Max Ernst. La mer aux oiseaux. 1925/1926
Max Ernst (German, 1891-1976), La mer aux oiseaux [The Sea Birds], 1925-26. Oil on board, 49 x 33.5 cm.
Sweet Seals For You, Always
Aqua Utopia|海の底で記憶を紡ぐ
tumblr dot com
Monterey Bay Aquarium
Jules of Nature
icyghini twinkie

pixel skylines
YOU ARE THE REASON
EXPECTATIONS

Jar Jar Binks Fan Club

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"I'm Dorothy Gale from Kansas"
untitled
𓃗
we're not kids anymore.
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Fai_Ryy

shark vs the universe

seen from United States
seen from Bangladesh
seen from Finland
seen from Oman
seen from Italy
seen from Germany

seen from United States
seen from Malaysia

seen from Netherlands

seen from France

seen from United States

seen from Germany
seen from United States

seen from Japan
seen from Congo - Brazzaville
seen from Spain

seen from Malaysia

seen from Belgium
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@frank-lloyd-wrong
Max Ernst. La mer aux oiseaux. 1925/1926
Max Ernst (German, 1891-1976), La mer aux oiseaux [The Sea Birds], 1925-26. Oil on board, 49 x 33.5 cm.
I’ve been joking that I was going to spend the summer as schroedinger’s doctor but I actually kind of am? my committee all called me dr. after I defended yesterday but also nothing has changed and I have to rewrite the implications chapter so
Kikuji Kawada
Ahmed, Sara (2004), Cap. 2: The organization of hate, The cultural Politics of Emotion. Routledge, New York, pp.42-61.
Connor, Oct 2022 - Peter De Potter
“Contrary to common-sense understanding, the transformations of self-identity are not just a personal matter. Historical shifts out there provide the social conditions of existence of personal and psychic change in here. What mattered was how I positioned myself on the other side - or positioned myself to catch the other side: how I was, involuntarily, hailed by and interpellated into a broader social discourse. Only by discovering this did I begin to understand that what black identity involved was a social, political, historical and symbolic event, not just a personal, and certainly not simply a genetic, one. From this I came to understand that identity is not a set of fixed attributes, the unchanging essence of the inner self, but a constantly shifting process of positioning. We tend to think of identity as taking us back to our roots, the part of us which remains essentially the same across time. In fact identity is always a never-completed process of becoming - a process of shifting identifications, rather than a singular, complete, finished state of being.”
— Stuart Hall, Familiar Stranger
cross stitch, words from Jenny Holzer's Livings, 1980-1982
Muscles of the shoulder and armpit. Traité complet de l'anatomie de l'homme. Complete treatise on human anatomy. 1866/67 edition. Anatomical illustrations by Nicolas Henri Jacob.
Internet Archive
A cat stalks a robin. Studies in reading. 1922.
Internet Archive
Mattias Gunnarsson
studio work 2024-2025 Drawings, collages, colors
Instagram: @mattiasgunnarsson
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mmm love the maybe-delusional, maybe-real terror that someone is reading this, someone will know, someone will be mad and will tell me how wrong I am and remind me that it’s all my fault
kristin jones and andrew ginzel, new york subway, 1998
that’s enough rug weaving for a while now I think….
Jeanette Winterson, from Lighthousekeeping
Maria Tudela
Acuarela 4
not only is picking your skin fun as fuck but it also gives you cool new textures and #open wounds you can pick at forever!
things my prof did on the first day of class
greeted us with “hello, classicists”
politely requested that we not traumadump in her email inbox
brought up clytemnestra 3 separate times, unprompted, during the first 20 minutes. invited us all to her office to look at the full-length clytemnestra painting on her wall
as a rule, addresses students by “mr/ms/mx lastname” (it is difficult to bear this with a straight face given that she is likely to follow this up with excited swearing)
speaks of the tragedians with a fond exasperation like she knew them personally
refers to undergrads, affectionately, as “creatures”
went on a passionate diatribe about how pronunciation is stupid because these languages are long dead, thus we are not allowed to correct each other unless ☝️ someone pronounces odysseus as “osyddeus” (this one seemed like it was from personal experience)
“i won't respond to emails after 5pm—” (reasonable) “—because i like to go to bed at 7—” (wait what) “—and i'll usually wake up around 3” (WHAT THE FUCK)
promised to procure costumes and masks for our final project, in which we will stage and perform a scene of our choice in the amphitheatre and be “heckled” by her colleagues