A Gay-Oriented Collection of Art Works, Literary Quotes, Songs, Films, Cubs, Otters, and Other Guys. Please be aware thet there is mature content on this blog. Available worldwide to all above the age of eighteen. Information and links to sources will be provided unless unknown. Enjoy your visit.
“To take photographs is to hold one’s breath when all faculties converge in the face of fleeing reality. It is at that moment that mastering an image becomes a great physical and intellectual joy.
To take photographs means to recognize—simultaneously and within a fraction of a second—both the fact itself and the rigorous organization of visually perceived forms that give it meaning. It is putting one’s head, one’s eye, and one’s heart on the same axis.”
― Henri Cartier-Bresson, The Mind’s Eye: Writings on Photography and Photographers
“I always prefer to work in the studio. It isolates people from their environment. They become in a sense. . .symbolic of themselves. I often feel that people cone to me to be photographed as they would go to a doctor or a fortune teller- to find out how they are. So they are dependent on me. I have to engage them. Otherwise there is nothing to photograph. The concentration has to come from me and involve them.
Sometimes the force of it grows so strong that sounds in the studio go unheard. Time stops. We share a brief, intense intimacy. But it is unearned. It has no past. . .no future. And when the sitting is over- when the picture is done -there is nothing left except the photograph. . .the photograph and a kind of embarrassment. They leave. . .and I don’t known them. I have hardly heard what they have said.
If I meet them a waek later in a room somewhere, I expect they won’t recognize me. Because I don’t feel I was really there. At least the part of me that was. . .is now in the photograph. And the photographs hava a reality for me that the people don’t. It is through the photographs that I know them. Maybe it is in the nature of being a photographer. I am never really implicate. I don’t have to have any real knowledge. It is all a question of recognitions.”
Photographers Unknown, Faces of Man: WP Photo Set Five
“The anthropologist Clifford Geertz says that humans are ‘symbolizing, conceptualizing, meaning-seeking’ animals. In our species, he says, ‘the drive to make sense out of our experience, to give it form and order, is evidently as real and as pressing as the more familiar biological needs.’ To Geertz, a human being is an organism ‘which cannot live in a world it is unable to understand.”
― Robert Fulford, The Triumph of the Narrative
Photographers Unknown, Faces of Man: A Collection: WP Set Four
“Women do not simply have faces, as men do; they are identified with their faces. Men have a naturalistic relation to their faces. Certainly they care whether they are good-looking or not. They suffer over acne, protruding ears, tiny eyes; they hate getting bald. But there is a much wider latitude in what is esthetically acceptable in a man’s face than what is in a woman’s. A man’s face is defined as something he basically doesn’t need to tamper with; all he has to do is keep it clean. He can avail himself of the options for ornament supplied by nature: a beard, a mustache, longer or shorter hair. But he is not supposed to disguise himself. What he is “really” like is supposed to show. A man lives through his face; it records the progressive stages of his life. And since he doesn’t tamper with his face, it is not separate from but is completed by his body – which is judged attractive by the impression it gives of virility and energy.”
― Susan Sontag
“When drawing a face, any face, it is as if a curtain after curtain, mask after mask, falls away.. until a final mask remains, one that can no longer be removed, reduced. By the time the drawing is finished, I know a great deal about that face, for no face can hide itself for long. But although nothing escapes the eye, all is forgiven beforehand. The eye does not judge, moralize, criticize. It accepts the masks in gratitude as it does the long bamboos being long, the goldenrod being being yellow.”
― Frederick Franck, The Zen of Seeing
“A person has all sorts of lags built into him Kesey is saying. Once the most basic is the sensory lag, the lag between the time your senses receive something and you are able to react. One-thirtieth of a second is the time it takes if you are the most alert person alive and most people are a lot slower than that…. You can’t go any faster than that… We are all doomed to spend the rest of our lives watching a movies of our lives – we are always acting on what has just finished happening. It happened at least 1 30th of a second ago. We think we are in the present but we aren’t. The present we know is only a movies of the past and we will really never be able to control the present through ordinary means.”
― Tom Wolfe, The Electrid Kool-Aid Acid Test, 1968
“A fleeting moment can become an eternity. From a past encounter everything may disappear in the dungeon of forgetfulness. A few furtive flashes or innocent twinkles can survive, though. Some immaterial details may remain marked in our memory, forever. A significant look, a salient colour or a unforeseen gesture may abide, indelibly engraved in our mind.”
― Erik Pevernagie
“He no longer saw the face of his friend Siddhartha, instead he saw other faces, many, a long sequence, a flowing river of faces, of hundreds, of thousands, which all came and disappeared, and yet all seemed to be there simultaneously, which all constantly changed and renewed themselves, and which were still all Siddhartha.” -Hermann Hesse, Siddhartha
“… all his faces were designed to express rage or loathing. Now that something had happened which really deserved a face, he had none to celebrate it with. As a kind of token, he made his Sex Life in Ancient Rome face.”
― Kingsley Amis, Lucky Jim
“After seeing it on the street, I was afraid I had only imagined it: a still, luminous face with a silvery sheen. Finely hewn, with a long, straight nose and a wide mouth, it was nearly identical to another face, which I had photographed years before. Not on a person, bu on the fragment of a frieze I found in some ruins near Verona, The frieze, which depicted a band of musicians, had once been shadowed beneath a cornice high on the temple of Mercury, god of magic. Belonging to one of the musicians, it was a riveting face – like a puzzle that could not be solved.”― Nicholas Christopher
“Let us not, in the pride of our superior knowledge, turn with contempt from the follies of our predecessors. The study of the errors into which great minds have fallen in the pursuit of truth can never be uninstructive. As the man looks back to the days of his childhood and his youth, and recalls to his mind the strange notions and false opinions that swayed his actions at the time, that he may wonder at them; so should society, for its edification, look back to the opinions which governed ages that fled.”
― Charles MacKay, Extraordinary Popular Delusions and the Madness of Crowds
“People felt themselves watching him even before they knew that there was anything different about him. His eyes made a person think that he heard things that no one else had ever heard, that he knew things no one had ever guessed before. He did not seem quite human.”
― Carson McCullers, The Heart is a Lonely Hunter