source: thevine.com.au again
Monday, March 30, 2009
Can you help me Doctor Beat
Doc-doc-doc-doc-docter Beat
This is my Doctor Style bag, similar to the one Talorstitch posted on her blog, and yes, mine is a smaller version! And in response to her question, it is from London, but my step-mum bought it quite a many years ago. Many being about 30 years or so. Luckily for me she thought i'd like it.
Oh i doooo
Unfortunately it got wet though and it's not as nice as it could be. But seriously, it can it SO much, and it's just so sexy :)
This is my Doctor Style bag, similar to the one Talorstitch posted on her blog, and yes, mine is a smaller version! And in response to her question, it is from London, but my step-mum bought it quite a many years ago. Many being about 30 years or so. Luckily for me she thought i'd like it.
Oh i doooo
Unfortunately it got wet though and it's not as nice as it could be. But seriously, it can it SO much, and it's just so sexy :)
Saturday, March 28, 2009
Friday, March 27, 2009
Shades of Grey
Day time: Old, old CK shirt which i got the scissors on, the coolest pants in the world, they were once my mums widelegs, now my skinnies, my favourite shiny jacket (i am a bower bird)
Night: AA mesh dress, bardot bra, AA bike shorts (yes i wore bike shirts and not a skirt, they are heaps more comfy), a spotlight chain tied around my waist and an oldschool velvet back with like huge ~jewels~ on it and gold beads around those=radtastic!
Shoes at night: They are Scooter and go me, i got them for less then half price! They are killer high, pity i didn't get a side view... I'm thinking about puting some really thin chain through those hole things
Ps. i'm not the most photogenic person
Pps. it's really annoying bardot just assumes that skinny girls have no breasts... i mean i'm usually a 6 or 8 there, but the bra i got was a 10 and my boobs STILL don't fit inside, i have to like wear it half up to cover.... WHAT THE HELL!
Night: AA mesh dress, bardot bra, AA bike shorts (yes i wore bike shirts and not a skirt, they are heaps more comfy), a spotlight chain tied around my waist and an oldschool velvet back with like huge ~jewels~ on it and gold beads around those=radtastic!
Shoes at night: They are Scooter and go me, i got them for less then half price! They are killer high, pity i didn't get a side view... I'm thinking about puting some really thin chain through those hole things
Ps. i'm not the most photogenic person
Pps. it's really annoying bardot just assumes that skinny girls have no breasts... i mean i'm usually a 6 or 8 there, but the bra i got was a 10 and my boobs STILL don't fit inside, i have to like wear it half up to cover.... WHAT THE HELL!
Thursday, March 26, 2009
Girl Crush
Raquel Zimmermann. Sorry for the photo overload but really. She is my favourite!
source: fmd1.com and style.com
Wednesday, March 25, 2009
On Discourse and Foucault and all things Obscene
Discourses, the “socially constructed knowledges of some aspect of reality,” (van Leeuwen, 2005:94) are inescapable. Their nature is such that they pervade all aspects of text, whether written, visual or aural. Further, a discourse is one perception of a particular subject which is expounded in a text, and to this extent it is produced entirely by social context. This definition of discourse is in itself a discourse, for other definitions arise in other contexts, for example, it might also mean a conversation or debate.
One such topic which contains numerous, diverse discourses is ‘obscenity’; a term used to describe what is commonly felt to be opposed to the current standards of morality or decency, often encompassing pornography, drug use, profanity, and for some, homosexuality. Why I have selected obscenity is because again, in everyday society the definition itself is a discourse. Obscenity is commonly seen as repulsive or repugnant, and though my personal opinion challenges this I would like to investigate those of others. Also, I will seek to understand today’s socially accepted discourses and how they are able co-exist successfully, if at all.
To begin, the “Report of the Committee on Obscenity and Film Censorship” says of obscenity, and particularly of pornography, that it is “trash: ugly, shallow, and obvious...[it] is not only offensive, but deeply offensive” (Williams, et al, 1979:96). Here, straightforward language explicitly identifies the discourse of obscenity as deeply offensive. The text is saturated with words of negative connotation and high modality. It does not suggest or seek to prove its ideas, but rather posits them as ‘truth’. While it does raise the question of whether pornography can be seen as art, it proposes that “the nature of pornography [is] that it is bound to be worthless” and that “it is simply not worth anyone’s while, at least in the modern world, to make pornography more artistically interesting than it is” (Williams, et al, 1979:105). Thereby it dismisses the concept of art in pornography outright.
