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Cosimo Galluzzi
we're not kids anymore.
cherry valley forever
i don't do bad sauce passes

JBB: An Artblog!
ojovivo
Jules of Nature

blake kathryn
Not today Justin
Stranger Things
occasionally subtle

★

if i look back, i am lost
Lint Roller? I Barely Know Her
dirt enthusiast
RMH

Janaina Medeiros

⁂

shark vs the universe

seen from Türkiye
seen from Australia

seen from United States
seen from Netherlands

seen from Türkiye

seen from Malaysia
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seen from United States
seen from United Kingdom
seen from Brazil

seen from T1

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seen from United States

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seen from Argentina
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@02222013
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" To join image with a sound, a figure with a voice, such was the way the precursors of cinema envisaged the recording and mechanical reproduction of movement before it was thought materially possible. In 1887, Nadar foresaw the realization of the total spectacle by "envelopment", something that cinema would create by combining with an apparatus for reproducing sound: " My dream is to see photography record the attitudes and chances in the physiognomy of a speaker while at the same time a phonograph records his words." The first ideas of cinema were perceived less as an extension of photography than as a complement to recording the voice, with this association making possible the fantastically realization of a total body combining all the properties of a living being." -- Aby Warburg and the Image in Motion
#envelope
Meg Webster, Moss Bed, Queen, 1986
Liz Larner, A Cough and the Bottom of My Shoe, 1997

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The Third Landscape - an undetermined fragment of the Plantary Garden -designates the sum of the space left over by man to landscape evolution - to nature alone. Included in this category are left behind (délaissé) urban or rural sites, transitional spaces, neglected land (friches), swamps, moors, peat bogs, but also roadsides, shores, railroad embankments, etc. To these unattended areas can be added space set aside , reserves in themselves: inaccessible places, mountain summits, non-cultivatable areas, deserts; institutional reserves: national parks, regional parks, nature reserves.
The Andes of Ecuador: Science and Spectacle
Profoundly influenced by the journeys of Alexander von Humboldt and Charles Darwin to South America, Church traveled to Ecuador in search of new material. The success of The Andes of Ecuador encouraged Church's scientific approach to landscape painting and enabled him to adopt a theatrical new exhibition strategy—to display his major canvases alone, swathed in velvet curtains, and dramatically lit for an admission fee.
Goya's The Sleep of Reason Produces Monsters from Los Caprichos 1799
thirteen ways of looking at a blackbird
I
Among twenty snowy mountains, The only moving thing Was the eye of the blackbird.
II I was of three minds, Like a tree In which there are three blackbirds.
III The blackbird whirled in the autumn winds. It was a small part of the pantomime.
IV A man and a woman Are one. A man and a woman and a blackbird Are one.
V I do not know which to prefer, The beauty of inflections Or the beauty of innuendoes, The blackbird whistling Or just after.
VI Icicles filled the long window With barbaric glass. The shadow of the blackbird Crossed it, to and fro. The mood Traced in the shadow An indecipherable cause.
VII O thin men of Haddam, Why do you imagine golden birds? Do you not see how the blackbird Walks around the feet Of the women about you?
VIII I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know.
IX When the blackbird flew out of sight, It marked the edge Of one of many circles.
X At the sight of blackbirds Flying in a green light, Even the bawds of euphony Would cry out sharply.
XI He rode over Connecticut In a glass coach. Once, a fear pierced him, In that he mistook The shadow of his equipage For blackbirds.
XII The river is moving. The blackbird must be flying.
XIII It was evening all afternoon. It was snowing And it was going to snow. The blackbird sat In the cedar-limbs.
— Wallace Stevens

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