juliannabrion:

(=^・ェ・^=)
Cat Lady Heads Out

juliannabrion:

(=^・ェ・^=)

Cat Lady Heads Out

mudwerks:

enlaardienteoscuridad:

Kagamijishi (Danse du lion). Yasujirō Ozu. 1936.

me too…

mudwerks:

enlaardienteoscuridad:

Kagamijishi (Danse du lion). Yasujirō Ozu. 1936.

me too…

(via savage-america)

noreason2gohome:

The Sum of All Evil by The Chapman Brothers

(via babybyebyebye1234-deactivated20)

artmastered:

Katsushika Hokusai, Crustaceans, Edo Period, c.1825

artmastered:

Katsushika Hokusai, Crustaceans, Edo Period, c.1825

(via pedagogy-of-images)

electripipedream:

May Ray
Revolving Doors
1916-1917

sisterwolf:

Pasha and Bayadère - Roger Renton

sisterwolf:

Pasha and Bayadère - Roger Renton

seek ye allison’s other work, including wicked claymation
darksilenceinsuburbia:

Allison Schulnik. Boneless Horse, 2012. Oil on linen, 68 x 84”.
Website
Via Art From Suburbia

seek ye allison’s other work, including wicked claymation

darksilenceinsuburbia:

Allison Schulnik. Boneless Horse, 2012. Oil on linen, 68 x 84”.

Website

Via Art From Suburbia

(via nuclearharvest)

A schizophrenic out for a walk is a better model than a neurotic lying on the analyst’s couch. A breath of fresh air, a relationship with the outside world. Lenz’s stroll, for example, as reconstructed by Büchner. This walk outdoors is different from the moments when Lenz finds himself closeted with his pastor, who forces him to situate himself socially, in relationship to the God of established religion, in relationship to his father, to his mother. While taking a stroll outdoors, on the other hand, he is in the mountains, amid falling snowflakes, with other gods or without any gods at all, without a family, without a father or a mother, with nature. ‘What does my father want? Can he offer me more than that? Impossible. Leave me in peace.’ Everything is a machine. Celestial machines, the stars or rainbows in the sky, alpine machines—all of them connected to those of his body. The continual whirr of machines. ‘He thought that it must be a feeling of endless bliss to be in contact with the profound life of every form, to have a soul for rocks, metals, water, and plants, to take into himself, as in a dream, every element of nature, like flowers that breathe with the waxing and waning of the moon.’ To be a chlorophyll- or a photosynthesis-machine, or at least slip his body into such machines as one part among the others. Lenz has projected himself back to a time before the man-nature dichotomy, before all the co-ordinates based on this fundamental dichotomy have been laid down. He does not live nature as nature, but as a process of production. There is no such thing as either man or nature now, only a process that produces the one within the other and couples the machines together. Producing machines, desiring-machines everywhere, schizophrenic machines, all of species life: the self and the non-self, outside and inside, no longer have any meaning whatsoever. — Gilles Deleuze & Felix Guattari, Anti-Oedipus (1983, p. 2)

(via pedagogy-of-images)

The problem of the university - we certainly found out in May ‘68 - is not the students and the professors: it is the problem of the entire society inasmuch as it involves the transmission of knowledge, the training of executives, the desire of the masses, the requirements of industry, and finally, everything which could intermingle in the setting of the university. What was the magnificent answer of the government reformists? To refocus the problem on the object itself, to confine it to the university’s structure and organization.

Felix Guattari, “The Best Capitalist Drug”

old problems, yes?

(via anechoicchamber)

(via pedagogy-of-images)