Designed by Hector Guimard, French, 1867–1942; made by Fonderies de Saint-Dizier, Saint-Dizier, France; Balustrade, 1905 cast iron; 16 5/8 x 34 x 1 ¼ inches; Saint Louis Art Museum, Richard Brumbaugh
DEAR READER
Claire Keane
Cosmic Funnies

Love Begins

pixel skylines

★
Lint Roller? I Barely Know Her

No title available
"I'm Dorothy Gale from Kansas"
No title available
todays bird
let's talk about Bridgerton tea, my ask is open
trying on a metaphor
noise dept.

祝日 / Permanent Vacation

Discoholic 🪩
Keni
we're not kids anymore.

Kaledo Art
he wasn't even looking at me and he found me

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@plurmud
Designed by Hector Guimard, French, 1867–1942; made by Fonderies de Saint-Dizier, Saint-Dizier, France; Balustrade, 1905 cast iron; 16 5/8 x 34 x 1 ¼ inches; Saint Louis Art Museum, Richard Brumbaugh
Paintings by Micah Ofstedahl
Katsuya Terada, zenbu (1999)
Photography by Xuebing Du
Instagram: xuebing.du
#425random
@rndmobj
Glass models from the Cornell Collection of Blaschka Invertebrate Models
Poet Claire Hong shares a memory of Louise Glück on Twitter/X
Gary Justis Modern 3, 2011 Baroque 2, 2011 (Monoprint)
Sneha Solanki ‘The Lovers’
Two networked machines, one infected with a virus, slowly infects the other through the interface of classic romantic poetry.
A breakdown in the relationship was inevitable once the virus had seeped into the memory of one machine and then into the other through a singular network cable affecting the poetic text files. Communication between the two deteriorated, leading to irrational & at times odd behaviour. Each machine reacted with equal confusion and conflict. The interface text became an illegible poetic mutation of itself.
[ID: Two computers facing each other, connected to one another, on rectangular platforms. The room is backlit in red. End ID.]
l%ve
Baroque: Yuganda Mousou PS1 SLPM 86328 NTSC-J
9262010-8hq