here we listen to broadcast

Harold Eugene Edgerton Bobby Jones with a Driver 1938

Dieter Meier This Man Will Not Shoot The New Cultural Center, New York, 1971

Temple White Sibyl 2014 [x]

“Joyfully you become incomprehensible — two strangers together. You begin to adore a god that nobody else bows down to. A very powerful and very fragile god, very threatening and very threatened. Nobody else believes in you except me. This very-much-god must be well hidden in order to protect it from incredulity. My god is made of glass, poof! and it’s broken. But so long as it’s intact it gives the universe.” — Hélène Cixous, from Love of the Wolf (tr. by Keith Cohen); Stigmata: Escaping Texts

Margot Pilz Sekundenskulpturen Vienna, 1977-78 [x]

Cuadecuc, Vampir (dir. Pere Portabella, 1971)

Franz Erhard Walther, Zentriert, 1965 / Über Arm, 1967 Franz Erhard Walther, Kope zu Kopf über Kopf, 1967 / Kopf Leib Glieder, 1967 [x]

Jeanne Mandello Fotograma / Photogram Jewish Women’s Archive Montevideo, 1950

Science History Institute Woman using Beckman/SDS Integrated Computer System 1964 [x]

Hans Robertson Nini Theilade ca. 1932

Andreas Feininger Occupational Faces 1955

Acariño Galaico (dir. José Val del Omar, 1961)

Wacław Nowak From the Stroboscopic Experiment series 1966

“[…] Here we find ourselves at a pivotal point around which reciprocal interpretations of dreams, through thought and thought through dreams, keep turning. But the word interpretation hardens this about-face unduly. In point of fact, we are in the unity of image and memory, in the functional composite of imagination and memory. The positivity of psychological history and geography cannot serve as a touchstone for determining the real being of our childhood, for childhood is certainly greater than reality.” — Gaston Bachelard, The Poetics of Space

“The house we were born in is more than an embodiment of home, it is also an embodiment of dreams. Each one of its nooks and corners was a resting-place for daydreaming. And often the resting-place particularized the daydream. Our habits of a particular daydream were acquired there. The house, the bedroom, the garret in which we were alone, furnished the framework for an interminable dream, one that poetry alone, through the creation of a poetic work, could succeed in achieving completely. If we give their function of shelter for dreams to all of these places of retreat, we may say, as I pointed out in an earlier works that there exists for each one of us an oneiric house, a house of dream-memory, that is lost in the shadow of a beyond of the real past.” — Gaston Bachelard, The Poetics of Space

Lygia Clark Living Structure – Dialogue 1966

Dan Graham Public Space / Two Audiences 1976

Honoré Desmond Sharrer Source material for Tribute to the American Working People ca. 1947

Herman Landshoff André Breton, Marcel Duchamp, Max Ernst (behind Morris Hirshfield’s 'Nude at a Window'), and Leonora Carrington at Peggy Guggenheim's 1942

Iannis Xenakis Erikhthon, partition graphique sur papier millimétré 1974 [x]