TVSTRANGERTHINGS
Sweet Seals For You, Always
Monterey Bay Aquarium
art blog(derogatory)
NASA

roma★
KIROKAZE

Xuebing Du
Cosmic Funnies
trying on a metaphor

Kiana Khansmith

祝日 / Permanent Vacation

#extradirty
Jules of Nature

⁂
I'd rather be in outer space 🛸

ellievsbear
almost home

seen from Brazil

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seen from Ukraine
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seen from United States

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seen from United States
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@bottletears

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art is just iteration and reiteration and this one single paragraph changed my life
From Below Carl Phillips
Edvard Munch, The Sun, 1911
Marie Howe, Limbo

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tell me, frodo, Do you belive in life... ...after love?
A woman must stay alone for a long while until the hate men have for women has left her, and even longer until the jealousy women have for other women has left her, and longer still until the anger her children have for her has left her—until she is no longer a woman altered by the resentment of men, women, and children, no longer what others have forced her to be, but empty as a skull or a shell, filled only by whatever she pleases, forest air perhaps.
— Kiran Desai, The Loneliness of Sonia and Sunny
When my son was about to turn two, strangers would offer condolences. There’s a collective cultural dread of toddlers, who get described more like animals than people. Kids in their "terrible twos," I was warned, are illogical, unregulated, and feral. "Good luck," people would say. "He'll grow out of it."
I'm lucky: My son is a very easygoing kid. But I remember the first tantrum he threw for me. He was standing by our front door and asked to go outside. So I opened the door and grabbed his shoes. But as soon as he stepped onto the porch, he pointed back into the house.
"Inside," he said.
"Okay," I said. I picked him up and brought him inside.
But as soon as I shut the front door, he pointed outside.
"Outside!" he said.
You know where this is going. We went back and forth, inside and outside, again and again. He got more frustrated. And I got more frustrated. Eventually he wound up straddling the threshold of our house, sobbing. When I tried to comfort him, he screamed at me. "You go wherever you want!" I said. He just got madder. I felt trapped, convinced he’d concocted the whole episode as a pretext to unleash his rage at me. It was ridiculous. I consoled myself with the thought that he was just being a toddler.
But later I kept thinking about him wailing at our front door, one foot inside, one foot outside. His misery wasn't unreasonable, or trivial, or silly. My son was experiencing the agony of wanting two things that were impossible to have at the same time. What a fundamentally human sorrow! My son wasn't being a toddler; he was being a person. Adults may not walk around howling, but that same pain rages within us. In that moment, as a father, I was powerless to solve my son's problem. I told him he could go wherever he wanted, but of course I was wrong. To be where he wanted was impossible.
Make Believe: On Telling Stories to Children by Mac Barnett
"Even the sun, formerly a conduit of mystical knowledge in Reines’s A Sand Book, does not offer deliverance: “The sun falls on my head like a priestly hand—the gentleness of its blessing is almost enraging—why won’t it slap me, why won’t it push me, why won’t it force me to become better than I am.” In another poem titled “New York,” she writes, searchingly, “Why doesn’t this kind of killing afflict the weather here? / Why doesn’t the Earth say something? / But it does. In your body.” Reines frequently insists on the somatic as a method of accessing a more cosmic discernment, which I fear turns inquiry further and further inward, into the winding gut and arcane bone, rather than outward, toward the articulations and solidities of other people. But her questions read, movingly, like the ragged half of an incomplete catechism. I am touched by the sun’s failure to provide longed-for punishment and rehabilitation. The existence of a bright, warm day, and the whirring of the colonial death machine: our reality holds both. There are times when that can only seem like a terrible affront. Reines quotes Milton, where he describes Satan “shit-talking the sun”: “O Sun, to tell thee how I hate thy beams / That bring to my remembrance from what state / I fell. . . .” She explicates, “Milton’s Satan hates nature, and he hates what is, he’s against what is, he’s against what is real.” It’s hard not to relate."

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Ilya Kaminsky, from "While the Child Sleeps, Sonya Undresses", Deaf Republic
"As the Centre Pompidou expands in Seoul and Saudi Arabia, the museum becomes a global perpetuation of the human fascination with an anesthetized image of itself. This is likely because, as the art theorist Peter Osborne has demonstrated in Anywhere or Not At All, the European museum is escaping its architectural confines to become synonymous with the world. As Jean Baudrillard once remarked, “The museum, instead of being circumscribed in a geometrical location, is now everywhere, like a dimension of life itself.” ... As Bataille wrote in the short essay ‘Musée,’ “The origin of the modern museum would be linked to the development of the guillotine,” adding, “The museum is the colossal mirror in which man finally contemplates himself from all angles, finds himself literally admirable, and surrenders to the ecstasy expressed in all art magazines.”
And yet, what are often called “cultural treasures,” Walter Benjamin notes, must be viewed by the observer “with cautious detachment. For without exception they have an origin which he cannot contemplate without horror.” This is especially the case for the many beheaded buddhas, which artist Nikolai Nelles tracks from Cambodia to France as they are rendered by way of the exhibition complex into artifacts for European aesthetic contemplation. Nelles reminds us to attend politically to the body from which these heads havebeen dismembered. André Malraux’s vision of a “museum without walls”—which took shape not long after his desecration of a tenth-century temple at Banteay Srei and the failed attempt to smuggle the Khmer bas-reliefs that Nelles writes about in this collection—remains emblematic for how the museological canon was built: through acts of dismemberment and decapitation masked as democratization and access, where the circulation of fragments obscures the violence of their severance. The European aspiration to dismember then sell off anything of value that could be exported from the colony, catachrestically called “free trade,” has a long, horrific legacy that has yet to be accounted for, let alone rematriated in any meaningful sense. The artist Maria Thereza Alves calls attention to this planetary deficit in her piece “Fair Trade Head” [pages 148–9], which invites Europeans to donate their own heads to be exchanged for the severed heads of Maori ancestors still held in museum collections." —Anna-Sophie Springer & Etienne Turpin, Acephalograms
i have literally been saying this for my entire adult life
"bosch" doesn't sound like the name of a guy who'd make paintings like that. but when you add "hieronymus" to the mix it starts to make sense

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“When a woman loses her resolve to speak up and stand firmly behind her position, she may be vulnerable to depression, anxiety, headaches, chronic anger, and bitterness. Sometimes these symptoms reflect an unconscious search for truth, forcing a more honest self-appraisal, including the degree to which she is voicing her authentic values and desires and living in accord with them. As writer Kat Duff puts it, “Sometimes I think we would lose ourselves altogether if it were not for our stubborn, irrepressible symptoms, calling us, requiring us, to recollect ourselves, to reorient ourselves to life.” We need to listen carefully to the wisdom of our symptoms and to try to decode their meaning, because some of us have learned to settle, to fall silent, to deny that unfair circumstances exist or matter, and then to call our compromises “life.” But our bodies, our deeper unconscious selves, remain harder to fool.”
— Harriet Lerner, The Dance of Connection
Paul Guest, “Lullaby”.