hologram

mothrasmash: I love soccer, but I’m reblogging this.

Tue, 18 Jun 2013 18:31:52 +0100

I love soccer, but I’m reblogging this.

Photo

Tue, 18 Jun 2013 18:29:23 +0100

the-science-llama: Daphnia

Mon, 17 Jun 2013 23:50:48 +0100

Daphnia atkinsoni // Dr. Jan Michels, Zoological Institute, Kiel University // posted by The-Science-Llama

Daphnia pulex // Dr. Jan Michels, Zoological Institute, Kiel University // posted by The-Science-Llama

the-science-llama:

Daphnia

idterab: Words and images from Allen Ginsberg’s April...

Mon, 17 Jun 2013 17:14:30 +0100

idterab:

Words and images from Allen Ginsberg’s April 1969 Playboy interview

Audio

Sun, 16 Jun 2013 21:19:57 +0100

"I didn’t use any lights. It’s funny, because sometimes I talk to other cinematographers and they..."

Sat, 15 Jun 2013 16:34:37 +0100

“I didn’t use any lights. It’s funny, because sometimes I talk to other cinematographers and they say, ‘Oh my God, Terry doesn’t let you use lights,’ but it’s not that he doesn’t let me — I don’t want to use them. On Tree of Life we really tried to do combinations of scenes with light and scenes without, and when you add movie lights they doesn’t have the complexity of natural light. You’re putting one light that has one tone and one color through some diffusion, and it doesn’t have the complexity of natural light coming in through the window from a blue sky and clouds bouncing green off the grass. Some would call that kind of light imperfect, but it’s more accurate to call it more complex. That complexity of natural light and the way it hits the face is amazing, and when you start to go that way it’s hard to go back and light [things artificially]. The less you use artificial light, the more you want to avoid it, because the scenes feel weak or weird or fake. Often we would be inside a house and it would be cloudy and we would know that we’d probably have to rewrite the scene and shoot it outside or come back another day, but that would be better than the option of lighting the scene and not liking it.”

- ~ Emmanuel Lubezki in American Cinematographer about shooting To The Wonder.

(via smoggywood)

lntoxicate: this is the happiest picture ever oh myg odo he is...

Sat, 15 Jun 2013 16:31:24 +0100

lntoxicate:

this is the happiest picture ever oh myg odo he is smiling there i s a rainbow he is havingfun in the sun

Photo

Sat, 15 Jun 2013 16:29:42 +0100

Photo

Sat, 15 Jun 2013 16:28:24 +0100

iheartmyart: Rui Tenreiro, Journey to the Centre of Capricorn,...

Sat, 15 Jun 2013 16:23:45 +0100

iheartmyart:

Rui Tenreiro, Journey to the Centre of Capricorn, 2013, Film 1: “Moshanyana”

saloandseverine: Les Enfants du paradis (Children of Paradise),...

Fri, 14 Jun 2013 17:57:03 +0100

saloandseverine:

Les Enfants du paradis (Children of Paradise), Marcel Carné, 1945

srednod: Virgin and Child - William Bouguereau 1888

Fri, 14 Jun 2013 17:55:51 +0100

srednod:

Virgin and Child - William Bouguereau 1888

Photo

Fri, 14 Jun 2013 17:54:57 +0100

speakingparts: PIERO ROI

Fri, 14 Jun 2013 17:53:13 +0100

speakingparts:

PIERO ROI

apocalyps0: Nine Inch Nails // The Four Of Us Are Dying

Fri, 14 Jun 2013 17:50:57 +0100

apocalyps0:

Nine Inch Nails // The Four Of Us Are Dying

hyperallergic: More landscape images from the Democratic...

Fri, 14 Jun 2013 08:31:01 +0100

hyperallergic:

More landscape images from the Democratic Republic of the Congo as part of Richard Mosse’s “The Enclave” (2013) video installation at the 55th Venice Biennale.

"In the daylight we know what’s gone is gone, but at night it’s different. Nothing gets finished, not..."

Thu, 13 Jun 2013 22:49:42 +0100

“In the daylight we know
what’s gone is gone,
but at night it’s different.
Nothing gets finished,
not dying, not mourning;
the dead repeat themselves, like clumsy drunks
lurching sideways through the doors
we open them in sleep;
these slurred guests, never entirely welcome,
even those we have loved the most,
especially those we have loved the most,
returning from where we shoved them
away too quickly:
from the ground, from the water,
they clutch at us, they clutch at us,
we won’t let go.”

- Margaret Atwood, from “Two Dreams, 2” in Eating Fire: Selected Poetry, 1965-1995 (Virago, 1998) (via apoetreflects)

tbcbasketcase: ION Magazine #60 featuring Fever Ray

Thu, 13 Jun 2013 22:47:49 +0100

tbcbasketcase:

ION Magazine #60 featuring Fever Ray

relishdesign: Portlandia: Bad Art Good Walls.

Tue, 11 Jun 2013 20:53:06 +0100

relishdesign:

Portlandia: Bad Art Good Walls.

hyperallergic: Maria Alekhina

Tue, 11 Jun 2013 20:40:58 +0100

hyperallergic:

Maria Alekhina