El Futuro.

“1. Dejé mi par de ropa interior favorita en tu casa. Sé que tu madre me odia, ¿puedo pasar a recogerlos? [borrar] 2. Ha pasado casi un mes y todavía te extraño. [borrar] 3. No sabía que mis huesos podrían doler hasta que te conocí. [borrar] 4. Ya sabes, una semana antes de que nos separamos, ¿te acuerdas? me había comprado un libro de poesía. Y preguntaste por qué no leía algo más interesante y entonces sentí una punzada en mi interior. [borrar] 5. Dijiste que la poesía es mentira disfrazada para que suene bonito. Cuando te miré estos días, quise preguntar si la tristeza suena bastante como tú también. [borrar] 6. Son las 3 de la mañana y el alcohol sabe como tú. [borrar] 7. Te vi mirándome hoy durante la clase. Te sonreí y tú no devolviste la sonrisa. Casí lloro. [borrar] 8. La chica que se sienta a mi lado huele como tú. [borrar] 9. Te extraño. [borrar] 10. Nunca había tenido tantas malas noches. [borrar] 11. A veces escribo poesía sobre ti en Internet. Y extraños que nunca nos han conocido a ninguno de los dos piensan que eres cruel - me dicen que si tuvieran el honor de amarme, tendríamos sexo tres veces al día y que gritarían mi nombre. [borrar] 12. Ellos piensan que soy hermosa, pero estoy rota. No creo que ellos entiendan. [borrar] 13. Solías decirme que yo era hermosa. Traté de repetirlo frente a mi espejo todos los días, pero sonaba mal en mi boca. [borrar] 14. Todo lo que digo suena mal sin tu boca al rededor de cada palabra. [borrar] 15. Nunca fuimos perfectos, pero, oh Dios, debimos intentarlo. [borrar]”

— “15 Textos I Casi enviados” (via mi-mundo-entre-libros)

La tierra más lejana (1955) — Alejandra Pizarnik

“Mientras mayor es la distancia Menor es la fuerza de atracción”

— Isaac Netwon

The Dying Saint Sebastian (Detail), 1789. by François-Xavier Fabre (1766-1837)

Between Birds of Prey by Blood Axis From “The Gospel of Inhumanity” (1995) NeoFolk / Martial industrial / Experimental / Poetry Lyrics by Friedrich Nietzsche from “Dionysian-Dithyrambs” (1891) Background music: “Tu che le vanita conoscesti del mondo” from Giuseppe Verdi’s Opera “Don Carlo”

James Turrell a retrospective

Fantasy Guide to Make-Up and Cosmetics

If I am to be completely honest with you all, I know nothing about make-up. Those little brushes and endless sponges mean nothing to me except the fact that they are really soft and sometimes shiny. I don't wear makeup so you can imagine how useless I am at modern make-up.

However, history is my jam and I know about what make-up they use centuries ago. So never fear @theflyingravenbird I got you.

Ingredients and Applications

Make-up and cosmetics of the past were usually sourced from natural ingredients. The more difficult the ingredients were the more expensive the cosmetic was. Natural dies such as red ochre and berries were used to stain lips or colour powder to use as blusher to add colour to the lips. For examples:

Geishas of Japan are probably the most recognizable make-up wearers in the world. Historically and in some more traditional okiyas, the geishas painted their faces with rice powder to give them that unbroken, white complexion. A popular recipe for their crimson lipsticks involved extracting pigment from crushed safflower petals.

Henna paste made from the eponymous plant can be used as hair dye and to trace designs on the feet and hands.

Kohl is a black powder that is famous for its popularity in Egyptian Cultures and even the Persian Empire. Kohl lines the eyes like modern eyeliners and is found when one grounds stibnite. Kohl actually had the luck of preventing eye infections which no doubt helped in the climate of Egypt and beyond.

The Phoenicians used powdered metals of gold, silver and other metals to dust their faces. This is reputably thought to denote their wealthy status.

Rouge or blusher has had numerous recipes throughout history. The Ancient Egyptians made rouge from red ochre and animal fat. The Romans made their rouge from lead and cinnabar, which sounds about as bad for you as you think it does. The Ancient Greeks made it from pressed mulberries or other fruits such as beet and strawberries. The Ancient Chinese made rouge from extracts of coloured flowers.

Ancient Chinese cultures used a mixture of gumarabic, gelatin, beeswax, and eggs to stain their nails. The colors were often used to denote social class. Gold and silver was worn by royalty or black and red. The lower classes were not prohibited to wear bright colours.

Lipstick has also a few recipes. Egyptians used pounded carmine, a kind of insect, to smear on their lips. Other ancient civilizations used red ochre. Vermilion (though toxic) was also used, along with crushed flowers with red pigment mixed with beeswax during the Elizabethan period.

During the late Elizabeth and then again in the Baroque period, women and some men began to paint their faces with white powder. The layer of white lead and vinegar, or ceruse was popular for tears despite the hair loss and death it caused.

Make Up Tools

Powderpuffs: the powderpuff was a pad of soft material meant to apply powder to one's face. They were made of feathers, cotton or sheep's fleece.

Brushes: Brushes have been been around for ever. They have been found in some of the earliest Egyptian tombs. The brushes were often made from animal hair with wooden or more expensive handles.

Pots of pigment, scents and ointments: Some early tombs excavated from ancient civilizations have included what amounts to a palette (thank you lil sis for that word). The pigments in the pots would be very expensive. Ointments and balms have also been found. Perfumes were very popular in antiquity and made a recurrence in Europe after the Crusades (which helped since some of the make up smelled awful).

Make Up and Social standing

Though make up is rather popular now, it had a rather uncertain rise to popularity.

Most Ancient civilizations wore some kind of cosmetic. The overuse of cosmetics in ancient times was frowned on as prostitutes and actors often wore dramatic make up however the elite often smeared themselves with powders to make them paler and redden their cheeks.

In the Middle Ages, makeup had a dual reputation. The Church frowned on it because it was again popular with prostitutes and actors but it was a common consensus that if the woman was scarred from smallpox or some other disease she was excused from being labelled as vain.

In the late Elizabethan period, theatres were getting more popular and as was makeup. Actors began wearing make up more frequently as did the elite. Elizabeth I herself was infamous for her milk-white skin. Make up became more sociably acceptable among the rich and noble at this point.

The 1700s probably saw the height of make up madness. Both women and men of the elite powdered themselves with white lead paint. They rouged their cheeks to high pigment and stuck small dots of felt to cover blemishes. The commons began to poke fun at the elite's strange obsession with looking like they've lost all their blood. Dandies and painted noblewomen were often poked fun at by pamphlets and satirical cartoons.

The Victorians frowned on make up, thinking it garish and common. Queen Victoria herself denounced make up as uncouth which lead the elite to abandon it in droves. However, most women prized a clear complexion so there was a lot of secret make-up-ing going on.

During the Edwardian period and the 1920s, make up began to get more popular. Older more respectable women began trying makeup to fresh their complexion. The younger generations began to experiment with makeup leading to the infamous smokey eye look.

Hola. ¿Tienes algún poema de superación amorosa?

De Alejandra G. Remón