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depsidase

my-russia

First computer animated cat ever - “Koshechka” (”A kitty”), 1968

kaijuno

bebs-art-gallery

Albert Square, Manchester (1910) by Adolphe Valette | Contemporary Art (2015) by Emily Allchurch

bread-making-vikings

the top is an original, from 1910, the bottom is a new version painted in 2015

spacedouterri

THE BOTTOM IS A PAINTING????

open-sketchbook

also does a really good job reminding the view just how much air quality has improved since we stopped burning coal in every building lol

ericvilas

The ultimate question of life, the universe, and everything, is "what the fuck is 6 7"

The computer, sadly, misinterpreted the space as multiplication.

ericvilas

Truly the best possible outcome this post could've had

nevver

The back of beyond, Alexey Vasilyev

tinyghosts

“I want you to do this with me for one month. One month. Write 10 observations a week and by the end of four weeks, you will have an answer. Because when someone writes about the rustic gutter and the water pouring through it onto the muddy grass, the real pours into the room. And it’s thrilling. We’re all enlivened by it. We don’t have to find more than the rustic gutter and the muddy grass and the pouring cold water.”

— Marie Howe, Boston University’s 2016 Theopoetics Conference (via mothersofmyheart)

artemis-howl

Marie Howe:

I ask my students every week to write 10 observations of the actual world. It’s very hard for them.

Ms. Tippett:

Really?

Ms. Howe:

They really find it hard.

Ms. Tippett:

What do you mean? What is the assignment? 10 observations of their actual world?

Ms. Howe:

Just tell me what you saw this morning like in two lines. I saw a water glass on a brown tablecloth, and the light came through it in three places. No metaphor. And to resist metaphor is very difficult because you have to actually endure the thing itself, which hurts us for some reason.

Ms. Tippett:

It does.

Ms. Howe:

It hurts us.

Ms. Tippett:

You naming something.

Ms. Howe:

We want to say, “It was like this; it was like that.” We want to look away. And to be with a glass of water or to be with anything — and then they say, “Well, there’s nothing important enough.” And that’s whole thing. It’s the point.

Ms. Howe:

It’s the this, right?

Ms. Howe:

Right, the this, whatever. And then they say, “Oh, I saw a lot of people who really want” — and, “No, no, no. No abstractions, no interpretations.” But then this amazing thing happens, Krista. The fourth week or so, they come in and clinkety, clank, clank, clank, onto the table pours all this stuff. And it so thrilling. I mean, it is thrilling. Everybody can feel it. Everyone is just like, “Wow.” The slice of apple, and then that gleam of the knife, and the sound of the trashcan closing, and the maple tree outside, and the blue jay. I mean, it almost comes clanking into the room. And it’s just amazing.

Ms. Tippett:

In some basic level, what they’ve done is just engage with their senses.

Ms. Howe:

Yeah, and have been present out of their minds and just noticing what’s around them, which is — we don’t do. And again, not to compare it to anything. They’re not allowed. And that’s very hard for them. And then on the fifth or sixth week, I say, “OK, use metaphors.” And they don’t want to. They don’t know how. They’re like, “Why would I? Why would I compare that to anything when it’s itself?” Exactly. Good question.

So then you think, why the necessity of a metaphor? Why do you have to use a metaphor now? Not just to do it to avoid it, but to do it to make it more there. And it’s very interesting.

The words and silences we live by. The rituals that sustain us. The poetry of ordinary time.

fashion-runways

“The living look was grown in sea-water baths over several months within a specialised nutrient gel. In collaboration with Chris Bellamy, the Pyrocystis Lunula algae were moulded into an protective membrane then attentively cared for in conditions to mimic their natural marine home, with humidity, temperature, and circadian rhythm all tuned to their precise needs. The chamber in which the living look is nurtured becomes, therefore, a microcosm of the ocean’s delicate balancing point. Caring for the garment, and for the 125 million Pyrocystis Lunula it contains, requires a symbiotic relationship and redefines the creation traditions entirely, as the garment is cultivated rather than constructed.”

IRIS VAN HERPEN Couture Fall/Winter 2026 if you want to support this blog consider donating to: ko-fi.com/fashionrunways

vintage-tigre

hachama

"If you ever feel heavy because you care deeply about injustice, suffering, and ecological destruction, remember that a trillion dollar propaganda machine was built to make you numb and it didn't work on you"

lasaraconor

Kidd Gorgeous -Nightfish

thetableintheback

[image description: a gif parodying edward hopper’s nighthawks. it depicts the diner filled with water and various fish swimming around inside it. the light from the diner casts reflections through the water onto the street outside. /end description]

carnivalseb

good thing he didn’t add a door

theodysseyofhomer

paintings of ulysses and the sirens rated by how securely he is tied to the mast

theodysseyofhomer

Ulysses and the Sirens by John William Waterhouse

looks reasonably secure, he’s probably not going anywhere. waterhouse always comes through. 10/10

Ulysses and the Sirens by Herbert James Draper

you’ve allowed too much freedom of movement for his sexy arms!!! he’s aboutta BUST through the ropes and join the choir invisible!!! but i do love the crewmate to the left with the king-wrangling job. i bet that’s eurylochus. 6/10

Odysseus and the Sirens by Alexander Bruckmann

they’re pretending to ask for advice on building wooden horses, and when he jumps overboard to mansplain, that little wristlet is not gonna stop him. 0/10

Ulysses and Sirens by Pablo Picasso

this ulysses is forever trapped in flatland. he will not jump overboard. he knows there is no true escape with the sirens, not really. 7/10

Ulysses and the Sirens by Léon Belly

in 3 minutes this mans is going to be dragging behind the boat like a jet ski. 1/10, there must have been a thought process at least

Odysseus and the sirens (stamnos, Greek artifact in the British museum)

rope to naked flesh ratio is so funny here but you can’t listen to the forbidden song of the sirens if you ain’t cute <3 9/10

The Sirens and Ulysses by William Etty

i’m sorry, i hate this. what?

fish women want him for his thick ass. only ropes around here are the ones he pulls in the gym. 0/10

Ulysses and the Sirens by Marie-François Firmin-Girard

finally…. a socially distanced ulysses. you did it boys. can’t sink this bad boy. 100/10

kaijuno

The SS Warrimoo, a passenger steamship traveling from Vancouver to Australia, was silently knifing its way across the mid-Pacific waters. The navigator had just finished calculating a star fix and handed the results to Captain John DS. Phillips.

