You've got to dig to dig it, you dig?
the sensation of
being dirty in
body and mind
summer as a
time to do
nothing and make
no money. Prayer
as a last re-
sort. Pleasure
as a means,
Peanut Butter, Eileen Myles
“We now call for a boycott of the organization including all programming and events, affiliation, and related projects.” Heard out and about in Miami.
Merve Emre, in the New Yorker, on Freud’s ideas through many biographies.
An enthusiastic popularizer of his ideas, he imagined his audience as anyone who had not managed to turn “his wishful phantasies into reality”—not titans of industry or artists but ordinary people who longed for more than what they had. The act of attending to their substitutions—of fantasizing—provided a daily experience of creativity, surprise, humor, and interpretive activity. One needed to have only the “courage and determination,” Freud urged, to heed the minor poetry of the unconscious.
[…]
The greatest testament to the human sense of “oneness” is civilization itself, man’s “mastery over space and time” in the form of shared aesthetic and political projects—beauty, order, religion, nationhood.
Yet civilization had not “increased the amount of pleasure” that men could “expect from life.”
It’s going to hurt for a while.
It’s going to have to.
[…]
It’s going to be hard
to end soon.
It’s going to wipe out
your entire wildlife.
It’s going to be remembered fondly, your heart
unable to keep its hands to itself.
[…]
It’s going to make your metaphors make you,
even if you don’t want to.
[…]
It’s going to cost you.
This Living, Amber Tamblyn in newyorker
… and the radio love to love but my baby he loves to dance he wants to dance he loves to dance he’s got to dance
Leaving the empty ache
That always follows when beauty goes
Finis, Waring Cuney
Green. Varieties. Shades of. A name. A new deal. A proposal.
chartreuse buds beading above moss
dappled shamrocks
fragrant healing of sage, laurel,
mint, basil, thyme, rosemary, myrtle
amid the tall wonders of juniper
pine, olive, pear
even the meeting of sea and river—
the sky, an intermingling of viridian and chetwode horizons,
and cerulean clarity—
offers its green seafoam,
its seaweed pats,
the crocodile at the edge of a freshwater marsh
its teeth open gritted in green
against the backdrop of hunter rainforest
dripping in green
making life on a palette, Raina J. León
From a wild weird clime that lieth, sublime,
Out of SPACE—Out of TIME.
Dream-Land, Edgar Allan Poe
Poe on Netflix–Pale Blue Eye, The Fall of the House of Usher.
Well did he mould her for beauty;
Gave her the wish that is brave
With understanding.
“O Pan, avert from his maiden
Sorrow, misfortune, bereavement,
Harm, and unhappy regret,”
« L’imaginaire de mon lieu est relié à la réalité imaginable des lieux du monde, et tout inversement. L’archipel est cette réalité source, non pas unique, d’où sont sécrétés ces imaginaires : le schème de l’appartenance et de la relation, en même temps. »
Glissant, (Philosophie de la Relation, 2009).
Architecture and Cities: A Verso Bookshelf. Key reading on our cities and the geography of inequality, politics, and identity. (2018).
Also, a list for architects, by Michael Sorkin.
“The entrance to Pavillon du Chef de l’Etat (House of the Head of State), which was turned into the Musee de Opéra on the western facade of Opéra National de Paris Garnier, is framed by two granite columns by Henri Alfred Jacquemart, surmounted by Henri a bronze eagle(??) and adorned with lamps and the masts of ships.” via flickr. I hope to find a better source for this.
1870. Le Siège de Paris contraint Charles Garnier à interrompre les travaux. L’Opéra est réquisitionné et transformé en hôpital puis en magasins d’approvisionnements militaires. Lorsque Napoléon III est renversé, Charles Garnier est prié d’enlever de l’Opéra les emblèmes et les chiffres de l’Empereur. via operadeparis.
1871. The Paris Commune, the short-lived workers’ regime that controlled the city for two months. It was a moment of barricades, red flags, and, as music scholar Delphine Mordey writes, a series of concerts. The concerts at Tuileries Palace [were] held between May 6 and May 21; [another] planned … [for] the Paris Opera, on May 22. Mordey offers a fascinating read of how the Communards took over the Opera. Via daily jstor.