    — Take off the mask. Make us wish for it. Make us fear it.

Submissions close 10PM EST April, 15th

Make your way to aliteration.org and drop off slices of harsh reality.

31 3 / 2014

uberfaenatic:

If you don’t have room for a mustache-wearing Meryl Streep on your blog, I don’t want to know you.

uberfaenatic:

If you don’t have room for a mustache-wearing Meryl Streep on your blog, I don’t want to know you.

(Source: funkes, via lilyliqueurburlesque)

26 3 / 2014

"A writer is a person for whom writing is more difficult than it is for other people."

Thomas Mann. (via quotedojo)

25 3 / 2014

modern-vampires-of-art-history:

Gustave Moreau, Cleopatra (1887) / Vampire Weekend, Step(2013)

modern-vampires-of-art-history:

Gustave Moreau, Cleopatra (1887) / Vampire Weekend, Step(2013)

25 3 / 2014

f-l-e-u-r-d-e-l-y-s:

Photography by Klaus Pichler

“Who hasn’t had the desire just to be someone else for a while? Dressing up is a way of creating an alter ego and a second skin which one’s behaviour can be adjusted to. Regardless of the motivating factors which cause somebody to acquire a costume, the main principle remains the same: the civilian steps behind the mask and turns into somebody else. For this photo series I visited owners of elaborate costumes in their own homes. As a matter of fact ‘Just the two of us’ deals with both: the costumes and the people behind them.” – Klaus Pichler

(via sleep-deprivedeyes)

25 3 / 2014

typostrate:

Typography ambigrams 2

One week ago we posted the first edition of typography ambigrams. The ones today are a little bit diverse to them. We have ambigrams which change their meaning of the word to the contrary by turning around like bullshit and meeting, drink and drunk, Save me and I’m fine, black and white, back and front. The others are just the same by moving 180° but we love the idea and design of them. Enjoy it!

Image sources: 1 2 3 4 5 6 7 8 9 10

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24 3 / 2014

genies:

If u sit during a concert you’re weak and you won’t survive the apocalypse

(via nicholasspetricca)

24 3 / 2014

Rushmore (dir. Wes Anderson, 1998)

(Source: epistemophiliaa, via spokeart)