Sep 1, 2014
115 notes


Using stories to organize the past.

I love Today from Jonathan Harris and this video about the project.

(via feltron)

Sep 1, 2014
555 notes

Frontiers through the Ages


  • Water, 1400
  • Land, 1840
  • Gold, 1850
  • Wire, 1880
  • Air, 1900
  • Celluloid, 1920
  • Plastic, 1950
  • Space, 1960
  • Silicon, 1980
  • Networks, 1990
  • Data, 2000

(via feltron)

Sep 1, 2014
77 notes
Tracking nearly anything you do is alarming and humbling. The aggregates of our actions are lost on us: we can watch hundreds of hours of television and write it off as a small time commitment. How much is too much? It’s hard to make pretty charts without learning something and thinking about what they should look like.
Tom MacWright (Quantified Self)

(via feltron)

Jul 22, 2014
2 notes
«It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to heaven, we were all going direct the other way (…).»Charles Dickens, A Tale of Two CitiesPhotographyInge Morath - Marilyn Monroe (1960)

«It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to heaven, we were all going direct the other way (…).»

Charles Dickens, A Tale of Two Cities

Inge Morath - Marilyn Monroe (1960)

Jun 4, 2014
14 notes

The Fall


Have you ever watched a film and known from the first few minutes that somehow your life was not going to be exactly the same afterwards? Well, The Fall undoubtedly fits into that category for me, alongside classics like Rebel Without a Cause and Dead Poet’s Society, and a day after watching I…

Mar 23, 2014
18 notes

Valentino Haute Couture spring/summer 2014 by Max Von Gumppenberg and Patrick Bienert for Vogue Italia March 2014 Haute Couture Supplement


Valentino Haute Couture spring/summer 2014 by Max Von Gumppenberg and Patrick Bienert for Vogue Italia March 2014 Haute Couture Supplement

Jan 11, 2014
51 notes

"We’ve got an artistic problem, married to a marketing problem."


Bob Lefsetz on the future of the music business:

The labels are run by old men who want instant paydays and the acts are all chasing the bankers and their private planes and the unwashed wannabes want it to be easy, like reality television. As for the techies, they were never about the music, just extracting the revenue of what exists. And believe me, we don’t have a technology problem, we’ve got an artistic problem, married to a marketing problem.

So this is what’s gonna happen. We’re gonna continue to plod along until someone does it differently. It will probably be an act. It might be a new genre of music. The tunes will come first and the money second. The choices made will not align with those of today. And when it arrives we’ll all scratch our heads and say…THAT’S IT!

Completely agree. It’s not like recorded music is going to die, it’s going to evolve. Tension still exists because no one is sure how it will evolve yet.

And yes, the labels (as we know them today), are going to die.

Dec 22, 2012
3 notes
Piata Universitatii. 22 decembrie 2012. #Bucuresti #Bucharest #Romania

Piata Universitatii. 22 decembrie 2012. #Bucuresti #Bucharest #Romania

Dec 22, 2012
7 notes

What else ?



What else ?


Dec 19, 2012
2 notes
Replication of code sequences isn’t life, any more than replication of nucleotide sequences is, but we know that it sometimes leads to life.
Dec 13, 2012
167 notes


“No one reads Nichita Stănescu” is a five word poem; it is a lament, my lament, but I need not cry it in his homeland of Romania. There, he is revered by everyone, and his poems are not merely read but prayed.

[The Romanian poet] Nichita Danilov recalls Stănescu being feted with an introduction suited for a demigod: “Remember, my friends. Take a good look at this man. He is a genius. Rejoice that you were able to meet him! That you lived at the same time as he did!”(SC, 307)

He was born on March 31, 1933, in Ploieşti. During WWII, the city’s groundbreaking oil refinery was taken over by the Nazis and eventually crippled by US bombers—“people dying in flames, the smell of burning everywhere, screaming, the indecent redness of split flesh” are some of the horrors that riddled through Stănescu’s childhood. His account of failing the first grade, because “he’d found it unusually difficult to imagine that the uttered utterance and the spoken speech exist and that they can be written”, serves as a good primer for his approach to poetry (“the ritual of writing on air”), and it describes a bewilderment toward language that every writer would benefit from experiencing and cultivating.

In 1952, Stănescu moved to Bucharest, where he studied Romanian, linguistics, philosophy, and literature. After university, he worked as an editor for various Romanian literary periodicals. His writings earned him the Herder Prize in 1975, and he was nominated for the 1979 Nobel Prize in Literature, which ended in the hands of Greek poet Odysseas Elytis—that same year, Max Frisch, Léopold Senghor, and Borges were also in contention.

Stănescu preferred togetherness over solitude; he married three times, smoked, drank heavily, resided mainly in the houses of friends, and could be found extemporizing poems in bars with his audience eagerly scrambling to make transcriptions.

