mirabile visu

[zegalba]

[kitsunetsuki-deactivated2026051]

Franco Rubartelli - Vogue (April 1968)

[frostedmagnolias]

Bag

c. 1900-1925

Tapestry, Lace, Silk

Grand Rapids Public Museum

[memories-of-ancients]

Gold earrings with emeralds and pearls, Roman, 1st-3rd century AD

from The Johns Hopkins University Museum

[fotojournalismus]

Boys swim in a pond in the Yemeni mountains on June 2, 2016. (Abduljabbar Zeyad/Reuters)

[hares-pelt-sky]

[krissyaesthetic]

[prettycolors]

[smsomah]

Scanned from the book L'Inde des tribus oubliées; 1993; Tiziana & Gianni Baldizzone

[smsomah]

Silver-gilt bracelet with stones (jadeite, smoky quartz, rose quartz and tourmaline) from China; early 20th century

[quotespile]

“Resist the temptation to think what afflicts you is peculiar to you. Have faith that what is in your consciousness can be communicated to the consciousness of all. And is, in many cases, already there.”

— Alice Walker, The Temple of My Familiar

[smsomah]

Dried leaflets of the desert palm (qadaf) are split into fine, thread-like strands that will be bundled together to form the coils of a basket. Scanned from the book The Craft Heritage of Oman; 2003; Neil Richardson & Marcia Dorr

[memories-of-ancients]

Gold pendant necklace with pearls, sapphires, and emeralds, Byzantine, 6th-7th century AD

from Phoenix Ancient Art

[metmuseum]

Vase. first half of the 19th century. Credit line: Purchase by subscription, 1879 https://www.metmuseum.org/art/collection/search/46712

[metmuseum]

Snuff Bottle. . Credit line: Bequest of Edmund C. Converse, 1921 https://www.metmuseum.org/art/collection/search/41404

[fragrantblossoms]

Cameron, Julia Margaret, 1815-1879, Eleanor Locker, 1869 July

[heteroglossia]

“The wound consists precisely in claiming to discover and to master meaning, in claiming to suture or to saturate, to fill this emptiness, to close the mouth. Imagine that someone claimed to have said everything that needed to be said on the subject of this poem or that line of Celan, that someone claimed to have exhausted the subject. That would be terrifying; it would be the destruction of the poem. In order not to destroy the poem, one must–and this is what I would like to do–try to speak of it in such a way, as Celan himself says, that the poem still speaks. It still speaks. One must speak in such a way as to give it the chance to speak. We are talking about this in reference to interpretive reading and the hermeneutics of the poem, but this also holds for life in general. One speaks, trying to listen to the other. One should speak while leaving to the other the chance to speak, while giving the floor to the other. It is a question of rhythm, of time: not to speak too much, thereby imposing silence on the other, and not to remain too silent. All this has to be negotiated.”

— Jacques Derrida, “The Truth that Wounds,” Sovereignties in Question: The Poetics of Paul Celan