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Misplaced Lens Cap
One Nice Bug Per Day
Game of Thrones Daily
AnasAbdin
Monterey Bay Aquarium

izzy's playlists!

titsay

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Jules of Nature

pixel skylines

❣ Chile in a Photography ❣
we're not kids anymore.
🪼
occasionally subtle
YOU ARE THE REASON
"I'm Dorothy Gale from Kansas"
wallacepolsom

Andulka

Love Begins
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@thombadil
neolithic people were like these rocks need spirals. and they were right.
Kilmarten Glen, Scotland
Algeria, Sahara, North Africa
Nine Mile Canyon, Utah, USA
South Goa, India
"Leaving a mark is just what humans do. We can hardly help it.
It’s what the very first humans did, marking space and time with rocks and rituals, across every continent and inhabited island.
It’s the scratches of bored children on library desks. It’s the twigs that hikers snap to mark the trail, the profane curses of drunks on bathroom walls, the marks of mothers in doorframes, the towering statues of slaveowners, the symbols scratched in slave huts, the scholarly illumination of sacred texts, the X’s of illiterate laborers in the windows of cathedrals, the hash marks on the walls of solitary, the tags on train cars. It’s the city skyline. It’s the sprawling slums. It’s the forgotten field of crumbling illegible grave markers. All we leave are standing stones.
This irrepressible artistry is not necessarily good, it’s just what we seem wired to do. There is a deep bed of darkness under the passion in this song. Maybe we have marked our world a bit much by now? Our impulse to change our environment has gone too far, our instinct to shout about our existence has become an unceasing overwhelming clamor. I don’t know how we could possibly stop. I hope we can collectively pull back, slow down, react, redirect without suppressing something elemental in ourselves.
We might start by listening more. Some of the least heard people on the planet have an awful lot to say right now, and they are saying it. Today is a good day to slow our scrawling and leave room for one another’s voices. Make a space on the crowded and overwritten wall. If we read what we are all trying desperately to say to one another, to ourselves, we might find more purpose in all the graffiti we have spread across the globe."
- On the Song “Standing Stones” by Marian Call
the leading edge
amazing that our own small creations connect us directly to the moment of our universe erupting out of nothing and the unfathomable power of existence itself and yet we look at our drawings or stories and are like 'this is bad.' bud it is not bad it is the leading edge of a billion years of beauty
Basia Irland’s Ice Books are for rivers and stream ecosystems, not for libraries (water and libraries don’t mix well.)
Basia Irland (b. 1946) works with communities to foster collaborations – with rivers and with each other. In her Ice Receding/Books Reseeding, she creates ice sculptures in the shape of books, filling the ice with local riparian seeds selected in consultation with botanists and stream ecologists for each specific riparian zone. She then releases these seed-laden ephemeral ice sculptures into rivers.
The Ice Books are hand-carved ice sculptures, some weighing over 300-pounds. They emphasize the necessity of communal effort, scientific knowledge, and artistic expression to focus on complex issues of climate disruption and watershed restoration. The ephemeral sculptures are launched into waterways during community events, and sometimes from a flotilla of kayaks. As the ice melts the seeds are released to help repair nearby riverbanks. The first Ice Book was created for an exhibition in Boulder, Colorado, to make visible the fact that the Arapaho Glacier is melting, as are glaciers around the world.
Irland writes, “When an ecosystem is restored and the plants grow along the riverbanks they give back to us by helping sequester carbon, mitigating floods and drought, pollinating other plants, dispersing seeds, holding the banks in place (slowing erosion), creating soil regeneration and preservation, acting as filters for pollutants and debris, supplying leaf-litter (for food and habitat), promoting aesthetic pleasure, and providing shelter/shade for riverside organisms including humans.”
I stumbled across this small cottage on a trackless wander through a dense local conifer plantation. The inhabitant - a woodsman, perhaps? - seems to have planted up the front garden with giant redwood trees. A bold choice for your herbaceous borders if ever there was one.
I took these photos in 2010 and never did manage to find my way back there.
So last month I got hit by a car and died right. Which I didn't initially realize until I watched some guy haul my body into his pickup and drive off. Which, being that it's deep in rural Michigan, I assume means my body will make some venison jerky and maybe some wall decoration, and I'll be resigned to being one of hundreds of deer ghosts floating around Saginaw, which is w/e. But then I find out the guy works at a taxidermy shop or something, and he's actually pretty good at stuffing and mounting deer carcasses, which I come to find out when I find myself face to face with my old body in the shop window. So naturally, I figure since ghosts need to possess something to interact with the living world and etc etc etc the most logical thing to do is to possess my own body, since it's basically a statue of myself. And a little surprisingly, it actually fits like a glove. Like, since it's my body, it feels like stepping right back into place. So I get out of town and back to my herd, eventually. And that's where the trouble starts coming into it, because after I get settled again, I don't know how to explain to everyone else what feels so weird. Like since I can move my body and do everything I used to do, it's functionally the same, like nothing happened. Or it SHOULD be, so I don't know how to explain how it's NOT. But it's just hard to explain it to someone who's never been hit by a truck I guess
Sketches by Shirley Jackson
So happy Dad decided to stay home for nap time today
New medieval peasant cultural exchange post. Medieval peasant shows you the real night sky and you light on fire and explode.
@bookshelfdreams wait wait hold on give me a minute to process these tags 😭
Church St Laurentius (1965-67) in Schramberg-Sulgen, Germany, by Karl Hans Neumann
