“Ein Buch muss die Axt sein für das gefrorene Meer in uns”
Franz Kafka
“Ein Buch muss die Axt sein für das gefrorene Meer in uns”
Franz Kafka
"The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins" is a book by the anthropologist Anna Lowenhaupt Tsing. The book describes and analyses the globalised commodity chains of matsutake mushrooms. And Sophie Strand is a poet about it.
"Because of the routines we follow, we often forget that life is an ongoing adventure...and the sooner we realize that, the quicker we will be able to treat life as art: to bring all our energies to each encounter, to remain flexible enough to notice and admit when what we expected to happen did not happen. We need to remember that we are created creative and can invent new scenarios as frequently as they are needed."
Maya Angelou
Being in the forest reminds me of how much humanity has to lose.
Too many of us have already lost our connection to nature, don't know or have forgotten how it is to feel that deep nourishing connection, don't really emotionally relate to the meaning of the phrase "mother earth". If just more people would feel it - then they would be more keen on protecting it. We have begun to destroy it beyond repair. We're robbing us of our most precious well of life and even more - our very basis of existence. It's not "just" climate change - it's a pollution of our holiest haven that reaches into every pore of our mother.
That's to be taken literally. Mircoplastic has been found in the deepest point of the sea, the Mariana trench). And the poison you don't see, which doesn't enfold it's dangerous potential directly but over the course of time, it lingers into every part of our environment, it creeps into every animal and plant and fungus, and it will take much pain and patience for future generations and the whole ecosystem to deal with.
From the perspective of my soul, the forest ist my oyster. The forest is my well.
I desiccated in the shallow city life. Affectivity flattens in the rush of overbearing hustle, hustle without compensation. The stress numbs my senses.
The forest brings me back to life.
You can see an elephant in a room no matter how silent he is.
"Listen to yourself talk, as if a stranger was talking. Try not to identify too much with what you are saying. Then, observe. See if what you are saying makes you feel stronger, physically, or weaker. If it makes you feel weaker, stop saying it. Try to reformulate your speech until you can feel the ground under your feet solidifying. Then practice only saying things that make you strong.
Stop trying to use your speech to get what you want. You don’t necessarily know what you want. Instead, try to articulate what you believe to be true as carefully as possible. Then, accept the outcome. Assume that your truth, as lived and spoken, will produce the best possible outcome.Once in a while stop and listen. Energy goes to waste when body and mind start to cramp in the process of chasing success in burning ambition. Laugh about it and let yourself play again. It's an adult game. Postpone some fun but keep up a bit of swag, please.
If you're wrong don't despair. Dig out the polyvagal theory, then say the pressure of shame drove you into blinding cognitive dissonance.
Allen was indeed distressed that much of the critical acclaim for Zelig focused on the technical achievements of the film.
“To me, the technique was fine. I mean, it was fun to do, and it was a small accomplishment, but it was the content of the film that interested me." (Woody Allen on Woody Allen: In Conversation With Stig Bjorkman, Faber and Faber, London, 1994, p.141).
It is clear from published interviews that Allen’s impetus for making the film revolved around the theme of identity. “I wanted to make a comment with the film on the specific danger of abandoning one’s own true self, in an effort to be liked, not to make trouble, to fit in, and where that leads one in life," Allen said in that same interview. (Ibid, p. 141).