"Bliss is to love someone".
Bitter Honey, Gakuryuu Ishii, 2016.

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roma★
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we're not kids anymore.

祝日 / Permanent Vacation
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@thatsnotart
"Bliss is to love someone".
Bitter Honey, Gakuryuu Ishii, 2016.
Valerie and Her Week of Wonders (1970) directed by Jaromil Jires
Ritual (2000) directed by Hideaki Anno
Noriaki Yokosuka
Sayoko Yamaguchi by Serge Lutens (1975)
山口小夜子 ✖️ やまもと寛斎 「1981 - 82年秋冬コレクション」 イメージパンフレット
撮影:横須賀功光
[This is not a translation of the Japanese text in the original post.]
PHOTOS: Sayoko Yamaguchi for Kansai Yamamoto Fall/Winter Collection 1981-1982
"Why do I feel like I've seen her before?" you might be asking. And it's because you have; just maybe not the way you think. Sayoko Yamaguchi became the representation of the pinnacle of Japanese beauty in the 70's, replacing the Western ideals that had swept in during the occupation of Japan post-World War II. You've seen her while possibly never ever actually seeing her before. Manga artists used her as a model for their character designs, other actresses, models, and idols imitated her even decades later, and her look still influences Japanese fashion.
MODEL: Sayoko Yamaguchi [b. September 19, 1949 - d. August 14, 2007]
The Japanese Model Who Transformed Fashion's Beauty Norms [June 29th 2017]
Sayoko Yamaguchi, an enigma til the end [May 30th 2015]
[Or maybe you're just a Steely Dan fan]
[IMAGE DESCRIPTION: Paperboard cover of the Steely Dan album "Aja". Album cover is black, depicting a woman wearing a black dress, looking to the side, with her short black hair covering her jawline. Only the profile of her nose and mouth are visible. There is a red and white stripe down her dress appearing to bisect the album.]
PHOTOGRAPHER: Noriaki Yokosuka [b. 1937 - d. 2003]
2018 光と鬼│横須賀功光 Noriaki Yokosuka Exhibition
Art Net History
DESIGNER: Kansai Yamamoto [b. 1944 - d. 2020]
Kansai Yamamoto at the Vintage Fashion Guild
Japanese Flamboyance in Europe: Kansai Yamamoto [Sept. 28th 2018]
Japanese Designer Kansai Yamamoto Has Died at 76 [July 27th 2020]
2012
予兆
Semi-Slugs: these are actual gastropods that are in the process of evolving from snails into slugs, with their shells gradually reducing and receding into their bodies
Above: Fastosarion brazieri, commonly known as the chameleon semi-slug, and an unidentified species of semi-slug from the genus Sheldonia
The term "semi-slug" is used to describe an intermediate stage of evolution as snails evolve into slugs. Nearly 1,000 different species of semi-slugs are known to exist, and these bizarre little creatures can be found on at least four continents.
Above: Fastosarion brazieri and Varadia amboliensis
Each species of semi-slug is technically still classified as a snail, but its shell is noticeably reduced, becoming more internalized as the species evolves. A semi-slug officially becomes a regular-slug once its shell is no longer visible at all.
As this article explains:
If life were simple, there would be snails and slugs. Snails carry their homes on their backs; slugs are naked and embarrassed. But life isn’t simple, so of course there’s secret option #3 – the semi-slug, a bizarre creature that sits exactly between the snail and the slug.
Above: genus Satiella and genus Euaustenia
This article also adds:
In contrast to snails that have an external shell large enough to accommodate the body, or slugs in which the shell is completely internal or absent, semi-slugs have an external shell, but the shell is too small to accommodate the animal’s entire body.
Above: Megaustenia siamensis
This process is known as limacization, and it's especially common in moist, low-calcium environments where a snail's shell may be more of a burden than a benefit:
Terrestrial slugs are not a monophyletic group, but a case of convergent evolution in which the slug form evolved from different lineages of land snails that gradually lost their shell through a process called limacization. Limacization resulted in adaptive radiation in land snail lineages, as slugs became adapted to diverse moist and protected spaces, such as crevices in rocks and wood debris. The loss of the shell also allowed for more movement and less calcium dependence, making slugs more successful as pests.
