Fineness of Perception


Max Ernst. Le Ballade du Soldat (The Ballad of the Soldier). Illustrations for Georges Ribemont-Dessaigne. 1972.

 La Ballade du Soldat is a lyrical attack on the destructive role of the soldier in society.

There are many myths about writing (writers are tortured artists; writers are drunks; writers are drunk, tortured artists). But in my opinion, one of the most insidious of those myths is the idea that you must be inspired to write. I’ve heard writers say things like, “I just wasn’t inspired to write today,” and “I’m waiting for that burst of inspiration, you know?”

I’ll let you in on a little secret. If you wait for inspiration to strike before you sit down to write, you’ll probably never finish a damn thing. Inspiration is like that hot girl or guy you met at a party one time—and when you talked to him or her, it seemed like you totally clicked. There was eye contact; there was flirting; maybe there was even a bit of casual brushing of your hand over theirs, right? I know. I’ve been there. At the end of the night they asked for your number and said, “I’ll definitely call you. We should hang out.”

But then they never did, and you were left waiting for a call that never came, feeling increasingly like a fool.

That’s what inspiration is. It’s seductive and thrilling, but you can’t depend on it to call you. It doesn’t work that way. The good thing is, inspiration is irrelevant to whether or not you finish your book. The only thing that determines that is your own sense of discipline.

—Malinda Lo’s 2013 NaNoWriMo pep talk. (via the-library-and-step-on-it)

A person begins…in fear of losing his parents’ love; and then, having internalised their authority, he ends up fearing (and courting) the loss of his love for himself.

Adam Phillips  

on self-hatred and perceived ‘guilt’ (via alterities)

(Source: jujutsu-with-zizek, via alterities)

the awareness that there is no hidden content, makes [a woman] even more enigmatic. He desperately clings to the conviction that, behind the cold manipulative surface, there must be a heart of gold to be saved, […] and that her cold manipulative approach is just a kind of defensive strategy.

—Slavoj Zizek on the femme fatale in detective novels and noir films (via alterities)

The voyage of discovery is not in seeking new landscapes but in having new eyes.

—Marcel Proust (via itsquoted)

(via enigmaland)


"The reason I like this film is that even I, the filmmaker, get confused as to which parts were fiction and which documentary. It’s as if the film doesn’t belong to me, as if it had made itself; the main character was so strong, it was I who was being told what should be done. And when I saw the film, I realised it was not an artificial creation, but different; it increased my responsibility as a filmmaker. Cinema is no longer the panoramic experience it once was, with big budgets; cinema is -or ought to be- about analysing individual human experience, and how you can find yourself within that subjectivity. After making this film, I realised how I could identify with each of the characters, and how much of myself was in them."

Abbas Kiarostami, Close-Up (Nema-ye Nazdik 1990)

"I don’t remember being afraid of anything in making films. You hear a reason, and instead of resisting, you let it go… Do I still enjoy it? ‘Enjoy’ is not enough of a word. I long to make films. I’m dying to be inside the next film. I always hope there will be another film." — Claire Denis

(Source: strangewood, via cinemaissatanschurch)