tannertan36
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Monterey Bay Aquarium
will byers stan first human second
Sweet Seals For You, Always
Keni
NASA
Aqua Utopia｜海の底で記憶を紡ぐ
$LAYYYTER
roma★
JBB: An Artblog!
Three Goblin Art
Sade Olutola
taylor price
RMH
occasionally subtle
pixel skylines
Kaledo Art
Cosmic Funnies
Peter Solarz
seen from United States
seen from United States
seen from Malaysia
seen from Germany
seen from United States
seen from India
seen from United States
seen from Belarus
seen from United States
seen from United States
seen from Egypt
seen from United States
seen from Italy
seen from Malaysia
seen from United States
seen from Romania
seen from Malaysia
seen from China
seen from United States
seen from Germany
@armandsilvani
could you (you, personally) survive a revolutionary girl utena situation
every single one of us survives a revolutionary girl utena situation every time we shed our layers of self-deception and cross the thresholds that separate us from the ones we cherish. every time u penetrate and dissolve the mythology of love as a unilateral sacrifice and instead choose to meet in the shared space between hearts u are surviving a revolutionary girl utena situation.....
I'm thinking of Symphony of the Sixth Blast Furnace by Evgeny Sedukhin again...
hmm okay i'm trying to dig up a source on this painting, to see if i could find it in any higher quality
but i can't find any evidence of its existence from before 2018 lmao
and searching the artist's name only gets me like 6 pages of results on google
and a little artist showcase page on arthive for this guy with exactly 1 painting listed
and a biography that spells this guy's name like 5 different ways
which i'm pretty sure is because it's machine translated from something
very mysterious
oh doing his name in russian gives me some actually useful results, why didn't i think to do that
Солнечный город "Sunny City" - No date given.
Мир "World" - No date given.
Чусовские просторы. "Chusovskie expanses." Canvas, oil, 1997. Exhibited at the Nizhny Tagil Museum of Nature.
Осень "Autumn"
ooooh this one is really nice
Огни трудового Тагила, "The Lights of Labor Tagil" acquired by the Tretyakov Gallery in 1986.
октябрь "October" 2009 cardboard, oil, 29.5x39.5 cm
Осень на Чусовой, "Autumn on Chusovaya" 1999, canvas, oil, 79x100 cm
Чугун идет "Cast Iron is Coming" 1976
okay that's all the art this article had, i'm really glad i could find some this artist's other works!!!!
Exploring the great outdoors Wanted to paint some plantlife again. Small plants are a big world for the Snifes.
Vienna's mix...
Café Central / Rathausplatz / Parlament / Freyung / Michaelerplatz / Graben.
Detail from an American book cover from 1905
Margaret Armstrong design
holy smokes thank you for liking it???? so many people love this I had a good time reading all hashtags under reblogs ;__; and i love that you all collectively are just:
A trio of studies— trunk, bark, and undergrowth. (2022)
🌙 Moon and Sun ☀️
It's dark and dreary out, so to warm us all up here's that very gay fluff comic I made about an old biologist who falls in love with the cryptid he's supposed to be researching. Hijinks ensue.
HIDE & SEEK: A CRYPTID TRIPTYCH is 79 pages of gorgeous smooching magic! From a cozy stroll through snowy hemlock forests to a deep dive
source
My first picture book comes out today — It’s a story about a crafty mouse who’s afraid to leave her house! The author (Michal) wrote a really heartfelt story about a scared homebody learning to face her fears and discover a new passion. I’m so lucky I got to illustrate it! I’m gonna post some more art here soon to show it off (or you can see more in my portfolio).
You can find the book at TeakySqueaker.com!
Ever since Adam Smith, those trying to prove that contemporary forms of competitive market exchange are rooted in human nature have pointed to the existence of what they call ‘primitive trade.’ Already tens of thousands of years ago, one can find evidence of objects — very often precious stones, shells or other items of adornment — being moved around over enormous distances. Often these were just the sort of objects that anthropologists would later find being used as ‘primitive currencies’ all over the world. Surely this must prove capitalism in some form or another has always existed?
The logic is perfectly circular. If precious objects were moving long distances, this is evidence of ‘trade’ and, if trade occurred, it must have taken some sort of commercial form; therefore, the fact that, say, 3,000 years ago Baltic amber found its way to the Mediterranean, or shells from Mexico were transported to Ohio, is proof that we are in the presence of some embryonic form of market economy. Markets are universal. Therefore, there must have been a market. Therefore, markets are universal. And so on.
