Fake Love/Can I trust myself

[tinkerjack]

Can I believe in fake love

He saw the world spiraling downward in a fit of frustration because of the new wave of religious zealots in his time.

Walter Kaufmann

[stilltrucking]

“In some remote corner of the universe, poured out and glittering in innumerable solar systems, there once was a star on which clever animals invented knowledge. That was the haughtiest and most mendacious minute of world history, yet only a minute. After nature had drawn a few breaths the star grew cold, and the clever animals had to die.” . . .
“There have been eternities when it did not exist [knowledge], and when it is done for again, nothing will have happened.”

[silent woman]

The haughtiness or self importance that goes with knowledge, and feelings, shrouds the eyes and senses and deceives man about the value of existence, and knowledge’s most universal effect is that of deception. Humans use knowledge as a form of intellect. The chief powers of intellect are simulation, and in man simulation is achieved into the peak of its art: deception, flattery, lying and cheating, talking behind the back, posing, living in borrowed splendor, being masked, the disguise of convention, and acting a role before others and one
self are all simulations. In short, the concentration on vanity is so much the rule and the law of society that it is incomprehensible that man could make an honest and pure urge for truth.

http://www.writing.com/main/view_item/i ... oral-sense

[silent woman]

No one knows where the urge for truth comes from; for as yet we have heard only of the obligation imposed by society that it should exist; to be truthful means using the customary metaphors---in moral terms: the obligation not to provide an image of a false reality.

[stilltrucking]

and the story is
making the unreal real

A want to be genie
a stepford wife

do you want to be a polyester bride
the will to power
the will to nothing
walk in beauty

[SadLuckDame]

I know, it's like that time we went skiing and I kept gr-umping and gr-umping about how cold I get, then you bought me those gigantic knitted mittens with teddy bear heads on each finger tip and I felt like I was five years old again every time you laughed. At the top of the mountain, at the top of the slope, we could only see the tippy tops of the trees through the fog

and I was scared of it, scared to go down, but you tricked me quickly with talk about the mittens until before I knew what had happened and you'd pushed me on the backside, I felt joy and forgot it was cold outside.

[SadLuckDame]

Then you said, "See....!" just like you were five, maybe six, too.

[SadLuckDame]

Or the time we flew that jet.
I didn't know I'd like driving with you, but I did.
The way you navigated.

[stilltrucking]

Exactly the way it was.
And when we played chess and you checkmated me I was mad and did not want to play with you again because of my vanity.

[SadLuckDame]

Ha!Ha! But, I only check-mated you by turning the board around and beating you with you're own players.

You never stop me...la la la

[SadLuckDame]

You didn't know what to do when you had to be me.
xoxo

When you say that I can do anything I want to...
it's the great temptation, Jack. It's anything.

[stilltrucking]

Why is Dr. Harvey Karp, America’s preeminent baby shaman and an assistant professor of pediatrics at the University of Southern California, screeching like a 2-year-old? He’s demonstrating a technique he calls “playing the boob,” one of several he has devised for communicating with toddlers. Other entries in the Karp playbook include “the fast-food rule” and “toddler-ese”—the latter, a mode of communication heavy on fist-clenching and sputtered sentence fragments, is designed to ease the upset of a young child who, as Karp puts it, has “gone ape.” Actually, according to Karp’s theory of toddlerhood, toddlers essentially are little apes—or, at best, little cavemen—and ought to be approached using tactics that treat them as such.
http://www.theatlantic.com/magazine/arc ... an/309055/

Tomorrow is therapy day for Isabella Rose's mother. I am going to take a tape recorder and a camera with me to document my baby sitting.

It is true I did not know what to do. So I kissed my horse and rode off to joust with windmills.

[SadLuckDame]

I know that we've learned to speak each other's languages.
Tiki-tiki-me and I, you.

[stilltrucking]

Tiki tiki
tock tock
beat the clock

I want to see this bad

http://vimeo.com/barakasamsara/trailer

In the era of Instagram photo filters and quick-and-easy snapshots, filmmakers Ron Fricke and Mark Magidson still do things the slow, hard way. Their lavish, ambitious films without words require unwieldy analogue equipment and Phileas Fogg-scale travel—not to mention a crew willing to journey 1,000 miles for eight good seconds of footage. Their best-known work to date, Baraka (1992), did not feature dialogue or recurring characters, relying instead on powerful images and propulsive music to tell a global story. Roger Ebert, who included Baraka on his "Great Films" list, wrote that it could be offered to aliens as an adequate explanation of the human race.

Samsara, which screens in select theatres this fall, is the latest Herculean effort from Fricke and Magidson, their first movie in 20 years. Shot in dozens of locations across 25 countries, their sequel to Baraka took five years to make. Every frame was captured with 65mm cameras, a gorgeous (and expensive) widescreen format that offers unparalleled detail but requires bulky equipment, voluminous hard drives, and an arduous film-to-digital conversion process. The crew also hauled a custom-built, 30-year old timelapse photography system—the same one used in Godfrey Reggio's landmark documentary Koyaanisqatsi (1982). (That film brought extended timelapse sequences to moviegoers for the first time, and Fricke was cinematographer.)

[SadLuckDame]

It looks true, I think I should see it.
Since you're taking me to see that I thought I'd take you to see one tonight