(Source: newyorker.com, via newyorker)

wow, adorno on lukács in “reconciliation under duress” is so salty it’s making me blush

It is more than a hundred years since Kierkegaard first attacked the Hegelian view that the inner and outer world form an objective dialectical unity, that they are indissolubly married in spite of their apparent opposition. Kierkegaard denied any such unity. According to Kierkegaard, the individual exists within an opaque impenetrable ‘incognito’.

This philosophy attained remarkable popularity after the Second World War—proof that even the most abstruse theories may reflect social reality. Men like Martin Heidegger, Ernst Jünger, the lawyer Carl Schmitt, Gottfried Benn and others passionately embraced this doctrine of the eternal incognito which implies that a man’s external deeds are no guide to his motives. In this case, the deeds obscured behind the mysterious incognito were, needless to say, these intellectuals’ participation in Nazism: Heidegger, as Rector of Freiburg University, had glorified Hitler’s seizure of power at his Inauguration; Carl Schmitt had put his great legal gifts at Hitler’s disposal. The facts were too well-known to be simply denied. But, if this impenetrable incognito were the true ‘condition humaine’, might not—concealed within their incognito—Heidegger or Schmitt have been secret opponents of Hitler all the time, only supporting him in the world of appearances?

György Lukács, “The Ideology of Modernism”

American Horror Story: Coven (2013)

American Horror Story: Coven (2013)

(Source: fashion-and-film)

The Baby-Sitters Club (1995)

The Baby-Sitters Club (1995)

(Source: fashion-and-film)

Prince – Raspberry Beret (2,663 plays)


Prince - Raspberry Beret


Eluvium – Under The Water It Glowed (267 plays)

Eluvium - Under The Water It Glowed

(Source: going-to-scranton)


“The gruff murmur, irregularly broken by the taking out of pipes and the putting in of pipes which had kept on assuring her, though she could not hear what was said (as she sat in the window which opened on the terrace), that the men were happily talking; this sound, which had lasted now half an hour and had taken its place soothingly in the scale of sounds pressing on top of her, such as the tap of balls upon bats, the sharp, sudden bark now and then, “How’s that? How’s that?” of the children playing cricket, had ceased; so that the monotonous fall of the waves on the beach, which for the most part beat a measured and soothing tattoo to her thoughts and seemed consolingly to repeat over and over again as she sat with the children the words of some old cradle song, murmured by nature, “I am guarding you—I am your support,” but at other times suddenly and unexpectedly, especially when her mind raised itself slightly from the task actually in hand, had no such kindly meaning, but like a ghostly roll of drums remorselessly beat the measure of life, made one think of the destruction of the island and its engulfment in the sea, and warned her whose day had slipped past in one quick doing after another that it was all ephemeral as a rainbow—this sound which had been obscured and concealed under the other sounds suddenly thundered hollow in her ears and made her look up with an impulse of terror.”

— from To the Lighthouse, by Virginia Woolf (1882-1941).

(Source: jesusshuttlesworth)


someone managed to find one of the filming locations of sátántangó on google street view.