Form itself is useful in maintaining an authority on the subject of obscenity because it is a government commissioned text and thus is assumed to be objective. Only through analysis of the language does one discover a specific agenda is being pursued; to rebuff all doubt that the current laws on film censorship need altering. The committee presented their findings in this report to the parliament where their recommendations would certainly hold power of persuasion, and thus power to influence law making.
This relates directly to Foucault’s concept of knowledge and power. In this sense, knowledge can never be neutral as it has great power of influence and simultaneously when power is given to an individual, in this case a group of academics and professionals, the knowledge which is produced encapsulates the specific shared ‘truths’ which are formed by contextual circumstances. The authors’ context is transparent through the text; most committee members are involved in occupations directly related to conservative protection or guidance; a headmistress, a youth worker, psychotherapist and bishop are just some examples.
In direct antagonism of the discourse of obscenity as offensive is the interview “Just like Jesse Jane Part 2” (Vive Cool City 2009). This short video presents a supplementary characteristic of discourse, that in some circumstances, more than one truth is presented in a text. In this instance, obscenity, again with a focus on pornography, is presented as a vocation, as entertainment and as art.
The Vive Cool City website is often found to portray obscenity or other ‘undesirables’ as deemed by society, to be entertainment, and is marketed towards generation Y, a quite liberal assemblage of technologically focused youths. The informal style of the interview shown by a hand held camera, conversational style questions, editing to include candid and imperfect moments, marks this as a relaxed, open topic which pursues entertainment over conveying judgements. Vive Cool City uses their content to their advantage, as it is difficult to find such interviews as they film elsewhere and thus claim almost the entire market.
A further discourse represented is obscenity as an occupation, expressed predominantly by the interviewee, Jesse Jane who uses her body as a commodity and does so by exciting arousal. Provocative dress, mainly to expose her breasts and legs, and open, sexual body language; pouted lips, and partly lowered eyelids, are just some way in which this is achieved. Additionally, product advertising is utilised to some extent, where her upcoming film and purchasable moulds of her anus and vagina are presented to the audience to implicitly influence them to consume.
Finally, the discourse presented of obscenity as art. This is revealed by the dialogue “that’s sexual poetry” (Vive Cool City, 2009) as a response to Jane’s ‘dirty talk’. While this ‘dirty talk’ uses commonly thought indecent and profane language, such as ‘fuck’, ‘cock’, ‘tits’ and ‘pussy’ they are combined in a flowing, rhythmic style and employs imagery and sensory material to engage the listener.
Following on from the theme of obscenity as art and moving away from pornography is William S Burroughs’ novel Naked Lunch. The book contains numerous ‘routines’ on authority, control, drug addiction, sex (homosexual and heterosexual) and murder. Naked Lunch was the focus of an Obscenity Trial in 1957, initially being banned but then acknowledged as having some value. In this text Burroughs draws from his own drug addiction experiences and homosexuality, more specifically his time in Tangiers in the 1940s, and entrenching throughout his hedonistic perspectives. Thus the text also displays a discourse of obscenity as a way of life. The novel was also a reaction to the common naturalistic style utilised at the time.
The sentence construction used does not follow the usual conventions of tense and plurals, “whores stagger out through dust and shit and litter of dead kittens, carrying bales of aborted foetuses” (Burroughs, 2003:64), and he creates intensely descriptive and inventive phrases, shown by “I have a place where I can slip my needle right into a vein, it stays open like a red festering mouth, swollen and obscene” (Burroughs, 2003:55) and “Johnny’s cock swells, great rank buds burst out. A long tuber root creeps from Mary’s cunt, feels for the earth” (Burroughs, 2003:84) while creating shocking images, “She tears off great hunks of cheek... now she lunches on his prick...she looks up from Jonny’s half eaten genitals, her face covered with blood, eyes phosphorescent” (Burroughs, 2003:82) and “beat her brains out, then I hump her for kicks” (Burroughs, 2003: 100), all to push the boundaries of literature.
While some critics viewed it as offensive to the ears others understood the significance of Burroughs’ intention, seeing it as a “rush of pure sensation through the brain” and that “from its opening words we are aware that a unique world- comic, paranoid, visionary, delirious- is being revealed to us” (Ballard, Cited in Naked Lunch: The Restored Text, 2003).
