Gracias a la Vida

pomeray:

Sophie Calle began following strangers because she didn’t know what to do with herself; she had no friends. “It was a way to force myself to get out of the house without having to decide what I was doing.”
January 1980 in Paris, she followed a man for the day and then lost him in the crowd. She later attended an art exhibition to find him there, a coincidence which led her to believe it was fate. She overheard him talking to a friend about a holiday to Venice and decided to go to track him down.
She began to follow him every day, photographing him, writing down his every move together with her thoughts and feelings in a journal. If he stopped to take a photo, she would stand in the exact same spot and try to capture the image he had taken. Her work is more similar to a detective’s than a lover, as she highlights the vulnerability of the stranger while trying to examine his identity.
This project lead her into another: she requested her mother to hire a private investigator to follow her. She took him on a journey through the streets of Paris to her favourite places. She kept a journal of the things she was up to, to compare with the detectives notes for amusement.
She was intrigued with the idea of switching roles and her privacy being invaded, like the many that she had once followed, and the contrast of the scenarios the detective pieced together from following her, to the actual truth.

Sophie Calle began following strangers because she didn’t know what to do with herself; she had no friends. “It was a way to force myself to get out of the house without having to decide what I was doing.”

January 1980 in Paris, she followed a man for the day and then lost him in the crowd. She later attended an art exhibition to find him there, a coincidence which led her to believe it was fate. She overheard him talking to a friend about a holiday to Venice and decided to go to track him down.

She began to follow him every day, photographing him, writing down his every move together with her thoughts and feelings in a journal. If he stopped to take a photo, she would stand in the exact same spot and try to capture the image he had taken. Her work is more similar to a detective’s than a lover, as she highlights the vulnerability of the stranger while trying to examine his identity.

This project lead her into another: she requested her mother to hire a private investigator to follow her. She took him on a journey through the streets of Paris to her favourite places. She kept a journal of the things she was up to, to compare with the detectives notes for amusement.

She was intrigued with the idea of switching roles and her privacy being invaded, like the many that she had once followed, and the contrast of the scenarios the detective pieced together from following her, to the actual truth.

Hossam Ramzy & Rafa El Tachuela - Rumbapa

7 plays

Flamenco Arabe

وصوت الشخاليل اللي بتلعب ورا دي بحسها واحدة غجرية لابسة خلخال وبتدب برجلها الحافية جامد ع الأرض وهى بترقص

أنا ممتنة للألوان والأحضان والمزيكا الحلوة والرسايل السماوية المنورة

اليوم كان طيبة وطبطبة

وفي مديح محاولات إني أفضل صغيرة من جوا مقابل عمري اللي بيكبر

man mowing the lawn across the way from me
don’t you have a knife somewhere in your gut
where love left?

man mowing the lawn across the way from me
don’t you have a knife somewhere deep in your heart
where love left?

man mowing the lawn across the way from me
don’t you see the young girls walking down the sidewalks now
with knives in their purses?
don’t you see their beautiful eyes and dresses and
hair?
don’t you see their beautiful asses and knees and
ankles?

man mowing the lawn across the way from me
is that all you see____ those grass blades?
is that all you hear____ the drone of the mower?

I can see all the way to Italy
to Japan
to Honduras
I can see the young girls sharpening their knives
in the morning and at noon and at night, and
especially at night, o,
especially at night

“

—	Charles Bukowski

2 plays

Bab’ Aziz Soundtrack

اسراء، مروة، رانيا

ال3 أسماء اللي منورين حياتي الأيام دي

I am the most tired woman in the world. I am tired when I get up. Life requires an effort I cannot make. Please give me that heavy book. I need to put something heavy like that on top of my head. I have to place my feet under the pillows always, so as to be able to stay on earth. Otherwise I feel myself going away, going away at a tremendous speed, on account of my lightness.

“

—

Anaïs Nin

Immature people falling in love destroy each other’s freedom, create a bondage, make a prison. Mature persons in love help each other to be free; they help each other to destroy all sorts of bondages. And when love flows with freedom there is beauty. When love flows with dependence there is ugliness.

A mature person does not fall in love, he or she rises in love. Only immature people fall; they stumble and fall down in love. Somehow they were managing and standing. Now they cannot manage and they cannot stand. They were always ready to fall on the ground and to creep. They don’t have the backbone, the spine; they don’t have the integrity to stand alone.

A mature person has the integrity to stand alone. And when a mature person gives love, he or she gives without any strings attached to it. When two mature persons are in love, one of the great paradoxes of life happens, one of the most beautiful phenomena: they are together and yet tremendously alone. They are together so much that they are almost one. Two mature persons in love help each other to become more free. There is no politics involved, no diplomacy, no effort to dominate. Only freedom and love.

“

—

Osho

An Angel at My Table

More about Janet Frame

معرفتهاش إلا عن طريق الفيلم، وغم إني ماقرتش الأوتوبيوجرافي بطبيعة الحال بس حسيته ينفع يتعمل أحسن من كدا. بس كان جميل وحبيته، ووقعت في غرام قصة شعرها وطبيعتها المتفردة المختلفة عن قواعد بقية البشر، وقدرة على المواصلة للنهاية رغم الكوارث اللي كانت بتقابلها