The Warrimoo's coordinates were LAT 0º 31' N, LONG 179 30' W. The date was December 31, 1899. "Know what this means?" First Mate Payton announced, "We're only a few miles from the intersection of the Equator and the International Date Line."

Captain Phillips was prankish enough to seize the opportunity to do the nautical feat of a lifetime. He summoned his navigators to the bridge to double-check the ship's position. He altered his course slightly to focus directly on his target. He then altered the engine's speed.

The calm weather and clear night worked to his advantage. At midnight, the SS Warrimoo rested on the Equator, exactly where it had crossed the International Date Line. The ramifications of this odd arrangement were numerous.

The ship's bow was in the Southern Hemisphere, in the middle of summer. The stern was in the Northern Hemisphere, in the midst of winter. The date on the aft portion of the ship was December 31, 1899. The date on the forward half of the ship was January 1, 1900. The ship experienced multiple days, months, years, seasons, and centuries simultaneously.

jordanbolton

To The Substitute Art Teacher - Jordan Bolton

llatimeria

So apparently the pro-Tetris scene is exploding right now because a 13 year old nerd just reached the game's true killscreen for the first time ever

llatimeria

So, basically, for much of Tetris's history, people believed level 29 was the "last" level of Tetris, as the speed of the blocks would get so high that no human could do anything but lose; the blocks would go so fast that human hands physically could not control them. However, Tetris does not get any faster beyond that point, so if you're capable of playing level 29, you're capable of playing hypothetically infinitely.

Except Tetris, the original version for the NES, is not a hypothetical. It's a physical object, an item you can touch and hold, and it has limits. Many classic arcade-style video games have honest-to-god killscreens, where the game breaks so badly that it becomes completely unplayable. Pac-Man, famously, has a killscreen that garbles half of the playing field and doesn't spawn enough dots for the level to ever end. Tetris was assumed to be no exception, but because of the presumed-impossible difficulty of level 29, the community considered that to be Tetris's killscreen, and all high-leveled Tetris play centered around level 29 being the absolute end of your run, no matter what.

But, and if you've heard literally anything about people getting insanely good at retro games, you'll know what comes next. Of course, someone figures out how to control the game past level 29. In 2011, Thor Aackerlund discovered a technique now known as "hypertapping" (which is exactly what it sounds like, tapping very very fast) - and became the first person to play level 30.

But hypertapping wasn't enough. It was still stupidly difficult to get to, let alone past, level 30. Then this guy named Cheez shows up and finds that using an even more absurd technique, called "Rolling", which was even faster than hypertapping. People weren't just hitting level 30, but then 40, then 50, and then all the way into the 90s. Since all post-29 levels have the exact same speed, once they mastered rolling, they were pretty much good to play forever.

With levels 29+ conquered, now players could face the real killscreen of Tetris. A Tetris-playing AI got the first crash, but since it was playing a very slightly modified version (to show a larger score number, because the vanilla score counter didn't have enough digits), it only kinda-sorted counted. So the community picked apart the game's code to find where the game could hypothetically crash while completely unmodified - and found the current human record was not that far off.

So the entire community fucking scrambles to be the first person to crash Tetris, but then were confounded by another technically-not-game-ending-but-still-pretty-much-impossible-for-a-human bug; after level 138, the game stops choosing the colors for the blocks from where it's supposed to, leading it to display some truly heinously color palettes. Most of them are just ugly, but a few make the blocks you're placing next to invisible. (This was actually known about before the AI even crashed the game, and part of the reason the AI could get so much further than humans; it didn't need to visually see the blocks.)

Just next to invisible, though. You could still sorta see most of the blocks, and when you pass the level, the game pulls a new color palette, so if you can tough it out long enough to get 10 lines, you're probably gonna be able to continue your game for a while after that. It's annoying as hell, but not impossible. So, of course, the runners start getting past them and brushing up against the crashable levels.

And by runners, I mostly mean a 13 year old boy who goes by the online handle Blue Scuti. He'd skyrocketed into fame in the Tetris community relatively recently by achieving scores and levels that most adults couldn't even dream of, so of course he was among the first people to get past both impossible-palette levels, and he was able to keep going.

The game doesn't always crash in one specific spot, though. It just starts having a chance to crash after a certain point. You might have to perform some specific actions in specific windows of time to get it to crash on purpose, and it's much more likely that you'll lose control and lose your run before you achieve that goal.

Blue Scuti missed the first crash opportunity in his run. He was the first person to get that far at all, so it'd be a record regardless, but he was determined to win. He somehow keeps his cool, despite being a literal child with thousands of eyes on him (this was streamed on Twitch, of course), and never loses control of his stack, all the way until he reaches the next crash opportunity all the way on level 157.

And he fucking does it. He gets a single line clear in the middle of level 157 and the game just stops. It completely crashed. A 13 year old boy nicknamed Blue Scuti is the first human being in history to crash Tetris in this way. He is the first person ever to see Tetris's real killscreen. This game is over twice his age, and he is the first to kill it dead.

This kid fucking rules.