install theme
mpdrolet: Weissenhof Estate, Le Corbusier Peter Gössel
alittlebitofserenity: Favela Kids by Panamawise
Alessandro Rovelli
alittlebitofserenity: .Music. by `ScENeYmE
Harold Feinstein 
youmightfindyourself: Here he is. Matches in one hand, petrol bottle in the other. He removes the bottle cap, drops it to the ground and douses himself in liquid. He does everything slowly, methodically, as if it were part of a routine he has practiced for years. Then he stops, looks around, and strikes a match. At this moment nothing in the world can bridge the gap that separates the self-immolator from the others. His total defiance of the survival and self-preservation instincts, his determination to trample on what everybody else finds precious, the ease with which he seems to dispose of his own life, all these place him not only beyond our capacity of understanding, but also outside of human society. He now inhabits a place that most of us find inhabitable. Yet, from there he does not cease to dominate us. “As he burned he never moved a muscle, never uttered a sound, his outward composure in sharp contrast to the wailing people around him.” Journalist David Halberstam describes the death of Thích Quàng Đúc, the Vietnamese Buddhist monk who set himself on fire in Saigon in 1963. The quieter the self-immolator the more agitated those around him. The former may slip into nothingness, but his performance changes the latter’s lives forever. They experience repulsion and attraction, terror and boundless reverence, awe and fear, all at once. Over them he now has the uncanniest form of power. The experience is so powerful because it is so deeply seated in the human psyche. In front of self-immolation, even the most secularized of us have a glimpse into a primordial experience of the sacred. Originally, the sacred is defined as something set apart, cut off from the rest, which remains profane; what we feel towards such a radically different other is precisely a mix of terror and fascination. Self-immolation is a unique event precisely because it awakens deep layers of our ultimate make-up. In a striking, if disguised fashion, self-immolation occasions the experience of the sacred even in a God-forsaken world like ours. (via)
Untitled - Vadim Stein
Choreography by Pina Bausch.  Photography by Maarten Vanden Abeele
THE SAINTE BERNADETTE DU BANLAY CHURCH IN NEVERS, FRANCE, WHICH WAS BUILT IN 1966 AND MADE FROM RAW CONCRETE Photo: Luke Mayes
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