The repressive hypothesis states that for the past 300 years sexuality outside the context of a marriage, if for pleasure and not reproduction, has been repressed (Egan 2009). Foucault argues this believing that while it has often been taboo, sexual discourses have actually increased which is then proven by the two previous texts. These discourses, which Foucault refers to as that of the sexually ‘perverse’, indeed show sexual activity for pleasure, in the context of pornography and homosexuality. Foucault also explains that in the 18th Century confessionals were commonly used to express sexual desires and similarly the articulation of Burroughs’ and Jane’s cravings are made through a confessional format; a novel and interview.
A final text which contains an obscenity discourse is Antonin Artuad’s poem The Pursuit of Fecality. While obscenity is used here as art, is it also used with the intention to cause shock and disgust. “When Artaud opens his mouth words pour out, words that declaim, exhort, upbraid, accuse, insult, incite. “ (Stern, 2002:75). His writing is heretic, “he doesn’t describe God, he summons him to existence and tries to obliterate his presence by shitting on him” (Stern, 2002:78) which is seen through “Is God a being? If he is one, he is shit. If he is not one he does not exist” (Artaud, 1947). In this defiance of god he draws a relationship between the mouth and the anus; they perform each others’ acts of speaking and emptying the bowel (Stern, 2002).
For Artuad, the offensiveness is necessary in showing that “All Writing is Pigshit” (Artaud, 1965:38). It is also paradoxical; for that in claiming writing is substandard he must use writing to claim this, and in doing so intentionally proves his belief. Such an example is “there where it smells of shit it smells of being. Man could just as well not have shat, not have opened the anal pouch, but he chose to shit” (Artaud, 1947).
While the texts I have examined do at times present various or even opposite discourses on obscenity, it is possible for them to exist in harmony with one another, and even to allow for other discourses to be created. If such discourses of obscenity as offensive did not exist, using obscenity to shock and disgust would not be possible, for no one would feel anything intrinsically wrong about it. If obscenity had not been viewed as artistically worthless, texts such as Naked Lunch would not have had the opportunity, or pleasure to challenge this. Finally, through the creation of obscene texts which are proven to have value, obscenity is used as entertainment. The biggest question raised is not in fact, how can they co-exist, but, why is it that sex, pornography, recreational drug use, profane language and metaphors of faecal matter are in fact so morally offensive to common society at all?
(It's not letting me put my proper bibliography up, but if you're curious as to what texts i used just ask! Oh and ps this was for my Language and Discourse subject)
One such topic which contains numerous, diverse discourses is ‘obscenity’; a term used to describe what is commonly felt to be opposed to the current standards of morality or decency, often encompassing pornography, drug use, profanity, and for some, homosexuality. Why I have selected obscenity is because again, in everyday society the definition itself is a discourse. Obscenity is commonly seen as repulsive or repugnant, and though my personal opinion challenges this I would like to investigate those of others. Also, I will seek to understand today’s socially accepted discourses and how they are able co-exist successfully, if at all.
To begin, the “Report of the Committee on Obscenity and Film Censorship” says of obscenity, and particularly of pornography, that it is “trash: ugly, shallow, and obvious...[it] is not only offensive, but deeply offensive” (Williams, et al, 1979:96). Here, straightforward language explicitly identifies the discourse of obscenity as deeply offensive. The text is saturated with words of negative connotation and high modality. It does not suggest or seek to prove its ideas, but rather posits them as ‘truth’. While it does raise the question of whether pornography can be seen as art, it proposes that “the nature of pornography [is] that it is bound to be worthless” and that “it is simply not worth anyone’s while, at least in the modern world, to make pornography more artistically interesting than it is” (Williams, et al, 1979:105). Thereby it dismisses the concept of art in pornography outright.
Form itself is useful in maintaining an authority on the subject of obscenity because it is a government commissioned text and thus is assumed to be objective. Only through analysis of the language does one discover a specific agenda is being pursued; to rebuff all doubt that the current laws on film censorship need altering. The committee presented their findings in this report to the parliament where their recommendations would certainly hold power of persuasion, and thus power to influence law making.
