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Port of Morrow by The Shins

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“What Now, Xiao?” Xiao Wen Ju and Lindsey Wixon photographed by Matt Irwin Style.com/Print #4 Fall 2013

“What Now, Xiao?”
Xiao Wen Ju and Lindsey Wixon photographed by Matt Irwin
Style.com/Print #4 Fall 2013

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The first language humans had was gestures. There was nothing primitive about this language that flowed from people’s hands, nothing we say now that could not be said in the endless array of movements possible with the fine bones of the fingers and wrists. The gestures were complex and subtle, involving a delicacy of motion that has since been lost completely.

During the Age of Silence, people communicated more, not less. Basic survival demanded that the hands were almost never still, and so it was only during sleep (and sometimes not even then) that people were not saying something or other. No distinction was made between the gestures of language and the gestures of life. The labor of building a house, say, or preparing a meal was no less an expression than making the sign for I love you or I feel serious. When a hand was used to shield one’s face when frightened by a loud noise something was being said, and when fingers were used to pick up what someone else had dropped something was being said; and even when the hands were at rest, that, too, was saying something. Naturally, there were misunderstandings. There were times when a finger might have been lifted to scratch a nose, and if casual eye contact was made with one’s lover just then, the lover might accidentally take it to be the gesture, not at all dissimilar, for Now I realize I was wrong to love you. These mistakes were heartbreaking. And yet, because people knew how easily they could happen, because they didn’t go round with the illusion that they understood perfectly the things other people said, they were used to interrupting each other to ask if they’d understood correctly. Sometimes these misunderstandings were even desirable, since they gave people a reason to say, Forgive me, I was only scratching my nose. Of course I know I’ve always been right to love you. Because of the frequency of these mistakes, over time the gesture for asking forgiveness evolved into the simplest form. Just to open your palm was to say: Forgive me.

If at large gatherings or parties, or around people with whom you feel distant, your hands sometimes hang awkwardly at the ends of your arms – if you find yourself at a loss for what to do with them, overcome with sadness that comes when you recognize the foreignness of your own body – it’s because your hands remember a time when the division between mind and body, brain and heart, what’s inside and what’s outside, was so much less. It’s not that we’ve forgotten the language of gestures entirely. The habit of moving our hands while we speak is left over from it. Clapping, pointing, giving the thumbs-up, for example, is a way to remember how it feels to say nothing together. And at night, when it’s too dark to see, we find it necessary to gesture on each other’s bodies to make ourselves understood.


Nicole Krauss, The History of Love

(Source: commovente)

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“Broken English” Karen Elson photographed by Steven MeiselVogue Italia May 2013

“Broken English”
Karen Elson photographed by Steven Meisel
Vogue Italia May 2013

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“It Takes Two” series by Steve McCurryRome, Italy

“It Takes Two” series by Steve McCurry
Rome, Italy

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may:

+i love it (cover of icona pop) // florence welch
+ya hey // vampire weekend [or rather, the entire ‘modern vampires of the city’ album]
+back to black (amy winehouse cover) // andre 3000 & beyonce
+get lucky (cover of daft punk) // daughter
+drugs // ratatat
+diet mountain dew // lana del rey
+don’t save me // haim
+giorgio by moroder // daft punk ft. giorgio moroder
+all right // sigur rus

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velveteen:

Lukasz Wierzbowski Kneon magazine

velveteen:

Lukasz Wierzbowski
Kneon magazine

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“Baby Sugar Butterfly”
Zlata Mangafic photographed by Anya Holdstock
Kneon magazine S/S 2013

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“Through the Looking Glass” Julie Dunstall photographed by David ArmstrongElle magazine

“Through the Looking Glass”
Julie Dunstall photographed by David Armstrong
Elle magazine

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Prada S/S 2000Sierra Huismann photographed by Robert Wyatt

Prada S/S 2000
Sierra Huismann photographed by Robert Wyatt

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“Swan”
Patricia van der Vliet photographed by Sofia Sanchez & Mauro Mongiello
Numero magazine

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Prada S/S 2013 shoes photographed by Thomas Lagrange for Vogue Paris February 2013

Prada S/S 2013 shoes photographed by Thomas Lagrange for Vogue Paris February 2013

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stream for the bling ring (2013) soundtrack

  1. crown on the ground // sleigh bells
  2. bad girls // m.i.a.
  3. big lights // sammy adams
  4. 9 piece // rick ross ft. lil wayne 
  5. live from the underground // big k.r.i.t.
  6. ouroboros // oneohtrix point never 
  7. sunshine (ft. m.i.a) // rye rye 
  8. 212 ft. lazy jay // azealia banks 
  9. drop it low // ester dean 
  10. all of the lights // kanye west 
  11. freeze // klaus schulze 
  12. hallelulwah // can 
  13. money machine // 2 chainz
  14. levels (instrumental) // avicii 
  15. power // kanye west 
  16. FML // deadmau5 
  17. disintegration part iv // bassnectar 
  18. showers of ink // loscil 
  19. bankrupt // phoenix 
  20. super rich kids // frank ocean
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Andrew Westermann photographed by Pierre Debusschere for “I Know Simply That the Sky Will Last Longer Than I“ 
I Know Simply That the Sky Will Last Longer Than I is a book, an exhibition (first at Hyères but touring over the next couple of years), a 52 minute long film which is only visible in the exhibition space, a soundtrack created by the 254forest studio with models’ voices as well as Kanye West, a series of photographs and a website.

Andrew Westermann photographed by Pierre Debusschere for “I Know Simply That the Sky Will Last Longer Than I“ 

I Know Simply That the Sky Will Last Longer Than I is a book, an exhibition (first at Hyères but touring over the next couple of years), a 52 minute long film which is only visible in the exhibition space, a soundtrack created by the 254forest studio with models’ voices as well as Kanye West, a series of photographs and a website.

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He awoke each morning with the desire to do right, to be a good and meaningful person, to be, as simple as it sounded and as impossible as it actually was, happy. And during the course of each day his heart would descend from his chest into his stomach. By early afternoon he was overcome by the feeling that nothing was right, or nothing was right for him, and by the desire to be alone. By evening he was fulfilled: alone in the magnitude of his grief, alone in his aimless guilt, alone even in his loneliness. I am not sad, he would repeat to himself over and over, I am not sad. As if he might one day convince himself. Or fool himself. Or convince others—the only thing worse than being sad is for others to know that you are sad. I am not sad. I am not sad. Because his life had unlimited potential for happiness, insofar as it was an empty white room. He would fall asleep with his heart at the foot of his bed, like some domesticated animal that was no part of him at all. And each morning he would wake with it again in the cupboard of his rib cage, having become a little heavier, a little weaker, but still pumping. And by the midafternoon he was again overcome with the desire to be somewhere else, someone else, someone else somewhere else. I am not sad.
Jonathan Safran Foer, Everything Is Illuminated
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