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There is a sacred horror about everything grand. It is easy to admire mediocrity and hills; but whatever is too lofty, a genius as well as a mountain, an assembly as well as a masterpiece, seen too near, is appalling. Every summit seems an exaggeration. Climbing wearies. The steepnesses take away one's breath; we slip on the slopes, we are hurt by the sharp points which are its beauty; the foaming torrents betray the precipices, clouds hide the mountain tops; mounting is full of terror, as well as a fall. Hence, there is more dismay than admiration. People have a strange feeling of aversion to anything grand. They see abysses, they do not see sublimity; they see the monster, they do not see the prodigy. ↗
During the worst stages of my eating disorder, I was all-or-none with food—either bingeing or not eating. Much of my experience was, in fact, that if I ate anything, I would eat everything. I began to understand that this happened because I was starving myself. In starvation mode, my body literally thought I was facing a famine. It didn’t know that I was living near a grocery store and several fast-food restaurants. Thinking I was facing a real food shortage, its primal instinct was to binge on large amounts of food, conserving fat in preparation for the hard times ahead. ↗
Sunny was a treat to read. It is most appealing as the story is very well done and the artwork is beautiful. I applaud the author for writing a book to meet the needs of very young children as well as children of elementary school age. I experienced many different feelings as I read the book and I know otehrs will experience the same thing. The guide to further discussion at the end of teh book will be most helpful as foster parents read this story to the children in their care. ↗
#children-s-literature #emotional #foster-care #foster-children #age
My honors thesis project was my first interactive exhibit, in which two facing chairs were activated by a motion sensor when the viewer walked by. One was a cofortable armchair of plush red velvet, with a dildo sticking out of a hole in the seat. When activated, the dildo moved up and down and a strobe light pulsed. The facing chair was hard and uncomfortable, with spikes protruding from the seat, and when the viewer walked by it a dog would bark. The juxtaposition of the two chairs was meant to represent how forces of repression censor the desire for liberation. In that same exhibition, I showed a handmade box in the shape of a cross, decorated with a beautiful painting of the Holy Trinity. The viewer was encouraged to open the box, where they would find a dildo wrapped in the American flag and nailed to a cross-- this was meant to symbolize the hypocrisy and repression that is hidden under the attractive facade of organized religion. The dildo was surrounded by pages from the Bible, which were themselves surrounded by images of the sickness and starvation caused by the embargo in Iraq, a comment on the effects of imposing one culture and religion on another. ↗
#art
…My present attitude toward politics as it is practiced in the United States: it is a beautiful fraud that has been imposed on the people for years, whose practitioners exchange gilded promises for the most valuable thing their victims own, their votes. And who benefits most? The lawyers. (Chapter 4) ↗
Ironically, this physically weak feeling signifies that I’m actually getting stronger. I know from my past that I will ultimately feel strong if I just sit with the feeling and experience it. ↗
What then is the difference between film and theatre? Or should one not rather ask: what are the differences? Let us be content wi th the reply that the screen has two dimensions and the stage three, that the screen presents photographs and the stage living actors. All the subtler differences stem from these. The camera can show us all sorts of things--from close-ups of insects to panoramas of prairies--which the stage cannot even suggest, and it can move from one to another with much more dexterity than any conceivable stage. The stage, on the other hand, can be revealed in the unsurpassable beauty of three-dimensional shapes, and the stage actor establishes between himself and his audience a contact real as electricity. ↗
