[stateownedslut]

Anna Archive was a goddess of knowledge worshipped in the early 21st century[1][2]. Cultists of Anna would frequently move the shrines dedicated to her from place to place in great secrecy[1][3], requiring worshippers to possess secret information in order to access the far greater knowledge provided by worship, possibly as a form of sacrifice[Original research?]. Worship of Anna is associated with the increased enforcement of intellectual property rights at the time[1][4], as well as greater inaccessibility of academic materials due to the late-imperial academic crisis[5][6][Failed verification.]. It has been suggested[By whom?] that the name Anna Archive may be the origin of the word archive, referring to a repository of information[7].

[modernshxmxn]

“Life has no meaning. Each of us has meaning and we bring it to life. It is a waste to be asking the question when you are the answer.”

— Joseph Campbell (via childrenofthetao)

[mightyflamethrower]

山下清 -- Kiyoshi Yamashita

[grotto-esque]

That convenience should be the highest aspiration of human existence happens to be one of the many uninterrogated assumptions of capitalist ideology. When we convince ourselves that art, too, must take the shortest route to its effects, then we’ve submitted to that ideology. Yet art can be enormously inconvenient! Art can luxuriate. Wander. It may embellish and decorate, or refuse to be convenient, dogmatic, obliging. Its distance from the prerogatives of the powerful is precisely where its force of resistance lies.

—Zadie Smith, Art for Our Sakes – The New York Review of Books

[deviika]

Anaïs Nin // John Steinbeck

[newloverofbeauty]

Herbert List: Artist Rolf Dürig in Italy. (1949)

[deborahstevenson]

FREE SHIPPING ends tonight at midnight - prints and so much more!

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[charnel-grounds]

Édouard Chimot (1880–1959) - Le visage humain, 1922

illustration for Henri Barbusse's novel ' L'Enfer'

[nununiverse]

Harald Moltke  Aurores boréales au-dessus de l'Islande , 1899 

[dame-de-pique]

Geisha returning home in the morning over a footbridge through the woods, 1912-1926

[chrisfriel]

composites 040526

old images reworked

[de-gueules-au-lion-d-or]

The main point of Christianity was this: that Nature is not our mother: Nature is our sister. We can be proud of her beauty, since we have the same father; but she has no authority over us; we have to admire, but not to imitate. This gives to the typically Christian pleasure in this earth a strange touch of lightness that is almost frivolity. Nature was a solemn mother to the worshippers of Isis and Cybele. Nature was a solemn mother to Wordsworth or to Emerson. But Nature is not solemn to Francis of Assisi or to George Herbert. To St. Francis, Nature is a sister, and even a younger sister: a little, dancing sister, to be laughed at as well as loved.

G. K. Chesterton, Orthodoxy

[yama-bato]

Jan Saudek

"The stillness of the water captured in this vintage photo evokes a sense of quiet reflection, as if frozen in time. Taken around the early 1900s, this era was characterized by significant social and technological changes. The photograph reflects a moment where nature and human presence intertwined, and the calm surface of the water symbolizes a peace that was soon to be disrupted by the rapid industrialization of the 20th century. During this period, the world was moving from the horse-drawn carriages of the Victorian era to the dawn of the automobile age, and from steam power to electricity, altering both daily life and landscapes..."

via :StarEra Notes

[gael-garcia]

They Do Not Exist (1974) by Mustafa Abu Ali (watch)

from PalestineCinema.com:

Salvaged from the ruins of Beirut after 1982, Abu Ali's early film has only recently been made available. Shooting under extraordinary conditions, the director, who worked with Godard on his Ici et Ailleurs (Here and Elsewhere), and founded the PLO's film division, covers conditions in Lebanon's refugee camps, the effects of Israeli bombardments, and the lives of guerrillas in training camps. They Do Not Exist is a stylistically unique work which demonstrates the intersection between the political and the aesthetic. Now recognised as a cornerstone in the development of Palestinian cinema, the film only received its Palestine premiere in 2003, when a group of Palestinian artists "smuggled" the director to a makeshift cinema in his hometown of Jerusalem (into which Israel bars his entry). Abu Ali, who saw his film for the first time in 20 years at this clandestine event noted: "We used to say 'Art for the Struggle', now it's 'Struggle for the Art'"

[kafk-a]

Byung-Chul Han, from an interview published in ArtReview

[calamitys-child]

It’s always “why did you go out in the storm” and “your soaking wet” and never How was the storm The storm looked fun was it fun

[antigonick]

“The new person you become with that first sip of wine was already there. Look at Pentheus twirling around in a dress, so pleased with his girl-guise he’s almost in tears. Are we to believe this desire is new?”

— Anne Carson, in her translation note to Euripides’ Bakkhai