Etruscan Bronze Cista Handle, 4th-3rd Century BC
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Etruscan Bronze Cista Handle, 4th-3rd Century BC
‘Distributore di incenso, LSD, marijuana, oppio e gas esilerante’ [Dispenser of incense, LSD, marujana, opium and laughing gas], 1972 By Ettore Sottsass
Folleggiarono e viaggiarono, e bisticciarono, e volarono di nuovo l'uno nelle braccia dell'altra.
Vladimir Nabokov, Ada o ardore (via pasticciaccio)
Do not complain. Work harder. Spend more time alone.
Joan Didion, Blue Nights (via vintageanchorbooks)
Sagmeister & Walsh | Stefan Sagmeister - Deitch Projects, Banana Wall
At the opening of our exhibition at Deitch Projects in New York we featured a wall of 10,000 bananas. Green bananas created a pattern against a background of yellow bananas spelling out the sentiment: Self-confidence produces fine results.
After a number of days the green bananas turned yellow too and the type disappeared. When the yellow background bananas turned brown, the type (and the self-confidence) appeared again, only to go away when all bananas turned brown.
Sagmeister & Walsh - Here for good
Typographic approach throughout Asia, Africa and the Middle East for Standard Chartered
Arte: parola elastica Tutto ciò che stimola può essere arte
Andrea Pazienza
apreslude
kiss | 2017
To think is always to follow the witch’s flight.
Deleuze and Guattari, What is Philosophy? (1991). (via speciesbarocus)
Henri Matisse (1869-1954), Seated Figure in Persian Dress, 1932.
“The spectacle is not a collection of images, but a social relation among people, mediated by images.” - Guy Debord, Society of the Spectacle
Inge Morath, Untitled. (from the Mask Series of Saul Streinnberg), 1962
Per fare una DERIVA, andate in giro a piedi senza meta od orario. Scegliete man mano il percorso non in base a ciò che sapete, ma in base a ciò che vedete intorno. Dovete essere straniati e guardare ogni cosa come se fosse la prima volta. Un modo per agevolarlo è camminare con passo cadenzato e sguardo leggermente inclinato verso l’alto in modo da portare al centro del campo visivo l’architettura e lasciare il piano stradale al margine inferiore della vista. Dovete percepire lo spazio come un insieme unitario e lasciarvi attrarre dai particolari
Guy Debord, Théorie de la dérive, in Les Lèvres nues, n. 9, novembre 1956, Bruxelles; ripubblicato senza le due appendici in Intenationale Situationniste, n° 2, dicembre 1958, Parigi; trad.it. Internazionale Situazionista, Nautilus, Torino (via fratur)
© Alan Friedman
Wintersun, 2012