This relates directly to Foucault’s concept of knowledge and power. In this sense, knowledge can never be neutral as it has great power of influence and simultaneously when power is given to an individual, in this case a group of academics and professionals, the knowledge which is produced encapsulates the specific shared ‘truths’ which are formed by contextual circumstances. The authors’ context is transparent through the text; most committee members are involved in occupations directly related to conservative protection or guidance; a headmistress, a youth worker, psychotherapist and bishop are just some examples.
In direct antagonism of the discourse of obscenity as offensive is the interview “Just like Jesse Jane Part 2” (Vive Cool City 2009). This short video presents a supplementary characteristic of discourse, that in some circumstances, more than one truth is presented in a text. In this instance, obscenity, again with a focus on pornography, is presented as a vocation, as entertainment and as art.
The Vive Cool City website is often found to portray obscenity or other ‘undesirables’ as deemed by society, to be entertainment, and is marketed towards generation Y, a quite liberal assemblage of technologically focused youths. The informal style of the interview shown by a hand held camera, conversational style questions, editing to include candid and imperfect moments, marks this as a relaxed, open topic which pursues entertainment over conveying judgements. Vive Cool City uses their content to their advantage, as it is difficult to find such interviews as they film elsewhere and thus claim almost the entire market.
A further discourse represented is obscenity as an occupation, expressed predominantly by the interviewee, Jesse Jane who uses her body as a commodity and does so by exciting arousal. Provocative dress, mainly to expose her breasts and legs, and open, sexual body language; pouted lips, and partly lowered eyelids, are just some way in which this is achieved. Additionally, product advertising is utilised to some extent, where her upcoming film and purchasable moulds of her anus and vagina are presented to the audience to implicitly influence them to consume.
Finally, the discourse presented of obscenity as art. This is revealed by the dialogue “that’s sexual poetry” (Vive Cool City, 2009) as a response to Jane’s ‘dirty talk’. While this ‘dirty talk’ uses commonly thought indecent and profane language, such as ‘fuck’, ‘cock’, ‘tits’ and ‘pussy’ they are combined in a flowing, rhythmic style and employs imagery and sensory material to engage the listener.
Following on from the theme of obscenity as art and moving away from pornography is William S Burroughs’ novel Naked Lunch. The book contains numerous ‘routines’ on authority, control, drug addiction, sex (homosexual and heterosexual) and murder. Naked Lunch was the focus of an Obscenity Trial in 1957, initially being banned but then acknowledged as having some value. In this text Burroughs draws from his own drug addiction experiences and homosexuality, more specifically his time in Tangiers in the 1940s, and entrenching throughout his hedonistic perspectives. Thus the text also displays a discourse of obscenity as a way of life. The novel was also a reaction to the common naturalistic style utilised at the time.
The sentence construction used does not follow the usual conventions of tense and plurals, “whores stagger out through dust and shit and litter of dead kittens, carrying bales of aborted foetuses” (Burroughs, 2003:64), and he creates intensely descriptive and inventive phrases, shown by “I have a place where I can slip my needle right into a vein, it stays open like a red festering mouth, swollen and obscene” (Burroughs, 2003:55) and “Johnny’s cock swells, great rank buds burst out. A long tuber root creeps from Mary’s cunt, feels for the earth” (Burroughs, 2003:84) while creating shocking images, “She tears off great hunks of cheek... now she lunches on his prick...she looks up from Jonny’s half eaten genitals, her face covered with blood, eyes phosphorescent” (Burroughs, 2003:82) and “beat her brains out, then I hump her for kicks” (Burroughs, 2003: 100), all to push the boundaries of literature.
While some critics viewed it as offensive to the ears others understood the significance of Burroughs’ intention, seeing it as a “rush of pure sensation through the brain” and that “from its opening words we are aware that a unique world- comic, paranoid, visionary, delirious- is being revealed to us” (Ballard, Cited in Naked Lunch: The Restored Text, 2003).
The repressive hypothesis states that for the past 300 years sexuality outside the context of a marriage, if for pleasure and not reproduction, has been repressed (Egan 2009). Foucault argues this believing that while it has often been taboo, sexual discourses have actually increased which is then proven by the two previous texts. These discourses, which Foucault refers to as that of the sexually ‘perverse’, indeed show sexual activity for pleasure, in the context of pornography and homosexuality. Foucault also explains that in the 18th Century confessionals were commonly used to express sexual desires and similarly the articulation of Burroughs’ and Jane’s cravings are made through a confessional format; a novel and interview.
