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Kameelah Janan Rasheed, Borges, Musa, and Khidir, 2019. Archival Inkjet Print.

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abstrakshun

Takesada Matsutani (Japanese, b.1937)

Nagare II - 1978

Intuit Cartogrpahy, portable maps made out of driftwood. From Kalaallit Nunaat (Greenland).

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visicert

#fbf Cosmological Documents | Graphic Translation of the Oneida Creation Story | Completed while the Artist-In-Residence at the National Museum of the American Indian. #drawing #watercolor #cosmology #architecture #indigenousdesign #cornelius #nmai #residency #archisketcher #arch_more #arch_grap #thearchiologist #critday #soarch #showitbetter #next_top_architects https://www.instagram.com/p/BrqnfppBKKg/?utm_source=ig_tumblr_share&igshid=112b7v5bxt9ph

garadinervi

Gustavo Torner, Praescriptura CV, 1993 [Museo Nacional Centro de Arte Reina Sofía, Madrid]

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nomoreuniverse

Mark Fearn - Urban Disposition No.6

whatdyoucallit

Robert Mangold

sharonleung

Alvar Aalto. Architecture D'Aujourd'Hui 93 December 1960: 13

via

archiveofaffinities

Craig Ellwood, Weekend House, San Luis Obispo, California, 1964-1968

tymoncan

Converging Paths

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nemfrog

Illustration for the chapter, “The special attributes of waves.” From Galileo to the nuclear age. 1946.

Iran 🌏

From VSCO

Увула Russia and Ukraine Summer Tour Poster 2018

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grupaok

Xanti Schawinsky, Spectodrama: ‘Play, Life, Illusion,’ 1924-37

noosphe-re

“The flow experience that results from the use of skills leads to growth; passive entertainment leads nowhere. Collectively we are wasting each year the equivalent of millions of years of human consciousness. The energy that could be used to focus on complex goals, to provide for enjoyable growth, is squandered on patterns of stimulation that only mimic reality. Mass leisure, mass culture, and even high culture when only attended to passively and for extrinsic reasons—such as the wish to flaunt one’s status—are parasites of the mind. They absorb psychic energy without providing substantive strength in return. They leave us more exhausted, more disheartened than we were before.”

— Mihaly Csikszentmihalyi, Flow

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