JaQueen
Ask
Submit
Archive
JaQueen

jncos:

fellow teens let;s hang out in the mall and cause a ruckus

surrealism:


The Eternally Obvious by René Magritte, 1948. Oil on canvas in five gold frames, laid on board.
Magritte actually painted the whole woman, then cut up the canvas into the pieces shown. Their arrangement allows the viewer to fill in the missing parts. Magritte’s interest in this time was with apertures - that is the spaces between the pieces we can see.

To perceive a complete nude woman is to experience her as being behind five different rectangular apertures. An alternate construal is that of five paintings of segments of her body hanging in front of a wall. Anything which destroys the organization of aperture interrupts our ability to perceive a whole woman. Filling in and completion become more difficult, even impossible. If we move out of alignment or occlude (with two fingers, for example) any two noncontiguous frameworks, we can no longer organize an aperture and therefore cannot see a complete woman.1

The conflict in the mind between seeing the whole woman, or that parts; the woman obscured, or the woman revealed; the flatness of the painting or three dimensional figures creates what Dalí calls “a mental crisis” in the viewer.2 This type of conflict was paramount in Dalí’s paranoiac-critical method and can be seen in numerous Magritte paintings from this time period.

Fred Halper, “Construals: Perceptual Occlusion in the work of René Magritte,” in “Einstein meets Magritte: An interdisciplinary reflection on science, nature, human action and society,” Klavier (Brussels: Academic Publishers, 1999), 212. ↩


Salvador Dalí, “The Rotting Donkey,” translated by Yvonne Shafir, Oui: The Paranoiac Critical Revolution (Boston: Exact Change, 2004), 115. ↩

surrealism:

The Eternally Obvious by René Magritte, 1948. Oil on canvas in five gold frames, laid on board.

Magritte actually painted the whole woman, then cut up the canvas into the pieces shown. Their arrangement allows the viewer to fill in the missing parts. Magritte’s interest in this time was with apertures - that is the spaces between the pieces we can see.

To perceive a complete nude woman is to experience her as being behind five different rectangular apertures. An alternate construal is that of five paintings of segments of her body hanging in front of a wall. Anything which destroys the organization of aperture interrupts our ability to perceive a whole woman. Filling in and completion become more difficult, even impossible. If we move out of alignment or occlude (with two fingers, for example) any two noncontiguous frameworks, we can no longer organize an aperture and therefore cannot see a complete woman.1

The conflict in the mind between seeing the whole woman, or that parts; the woman obscured, or the woman revealed; the flatness of the painting or three dimensional figures creates what Dalí calls “a mental crisis” in the viewer.2 This type of conflict was paramount in Dalí’s paranoiac-critical method and can be seen in numerous Magritte paintings from this time period.


  1. Fred Halper, “Construals: Perceptual Occlusion in the work of René Magritte,” in “Einstein meets Magritte: An interdisciplinary reflection on science, nature, human action and society,” Klavier (Brussels: Academic Publishers, 1999), 212. 

  2. Salvador Dalí, “The Rotting Donkey,” translated by Yvonne Shafir, Oui: The Paranoiac Critical Revolution (Boston: Exact Change, 2004), 115. 

arstotzka:

"stop being a mindless slave and quit your boring job and go do what you really want, using the money you obviously have, because I don’t understand class struggles or intersectionality"

curvellas:

it’s crazy to me how black women have such a close relationship with pain and hair. as little girls we sit between our mother’s knees, at first outright crying and screaming when we’re really young, and then as we get older, wincing and furrowing our brows and suffering silently to get our thick hair tamed and controlled. when we become adults, we sit in a beauticians chair, literally suffering the fumes, the itching, the blistering, burning, and eventual scabbing from relaxers. we let heavy handed women attack our edges with too-tight braids, now wincing as grown women as we literally feel our hair ripping from our scalps. we suffer the neck pain of an uncomfortable night of sleep trying not to crush those carefully placed bumper curls in our short cuts. we walk around with tender scalps all day from our adventures sleeping on bantu knots. we literally hurt ourselves, welcome the pain and discomfort, to be fixed. to feel comfortable out in the world, to be beautiful. we learn it as little girls and we carry it into our adult lives, and eventually pass the ritual of pain to our daughters. 

"Can the hungry go on a hunger strike? Non-violence is a piece of theatre. You need an audience. What can you do when you have no audience? People have the right to resist annihilation."