A final text which contains an obscenity discourse is Antonin Artuad’s poem The Pursuit of Fecality. While obscenity is used here as art, is it also used with the intention to cause shock and disgust. “When Artaud opens his mouth words pour out, words that declaim, exhort, upbraid, accuse, insult, incite. “ (Stern, 2002:75). His writing is heretic, “he doesn’t describe God, he summons him to existence and tries to obliterate his presence by shitting on him” (Stern, 2002:78) which is seen through “Is God a being? If he is one, he is shit. If he is not one he does not exist” (Artaud, 1947). In this defiance of god he draws a relationship between the mouth and the anus; they perform each others’ acts of speaking and emptying the bowel (Stern, 2002).
For Artuad, the offensiveness is necessary in showing that “All Writing is Pigshit” (Artaud, 1965:38). It is also paradoxical; for that in claiming writing is substandard he must use writing to claim this, and in doing so intentionally proves his belief. Such an example is “there where it smells of shit it smells of being. Man could just as well not have shat, not have opened the anal pouch, but he chose to shit” (Artaud, 1947).
While the texts I have examined do at times present various or even opposite discourses on obscenity, it is possible for them to exist in harmony with one another, and even to allow for other discourses to be created. If such discourses of obscenity as offensive did not exist, using obscenity to shock and disgust would not be possible, for no one would feel anything intrinsically wrong about it. If obscenity had not been viewed as artistically worthless, texts such as Naked Lunch would not have had the opportunity, or pleasure to challenge this. Finally, through the creation of obscene texts which are proven to have value, obscenity is used as entertainment. The biggest question raised is not in fact, how can they co-exist, but, why is it that sex, pornography, recreational drug use, profane language and metaphors of faecal matter are in fact so morally offensive to common society at all?
(It's not letting me put my proper bibliography up, but if you're curious as to what texts i used just ask! Oh and ps this was for my Language and Discourse subject)
Tuesday, March 24, 2009
I then go
:D
when i see this stuff by Daniel Palillo (same site):
Those pants! Could i DIY, fuck i'll try...
when i see this stuff by Daniel Palillo (same site):
Those pants! Could i DIY, fuck i'll try...
All things flowery and sheer
Bleach Black posted a Brian Lichtenberg top today, so i followed the link to the online store and found this:
If there is a god, gimme?
If there is a god, gimme?
Love?
What is it? The most natural painkiller there is. LOVE
-William S. Burroughs
I'm currently writing my discourse/obscenity/foucault essay, i will post when it's complete. Thursday to be precise. God i love that uni allows me to write such things! You should just see my texts, a law report (blah, but necessary), Burroughs' 'Naked Lunch', Antonin Artaurd's 'The Pursuit of Fecality' and an interview from Vive Cool City with the porn star Jesse Jane. It makes me so terribly excited!
Monday, March 23, 2009
Mankind is no island
I seriously cry everytime i see this... it's emotional, so beautiful, and true, and honest, and it's just an important issue. (Tropfest NY winner of 2008). Post it to your blog! :)
Everything you always wanted to know about sex*
*but were afraid to ask
I watched this just before. Woody Allen, you are a brilliant, brilliant man. Seriously though hilarious film!
It's made of seven diferent vignettes about aspects of sex including 'what is sodomy?', 'is a transvestive also homosexual?' and the following clip 'what happens during ejaculation?'
I watched this just before. Woody Allen, you are a brilliant, brilliant man. Seriously though hilarious film!
It's made of seven diferent vignettes about aspects of sex including 'what is sodomy?', 'is a transvestive also homosexual?' and the following clip 'what happens during ejaculation?'
Definitely suggest it!
Sunday, March 22, 2009
I found another photo
Another of the photos taken the other week at Oxford Art Factory.
If you can sort of make out I'm wearing my ultimate shorts- leather baby.
So I'm wearing shirt from Target, Bow tie is Henry Aimes (or something like that!), from DJ's anyway, Shorts are from the Surry Hills Markets (vintage), Stockings- thigh high with lace at the top are also from target, and I'm wearing slip on old woman shoes from an op shop, and a spotlight chain around my arm.
