what doesn't kill you makes you stay on tumblr for 13 years and counting
"I'm Dorothy Gale from Kansas"

★
sheepfilms
taylor price
Monterey Bay Aquarium
hello vonnie

JVL
Peter Solarz
Aqua Utopia|海の底で記憶を紡ぐ
Three Goblin Art
trying on a metaphor

oozey mess
let's talk about Bridgerton tea, my ask is open
dirt enthusiast
we're not kids anymore.
DEAR READER
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Kiana Khansmith
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Misplaced Lens Cap
seen from Türkiye

seen from United States
seen from Türkiye

seen from Greece

seen from United States
seen from Türkiye
seen from Belgium

seen from United States

seen from China
seen from United States

seen from United States
seen from Canada
seen from United States
seen from United States

seen from Canada

seen from Ukraine
seen from Indonesia
seen from United States
seen from Türkiye
seen from Türkiye
@adhocratic
what doesn't kill you makes you stay on tumblr for 13 years and counting
Tony Buba Cite Specific video, 1:52 minutes
‘Capsule House K,‘ Miyota-Machi, Kitasaku-Gun, Nagano Prefecture, Japan,
Kisho Kurokawa’s Home, Built in 1972,
Restoration Architect/Crowdfunding: Mirai Kurokawa Design Studio, Toshihiko Suzuki Laboratory.
Saul Steinberg. Untitled (Four Cats). New York, USA. 1950
I Am Collective Memories • Follow me, — says Visual Ratatosk
The Seiko UC-2000 was one of the first "smart watches" to hit the market in 1984. The watch itself could store up to 2k data, perform calculator functions, and, of course, tell time.
The UC-2200 (bottom image) was an external keyboard dock that offered additional computer functionalities with its spool-fed printer, 4K of RAM and a 26K of ROM via a plug-in Application ROM pack (Microsoft Basic) – other ROM packs had games or an English to Japanese translation app.
Bernard Rudofsky, “Buttons” (1944),
Exhibition “Are Clothes Modern?”, The Museum of Modern Art, November 28, 1944–March 4, 1945. New York.
The caption reads, “Fully clothed man carries seventy or more buttons, most of them useless.”
Robert Irwin, Nine Spaces, Nine Trees, Public Safety Building Plaza, Seattle, Washington, 1983
Nine Spaces, Nine Trees lives on at the University of Washington. As for the site, it's been a vacant lot for two decades this year.
Wassily Kandinsky • Zarte Spannung • 1923
081124. Proprioception.
Iosif Király, Reconstructions, Trains No. 3, 2002 – 2003
Steven Salaita, Palestine and the Anxiety of Existence
Do Palestinians throw stones as a weapon of warfare? Maybe. Sometimes. They’re more often a weapon of imagination, emblems of a dogged refusal to submit or disappear. No matter the intent when a Palestinian throws a stone, the Israeli perceives it as an act of rejection. It is an accurate perception. This act of rejection, not any perceived danger, provokes the Zionist’s disdain.
Think about the moment in 2000 when Edward Said tossed a stone from southern Lebanon into northern Israel. The stone didn’t come close to hitting anything—the nearest object was an Israeli military watchtower—and the episode would have passed without interest had a photographer not furtively captured it. The photographer was smart. His picture became a sensation, launching a hysterical news cycle about Said’s genocidal tendencies and renewing demands for his termination as a professor at Columbia University.
But what about the military watchtower? It’s the normative object in the scene. It wasn’t threatened by Said’s stone, but it threatens thousands of people. It’s the apotheosis of colonization and militarism. It houses soldiers whose bullets travel at a much greater speed than Said’s manual projectile. Said was well aware of the ridiculousness of the outrage, its sanctimony and disingenuousness. He noted that he had joined in “the spirit of the place that infected everyone with the same impulse, to make a symbolic gesture of joy that the occupation [of southern Lebanon] had ended.”
The only inalienable possession of the native is the moral burden of violence. The colonizer owns everything else. Thus the military watchtower is an afterthought—or not even a thought at all beyond its existence as a backdrop to Said’s unconscionable action.
A map of the depopulated Palestinian village of Jimzu جمزو (ancient Gimzo) hand-drawn from the memory of native Ahmad Ibrahim after its destruction in 1948. Ibrahim labels the names of streets and individual neighbours where they once were.
Gerhard Richter, Color Chart, 1966
Liberty Magazine Cover, 1926 - Frank Lloyd Wright
Mupid was an Austrian videotex terminal that was also a programmable computer. It supported text graphics with custom fonts, pixel and vector graphics with 4096 colours, and telesoftware. More info here and here. h/t: Tim Koch
3 slides from Douglas Porter’s “ The Style: Modern Life As A System of Subsystems“ { According to InterAccess, The Style was ”Originally an interactive videotex database, an electronic magazine containing ‘pages’ of video, graphic and text based content for Telidon users to view.” The Telidon was an experimental videotex/teletex platform developed by Canadian researchers in the late 70s and early 80s. InterAccess has been sharing work created for the Telidon by Canadian new media pioneers, check out their ig.
Forreals tho, this is the best definition of photography that I’ve seen.
“A Balloon-Prospect from Above the Clouds”, from Thomas Baldwin’s Airopaidia (1786) — first image of a truly overhead aerial view (as actually experienced).
More in @LilyRFord’s essay exploring how balloon flight transformed our ideas of landscape: https://publicdomainreview.org/essay/for-the-sake-of-the-prospect-experiencing-the-world-from-above-in-the-late-18th-century