Photographer Levon Biss Illuminates the Strange, Otherworldly Chrysalises of Butterfly Pupae

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Photographer Levon Biss Illuminates the Strange, Otherworldly Chrysalises of Butterfly Pupae

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Nico Krijno (previously featured here) is a South African contemporary artist working with photography at what he describes as "the blurry i
A selection of illustrative works by Croatian artist Marina Mika.
A selection of images by photographer Xuebing Du.

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https://www.booooooom.com/2019/12/23/glass-corner-by-photographer-peter-hoffman/
Photographer Tim Flach Highlights Unusual and Endangered Birds in Striking Portraits
Fan Ho. Hong Kong Venice, 1962.
Fan Ho’s ‘Approaching Shadow, 1954’

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Try to remember what you loved about reading and learning before what you loved about it was how it made other people say you are remarkable.
Brandy Jenson “Ask a Fuck Up: I’m not as smart as everyone said I was”, The Outline (https://theoutline.com/post/6444/ask-a-fuck-up-gifted-kid-failing-school?zd=2&zi=p4wco2vm)
Farther down the hedge the pool was covered with duck-weed, so like a carpet that if you didn't know what duck-weed was you might think it was solid and step on it. I wondered why it is that we're all such bloody fools. Why don't people, instead of the idiocies they do spend their time on, just walk round LOOKING at things? That pool, for instance--all the stuff that's in it. Newts, water- snails, water-beetles, caddis-flies, leeches, and God knows how many other things that you can only see with a microscope. The mystery of their lives, down there under water. You could spend a lifetime watching them, ten lifetimes, and still you wouldn't have got to the end even of that one pool. And all the while the sort of feeling of wonder, the peculiar flame inside you. It's the only thing worth having, and we don't want it. But I do want it. At least I thought so at that moment. And don't mistake what I'm saying. To begin with, unlike most Cockneys, I'm not soppy about 'the country'. I was brought up a damn sight too near to it for that. I don't want to stop people living in towns, or in suburbs for that matter. Let 'em live where they like. And I'm not suggesting that the whole of humanity could spend the whole of their lives wandering round picking primroses and so forth. I know perfectly well that we've got to work. It's only because chaps are coughing their lungs out in mines and girls are hammering at typewriters that anyone ever has time to pick a flower. Besides, if you hadn't a full belly and a warm house you wouldn't want to pick flowers. But that's not the point. Here's this feeling that I get inside me--not often, I admit, but now and again. I know it's a good feeling to have. What's more, so does everybody else, or nearly everybody. It's just round the corner all the time, and we all know it's there. Stop firing that machine-gun! Stop chasing whatever you're chasing! Calm down, get your breath back, let a bit of peace seep into your bones. No use. We don't do it. Just keep on with the same bloody fooleries.
George Orwell, Coming Up for Air
Perhaps so many journals had piled up in the lighthouse because on some level most came, in time, to recognize the futility of language. Not just in Area X but against the rightness of the lived-in moment, the instant of touch, of connection for which words were such a sorrowful disappointment, so inadequate an expression of both the finite and the infinite.
Jeff VanderMeer, Acceptance (Southern Reach, #3)

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Radio and television have spread this spirit everywhere, and we’re riddled with pointless talk, insane quantities of words and images. Stupidity’s never blind or mute. So it’s not a problem of getting people to express themselves but of providing little gaps of solitude and silence in which they might eventually find something to say. Repressive forces don’t stop people expressing themselves but rather force them to express themselves; What a relief to have nothing to say, the right to say nothing, because only then is there a chance of framing the rare, and ever rarer, thing that might be worth saying.
Gilles Deleuze, Negotiations (seen/cited in How to Do Nothing by Jenny Odell)
A selection of photographs by Berkeley, California-based photographer Jim McAuley.