I like this black and white androgynous style, a little pulp fiction, a little man, all good
Though, while i was waiting for a bus this conversation followed:
Man: where do you work in an outfit like that
Emma: um, I'm a student, i don't work...
Man: oh, sorry, i thought you were much older then that, how old are you by the way?
Emma: 19
Man: Really? What are you doing tonight?
Emma: I'm going to see a band I'm just waiting for my bus
Man: my mates car is just parked over there, i can give you a lift
Emma: um (wow), no thanks the bus should be here in a minute
Man walks away, keep in mind he's middle aged and overweight.
So sweet, someone thinks I'm a prostitute...
Flaneur
"The term flâneur comes from the French masculine noun flâneur—which has the basic meanings of "stroller", "lounger", "saunterer", "loafer"—which itself comes from the French verb flâner, which means "to stroll". Charles Baudelaire developed a derived meaning of flâneur—that of "a person who walks the city in order to experience it".
While Baudelaire characterized the flâneur as a "gentleman stroller of city streets", he saw the flâneur as having a key role in understanding, participating in and portraying the city. A flâneur thus played a double role in city life and in theory, that is, while remaining a detached observer." Thanks Wikipedia!
This style of being i find incredibly interesting and a way to really experience and observe. It's something i try to do often, and now at least i have a definition for it!
We were asked to be a flaneur in today's tutorial for about 15 mins then to write about the experience afterwards. After walking slowly slowly around the building (the original flaneur has turtles on a string to walk at this pace) i wrote this piece:
Buildings puncture blue, leaking out a stream of white, crying for its loss of filling but relieving of the pressure.
border of these buildings is neither sky blue nor brick red, a moulding of both for one begins before the other has ended.
sun spreads warmth on the back of my back. across shoulders and seeping inwards to my spine
i see this sun as an aura, as my eyes dart across the space spheres frenetically follow. a conga dance of light surrounds the air
i see the age growing, dulling, cracking windows, vines driving over concrete and wood and brick. entwining through each other tacking back the space that was once theirs
things crumble down, melt away
parking lot is full, road is full, path is full, air is full, i am full.
While Baudelaire characterized the flâneur as a "gentleman stroller of city streets", he saw the flâneur as having a key role in understanding, participating in and portraying the city. A flâneur thus played a double role in city life and in theory, that is, while remaining a detached observer." Thanks Wikipedia!
This style of being i find incredibly interesting and a way to really experience and observe. It's something i try to do often, and now at least i have a definition for it!
We were asked to be a flaneur in today's tutorial for about 15 mins then to write about the experience afterwards. After walking slowly slowly around the building (the original flaneur has turtles on a string to walk at this pace) i wrote this piece:
Buildings puncture blue, leaking out a stream of white, crying for its loss of filling but relieving of the pressure.
border of these buildings is neither sky blue nor brick red, a moulding of both for one begins before the other has ended.
sun spreads warmth on the back of my back. across shoulders and seeping inwards to my spine
i see this sun as an aura, as my eyes dart across the space spheres frenetically follow. a conga dance of light surrounds the air
i see the age growing, dulling, cracking windows, vines driving over concrete and wood and brick. entwining through each other tacking back the space that was once theirs
things crumble down, melt away
parking lot is full, road is full, path is full, air is full, i am full.
The Producers...
If you want to go rent a movie but can't think of one- pick one from one of the movies i've seen as shown here http://movies.livingsocial.com/people/1709051770
They are all good, i promise
They are all good, i promise
Saturday, March 21, 2009
I...
...Want to learn how to stud things
I need to do my assessments and write on my communication blog rather than here
I need to clean my room
I should write my poetry down
I should put my doona cover back on
I want more fantastic clothes
I want to be able to feel comfortable in a plane so i can go travelling
I like to keep things in a pattern, though i do like it, i have no trouble break out.
Like this?
I need batteries, double A to be precise
I want to finish decorating my room
I need to shut my window cause it's noisy!
I want my hair to be grown out already and see what I'm like without a fringe so i can just get it cut again (if i really want)
I like to use parenthesis (yes i do. Ellipses are nice too...)
I should sleep now, it's early in the morning
PS I like to do origami
I need to do my assessments and write on my communication blog rather than here
I need to clean my room
I should write my poetry down
I should put my doona cover back on
I want more fantastic clothes
I want to be able to feel comfortable in a plane so i can go travelling
I like to keep things in a pattern, though i do like it, i have no trouble break out.
