ground beef

I binge on loneliness
Mining a tantrum of meat
I binge on loneliness
My heels, the hollow drum
Going through the dirt
Swallowing dark
I binge on loneliness
A mole, a minor disruption
A blemish
A bore
I binge on loneliness

vbi – chameleon girl (2009)

Chameleon girl,
you switch,
with each serial
killer moment,

A freckle-face, brown eyes soft
with endless promise,
Heels and stockings
in the glare of
the brake lights,

A sexy sneer on a culpable homicide,
Swallow my car-crash
under a blue cross,
soft skin plays over mine
in the morning.

Smells like the garden
of earthly delights,
a chorus of angels;
and demon-spurred riots.

I want to hold you in my arms,
but all it seems I can do is
write you songs.

I will collaborate on the mysteries,
with you take part in their downfall,
With you I am afraid
anything is possible.

I am a dangerous man,
I vanish like mist
in the face of

But long after good and evil
and far beyond death do us part,
You’ll look around
and find that I’m still around

Track 3 from the album Severance by VBI. Music by Graeme Feltham. Words and Vocals by Martin Jacklin.  More HERE.


ScienceDaily (Sep. 18, 2012)

Pacifiers May Have Emotional Consequences for Boys

Pacifiers may stunt the emotional development of baby boys by robbing them of the opportunity to try on facial expressions during infancy.

Three experiments by a team of researchers led by psychologists from the University of Wisconsin-Madison tie heavy pacifier use as a young child to poor results on various measures of emotional maturity.

The study, published September 18 by the journal Basic and Applied Social Psychology, is the first to associate pacifiers with psychological consequences. The World Health Organization and American Academy of Pediatrics already call for limiting pacifier use to promote breast-feeding and because of connections to ear infections or dental abnormalities.

Humans of all ages often mimic — unwittingly or otherwise — the expressions and body language of the people around them.

“By reflecting what another person is doing, you create some part of the feeling yourself,” says Paula Niedenthal, UW-Madison psychology professor and lead author of the study. “That’s one of the ways we understand what someone is feeling — especially if they seem angry, but they’re saying they’re not; or they’re smiling, but the context isn’t right for happiness.”

Mimicry can be an important learning tool for babies.

“We can talk to infants, but at least initially they aren’t going to understand what the words mean,” Niedenthal says. “So the way we communicate with infants at first is by using the tone of our voice and our facial expressions.”

With a pacifier in their mouth, a baby is less able to mirror those expressions and the emotions they represent.

The effect is similar to that seen in studies of patients receiving injections of Botox to paralyze facial muscles and reduce wrinkles. Botox users experience a narrower range of emotions and often have trouble identifying the emotions behind expressions on other faces.

“That work got us thinking about critical periods of emotional development, like infancy,” says Niedenthal, whose work is supported by the French Agence Nationale de la Recherche. “What if you always had something in your mouth that prevented you from mimicking and resonating with the facial expression of somebody?”

The researchers found six- and seven-year-old boys who spent more time with pacifiers in their mouths as young children were less likely to mimic the emotional expressions of faces peering out from a video.

College-aged men who reported (by their own recollections or their parents’) more pacifier use as kids scored lower than their peers on common tests of perspective-taking, a component of empathy.

A group of college students took a standard test of emotional intelligence measuring the way they make decisions based on assessing the moods of other people. Among the men in the group, heavier pacifier use went hand-in-hand with lower scores.

“What’s impressive about this is the incredible consistency across those three studies in the pattern of data,” Niedenthal says. “There’s no effect of pacifier use on these outcomes for girls, and there’s a detriment for boys with length of pacifier use even outside of any anxiety or attachment issues that may affect emotional development.”

Girls develop earlier in many ways, according to Niedenthal, and it is possible that they make sufficient progress in emotional development before or despite pacifier use. It may be that boys are simply more vulnerable than girls, and disrupting their use of facial mimicry is just more detrimental for them.

“It could be that parents are inadvertently compensating for girls using the pacifier, because they want their girls to be emotionally sophisticated. Because that’s a girly thing,” Niedenthal says. “Since girls are not expected to be unemotional, they’re stimulated in other ways. But because boys are desired to be unemotional, when you plug them up with a pacifier, you don’t do anything to compensate and help them learn about emotions.”

Suggesting such a simple and common act has lasting and serious consequences is far from popular.

“Parents hate to have this discussion,” Niedenthal says. “They take the results very personally. Now, these are suggestive results, and they should be taken seriously. But more work needs to be done.”

Sussing out just why girls seem to be immune (or how they may compensate) is an important next step, as is an investigation of what Niedenthal calls “dose response.”

