fatvertising.

[ usa, ny. anti-obesity ad]

The ads — which cost about $277,000 to develop over three fiscal years, including money for creative work and focus groups — will run in 1,500 subway cars for three months. (The $90,000 cost of the subway advertisement comes through a private donor, the Fund for Public Health in New York.)


someone asks: but are these images we really need clogging the arteries of our subways every day?
i: yes, i think so. i think we sometimes need a jolt that things aren't sugar, nice, and everything innocent (everything that's put) out there.

it nicely ties in with the other bit we often have in our hands. the burger, otherwise to be known as the bad bits of unhappy cows genetically engineered by the companies.

hands.

[ singapore . restaurant(?)]

looking at the chef engaged in his work, precise metal in motion, and hands, his hands moulding and kneading, one felt it was not a job cut out for many. it reminds me:

laborare est orare

(never complicated responsibilities) the essence of it breathes honesty, (not drudgery) its directive simple. and when else do we feel free and simultaneously vital than when we are engaged in that we love; when else do does one feel in harmony with something beyond his lonesome self. we're physical beings in a physical world. shall we not wrestle this and remember how we feel alive when in motion, in tandem with that we enjoy and express, and with that we believe in?

*

Teach me, my God and my King,
In all things thee to see,
And what I do in any thing,
To do it as for thee:


Not rudely, as a beast,
To runne into an action;
But still to make thee prepossest,
And give it his perfection.


A man that looks on glasse,
On it may stay his eye;
Or if he pleaseth, through it passe,
And then the haev'n espie.


All may of thee partake:
nothing can be so mean,
Which with his tincture (for thy sake)
Will not grow bright and clean.


A servant with this clause
Makes drudgerie divine:
Who sweeps a room, as for thy laws,
Makes that and th' action fine.


This is the famous stone
That turneth all to gold:
For that which God doth touch and own
Cannot for lesse be told.

the elixir.
-george herbert

y.z. kami's portraits.

[ .by y.z. kami. via dailyserving ]


"kami emphasizes the flux between matter and spirit, life and mortality, the outer layer and the inner soul."

this line hit it for me. is the in-between an ever seductive intangible. its a accessible tie to both extremes; it offers definitions for both.

it promises all but reminds of nothingness.

mmmm- maybe that is why we go on to only stare?

in fashion.

[all photos by tim walker. from foto_decadent ]
taking,
you are what you dress
how you dress
you dress what you need





a many layered haunting,
until each bleeds into the other,
smearing a broad thick memory of things past.

these photos by tim walker are breathtakingly beautiful and macabre in the same sweep.

and is not the depths of life the same, in the twists and tumults of emotions, irony of situations, imaginings and dreams, whether in paranoia or grandiose plans.

if the clothes, expressions,
speech, movements,
colours, light
of our physical surroundings turn to mirror our very
thoughts and heart,
old pains and future fears,
i do think earth would turn into a very macabre clownish hell.

will we sympathise with each other more then, having seen through and all.

or, perhaps, it is precisely why we need neat clothes, and careful makeup,
ettiquette and a norm,
clean walkways and obligatory handshakes-

- the japanese let it hang in akhihabara and shinjuku's kabuki-chou. their kinks are world-class. at work and at home, along the streets and in restaurants, they're the sanest, most polite-



so we are sick, daily players in the macabre,
but what curious colours they may make when we manage them well.