Like this?
I need batteries, double A to be precise
I want to finish decorating my room
I need to shut my window cause it's noisy!
I want my hair to be grown out already and see what I'm like without a fringe so i can just get it cut again (if i really want)
I like to use parenthesis (yes i do. Ellipses are nice too...)
I should sleep now, it's early in the morning
PS I like to do origami
While you wait...
If it takes my whole life i will bring the pirate look back. The shirts are fantastic. And obviously, i'm not one for matching, i mean, where's the fun!!
And this is like completely 90s. And i love it. Cropped tops + Emma = lots of love
Friday, March 20, 2009
I see all the dopeness in the world, you see the wackness
I watched this film (aka The Wackness) last night.
It was amazing.
Brilliant characters, brilliant cast, brilliant writing, brilliant directing. Just brilliant.
And just to highlight MK's little spot as Union- who makes out with old old Ben Kingsley!
She dresses amazingly in this i feel
And to highlight a little more (okay i could have looked harder to find images, but you know what i'm talking about!)
It was amazing.
Brilliant characters, brilliant cast, brilliant writing, brilliant directing. Just brilliant.
And just to highlight MK's little spot as Union- who makes out with old old Ben Kingsley!
She dresses amazingly in this i feel
And to highlight a little more (okay i could have looked harder to find images, but you know what i'm talking about!)
Wednesday, March 18, 2009
"real women" have curves
Opening up my email from style.com today i was confronted with (like i have been numerous times) "real women have curves".
While i cannot deny the importance of this phrase as an acceptance that bigger, curvier women do exist and to some that is the ultimate, not the skinny girl plastered throughout magazines, it hurts me.
The two words 'real women' shock me, okay so yes curvy women should get attention but to the point where calling skinny girls 'fake'?
It's just too far down one end of the spectrum
As one of these naturally skinny girls i have to carry around with me the stigma of eating disorders, though i have never once thought i was overweight or attempted to lose weight, rather the opposite!
It's like if someone calls a girl at that is politically incorrect, but to call a girl anorexic (with no proof) is perfectly acceptable. While you may not think it, i've had strangers comment to who they are with, or even to me, teling me i should eat more, or that i look hungry. It's absolute bullshit, and i always try to call them on this.
Often i find it is a larger women who makes such comments, but not once have i ever uttered out loud 'maybe you should stop eating or lose some weight'. I could never act so horrid towards someones emotions.
IT IS POSSIBLE FOR A GIRL TO BE NATURALLY SKINNY, just as it is possible for a girl to be naturally a size 14 and i don't percieve either to be 'wrong'.
I'm generally the type of person who takes things in their stride and rarely let other things affect me, but this is just an instance where i can't ignore it. As i've grown older i have certainly put on weight and while i have remained thin i'm not as strickingly 'underweight' as i have been. But for someone to call me anorexic or bullemic just goes to far. Not only is it offensive to me, but to those who do suffer from some sort of eating disorder. What people don't realise is it's not just someone thinking they're fat, it's a mental issue. I'm just sick of this bullshit generalisation that is so common today.
'real women' don't just have curves. Some WOMEN (or girls, as the point may be) do, some don't, some have a little in betwen. Simple.
While i cannot deny the importance of this phrase as an acceptance that bigger, curvier women do exist and to some that is the ultimate, not the skinny girl plastered throughout magazines, it hurts me.
The two words 'real women' shock me, okay so yes curvy women should get attention but to the point where calling skinny girls 'fake'?
It's just too far down one end of the spectrum
As one of these naturally skinny girls i have to carry around with me the stigma of eating disorders, though i have never once thought i was overweight or attempted to lose weight, rather the opposite!
It's like if someone calls a girl at that is politically incorrect, but to call a girl anorexic (with no proof) is perfectly acceptable. While you may not think it, i've had strangers comment to who they are with, or even to me, teling me i should eat more, or that i look hungry. It's absolute bullshit, and i always try to call them on this.
Often i find it is a larger women who makes such comments, but not once have i ever uttered out loud 'maybe you should stop eating or lose some weight'. I could never act so horrid towards someones emotions.
IT IS POSSIBLE FOR A GIRL TO BE NATURALLY SKINNY, just as it is possible for a girl to be naturally a size 14 and i don't percieve either to be 'wrong'.
