Alisa U Zemlji Chuda

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Misplaced Lens Cap
RMH

祝日 / Permanent Vacation

Andulka
Aqua Utopia|海の底で記憶を紡ぐ
we're not kids anymore.
Sweet Seals For You, Always

Product Placement

PR's Tumblrdome
Keni

Kaledo Art
NASA

pixel skylines

roma★
trying on a metaphor
will byers stan first human second
seen from Spain

seen from United States

seen from Malaysia

seen from South Africa
seen from Türkiye
seen from United States
seen from Australia
seen from South Korea
seen from United Kingdom

seen from Malaysia

seen from Türkiye
seen from Japan

seen from Malaysia
seen from United States
seen from Finland
seen from Germany

seen from Malaysia

seen from Canada

seen from Netherlands
seen from China
@penellohpee
Face game cards version 2.0 (currently under edit for first print run, Dec. 2015!!)
https://www.kickstarter.com/projects/whythelongfacegame/why-the-long-face-game
+ the woodchuck/groundhog that didn’t make the cut (who is he, why did I light it so harshly, etc.)
Tokyo Vanity - “That’s My Best Friend” (2015)
:)
notable budapest pigeon deaths, may-june 2015
back from Budapest & processing all I collected and talked about while in residency with Igor Metropol for 2 months. already miss these sad plants and this ubiquitous green...
Nautical week continues, out comes the puffin
museum of hungarian agriculture, hunting exhibition
heart wigglin for these lovely ladies & bob
One could tell by the radishes that the Grey Arabian's customers were connoisseurs, for every single radish he tried proved top grade. A light perspiration bedewed their ivory bellies that had not a trace of the brown worm that insidiously eats its way to a radish's heart, nor were there any spongy, decaying parts, the sight of which is so discouraging for the lover of radishes, leaving him to imagine there were no decent folks, or radishes, left in the world, because looks are deceptive, and even the most honest-looking fruit is rotten to the core."
from Last Cigar at the Grey Arabian, Gyula Krúdy, 1927
Shandor Hassan Under Development
ongoing May 2015
My residency here is with the arts organization Igor Metropol, which is in a warehouse building in the Kelenföld area of Buda, not far from the power plant I visited to see the Eye Resonator. I ran into artist Shandor Hassan, who told me about Igor Metropol in the first place. Shandor showed me around the building complex where Igor lives. There is FONO, a dance/culture center; Artús, a theater/bar/gallery; and Shandor's own installation space. His work is an ongoing investigation of several rooms of the warehouse over the course of the month of May. Using materials salvaged from the rooms and the surrounding urban wilds, with a few basic hardware store items (white chalk), Shandor is exploring ideas of scale, of architecture, of space. It looks amazing so far, and each day brings new aspects to the installation.
Eye Resonator at the Power Plant, by Brigitta Zics
3 May 2015
The opportunity to experience "dazzling art deco dome of the Kelenföld Power Plant's Control room, a masterpiece by the Hungarian architect Virgil Borbiró" intrigued almost as much as considering what an eye resonator might be. The approach involved walking through the old power plant grounds, seeking OFF signs (which I’d quickly realize is part of the appeal of most OFF events- a hunt for the sign indicating you’re in the right place and about to see something intriguing), making my way through a hallway of power plant history, selected archival materials on architecture, and an array of beanbags (a stop I was supposed to make before entering the Eye Resonator; I might have found the three scripted options for the experience you could choose to have with the ER useful beforehand, however I didn’t listen until afterwards-- nice for reflection, anyway). Then, up the stairs to an incredible room. All pastel green, an oval of dials and switches with a patterned glass roof. The assortment of people in the room were as busy documenting the space as I was, and in due time we each took our turn with the Eye Resonator. As directed by an instructional panel, I assumed my position on a marked space on the flood. The brass dome of the Eye Resonator descended over me, and I positioned my head properly- so as not to activate red LEDs in my peripheral vision. Then, it began. What it was...I moved my eyes across the screen in front of me, and a swarm of red seagull-like shapes seemed to follow my gaze. I darted my eyes around a bit, and the flock...sort of followed. I relaxed into it and just slowly moved my gaze, thinking some thoughts about where I was and what control means. Then, with a tap on the shoulder my turn was over. I stayed in the room for a while longer, taking more photos and watching others in the Eye Resonator. Lack of reaction abounded. The overwhelming feeling was awe at the room itself, of thorough inspection and documentation, of polite and precise entrance into the resonator but complete satisfaction with the simple act of being in the space. The room had control over us; it resonated in the evocative, agreeable way.
how to make a home nature museum (by vinson brown)
The steps necessary to preparing a natural history museum are:
1. Decide you want to make a natural history museum.
2. Find out exactly how much room you can have for it.
3. Study this space carefully and decide what kids of specimens and displays you want to use if for. (This you can know best after reading the suggestions in this book.)
4. Draw a diagram showing your plan for using this space. (The diagrams in Chapters 2 and 9 will help you with this, though these diagrams are more complete than the one you need to make.)
5. Start collecting the specimens you need, following the directions in Chapter 3.
6. Classify your specimens as correctly as possible. (See Chapter 4.)
7. Mount and label your specimens correctly and attractively. (Chapter 5 gives you the details.)
8. Collect pictures of photographs that will go with your collections and help explain your museum displays. Some can be your own drawings or diagrams. (Look in Chapters 6 and 8 for help.)
9. If you need to, build backgrounds in your museum cases with clay, papier-mache, sand or wax. And make plaster, rubber or wax models of animals and plants. (See Chapters 7, 8 and 9.)
10. Arrange your whole museum in as interesting a way as you can. (You will find ideas to help you in Chapter 9.)
11. Keep developing and building your collections and displays into a museum that becomes more and more attractive, interesting and complete. You will find many ideas for doing this throughout this book. Your first book will naturally not be as good as what you do later, so replace your early work with better when you can.