“Probably not all pacifier use is bad at all times, so how much is bad and when?” she asks. “We already know from this work that nighttime pacifier use doesn’t make a difference, presumably because that isn’t a time when babies are observing and mimicking our facial expressions anyway. It’s not learning time.”

But even with more research planned to further explain the new results, Niedenthal is comfortable telling parents to consider occasionally pocketing the pacifier.

“I’d just be aware of inhibiting any of the body’s emotional representational systems,” Niedenthal says. “Since a baby is not yet verbal — and so much is regulated by facial expression — at least you want parents to be aware of that using something like a pacifier limits their baby’s ability to understand and explore emotions. And boys appear to suffer from that limitation.”

University of Wisconsin-Madison. “Pacifiers may have emotional consequences for boys.ScienceDaily, 18 Sep. 2012. Web. 20 Sep. 2012.

jun togawa – suki suki daisuki (1985)

Without subtitles:

Translated lyrics (probably a bad translation):

My love is increasing and transcends common sense
The love in rose broke out like a mutation
Pure as to be able to call it violence
‘Je t’aime’ with great force that carved into Showa history

Kiss me like thumping, as blood clots on my lips
Hold me, as my ribs are breaking
I love you so much
I love you so much
I love you so much
Say you love me or I’ll kill you!

‘Eros’ breaks the daily life and is crystallizing
Repeating the affairs instinctively in the Avici hell
The intuitive cognition with anti-nihilism is a trigger for latent infant violence

Kiss me like thumping, as blood clots on my lips
Hold me, as my ribs are breaking
I love you so much
I love you so much
I love you so much
Say you love me or I’ll kill you!

With subtitles (they’re kinda distracting):

tracey emin

“Art is an extended act away from the being, art is something else. Not everything can be art, and just because you’re an artist doesn’t mean everything you touch is art. You have to decide and know what is art, and you have  to be separate from yourself.” -Tracey Emin

When I first came across the art of Tracey Emin, I wasn´t so sure how to feel about the way she sells herself/her art. She seemed to be so commercially inclined and I sort of judged her work, immediately questioning the integrity of her process and her pieces. The more I investigate her art, the more I fall in love with it.  It´s not only the confessional quality her works possess that resonates with me, it´s just the honesty, that raw, ugly honesty that most are so afraid to show.

“Emin exposes herself, her hopes, humiliations, failures and successes in an incredibly direct manner. Often tragic and frequently humorous, it is as if by telling her story and weaving it into the fiction of her art she somehow transforms it.” read more about Emin here.

Her website.

I’ve Got It All, 2000

Tracey Emin is almost always portrayed as a Diana-esque femme tragique. It’s rare to get a glimpse of the happy, successful, confident person she’s become. I’ve Got It All is a transient crowning glory: a shameless, two-fingers up to her critics. Emin’s triumphed over all, and has money up the whazoo to boot!

Installation including 14 paintings, 78 drawings, 5 body prints, various painted and personal items, furniture, CDs, newspapers, magazines, kitchen and food supplies. 1996

In 1974, Joseph Beuys did a performance called I Love America, and America Loves Me where he lived in a gallery with a wild coyote for seven days as a symbolic act of reconciliation with nature. In 1996, Tracey Emin lived in a locked room in a gallery for fourteen days, with nothing but a lot of empty canvases and art materials, in an attempt to reconcile herself with paintings. Viewed through a series of wide-angle lenses embedded in the walls, Emin could be watched, stark naked, shaking off her painting demons. Starting by making images like the artists she really admired (i.e. Egon Schiele, Edvard Munch, Yves Klein), Emin’s two-week art-therapy session resulted in a massive outpouring of autobiographical images, and the discovery of a style all her own. The room was extracted in its entirety, and now exists as an installation work.

Three above from Exorcism of the Last Painting I Ever Made

After My Abortion XII (1990) watercolour on paper, 10 x 8 in (25.5 x 20.4 cm)My bed, 1998

A consummate storyteller, Tracey Emin engages the viewer with her candid exploration of universal emotions. Well-known for her confessional art, Tracey Emin reveals intimate details from her life to engage the viewer with her expressions of universal emotions. Her ability to integrate her work and personal life enables Emin to establish an intimacy with the viewer.

Tracey shows us her own bed, in all its embarrassing glory. Empty booze bottles, fag butts, stained sheets, worn panties: the bloody aftermath of a nervous breakdown. By presenting her bed as art, Tracey Emin shares her most personal space, revealing she’s as insecure and imperfect as the rest of the world.