Aqua Utopia|海の底で記憶を紡ぐ

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Kiana Khansmith
Keni
i don't do bad sauce passes
TVSTRANGERTHINGS
wallacepolsom
art blog(derogatory)
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blake kathryn

祝日 / Permanent Vacation

#extradirty

ellievsbear

Origami Around

Product Placement
Show & Tell

Discoholic 🪩
styofa doing anything
noise dept.
seen from Czechia

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seen from United Kingdom
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seen from United States
@blomwjoy
Um dem bohrend leeren Dasein zu entgehen, ist ein Widerstand notwendig, dessen Rückgrat die Sprache ist. Noch das stärkste Tier ist unendlich debil.
Theodor W. Adorno und Max Horkheimer: Dialektik der Aufklärung, Darmstadt 1998, S. 284. (via diesebastionbehrisch)
The Face of Another, Hiroshi Teshigahara, 1966
Wir merken oft nicht, daß wir uns von dem Punkt, auf dem wir festkleben, ganz einfach mit aller Gewalt von einem Augenblick auf den anderen abreißen müssen, um weiterexistieren zu können.
Thomas Bernhard: Beton, Suhrkamp, Frankfurt am Main 2008. (via noxe)
“ Menkaure “ (2016, Ink Jet on Paper)
地-I 地-II
12×9cm
etching
2016
Stepwise transformations and entanglement.
Escher understood transformation and entanglement before the physicists did.
The Box, Kanji Nakajima (2003)
When the images of earth cling too tightly to memory, when the call of happiness becomes too insistent, it happens that melancholy rises in man’s heart: this is the rock’s victory, this is the rock itself. The boundless grief is too heavy to bear.
Albert Camus, The Myth of Sisyphus (via blacktout)
In a crystal palace it is even unthinkable: suffering is doubt, it is negation, and what good is a crystal palace in which one can have doubts?
Fyodor Dostoevsky, Notes From Underground (via notesfromtheundergroundman)
Being is essentially alien and strikes against us. We undergo its suffocating embrace like the night, but it does not respond to us. There is a pain in Being.
Levinas, Emmanuel. Existence & Existents. Pittsburgh, Pennsylvania: Duquesne Press, 2003. 9. Print. (via sterwood)
L’opéra-mouffe (1958) screen cap
Takashi Kawashima
“…Takashi Kawashima is a Tokyo-based photographer who creates images that have ethereal, mysterious and captivating qualities drawing viewers in for further explanation. Kawashima envisions a world absent of humans, post-catastrophic, inspired and informed by numerous natural disasters that have affected Japan in recent years…”
Kurt Baasch - Untitled Still-life, 1930s