Мрак и Медитация

 

LA découverte

alors t'es là en monde quarantaine, confiné, raffiné, consterné
t'es accro
t'es à bout
t'es à cran

la découverte de la dépendance
t'es foutue
t'es touffue
t'es une machine à désobéir
un objet de désir

l'abstention
l'abjection
l'incision
vaste projet de reconstruction
de réanimation
de l'autre

autrui sommeille en toi
vas-y, ma belle
un beau projet
quasi-sainteté
vulgarisée

dédramatise
déculpabilise
vise haut
toi et moi,
on est deux en un

future mère de la terre
vacillante
étincelante
chatoyante

c'est mignon
tout rose, tout bon
crépuscule animé
par tes propres pensées

t'es à jour (27 mars, clair-obscur)

the good, the bad, and the relativist

sous vide

cand astepti

Ignauré

L'équation E = Mc2 est-elle une équation sexuée?

excalibur

rrra

nimeni nimic nicaieri niciodata

bibilica biluta branzulica broscuta

ps. Trudgill suggested two related reasons for this phenomenon.7 First, women in our society are more status-conscious than men, and are therefore more aware of the social significance of different speech forms. Secondly, male working-class speech tends to be associated with roughness and toughness, which are considered by many to be desirable masculine attributes, though not desirable feminine ones. He goes on to suggest that conscious changes may well be initiated by women. Women are consciously striving to ‘speak better’, partly because of a certain social insecurity, partly because they are not aiming to sound ‘tough’. ~ Jean Aitchison

shlohmo lui diplo

Maturing is realizing how many things don’t require your comment. ~Rachel Wolchin
asa ca no comment, doar muzicuta incetisoara si sexy

change

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Shlohmo - Shlo-Fi

[L.A. native Henry Laufer, the 21-year-old producer better known as Shlohmo, is a lo-fi beat junkie and field-recording enthusiast, whose crackling, low-BPM compositions update Boards of Canada’s filmstrip-soundtrack wooziness for the dubstep generation.

An LA native, Laufer grew up listening to “stuff like DJ Shadow, Amon Tobin, M83 stuff with some sort of cinematic vision.” He started making beats when he was 14, but “didn’t really do it with any sort of purpose until I was like 17 or 18. That was also around the time he and his friends, already fans of Flying Lotus, discovered Low End Theory.]

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