All such authors are really saying is that they themselves cannot personally imagine any other way that precious objects might move about. But lack of imagination is not itself an argument. It’s almost as if these writers are afraid to suggest anything that seems original, or, if they do, feel obliged to use vaguely scientific-sounding language ( ‘trans-regional interaction spheres’, ‘multi-scalar networks of exchange’) to avoid having to speculate about what precisely those things might be. In fact, anthropology provides endless illustrations of how valuable objects might travel long distances in the absence of anything that remotely resembles a market economy.
The founding text of twentieth-century ethnography, Bronislaw Malinowski’s 1922 Argonauts of the Western Pacific, describes how in the ‘kula chain’ of the Massim Island off Papua New Guinea, men would undertake daring expeditions across dangerous seas in outrigger canoes, just in order to exchange precious heirloom arm-shells and necklaces for each other (each of the most important ones has its own name, and history of former owners) — only to hold it briefly, then pass it on again to a different expedition from another island. Heirloom treasures circle the island chain eternally, crossing hundreds of miles of ocean, arm-shells and necklaces in opposite directions. To an outsider it seems senseless. To the men of the Massim it was the ultimate adventure, and nothing could be more important than to spread one’s name, in this fashion, to places one had never seen.
Is this ‘trade’? Perhaps, but it would bend to breaking point our ordinary understanding of what that word means. There is, in fact, a substantial ethnographic literature on how such long-distance exchange operates in societies without markets. Barter does occur: different groups may take on specialties — one is famous for its feather-work, another provides salt, in a third all women are potters — to acquire things they cannot produce themselves; sometimes one group will specialize in the very business of moving people and things around. But we often find such regional networks developing largely for the sake of creating friendly mutual relations, or having an excuse to visit one another from time to time; and there are plenty of other possibilities that in no way resemble ‘trade.’
Let’s list just a few, all drawn from North American material, to give the reader a taste of what might really be going on when people speak of ‘long-distance interaction spheres’ in the human past:
Dreams or vision quests: among Iroquoian-speaking peoples in the sixteenth and seventeenth centuries it was considered extremely important literally to realize one’s dreams. Many European observers marveled at how Indians would be willing to travel for days to bring back some object, trophy, crystal or even an animal like a dog they had dreamed of acquiring. Anyone who dreamed about a neighbor or relative’s possession (a kettle, ornament, mask and so on) could normally demand it; as a result, such objects would often gradually travel some way from town to town. On the Great Plains, decisions to travel long distances in search of rare or exotic items could form part of vision quests.
Traveling healers and entertainers: in 1528, when a shipwrecked Spaniard named Alvar Nuriez Cabeza de Vaca made his way from Florida across what is now Texas to Mexico, he found he could pass easily between villages (even villages at war with one another) by offering his services as a magician and curer. Curers in much of North America were also entertainers, and would often develop significant entourages; those who felt their lives had been saved by the performance would, typically, offer up all their material processions to be divided among the troupe. By such means, precious objects could easily travel long distances.
Women’s gambling: women in many indigenous North American societies were inveterate gamblers; the women of adjacent villages would often meet to play dice or a game played with a bowl and plum stone, and would typically bet their shells beads or other objects of personal adornment as the stakes. One archeologist versed in the ethnographic literature, Warren DeBoer, estimates that many of the shells and other exotic discovered in sites halfway across the continent had got there by being endlessly wagered, and lost, in inter-village games of this sort, over very long periods of time.
We could multiply examples, but assume that by now the reader gets the broader point we are making. When we simply guess as to what humans in other times and places might be up to, we almost invariably make guesses that are far less interesting, far less quirky — in a word, far less human than what was likely going on.
Notice what’s missing from most of these: A profit motive.
There are, technically, “markets” in every human culture we can identify. There are exchanges of goods & services, even in the most socialistic of societies.
There is not always any attempt to get “profit,” to wind up with more value than you had before.
(Gambling may have a profit motive. Gambling may also have competitive motive: the goal can be winning, with the prize being wanted as a trophy more than for its technical value.)
The initial post here is taken from The Dawn of Everything, an anthropological/historical survey written by David Wengrow and the recently and lamentably passed scholar, David Graeber.
In honor of Earthbound coming to Switch, I finished designing this cast for what a MOTHER2-inspired sequel on Switch might look like! Character bios below.
I did the meme 🌟 .#digitalart #procreate . . . . . #nintendofanart #givemesixcharacterstomakefanartof https://www.instagram.com/p/CYM6fpPLrws/?utm_medium=tumblr
Prepare for trouble… . . . . . . #digitalillustration #characterdesign #artistsoninstagram #kidlitart #illustration https://www.instagram.com/p/CQHnN_sDSpQ/?utm_medium=tumblr