I'm generally the type of person who takes things in their stride and rarely let other things affect me, but this is just an instance where i can't ignore it. As i've grown older i have certainly put on weight and while i have remained thin i'm not as strickingly 'underweight' as i have been. But for someone to call me anorexic or bullemic just goes to far. Not only is it offensive to me, but to those who do suffer from some sort of eating disorder. What people don't realise is it's not just someone thinking they're fat, it's a mental issue. I'm just sick of this bullshit generalisation that is so common today.
'real women' don't just have curves. Some WOMEN (or girls, as the point may be) do, some don't, some have a little in betwen. Simple.
Effortless
Erin Wasson for RVCA Fall 09 Collection
She's a fucking beauty, and that onepiece number? Divine...
Thanks myspace!
She's a fucking beauty, and that onepiece number? Divine...
Thanks myspace!
papavspretty
So a week ago me and my friend, see right with red hair, went to see Papa vs Pretty, a sweet Sydney band if i do say so myself. The guy, as in lead singer who i will refer to from now on a the guy, was amazing, and for a raw age of 17 it's even better. He's teeny tiny though! The voice is not what you'd expect to come out of his mouth, in a good way. All in all, cheery. Though the lateness factor was slightly annoying!!
My hair is in growing out stage, ignore! I currently actually do have a fringe and and trying to decide if growing it is the best thing to do. Also, bowties rock my jocks, if i ever were to wear jocks.
Tuesday, March 17, 2009
On the pains of an overactive imagination (take 2, but it's really 1)
Essay outline baby________
I have always been imaginative; making up stories to give a context to everything I see. A ring of daisies means a group of faeries (NOT fairies) have performed a midnight ritual to protect the house behind it, men loading furniture into a trunk means they are taking the owner’s belongings as a fulfilment of the gambling debt they owe. Now, because the current culture of fear is so commanding on many aspects of life my imagination has gone nuts. In my essay I will attempt to analyse the reach of power this culture has on my thoughts. The main impact I feel at the moment is the malevolent daytime visions I suffer from. It’s not just me thinking of horrible things happening to me, I see it, constantly.
I have always been imaginative; making up stories to give a context to everything I see. A ring of daisies means a group of faeries (NOT fairies) have performed a midnight ritual to protect the house behind it, men loading furniture into a trunk means they are taking the owner’s belongings as a fulfilment of the gambling debt they owe. Now, because the current culture of fear is so commanding on many aspects of life my imagination has gone nuts. In my essay I will attempt to analyse the reach of power this culture has on my thoughts. The main impact I feel at the moment is the malevolent daytime visions I suffer from. It’s not just me thinking of horrible things happening to me, I see it, constantly.
It is quite easy to realise why such a culture of fear is so commonplace in society- control. Alan Moore’s dystopian graphic novel “V for Vendetta” is a perfect (albeit exaggerated) example of how this fear is imposed on others for the purpose of oppression. The questions this text raises are frightening, if fear is used now to gain support for war and to bring certain people into power, is it likely to just end there? I think not, and this is precisely what will be the death of me, or my sanity.
There are other numerous articles and books about this culture of fear, though with a strong focus on America, this heavily influences Australians as we are the puppy the Americans never had. Additionally one turns on their television to the news and night after night we are bombarded with wars, diseases, natural disasters and crime. How can anyone remain rational in such a hostile environment that we are so convinced we live in?
I will also draw upon Burthes concepts of representation and the ‘myth’, as this has strong connections to how the culture of fear is able to intrude every last facet of our lives.
But what I really want to find out is why and how this affects me so much, that irrational quality of myself that experiences such hallucinations: am I predisposed to reacting so strongly to external stimuli because I have always been imaginative? Am I only a product of my circumstances? Is what I experience essentially bad? Or does it contribute (positively) towards me being who I am? Will I ever be ‘normal’?
As this is a personal essay there are specific characteristics I plan on including. Digression is the first; this comes entirely naturally to me and no doubt will be in the essay whether I intend to or not. Secondly, the strong ‘I’ character is in focus- I say character because it is only a certain aspect of myself I am presenting, while it may be contradictory, I can also be quite composed. Other personal essay characteristics come into play: the central quality of truth telling, a confession of sorts of my morbid apparitions...
Monday, March 16, 2009
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