walk on the wild side
“When my husband died, because he was so famous and known for not being a believer, many people would come up to me-it still sometimes happens-and ask me if Carl changed at the end and converted to a belief in an afterlife. They also frequently ask me if I think I will see him again. Carl faced his death with unflagging courage and never sought refuge in illusions. The tragedy was that we knew we would never see each other again. I don’t ever expect to be reunited with Carl. But, the great thing is that when we were together, for nearly twenty years, we lived with a vivid appreciation of how brief and precious life is. We never trivialized the meaning of death by pretending it was anything other than a final parting. Every single moment that we were alive and we were together was miraculous-not miraculous in the sense of inexplicable or supernatural. We knew we were beneficiaries of chance… That pure chance could be so generous and so kind… That we could find each other, as Carl wrote so beautifully in Cosmos, you know, in the vastness of space and the immensity of time… That we could be together for twenty years. That is something which sustains me and it’s much more meaningful… The way he treated me and the way I treated him, the way we took care of each other and our family, while he lived. That is so much more important than the idea I will see him someday. I don’t think I’ll ever see Carl again. But I saw him. We saw each other. We found each other in the cosmos, and that was wonderful.”
Breathless (1960) - Directed by Jean-Luc Godard
(via h-o-r-n-g-r-y)Great Films
(via h-o-r-n-g-r-y)The Gifts Of Life
Les sous-bois au printemps
Sont une voûte céleste
Les feuilles des arbres dansent
Avec la brise légère
Et les rayons du soleil
Pour que sa lumière
Les transforme en joyaux.
(via h-o-r-n-g-r-y)I Am The Wooden Doors
c. 500 BC
Votive heads were placed in temples to accompany requests and offerings of thanks to the gods. Stamps and molds were used to produce images of both men and women. On finer examples, such as this head, elements of the face and hair were refined with a pointed tool before firing in the kiln. Traces of paint suggest that the hair was originally painted bright red. The holes in the ears once held earrings. The large, lively eyes and patterned hair are hallmarks of Etruscan figural representation.
Source: The Art Institute of Chicago