"It is only as an esthetic phenomenon that existence and the world appear justified."
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In the English-speaking world the middle classes came into power early in the nineteenth century and gained control over the theatre. They were pious, law-abiding, and industrious. They were assured of eternal life in the next world and, in this, they were squarely seated on Property and the privileges that accompany it. They were attended by devoted servants who knew their place. They were benevolent within certain limits, but chose to ignore wide tracts of injustice and stupidity in the world about them; and they shrank from contemplating those elements within themselves that were ridiculous, shallow, and harmful. They distrusted the passions and tried to deny them. Their questions about the nature of life seemed to be sufficiently answered by the demonstration of financial status and by conformity to some clearly established rules of decorum. These were precarious positions; abysses yawned on either side. The air was loud with questions that must not be asked.
Three Plays | Thorton Wilder
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Most types of material consumption are strongly habit-forming…After an initial period of excitement, the average consumer grows accustomed to what he has purchased and…rapidly aspires to own the next product in line.
Revisiting Keynes: Economic Possibilities for Our Grandchildren | Gary Becker and Luis Rayo
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photographed by alexandra utzmann for leonard paris, le jour d’avant: cr fashion book

photographed by alexandra utzmann for leonard paris, le jour d’avant: cr fashion book

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[QUOTE]
I understand, all right. The hopeless dream of being - not seeming, but being. At every waking moment, alert. The gulf between what you are with others and what you are alone. The vertigo and the constant hunger to be exposed, to be seen through, perhaps even wiped out. Every inflection and every gesture a lie, every smile a grimace. Suicide? No, too vulgar. But you can refuse to move, refuse to talk, so that you don’t have to lie. You can shut yourself in. Then you needn’t play any parts or make wrong gestures. Or so you thought. But reality is diabolical. Your hiding place isn’t watertight. Life trickles in from the outside, and you’re forced to react. No one asks if it is true or false, if you’re genuine or just a sham. Such things matter only in the theatre, and hardly there either. I understand why you don’t speak, why you don’t move, why you’ve created a part for yourself out of apathy. I understand. I admire. You should go on with this part until it is played out, until it loses interest for you. Then you can leave it, just as you’ve left your other parts one by one.
Persona | Ingmar Bergman
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The girl stood up and walked to the end of the station. Across, on the other side, were fields of grain and trees along the banks of the Ebro. Far away, beyond the river, were mountains. The shadow of a cloud moved across the field of grain and she saw the river through the trees.

'And we could have all this,' she said. 'And we could have everything and every day we make it more impossible.'

— "Hills Like White Elephants" | Ernest Hemingway
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Teatro ph. Steven Meisel feat. Amber Valletta Vogue Italia Sept 2001

Teatro ph. Steven Meisel 
feat. Amber Valletta 
Vogue Italia Sept 2001

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Human beings are unable to be honest with themselves about themselves. They cannot talk about themselves without embellishing. This script portrays such human beings — the kind who cannot survive without lies to make them feel they are better people than they really are. It even shows this sinful need for flattering falsehood goes beyond the grave — even the character who dies cannot give up his lies when he speaks to the living through a medium. Egoism is a sin the human being carries with him from birth; it is the most difficult to redeem. This film is like a strange picture scroll that is unrolled and displayed by the ego. You say that you can’t understand this script at all, but that is because the human heart itself is impossible to understand.
— Akira Kurosawa on Rashomon from Something Like an Autobiography
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Love is not vain because it is frustrated, but because it is fulfilled. The people we love turn to ashes when we possess them.
Remembrance of Things Past: Vol II | Marcel Proust
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Theyskens’ Theory | Fall 13

Theyskens’ Theory | Fall 13

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When I take a long look at my life, as though from outside, it does not appear particularly happy. Yet I am even less justified in calling it unhappy, despite all its mistakes. After all, it is foolish to keep probing for happiness or unhappiness, for it seems to me it would be hard to exchange the unhappiest days of my life for all the happy ones. If what matters in a person’s existence is to accept the inevitable consciously, to taste the good and bad to the full and to make for oneself a more individual, unaccidental and inward destiny alongside one’s external fate, then my life has been neither empty nor worthless. Even if, as it is decreed by the gods, fate has inexorably trod over my external existence as it does with everyone, my inner life has been of my own making.
Gertrude | Hermann Hesse
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Céline | Spring 2013

Céline | Spring 2013