I used to overpack a lot and sometimes even forgot vital pieces of clothing, such as my swimming shorts and sandals. I'm much better now. I only take what I know I'm going to wear or use and always double-check my suitcase so I don't have to rush to the nearest clothing store when I unpack at the hotel.
I remember, as a child, the confusion of not knowing what this place was where I was supposed to spend the night: it's a disquieting experience for a child. And what I would do was quickly unpack my books and go back to a book I knew well and make sure the same text and the same illustrations were there.
We were not always 70, or rather our 70 is an accumulation of all the other ways we were. Our 5-year-old selves became our 10-year-old selves, and so on and on; and if we unpack our selves, the full album appears. Every moment is a part of the following moment, and we are all a continuum.
I don't know why we, in the art world, cannot unpack things and sort of make hybrid notions of a practice. We're very rigid. It's funny, though; in music, we have no problem sampling, mixing and remixing. But in the art world, why can't we take little parts of history and mix it together?
I'll turn on the music; if your willing to dance, I'll walk beside you; If you hold my hand, I'll supply the candle; But you must know how to light your own way , I'll keep you wild, If you keep me safe. I'll help you unpack, But i won't carry the load; Help me learn to love unconditionally, And I'll teach you to grow. Love isn't easy, but it never should be hard; Live courageous with me, passion in our hearts.
Sometimes it works out well, and certain household responsibilities fall naturally to those who like doing them. For example, my wife likes to pack suitcases, I like to unpack them. My wife likes to buy groceries, I like to put them away. I do. I like the handling and discovering, and the location assignments. Cans - over there. Fruit - over there. Bananas - not so fast. You go over here. When you learn not to go bad so quickly, then you can stay with the rest of your friends.
I came to see myself one day and it was like looking into a mirror. I came to see that at any given moment, I am both equally ready to stay and to leave. It's like I always have my luggage with me and I can unpack or repack on short notice. I guess that's something you can call a traveler's heart. You are ready to stay with every atom in your body; but you are also ready to leave that way. You're not afraid of forever but you're also not afraid of nothing at all.
C. JoyBell C.
At the same time, eroticism in the home requires active engagement and willful intent. It is an ongoing resistance to the message that marriage is serious, more work than play; and that passion is for teenagers and the immature. We must unpack our ambivalence about pleasure, and challenge our pervasive discomfort with sexuality, particularly in the context of family. Complaining of sexual boredom is easy and conventional. Nurturing eroticism in the home is an act of open defience.
Elliot - Elliot waved absently, making a decision right then and there. He'd take the trip that Patrick offered. A cruise down Europe's most famous rivers couldn't be any more disruptive than home, after all. Alice -I stood up shaking the laptop at nothing. "He made me think we were going to get married at the end of this trip! He had me look up the laws for Americans getting married in Budapest!" "Ball-hanging is too good for him. He serves something worse. Off with his head!" "I will take that trip!" I yelled at the small living room filled with boxes that I had yet to unpack. "And I will enjoy myself! A lot!
Psychologists have devised some ingenious ways to help unpack the human "now." Consider how we run those jerky movie frames together into a smooth and continuous stream. This is known as the "phi phenomenon." The essence of phi shows up in experiments in a darkened room where two small spots are briefly lit in quick succession, at slightly separated locations. What the subjects report seeing is not a succession of spots, but a single spot moving continuously back and forth. Typically, the spots are illuminated for 150 milliseconds separated by an interval of fifty milliseconds. Evidently the brain somehow "fills in" the fifty-millisecond gap. Presumably this "hallucination" or embellishment occurs after the event, because until the second light flashes the subject cannot know the light is "supposed" to move. This hints that the human now is not simultaneous with the visual stimulus, but a bit delayed, allowing time for the brain to reconstruct a plausible fiction of what has happened a few milliseconds before. In a fascinating refinement of the experiment, the first spot is colored red, the second green. This clearly presents the brain with a problem. How will it join together the two discontinuous experiences-red spot, green spot-smoothly? By blending the colors seamlessly into one another? Or something else? In fact, subjects report seeing the spot change color abruptly in the middle of the imagined trajectory, and are even able to indicate exactly where using a pointer. This result leaves us wondering how the subject can apparently experience the "correct" color sensation before the green spot lights up. Is it a type of precognition? Commenting on this eerie phenomenon, the philosopher Nelson Goodman wrote suggestively: "The intervening motion is produced retrospectively, built only after the second flash occurs and projected backwards in time." In his book Consciousness Explained , philosopher Daniel Dennett points out that the illusion of color switch cannot actually be created by the brain until after the green spot appears. "But if the second spot is already 'in conscious experience, ' wouldn't it be too late to interpose the illusory content between the conscious experience of the red spot and the conscious experience of the green spot?