‘Gutenberg flattened words out,’ declared Stănescu in a Belgrade interview, ‘but words exist in space … Words are spatialized. They are not dead, like a book. They are alive, between me and you, me and you, me and you. They live; they are spoken, spaitialized, and received.’(SC, 308)

During his fiftieth year of life, the long-suffered illness of his liver worsened, prompting a trip to the hospital. The doctor, while attempting to revive him, asked Stănescu if he could breathe. “I breathe”, he said, and those were his last words, written in air, written in pneuma: “am respira”.

He left behind a prodigious body of work that includes not only his diverse poetry, but also essays, and Romanian translations of the Serbian-language poets Adam Puslojic and Vasko Popa.

Collections of Stănescu’s poetry in English translation:

  • The Still Unborn About the Dead (Anvil Press, 1975), selected poems translated by Petru Popescu and Peter Jay. It is a shame that this collection is out-of-print, because it is the only one that contains the full Elegies (a.k.a. The Last Supper; originally Elegii, 1966), including “The Slit Man”, which Stănescu dedicated to Hegel and labelled the “anti-Elegy”, “a kind of Judas” to the eleven others.
  • Ask the Circle to Forgive You — Selected Poems, 1964-1979 (The Globe Press, 1983), translated by Mark Irwin and Mariana Carpinisan. In my opinion, this might not be the strongest of the out-of-print books, but it is worth tracking down just for “Contemplating the World from the Outside”. Thankfully, a lot of the other poems can be found via the later books, albeit in different translations.
  • Bas-Relief with Heroes — Selected Poems, 1960-1982 (Memphis State University Press, 1988), translated by Thomas C. Carlson and Vasile Poenaru, with illustrations by Benedict Gănescu. Its introductory essay by Dumitru Radu Popa provides an excellent overview of Stănescu and Romanian literature. The illustrations seem ill-suited, but the visual accompaniment is redeemed by a single, uncaptioned photograph (see above, third thumbnail) that is found near the end of the book, beside “Knot 19”. A handful of the poems from this collection can be found online at
  • Sentimental Story (Editura Athena, 1995), translated by Bogdan Ștefănescu. Unfortunately, I was not able to acquire a copy of this book, so I am not certain, but the listing suggests they are English translations. [Update (2012/11/15): I acquired this charming little book, and I can confirm it does have English translations; it is also a bilingual edition.]
  • Occupational Sickness (BuschekBooks, 2005), selected and translated by Oana Avasilichioaei. You should get this book while it is still available; as of October 7, 2012, I still see copies for sale on for ~$11. It contains a unique selection of poems, and she has beautiful translations of Stănescu’s lyrical verse. It is also the only second completely bilingual edition that I know of. (The Carlson edition does include a few Romanian versions of the harder to translate poems.)
  • Wheel with a Single Spoke and Other Poems (Archipelago Books, 2012), selected and translated by Sean Cotter. Up until this glorious book, Bas-Relief with Heroes was the most extensive collection. Cotter and Archipelago have done English-language readers a great service. Feel free to start reading anywhere, but I suggest Cotter’s selections from Stănescu’s Egg and Sphere, Epica Magna, and Unwords.

Stănescu “tears with [things’] tears”, because “[e]verything on earth / at one time or another needs to cry”, so he cries for the unable, for “the still unborn about the dead”, for the everyday, for Language. As such, he belongs in the same league as Rilke, Vallejo, Celan: poets for whom “[poetry] is [often] the weeping itself”; poets who do not simply play with words but, rather, who accumulate a poetic charge until it arcs out and brilliantly sears fresh paths through language—paths that become new homes for Being.

With English translations of Stănescu’s poems back in circulation, now is the time for you to embrace his words with your ribs: by breathing them in through your eyes, ears, skin.

‘A poet is greater,’ [Stănescu] wrote, ‘when those that read him don’t discover the poet but themselves.’(OA, 10)

(Photos: please click the photos to see their captions—unfortunately, I could not find credits for all of them, and there are a lot more photographs on the extremely popular Facebook page dedicated to Nichita Stănescu. Also, this article could not have been possible without the essays and translations by Popescu, Irwin, Avasilichioaei, and Cotter; where appropriate, I noted, either in superscript or in tooltips, their initials and their book’s page number.)

Nov 10, 2012
914 notes

Never-Before-Seen 1980s Photos of Famous Directors

While photographer Norman Seeff has transfixed onlookers with iconic faces married to the lens, he has also captured the minds behind the camera—the directors. In his newest collection, “Director Series,” Seeff unveils never-before-seen images, as well as some rather famous ones, of some of entertainment’s most brilliant minds, including Martin Scorsese, Francis Ford Coppola, Jim Henson, Ridley Scott and John Huston.

(via fuckyeahdirectors)

Sep 8, 2012
6 notes


The White SquadronThe Romanian 108th Medevac Unit, apparently the lone Medevac unit in WWII with female pilots.

in pictures: Nadia Russo, Mariana Dragescu, Stela Hutan-Palade and Virginia Dutescu.

Pictures from [x]

Sep 3, 2012
4 notes

(Source: sohodoll)

Sep 3, 2012
4 notes

(Source: sohodoll)

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