from where im standing my grass is green

Take up guerrilla gardening to beautify your city and provide food for bees and other insects!

leaf xia rtw fw 2019

i <3 menial tasks. for srs.

Lisa Frankenstein (2024)

the industrial deescalation conversation needs to be had bc we literally wont have a choice soon... people have this fear that itll be what amounts to a genocide of the disabled but degrowth doesnt mean immediate regression to the iron age, existing electrical infrastructure can be utilized for running medical facilities and labs producing insulin hrt antibiotics hiv meds ect (and hopefully people will be healthier anyways with less industrial pollutants in their water soil and food) while in their domestic lives people live much more low tech, dont use fossil fuel, organize into subsistence groups of 100-300 to collectively farm and manufacture their own goods, utilize draft animal power and light with candles or oil lamps but mostly return to a natural circadian rhythm with second sleep. waste is composted for soil restoration, we start watching our watersheds like a hawk. distance communication can be maintained in collective spaces that have old computers phones ect that use very little electricity, you can actually hook laptops up to HAM radio and use chat clients+send pictures over radio waves. maybe we can keep the pilot light on wherever possible to save lives, and for the day to day matters of living- a radical upheaval in lifestyle

all this sounds wingnut crazy to some, or dreamy and unattainable to others but there are people already doing it, it's completely within the realm of possibility. our current system of production will inevitably collapse, with or without us, maybe we should be building the new society within the old one by learning these subsistence skills right now. while also fighting to take care of each other

Top five gowns of 2023 as voted by my followers: Cheney Chan 2023 couture collection in first place

Bruce Springsteen and Tracy Chapman by Dennis O’Regan, 1988

Bikini Kill - Live At Jabberjaw, Los Angeles, CA July 6, 1994

people these days are too busying being employed or going to school to prioritize what really matters in life: watching a goth girl repeatedly electrocute cole sprouse with a tanning bed

« To mention the global loss of biodiversity, that is to say, the disappearance of life on our planet, as one of our problems, along with air pollution or ocean acidification, is absurd—like a doctor listing the death of his patient as one symptom among others.

The ecological catastrophe cannot be reduced to the climate crisis. We must think about the disappearance of life in a global way. About two-thirds of insects, wild mammals and trees disappeared in a few years, a few decades and a few millennia, respectively. This mass extinction is not mainly caused by rising temperatures, but by the devastation of natural habitats.

Suppose we managed to invent clean and unlimited energy. This technological feat would be feted by the vast majority of scientists, synonymous in their eyes with a drastic reduction in CO2 emissions. In my opinion, it would lead to an even worse disaster. I am deeply convinced that, given the current state of our appetites and values, this energy would be used to intensify our gigantic project of systemic destruction of planetary life. Isn't that what we've set out to do—replace forests with supermarket parking lots, turn the planet into a landfill? What if, to cap it all, energy was free?

[...C]limate change has emerged as our most important ecological battle [...] because it is one that can perpetuate the delusional idea that we are faced with an engineering problem, in need of technological solutions. At the heart of current political and economic thought lies the idea that an ideal world would be a world in which we could continue to live in the same way, with fewer negative externalities. This is insane on several levels. Firstly because it is impossible. We can't have infinite growth in a finite world. We won't. But also, and more importantly, it is not desirable. Even if it were sustainable, the reality we construct is hell. [...]

It is often said that our Western world is desacralised. In reality, our civilisation treats the technosphere with almost devout reverence. And that's worse. We perceive the totality of reality through the prism of a hegemonic science, convinced that it “says” the only truth.

The problem is that technology is based on a very strange principle, so deeply ingrained in us that it remains unexpressed: no brakes are acceptable, what can be done must be done. We don't even bother to seriously and collectively debate the advisability of such "advances". We are under a spell. And we are avoiding the essential question: is this world in the making, standardised and computed, overbuilt and predictable, stripped of stars and birds, desirable?

To confine science to the search for "solutions" so we can continue down the same path is to lack both imagination and ambition. Because the “problem” we face doesn't seem to me, at this point, to be understood. No hope is possible if we don't start by questioning our assumptions, our values, our appetites, our symbols... [...] Let's stop pretending that the numerous and diverse human societies that have populated this planet did not exist. Certainly, some of them have taken the wrong route. But ours is the first to forge ahead towards guaranteed failure. »

— Aurélien Barrau, particle physicist and philosopher, in an interview in Télérama about his book L'Hypothèse K

Photo of Charlotte Wells and her father that served as a starting point for her debut feature Aftersun

“…Aftersun is a personal film. Most films are, of course, but this film more than even those most. The essence of what I have to say about that is held within the 145,440 frames on screen. This film is unmistakably fiction, but within it is a truth that is mine; a love that is mine. Photos, videos—records of different types—are enclosed in the film and so it felt appropriate to enclose one here. A photograph of my dad and of me—the starting point for this project—each a single shot because photos of us both are in short supply in that pre-selfie era. I am 10 or 11, Sophie’s age in the film. My Dad is 31 or 32, a little younger than I am now. We happen to be in Turkey.”