Above: Gaeotis nigrolineata, also known as the Puerto Rican semi-slug, has a neon green shell that is almost completely internalized, but the shell is clearly visible through the semi-slug's translucent body
Some semi-slugs have shells that are still opaque and largely visible, with the mantle (a patch of flesh) covering only the outer edges of the shell, while others have shells that are more significantly reduced, transparent, and/or concealed.
Above: Ibycus rachelae, commonly known as the green-shelled semi-slug, and a species of semi-slug from the genus Durgella
This topic was mentioned in my previous post about Ibycus rachelae, but I wanted to write a more detailed post about semi-slugs, because they're just so fascinating and weird.
Above: a black-and-white semi-slug from subfamily Sheldoniinae
Above: Fastosarion brazieri again, but this one is especially spiky for some reason
Sources & More Info:
Australian Geographic: Meet the Semi-Slug, a Snail without a Home
Carnegie Museum of Natural History: What's So Good about Being a Slug?
Frontiers: Terrestrial Slugs in Neotropical Agroecosystems (PDF)
iNaturalist: Photos 1, 2, 3, 4, 5, 6, 7, 8, 9, 11, & 12
The Shell-Makers (Introducing Molluscs): On Becoming Sluggish
Land Snails and Slugs of Sabah and Labuan, Malaysia: Semi-Slugs
Contributions to Zoology: Phylogeny and Systematic Revision of the Helicarionid Semislugs of Eastern Queensland
Yi Yi Jeong-Eun - 거기, 일몰 속에 무지개 (There, a rainbow in the sunset), 2024
Poster by Aquirax Uno for a TBS Radio program, 1969
Art by Aquirax Uno
Nejc Prah
2018
Nejc Prah
In our last design class, we briefly talked about Nejc Prah. Rob showed us some of his work and it immediately recognized it from a Frank Ocean’s single cover (DHL, and In my room.) I did not know that those single covers were made by Prah. To be honest, before this lecture I did not even know who Nejc Prah was but I really gravitated towards his work. It reminds me of an exhibition I saw in Stedelijk museum, Colorful Japan. So after our class, I did some research and got some new insides.
During my research, I came to understand the way Prah approaches his projects. In a lot of his work, you can find very simple objects such as screws, brooms, but also a lot of fruits and vegetables. He photographs these items and uses the shapes of the objects as new shapes in his work. In one of the posters, Prah made for Koordinate Zvoka (a music event) you can clearly see this approach. From afar you may not immediately notice all the different objects he used in this image, but taking a closer look you can see that he used the following objects broccoli, cauliflower, bell pepper, onion, and potatoes.
Prah is also an identity creator. He creates a lot of new identities for already existing businesses. A good example is the new identity of Fotopub. A photography festival in Novo mesto, Slovenia. In 2013 he recreated the identity of the festival. He did this by using a cracking egg as the new symbol. A symbol that stands for the rebirth of the festival.
But also the identity from Tresk (a small music festival in Slovenia). He used an earplug as the main inspiration for the poster he created for this festival. He chose this object because earplugs are about blocking sounds, but lots of people wear earplugs when they go see music shows.
In one intervieuw Prah says:
“Orange is a great piece of design. It has an elegant shape (organic round), colour (orange) and texture. The skin functions as a protective layer, smells good and is full of oils. Once you peel it, the inside is sectioned into small portions which makes it easy to eat and share. It is sweet, juicy and healthy.”
The way Prah describes this orange makes it sound like so much more than just a regular orange. Maybe this could be seen as a way of creating value. It helps you understand what the orange has to offer. But if you then take a look at what Prah has created from the orange it is totally different from the way he described it. He puts it in a different context which gives it a different meaning.
This is something I have been struggling with during my own project. I find it hard to look at my object and imaging it in a different context or to give it a different function/purpose. I try to think of ways to create value. But for me, this only resulted in a lot of thinking and not creating.
So having done my research on Prah and learning more about his approach I will challenge my self to approach my subject in a similar way. Just to see where that will take me.
Dora Carrington (1893-1932)
The mill at Tidmarsh, 1918
THE COSMIC CARTOGRAPHIES OF SHANE DRINKWATER - an exhibition that is finishing today in Cavin Morris Gallery. But our friend Shane Drinkwater continues creating.
https://www.cavinmorris.com/the-cosmic-cartographies-of...