c.c. o'hanlon

YouTube video by out here. How a Teenager Changed Photography

watching this essay on hiromix, i remember coming of age on the internet of the early 2000s, learning to make art, to express and document in a self created digital world felt so limitless in its possibilities. our space and our voices were our own, and the world felt so big.

Hmm. I'll let you know when it's firm — promise.

I think you'll find Our Lady studio is pretty much right next door to you.

Today I am prepared to concede that the world is all kinds of fucked up and optimism is somewhat hard to find.

Was he right? I fear I'll limp into my 80s in the same t-shirt and jeans.

A slow day working through the logistics and costs of hauling Wrack out for a refit and moving ashore for a 'motionless' life.

I'm finding it hard, even if worsening poverty and health compel it.

Funnily enough, Given and I were looking at house rentals between there and Borth.

I have so many memories of that estuary and harbour – many involving your mum and dad and Rob Haworth and Ron, the Three Peaks photographer.

A paste-up in an alcove of an old wall of a dark-haired woman in a black dress with the Superman logo emblazoned on her bare upper chest. Photo by C.C. O'Hanlon.

Superwoman, Via della Luce, Trastevere, Rome, 2021.

Wake to rain warnings for Rome (from the Italian Air Force National Meteorological Service) and grimy, scuffed-looking stratus cloud drifting in from the west.

I'm not getting out of bed.

"'I gather flowers on the brink of subsistence,” wrote
Walter Benjamin from Ibiza in 1933.

It was the beginningof years he spent as a refugee which ended on the Spanishborder in 1940, when he took his own life rather than be returned to occupied France."

Late night reading: Scratch Music (1972) by the late British composer, Cornelius Cardew.

Sight and Sound, by Olivia Giovetti The political possibilities of graphic notation

"Cowell envisioned a more expansive approach to composition: 'A notation should express the sound to the eye w/ [as much] graphical perfection as possible.'... Cowell’s ideas gained favor among his students at the New School, [incldg] John Cage and Earle Brown, who helped pioneer the graphic score"

"Raven Chacon’s “American Ledger No. 2” (2019) uses inflamed notes to reflect the forced migrations of black and Native communities in Tulsa, Oklahoma; and the scores for Gwen Siôn’s Atlantis 2050 (2025) resemble coastal-­erosion diagrams..."

"Kurdi describes “Migration” as a testament to both “remembering and forgetting the idea of home,” and that contradiction is reflected clearly here, in these arrows. Pointing up and down, they pull the musician in multiple directions at once."

Imagine if they just funded the arts instead of AI

JG Ballard kinda called it already, in 1973. This is the first *paragraph* of the introduction to CRASH.

A wet, monochromatic day: Rome cosplaying a northern European winter (without the snow, thankfully).

Amen.

I'll try to hang in there long enough to scribble the right words, the best words, for you.

The ‘party of small government’ is nothing more than a cabal of greed diseased, tyrannical pedophiles and protectors of tyrannical pedophiles who are torching democracy, looting the treasury, crushing the working class and creating a technazi technocratic surveillance/police state in our country.

Trump, ICE set to be handed access to Australians' biometric data, ID documents The Albanese government is giving the Trump administration and agencies like ICE access to Australians' biometric data — and we're not being told anything about it.

What the fuck is this lickspittle Australian government thinking?

Gustaf Sobin talking about exile in an interview with Tedi López Mills in _Uncollected Poems_ (Shearsman Books, 2025). I suspect most writers sense (or readily seek) a kind of exile within—disaffected, fugacious, internalized—and welcome the way unbelonging can work to wry the eye, queer the ear.

The interior of a small boat: through the portlight, an empty sea; a ray of light illuminates a wooden bulkhead with a large ship's clock and an emergency beacon.

On the Mediterranean Sea, 2025.

Photo by Finn O'Hanlon.

Our son returned from Istanbul today and for a short while my wife and I'll have all but one of our kids with us here in Rome.

Some of the mists in our minds are never going to dissipate. Some bits of us are always going to be stuck in November twilight. We walk and jangle the dozens of bottles of pickled time.

‪"Given longs for a 'real' home and feels we won't have any peace until we find one. As she puts it, 'We need somewhere to start again.' At our age, that might be the biggest challenge of all."

It's also about Didion's innate Californian conservatism and how it re-asserted itself in the post-Vietnam '70s.

"The time has come to stop, to stay in one place: if not a home, then at least a long-term refuge or bolt-hole, and shape a different sort of life — no longer peripatetic but persistently still."

Our latest update to @liznangel3.bsky.social's long-running appeal.

www.gofundme.com/f/a-voyage-i...

Seems like a good moment to post Brion Gysin’s photo spread of Centre Pompidou being built. ‘77.