RMH

ellievsbear

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Aqua Utopia|海の底で記憶を紡ぐ
almost home

oozey mess
🪼
One Nice Bug Per Day

#extradirty
wallacepolsom
Misplaced Lens Cap
Xuebing Du
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taylor price
todays bird
h
$LAYYYTER
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Product Placement

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@annakin14
She is holding an orange. Warszawa, Poland, 1956. Wolfgang Schröter
Console buttons from Star Trek: The Original Series (1966-69)
“A capitalist society requires a culture based on images. It needs to furnish vast amounts of entertainment in order to stimulate buying and anesthetize the injuries of class, race, and sex. And it needs to gather unlimited amounts of information, the better to exploit natural resources, increase productivity, keep order, make war, give jobs to bureaucrats. The camera’s twin capacities, to subjectivize reality and to objectify it, ideally serve these needs and strengthen them. Cameras define reality in the two ways essential to the workings of an advanced industrial society: as a spectacle (for masses) and as an object of surveillance (for rulers). The production of images also furnishes a ruling ideology. Social change is replaced by a change in images. The freedom to consume a plurality of images and goods is equated with freedom itself. The narrowing of free political choice to free economic consumption requires the unlimited production and consumption of images.”
—Susan Sontag, On Photography
“I know I am talking nonsense, but I’d rather go rambling on, and partly expressing something I find it difficult to express, than to keep on transmitting faultless platitudes.” ― Thomas Mann, The Magic Mountain
"One thing I’ve learned from reading work on the Anthropocene and its variations is that it is a comforting fantasy to think that the world is ending. The fantasy of an end gives you finitude and formal satisfaction, whereas the fact of the matter is that we are living in the ending and don’t know where we are in that ending."
—Lauren Berlant, in interview
Heat (Michael Mann, 1995).
"Anyone who has ever tried to recount a dream to someone else is in a position to measure the immense gap, the qualitative incommensurability, between the vivid memory of the dream and the dull, impoverished words which are all we can find to convey it: yet this incommensurability, between the particular and the universal, between the vecu and language itself, is one in which we dwell all our lives, and it is from it that all works of literature and culture necessarily emerge."
Fredric Jameson, Imaginary and Symbolic in Lacan
mind palace that was formerly a palace until the ruling family was killed mercilessly for its crimes. and now it's the thinking woman's socialist republic.
Mysterious Skin, 2004, dir. Gregg Araki
linked tree (includes options to donate to Ghanaian projects)
petition to show support
Sigismund de Ivanowski - Alla Nazimova in “Hedda Gabler” (1907)
Mandalay (1934) | Dir. Michael Curtiz
Johannes Vermeer Van Delft (Dutch, 1632 - 1675) - Girl Reading a Letter at an Open Window (c. 1657-1659) - after the restoration in 2021 (Detail)
Iridescent silicious glass jar from Nippur
Ur III period, Neo-Sumerian, c. 2112-2004 B.C.
Al-Qādisiyyah Governorate, Iraq
Aleksandra Mihajlovic