“The Circus Tent by the River” by Jorge Enciso, 1923
Mike Driver
Monterey Bay Aquarium
taylor price
Peter Solarz

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if i look back, i am lost

Kaledo Art

oozey mess

pixel skylines
d e v o n

Discoholic 🪩
let's talk about Bridgerton tea, my ask is open
Aqua Utopia|海の底で記憶を紡ぐ
sheepfilms

Love Begins
I'd rather be in outer space 🛸

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2025 on Tumblr: Trends That Defined the Year
RMH
Show & Tell

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@brennus
“The Circus Tent by the River” by Jorge Enciso, 1923
Douglas Green (Ballarat, Victoria, Australia 1921 - 2002) The city and cathedral 1956 casein tempera, oil on particle board (masonite) Dimensions each 115 h x 63 w cm
Albert Letchford, Corner of Sir Richard Burton's Study, 1889, oil on panel.
Greenman, Doorway at Brasenose College, Oxford
Suad al Attar, Garden of Eden, 1993
Vyacheslav Belov
runners
Valentino couture spring 2026
Instead of encoding pixels or transcripts, we encode new stimuli with respect to other things we have learned, including concepts both physical and social. What we learn is represented in terms of what we already know. Two people can look at a list of important dates in Mongolian history, but if one of them commands a richly developed model of Mongolia, the new facts are more readily incorporated into her network of knowledge. For the other, who knows little about the country and has never been there, the facts have little scaffolding upon which to attach. Recall that in the pace layers model, slow layers provide a framework for the fast layers. As a result, early experience becomes foundational. It develops into the architecture upon which everything subsequent is built. Everything new is understood through the filter of the old. For better or worse, this makes some dreams of the future impossible. In the movie The Matrix, Neo and Trinity come across a B-212 helicopter on the top of a building. Neo asks, "Can you fly that helicopter?" Trinity replies, "Not yet, rings her colleague, and asks for "a pilot program for a B-212 helicopter." Her colleague frenetically hits keys on a collection of computers, and within a few seconds the program is uploaded into Trinity's brain. Neo and Trinity board the helicopter, and she expertly steers it between buildings. We would all love this future, but it's not going to happen. Why not? Because memory is a function of everything that has come before it. One person's knowledge of flying a B-212 helicopter might be encoded by its similarity to riding a motorcycle. Another person might have grown up on horses, so she builds the piloting knowledge on top of motor memories of steering a steed. A third person stores the knowledge in the context of a childhood video game. Each person grasps the task differently, making it impossible to have a standard set of instructions that is uploadable to any brain. In other words, unlike a computer, the "instructions" for flying the machine aren't a file; they are instead tied to everything that has come before in your life. Earlier experiences build an internal city of memory, into which each new resident must find his unique fit.
David Eagleman, Livewired
Richard Nadler
Modulación 213 (Modulation 213) Julio Le Parc, 1977 acrylic on canvas
The Maiden of Strechau Castle, circa 1600. Painted by unknown master.
This early seventeenth century painting presents a skeletal female figure rendered in refined aristocratic dress, adorned with floral motifs and a feathered hat, set against a stark, shadowed background. The deliberate contrast between elegant costume and exposed skull transforms the image into a powerful memento mori, underscoring the transience of beauty, youth, and social rank. Long associated with local legend, The Maiden of Strechau Castle reflects early modern preoccupations with mortality, remembrance, and the inescapable presence of death beneath outward refinement.
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(via Home / X)
Wojciech Fangor (Polish, 1922-2015), Untitled, 1972. Coloured pencil on paper, 70.8 x 50.8 cm.
John Buckland Wright
Kasia Pysiak @ Christian Dior Haute Couture Spr/Sum 1998