A fortune teller in Jemaa el Fna, Marrakesh, Morocco, 1971.
عرافة في ساحة جامع الفنا في مراكش، المغرب، ١٩٧١.

#extradirty
Monterey Bay Aquarium

Kiana Khansmith
ojovivo
almost home
Mike Driver
todays bird
Today's Document

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ellievsbear
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Love Begins
Cosmic Funnies
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Sweet Seals For You, Always

pixel skylines

shark vs the universe

Origami Around
Noah Kahan
The Stonewall Inn

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@cryptomnesis
A fortune teller in Jemaa el Fna, Marrakesh, Morocco, 1971.
عرافة في ساحة جامع الفنا في مراكش، المغرب، ١٩٧١.
Dan Hays, Overgrown Path (2000)
The romanticism of 'art' -- of absolute or total art -- consists in hypostasizing the Infinite End (Poetry, Fragment, or Gesamtkunstwerk). With that, technique dissolves into the form of the 'genius.' To overcome romanticism is to think rigorously the in-finite, which is to say, its finite, plural, heterogenous constitution. Finitude is not the deprivation but the in-finite affirmation of what incessantly touches on its end: another sense of existence and, by the same token, another sense of 'technique.'
Jean-Luc Nancy, The Muses (1994)
The Alchemist who has Achieved Illumination. Zoroaster Clavis Artis, MS Verginelli-Rota. 1737.
Marianne Faithfull on set of Kenneth Anger’s Lucifer Rising
The Devil is the border of possibility, and the witch has for his or her playground the whole of manifestation from the solar pole to the diabolic abyss of the otherworld.
Nicolaj de Mattos Frisvold, Craft of the Untamed (via iopanosiris)
Lonnie Holley, “Copying a Rock”, 1995, Copier, rock, paint
Tonje Thilesen
Yuichi Ikehata
Belkis Ayón, “Resurrection” (1998)
SAGE weapons director console & light gun, early 1960s
Ibis-Form Snake Mummies
(X-Radiograph)
Late Period to Ptolemaic Period, Dynasty 30 or later ca. 380 - 150 B.C.E. Egypt