markrichardson:

"My voice was given to me as an instrument of inspiration for my friends, and a tool of torture and destruction to my enemies." - Diamanda Galás, 1988.

beyond-the-massive-darkness:

Lost Highway (1997) - dir. David Lynch

(via laurapalmerwalkswithme)

The Alnwick Poison Garden is pretty much what you’d think it is: a garden full of plants that can kill you (among many other things). Some of the plants are so dangerous that they have to be kept behind bars. [x]

(Source: bregma, via kaltrarreme)

Invisible Cities by Italo Calvino

phoebebishopwright:

'It is the desperate moment when we discover that this empire, which had seemed to us the sum of all wonders, is an endless, formless ruin, that corruption's gangrene has spread too far to be healed by our sceptre, that the triumph over enemy soverigns has made us the heirs of their long undoing'

'Isadora, a city where the buildings have spiral staircases encrusted with spiral seashells, where perfect telescopes and violins are made'

'the nubile girls of each quarter marry youths of other quarters and their parents exchange the goods that each family holds in monoply—bergamot, sturgeon roe, astrolabes, amethyst—you can then work from these facts until you learn everything you wish about the city in the past, present and future. Or else you can say, like the camel driver who took me there: 'I arrived here in my first youth, one morning, many people were hurrying along the streets toward the market, the women had fine teeth and looked you straight in the eye, three soldiers on a platform played the trumpet, and all around wheels turned and colored banners fluttered in in the wind. Before then I had known only the desert and the caravan routes.'

'I could tell you how many steps make up the streets rising like stairways, and the degree of the arcades' curves, and what kind of zinc scales cover the roofs; but I already know this would be the same as telling you nothing. The city does not consist of this, but of relationships between the measurements of its space and the events of its past : the height of a lamppost and the distance from the ground of a hanged usurper's swaying feet; the line strung from the lamppost to the railing opposite and the festoons that decorate the course of the queen's nuptial procession; the height of that railing and the leap of the adulterer who climbed over it at dawn; the tilt of a guttering and a cat's progress along it as he slips into the same window; the firing range of a gunboat which has suddenly appeared beyond the cape and the bomb that destroys the guttering; the rips in the fish net and the three old men seated on the dock mending nets and telling each other for the hundredth time the story of the gunboat of the usurper, who some say was the queen's illegitimate son, abandoned in his swaddling clothes there on the dock.'

'You walk for days among trees and among stones. Rarely does the eye light on a thing, and then only when it has recognized that thing as the sign of another thing: a print in the sand indicates the tiger's passage; a marsh announces a vein of water; the hibiscus flower, the end of winter. All the rest is silent and interchangeable; trees and stones are only what they are.'

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an-exercise-in-exegesis:

fitness-ecstasy:



MRI scan of a human subject from the cranium to the feet.



Cold cuts.

an-exercise-in-exegesis:

fitness-ecstasy:

MRI scan of a human subject from the cranium to the feet.

Cold cuts.

(Source: samstruecalling)

dear-teddybear:

Peep Show or Endless Love Show, Yayoi Kusama, 1966. The mirrors and lights create a world separated from our reality, they allow the viewer to experience some of the visuals Kusama encounters in her hallucinations. The self is obliterated and the mirrored walls and ceilings create a disorienting effect in which everything is endlessly multiplied and you can only know which way is up or down due to the gravity that keeps a person standing on the ground. 

dear-teddybear:

Peep Show or Endless Love Show, Yayoi Kusama, 1966. The mirrors and lights create a world separated from our reality, they allow the viewer to experience some of the visuals Kusama encounters in her hallucinations. The self is obliterated and the mirrored walls and ceilings create a disorienting effect in which everything is endlessly multiplied and you can only know which way is up or down due to the gravity that keeps a person standing on the ground. 

(Source: crystallizations, via killmyblues)

(Source: who-, via usagi-island)

drakontomalloi:

Ferdinand Keller - The Pool. 1911

drakontomalloi:

Ferdinand Keller - The Pool. 1911

(via kaltrarreme)