mantenersedespierto

Vida. Diario. Swampex #Javeee

[mantenersedespierto]

Nadie va a encontrarme acá

Una esquina perdida

En un fragmento olvidado

I am no fun

Im exhausted

And maybe

Its best for all. If i am alone.

[gglilyallin-deactivated20250618]

[axel-haha-funny]

we hate crypto

[mantenersedespierto]

Yeah let go big banks. Its your time now

[electripipedream]

Bruce Pennington, 1973 Used for the cover of “Out of Their Minds” by Clifford Simak

[electripipedream]

Jim Fitzpatrick, The Book of Conquests, 1978

[electripipedream]

Clifford D. Simak, City, 1973 Cover Illustration by Davis Meltzer 

[weirdlandtv]

[voiceofnature]

Amazingly surreal Las Pozas in the rainforest by Xilitla in the Mexico mountains. Created by Edward James in the 40′s, it includes more than 80 acres of natural waterfalls and pools interlaced with towering surrealist sculptures and buildings. The many trails throughout the garden site are composed of steps, ramps, bridges and narrow, winding walkways that traverse the valley walls. It was supposed to be a “Garden of Eden” containing a huge variety of plants and animals. 

[hobbitology-blog]

those look like elven ruins

[ancientdelirium-deactivated2019]

❤️❤️❤️❤️❤️❤️

[cooperate]

[loumargi]

Antonio Canova’s Psyche Revived by Love’s Kiss

[plasticblisss]

[loumargi]

Cat and Fly, Muramasa Kudo

[potcough-deactivated20140721]

Empire of the rainbow Collage al Infinito by Trasvorder by Mariano Peccinetti

[cooperate]

[vital-information]

I told Miyazaki I love the “gratuitous motion” in his films; instead of every movement being dictated by the story, sometimes people will just sit for a moment, or they will sigh, or look in a running stream, or do something extra, not to advance the story but only to give the sense of time and place and who they are.

“We have a word for that in Japanese,” he said. “It’s called ma. Emptiness. It’s there intentionally.”

Is that like the “pillow words” that separate phrases in Japanese poetry?

“I don’t think it’s like the pillow word.” He clapped his hands three or four times. “The time in between my clapping is ma. If you just have non-stop action with no breathing space at all, it’s just busyness, But if you take a moment, then the tension building in the film can grow into a wider dimension. If you just have constant tension at 80 degrees all the time you just get numb.”

Which helps explain why Miyazaki’s films are more absorbing and involving than the frantic cheerful action in a lot of American animation. I asked him to explain that a little more.

“The people who make the movies are scared of silence, so they want to paper and plaster it over,” he said. “They’re worried that the audience will get bored. They might go up and get some popcorn.

But just because it’s 80 percent intense all the time doesn’t mean the kids are going to bless you with their concentration. What really matters is the underlying emotions–that you never let go of those.

— Roger Ebert in conversation with Hiyao Miyazaki

[electripipedream]

Peter De Smet for Shocking Blue in Pep magazine, 1972

[weirdlandtv]

Obviously I need to post more of these. Illustrations by Walter Draesner, for EIN TOTENTANZ (A Dance of Death), 1922.

[boudhabar]