2 by 2. Birds of Cove. Monday Morning-Stamford, CT
(Viacarad1016)
trying on a metaphor

tannertan36
Sweet Seals For You, Always

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JVL
let's talk about Bridgerton tea, my ask is open
Show & Tell
PUT YOUR BEARD IN MY MOUTH
will byers stan first human second

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Cosmic Funnies
Not today Justin
todays bird
RMH
ojovivo

Love Begins
wallacepolsom
YOU ARE THE REASON

titsay
TVSTRANGERTHINGS
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@617-283
2 by 2. Birds of Cove. Monday Morning-Stamford, CT
(Viacarad1016)
This planet will not be healed by powerful politicians in big cities who spend trillions on a global strategy that never quite begins. They also burn much fuel. Earth will be healed by villagers who sing, by backyard gardeners like you, who walk more slowly right here, who feel the green through bare soles, speaking fewer words, cradling each others anger like mothers, awakening the heirloom seeds of the heart. 'The Healing', by Alfred K. LaMotte
A Victorian lead lined stained glass oval panel, depicting a galleon to the centre, 39 x 35cm
Metamorphosis insectorum Surinamensium (1705) - Maria Sibylla Merian
Sculpture to Be Seen From Mars, 1947
A ten-mile-long earthwork depicting an abstract human face, Noguchi’s Sculpture to Be Seen From Mars was, as the artist himself once put it, “a requiem for all of us who live with the atomic bomb” and alternatively “a flight of the imagination.” Prompted by the World War II atomic bombings of Hiroshima and Nagasaki, which horrified Noguchi—“he often spoke of his fear of atomic annihilation,” Hayden Herrera writes in Listening to Stone—he began thinking about end-of-mankind scenarios. “It was in 1945, wasn’t it, when we dropped the atomic bomb?” Noguchi once reflected. “All of us were concerned about our place on earth, and that it might be rather precarious.”
For Noguchi, the monumental work was intended to be “an eternal reminder to the rest of the solar system that the planet earth, seemingly bent on self-destruction, once had its civilizations,” writes Friedman in the Imaginary Landscapes catalogue, hailing it as the artist’s “most impressive memorial to the futility of war.” The work, as Friedman points out, was also Noguchi’s way of showing his respect and reverence for ancient and indigenous monumental forms, such as the pre-Columbian geometric earthworks in the Andes. “‘Earth sculpture’ is nothing new,” Noguchi said. “It’s just a new name for an old thing.”
The earthwork also connected to Noguchi’s ongoing interest in outer space and the cosmos. When the art critic Lucy Lippard asked Noguchi to use a photograph of the project in her 1983 book Overlay, paralleling contemporary art with prehistoric sites and symbols, Noguchi replied, “I recently saw a reproduction of a face which was found in the landscape of Mars taken by the Viking Satellite. I think it would be very appropriate to show this version along with mine. I have written to the Mars Research Laboratory asking for this image and will send it to you if you are interested.” The connection of rocks across the universe was not lost on the artist. “Ultimately,” Noguchi told Calvin Tomkins in The New Yorker in 1980, “I like to think that when you get to the furthest point of technology, when you get to outer space, what do you find to bring back? Rocks!”
An incredibly moving, visionary concept that, as Friedman notes, in many ways preceded the land art and conceptual art movements that would emerge and flourish in the second half of the twentieth century, Noguchi’s memorial to mankind was intended for “some desert, some unwanted area.” It was, as the artist put it, “a sculpture just to be seen from the air so that, when you come to a landing, you will see the sculpture there.” That Noguchi was concurrently working on the Jefferson National Expansion Memorial suggests he was balancing both a belief in America’s future technological prospects and an acknowledgment of the bleak potential for mankind to destroy the planet and itself. Sculpture to Be Seen From Mars is today only memorialized in a single photograph of a model Noguchi had formed out of sand.
The air is not a random bunch of gases simply drawn to earth by the earth's gravity, but an elixir generated by the soils, the oceans, and the numberless organisms that inhabit this world, each creature exchanging certain ingredients for others as it inhales and exhales, drinking the sunlight with our leaves or filtering the water with our gills, all of us contributing to the composition of this phantasmagoric brew, circulating it steadily between us and nourishing ourselves on its magic, generating ourselves from its substance. It is as endemic to the earth as the sandstone beneath my boots. Perhaps we should add the letter i to our planet's name, and call it "Eairth," in order to remind ourselves that the "air" is entirely a part of the earth, and the i, the I or self, is wholly immersed in that fluid element.
David Abram, Becoming Animal: An Earthly Cosmology
Photography: Paintwork on Camel skin Vase at Multan Pakistan Photographer: Nadeem A. Khan
"Your enemy travels by private jet, not migrants dingy"
Poster seen in London
Mythological figure in feathered costume, La Tolita, Esmeraldas, Ecuador, 100BC-100AD
A Window for Van Gogh - Vicente Gandía
Spanish , 1935-2009
Acrylic on canvas , 150 x 200 cm.
credit: Monica Ramanathan
Alpaca
“Freedom is the source from which all significations and all values spring. It is the original condition of all justification of existence. The man who seeks to justify his life must want freedom itself absolutely and above everything else. […] To will oneself moral and to will oneself free are one and the same decision.”
— Simone de Beauvoir, The Ethics of Ambiguity
Egyptian Core-Formed Glass Flask with Applied Thread Decoration, New Kingdom, C. 1336 BC-1213 BC
Made sometime during the reign of Tutankhamun - Ramsess II, from Malqata or Amarna, Egypt.
"Pleasure activism is not about generating or indulging in excess. I want to say this early and often, to myself and to you. Sometimes when I bring up this work to people, I can see a bacchanalia unfold in their eyes, and it makes me feel tender. I think because most of us are so repressed, our fantasies go to extremes to counterbalance all that contained longing. Pleasure activism is about learning what it means to be satisfiable, to generate, from within and from between us, an abundance from which we can all have enough.
Part of the reason so few of us have a healthy relationship with pleasure is because a small minority of our species hoards the excess of resources, creating a false scarcity and then trying to sell us joy, sell us back to ourselves. Some think it belongs to them, that it is their inheritance. Some think it a sign of their worth, their superiority. On a broad level, white people and men have been the primary recipients of this delusion, the belief that they deserve to have excess, while the majority of others don't have enough...or further, that the majority of the world exists in some way to please them.
And so many of us have been trained into the delusion that we musy accumulate excess, even at the cost of vast inequality, in order to view our lives as complete or successful.
A central aspect of pleasure activism is tapping into the natural abundance that exists within and between us, and between our species and this planet. Pleasure is not one of the spoils of capitalism. It is what our bodies, our human systems, are structured for; it is the aliveness and awakening, the gratitude and humility, the joy and celebration of being miraculous."
—adrienne maree brown—
He is particularly critical of how economists treat environmental damage as “externalities”—costs not included in economic calculations—which leads to the undervaluation of nature’s essential services like clean air, water, and biodiversity. In much of the literature on this subject, water, air quality are part of the “commons” that we all consume and have a fundamental right to access since no human or other life can survive without them. That right to the fundamental physical commons supersedes any manmade economic systems.