dollinda
flesh, blood, bones and skin,
the taste of carbon breaks in
with a ray of light.
flesh, blood, bones, skin, the taste of carbon breaks in with a ray of light.
white.
gravity and bodies - everybody affects every body, throughout the universe. get down brother, fight that power, feel your body almost break under an incomprehensible force. think of rockets struggling out of earth’s orbit, lift them up again with your bare hands.
black.
here we go, as the world grows over our body. there is no expectation of what is to come: will our spine become fully erect? eventually we will stand tall because none will take away the present. watch out, mother earth needs some action! pay attention!
implement.
lines of water making signs on a naked body; the imprint of muscles and skin color washes away to a thirsty, drinking camera.
your eyes - the doll's eyes. your puppet can't sing. you’re nightmarishly free.
true reflection
presents me to myself not as idle and inaccessible subjectivity, but as identical with my presence in the world and to others, as I am now realizing it: I am all that I see, I am an intersubjective field, not despite my body and historical situation, but, on the contrary, by being this body and this situation, and though them, all the rest.
Maurice Merleau-Ponty, Phenomenology of Perception.
north.
we all know that the kings and queens are but puppets. but even puppets have power. their bodies belong not to themselves though, but to a much higher, a supreme entity.
south.
nothing determines me from outside, not because nothing acts upon me, but, on the contrary, because I am from the start outside myself and open to the world. M. Merleau-Ponty
butler did it.
what is the most "material" dimensions of sex and sexuality? an original reformulation of the materiality of bodies is examining how the power of heterosexual hegemony forms the "matter" of bodies, sex, and gender. power operates to constrain "sex" from the start, delimiting what counts as a viable sex.
