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[khalayak]

trailer B “「this is the dream, beyond belief…」 追告 B『シン・エヴァンゲリオン劇場版』絶賛公開中

rebuild of evangelion 3.0+1.0: thrice upon a time

[khalayak]

here’s a watercolor drawing i did a month or two ago- it’s kaji and misato, the reference’s from the movie fallen angels :)

[khalayak]

“All poetry is political. Even the freedom to be indifferent is political. Poetry by white, cis, straight men that doesn’t explicitly talk about politics is political because white, cis, straight men feeling unburdened enough to not talk about politics is political.”

— Olivia Gatwood, interviewed by John Maher for The Millions

[khalayak]

Borneo: a biologist is working, looking for snakes in a pond. Orangutan thinks the man is stuck, reaches out a hand to help him climb to safety.

[khalayak]

north country, mary oliver

[khalayak]

The Fall (2006) Dir. Tarsem Singh Cinematography: Colin Watkinson

[khalayak]

Miki kim

[khalayak]

43 → 30 → 14

recurring visual imagery: misato + arm across side rebuild of evangelion 3.0+1.0: thrice upon a time, dir. hideaki anno (2020) neon genesis evangelion, dir. hideaki anno (1994)

[khalayak]

莫晓松 mo xiaosong

[khalayak]

PARASITE (2019) 

Dir. Bong Joon-ho

[khalayak]

Jawa Timur, Indonesia by Ardito Ryan Harrisna

[khalayak]

any story that someone tells you in the kitchen is a good one

[khalayak]

- Evangelion: 3.0+1.0 Thrice Upon a Time (シン・エヴァンゲリオン劇場版𝄇, Shin Evangerion Gekijōban) -

- NEW TRAILER | IMAGES -

[khalayak]

eugene lim, dear cyborgs

[khalayak]

“[…] Not all horror stories work that way. In some, the protagonist does not escape from or kill the beast, but nor is she simply killed in turn. In these stories, the protagonist enters into a state of communion with the very horror that has spent the rest of the movie threatening her life and her sanity. The process may be voluntary or not. The embrace of the evil may be gleeful or reluctant, and the outcome may be triumphant or tragic. But in the end, the dangerous, deranging, demonic forces at work are greeted not as destroyers, but as liberators, freeing the human protagonist from his human concerns once and for all, the life he once led forgotten in favor of a supernatural, superhuman new state of existence. This is transcendental horror: stories that climax with the protagonist entering a state of ecstatic or enlightened union with the source of the horror they’ve experienced. […]  Sometimes a touch of transcendental horror is all that’s required to elevate a film’s climax from a mere “down ending” into something more mysterious and harder to shake. Because what the narrative offers us is not all that different from what stories of martyrdom, or tales of witchcraft and devil worship — martyrdom’s dark mirror image — offer believers, from antiquity to the present day. For martyrs and saints, their horrifying ordeals brought them closer to God; for witches and Templars, who in the fevered imaginations of their detractors were said to have literally kissed the Devil’s ass, their self-abasement before Satan was the prerequisite for power. We want to believe that there is virtue in suffering, that pain and has some kind of up side, that whether alive or dead we can reap some kind of benefit from pain, humiliation, torment, torture. More than anything else, that is what films like The Lighthouse and Midsommar offer, in their own dark way. Ephraim and Dani are made to endure the tortures of the damned — their spirits battered and abused, their connections to life outside the sphere of suffering severed, their brains tampered with to a hallucinogenic degree. Yet on the other side of all this, they see things other humans can’t, and they achieve a power the normal world cannot offer them or abide at all. If you were within reach of something that made every awful thing you’ve been through worthwhile, wouldn’t you reach out and touch it? To paraphrase The Witch, wouldst thou like to live, or die, deliciously?”

— Sean T. Collins, The ecstasy of the agony: A quick guide to transcendental horror

[khalayak]

Mindfulness is nothing more than basic concentration training. Although derived from Buddhism, it’s been stripped of the teachings on ethics that accompanied it, as well as the liberating aim of dissolving attachment to a false sense of self while enacting compassion for all other beings. 

What remains is a tool of self-discipline, disguised as self-help. Instead of setting practitioners free, it helps them adjust to the very conditions that caused their problems. A truly revolutionary movement would seek to overturn this dysfunctional system, but mindfulness only serves to reinforce its destructive logic. The neoliberal order has imposed itself by stealth in the past few decades, widening inequality in pursuit of corporate wealth. People are expected to adapt to what this model demands of them. Stress has been pathologised and privatised, and the burden of managing it outsourced to individuals. Hence the pedlars of mindfulness step in to save the day.

Mindfulness advocates, perhaps unwittingly, are providing support for the status quo. […] It is not the nature of the capitalist system that is inherently problematic; rather, it is the failure of individuals to be mindful and resilient in a precarious and uncertain economy. Then they sell us solutions that make us contented, mindful capitalists.

Of course, reductions in stress and increases in personal happiness and wellbeing are much easier to sell than serious questions about injustice, inequity and environmental devastation. The latter involve a challenge to the social order, while the former play directly to mindfulness’s priorities – sharpening people’s focus, improving their performance at work and in exams, and even promising better sex lives. Not only has mindfulness been repackaged as a novel technique of psychotherapy, but its utility is commercially marketed as self-help. This branding reinforces the notion that spiritual practices are indeed an individual’s private concern. And once privatised, these practices are easily co-opted for social, economic and political control.

[khalayak]

Maybe we can take death to go to a star, and to die peacefully of old age would be to go there on foot. For the moment, I’m going to go to bed because it’s late, and I wish you goodnight and good luck. With a handshake, your loving Vincent.

Loving Vincent (2017) dir. Dorota Kobiela & Hugh Welchman