i need to gush about how incredibly seamless her compositing is in these. Compositing is incredibly hard and time consuming work on a crisp clean digital image. But compositing into what seems to be a scanned photograph that was shot on film? Insane work. The film grain + photo paper texture is matched perfectly as well as the varying softness from being slightly out of focus in different amounts in each image. Each film stock has its own specific tone too some are warmer, others are more purply, or green and they all handle contrast with light and shadow completely differently. There was so much to take into account doing this and i really dont know how she did it other than maybe finding those locations again and shooting with the same film stock on a day with similar lighting. I cannot stress enough that for professional photographers doing complex compositing is mostly relegated to having a fully locked down camera set up in studio under controlled repeatable lighting. Super impressive and a really fantastic photo series truly.
I saw a sign at a nearby village advertising a "veillée", a storytelling evening, which sounded intriguing, so I went out of curiosity—it turned out to be an old lady who had arranged a circle of chairs in her garden and prepared drinks, and who wanted to tell folk tales and stories from her youth. Apparently she was telling someone at the market the other day that she missed the ritual of the "veillée" from pre-television days, when people would gather in the evening and tell stories, and the people she was talking to were like, well let's do a veillée! And then she put up the sign.
About 15 people came, and she sat down and started telling us stories—I loved the way she made everything sound like it had happened just yesterday and she was there, even tales she'd got from her grandmother, and the way she continually assumed we knew all the people she mentioned, and everyone spontaneously played along; she'd be like "And Martin, the bonesetter—you know Martin," (everyone nods—of course, Martin) "We never liked him much" and everyone nodded harder, our collective distaste for Martin now a shared cultural heritage of our tiny microcosm. She started with telling us the story of the communal bread oven in the village. The original oven was built right after the Revolution; before that, people had to pay to use the local aristocrat's oven, but of course around 1789 both the aristocrat and his oven were disposed of in a glorious blaze of liberty, equality, and complete lack of foresight.
Then the villagers felt really daft for having destroyed a perfectly serviceable oven that they could have now started using for free. "But you know what things were like during the revolution." (Everyone nodded sagely—who among us hasn't demolished our one and only source of bread-baking equipment in a fit of revolutionary zeal?)
The village didn't have a bread oven for decades, people travelled to another village to make bread; and then in the 19th century the village council finally voted to build a new oven. It was a communal endeavour, everyone pitched in with some stones or tools or labour, and the oven was built—but it collapsed immediately after the construction was finished. Consternation. Not to be deterred, people re-built the oven, with even more effort and care—and the second one also collapsed.
People realised that something was amiss, and the village council convened. After a lot of serious discussion, during which no one so much as mentioned the possibility of a structural flaw, people reached the only logical conclusion: the drac had sabotaged their oven. Twice. (The drac, in these parts, is the son of the devil.) The logic here, I suppose, was that no one but the devil's own child would dare to stand between French people and their bread.
The next step was even more obvious: they passed around a hat to raise money, assuming the devil’s son was after a cash donation. But (and I'm skipping a few twists and turns of the story here) the son of the devil did not want money, he wanted half of every batch of bread, for as long as the village oven stood. Consternation.
People simply could not afford to give away half of their bread, and were about to abandon the idea of having their own oven altogether—but then Saint Peter came to the rescue. (In case you didn't know, Saint Peter happens to regularly visit this one tiny village in the French countryside to check that its inhabitants are doing okay and are not encountering oven issues.) Saint Peter reminded them of one precious piece of information they had overlooked: holy water burns the devil.
People re-built the oven, for the third time. The son of the devil returned, to destroy it and/or claim his half of the first batch—but on that day, the villagers had organised a grand communal spring cleaning, dousing every street and alley in the village with copious amounts of holy water. The poor drac simply could not access the oven; every possible path scorched his feet for reasons he couldn't quite explain. So he was standing there, smouldering gently and wondering what was going on, when some passing tramp seemed to take pity on him, pointed at his satchel and told him to turn himself into a rat and jump in there, and the tramp would carry him where he wished to go. The devil's son, probably a bit frazzled at this point, agreed without much thought, became a rat and jumped in the satchel, and of course that's the point when everyone in the village sprang from the shadows, wielding sticks, shovels, pans, and started beating the devil's son senseless. (Old lady, calmly: "You could hear his bones crack.") So the son of Satan slithered back to Hell and never returned to destroy the village oven again—and the spring cleaning tradition endured; the streets were washed with holy water once a year after that, both to commemorate this glorious day of civic resistance when the village absolutely bodied the devil's offspring and to maintain basic oven safety standards. (Old lady: "But we don't bother anymore… That's too bad.")
She told us five stories, most of them artfully blending actual local events or anecdotes from her youth with folk tale elements, it was so delightful. She thanked us for coming and said she'd love to do this again sometime. I went home reflecting that listening to an old lady happily tell stories of dubious historical veracity involving the Revolution, property damage, demonic mischief and baffling municipal decision-making is literally my ideal Saturday night activity.
please put in the tags how many siblings you have and whether you’re a competitive person or not it’s for science
Silly goose doodle inspired by all the fluffy goslings on the bike path.
Leonid Meteor Storm, as seen over North America on the night of November 12-13, 1833, from Bilderatlas der Sternenwelt (Atlas of the Star World) (1892) by Edmund Weiss (Austrian, 1837-1917)