— Nina LaCour via letsbelonelytogetherr
Misplaced Lens Cap
Sweet Seals For You, Always
KIROKAZE
cherry valley forever

@theartofmadeline
Not today Justin
hello vonnie
No title available
occasionally subtle
𓃗

blake kathryn
d e v o n

Andulka
sheepfilms
we're not kids anymore.
Monterey Bay Aquarium
The Bowery Presents
ojovivo

Product Placement

Kiana Khansmith
seen from Germany

seen from Bangladesh
seen from United States

seen from United States
seen from Germany

seen from South Korea

seen from Germany
seen from Malaysia

seen from Malaysia

seen from United States
seen from United States
seen from United States
seen from Malaysia

seen from Malaysia

seen from Canada

seen from United States
seen from Russia
seen from Bangladesh
seen from Germany

seen from France
@eroding-ghost
— Nina LaCour via letsbelonelytogetherr
הבל | hevel
This is how it goes: God whispers in Cain’s jealous ear, drawing his attention to the Sin crouched at his doorway. Sin has haunted eyes and a mouth that has been kissed. Let there be no doubt that Sin has been kissed, with a wet-red mouth that may taste of blood or pomegranate or the electric crackle of a stoplight. Cain looks at Sin. He runs his tongue over his teeth.
This is how it goes: Cain leaves the house at one am in bare feet and a hoodie, careful to avoid the last stair that creaks, and treks out into the Field. There are many fields in the world but there is only one Field. Cain feels the difference in the grass when he crosses the border from field to Field, the way the grey-green blades stand up at attention in his wake, the way the dirt turns ice-cold and furious beneath his heels. The earth is good with foreshadowing. The tree of Knowledge has deep roots.
This is how it goes: God says, I will take you or your brother.
God says, You get to choose.
And Cain says, “When you split me and my brother in the womb, you did not divide us evenly. He got kindness, and I got longing. He got complacence, and I got ambition. I want to kill him sometimes. I think sometimes he wants to die.”
I have never made brothers before, God explains. That is how I thought they were made. What more do you want?
“I want to steal some of his kindness,” Cain says, and shakes his pocket knife out of his sleeve.
Back at home, Abel sits up in his bed with a start, heart racing. That was close, he thinks, that was a damn close one, and does not know why.
In the Field, the ground warms as blood seeps into the dirt.
“Ever since Kant succeeded in convincing the learned that the world of phenomena is quite other than the world of true reality, and that even our own existence is not our real existence, but only the visible manifestation of a mysterious, unknown substance (substantia) — philosophy has been stuck in a new rut, and cannot move a single millimetre out of the track laid out by the great Königsbergian. Backward or forward it can go, but necessarily in the Kantian rut. For how can you get out of the counterposing of the phenomenon against the thing-in-itself?”
— Lev Shestov, All Things Are Possible
some very wisconsin things down these backroads
“Unless you try to do something beyond what you have already mastered you will never grow.”
— Ralph Waldo Emerson
Under a Storm by Nuno Serrão
by Shirø Igarashi (Nina Ippolitova)
Details from the illustrations Thetis bringing the Armour to Achilles and Hector's body dragged at the Chariot of Achilles, for the book The story of the Iliad (1892), by Alfred John Church.
Texts, from top to bottom; quote from Nikita Gill, and extract from the poem Heal, from the book Your Soul is a River (2012), by Nikita Gill.
“The mechanism for reproducing life, for dominating and for destroying it, is exactly the same, and accordingly industry, state and advertising are amalgamated. The old exaggeration of sceptical Liberals, that war was a business, has come true: state power has shed even the appearance of independence from particular interests in profit; always in their service really, it now also places itself there ideologically. Every laudatory mention of the chief contractor in the destruction of cities, helps to earn it the good name that will secure it the best commissions in their rebuilding.”
— Theodor W. Adorno, Minima Moralia, 33
"Ghuleh" is a digital collage by the Clayshaper. This piece and caption is both inspired by the band Ghost and their song that goes by the same name, "Ghuleh / Zombie Queen" from their second album "Meliora". Based on "Portrait of Cornelia Vetterlein" by Joseph Karl Stieler in 1828.
bitter aloe adorned with the webs of a dome spider (Cyrtophora moluccensis)
KILL YOUR DARLINGS (2013) dir. John Krokidas
"Never are voices so beautiful as on a winter's evening, when dusk almost hides the body, and they seem to issue from nothingness with a note of intimacy seldom heard by day."
virginia woolf
our lady of the blind gate by emil melmoth
New York Public Library