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noise dept.

if i look back, i am lost
TVSTRANGERTHINGS
trying on a metaphor
Noah Kahan
Sade Olutola
occasionally subtle

Kiana Khansmith
Aqua Utopia|海の底で記憶を紡ぐ
Mike Driver

d e v o n
KIROKAZE
🪼
let's talk about Bridgerton tea, my ask is open

pixel skylines
RMH

#extradirty
he wasn't even looking at me and he found me
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@leilatumblr
shes back...

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By Gemma Correll [website | tumblr | blogspot]
From my new book!
You are her favorite because you’re a long shot.

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Carnation, Lily, Lily, Rose (1886), John Singer Sargent
Frank Moss Bennett, 17th century Interior Scene with a Cat seated beside a Window, 1923
This picture of Bacchus, the god of wine and merriment, was tattooed on the stomach of a prisoner sentenced under Article 74 of the Criminal Code of the RSFSR for hooliganism. He and his three friends took two drunk prostitutes behind wooden sheds in one of the courtyards of Maly Prospekt, Leningrad. They pushed a crumpled cigarette packet filled with cigarette butts, a matchbox, wine bottle corks, and food remains wrapped in a piece of Pravda newspaper into the vagina of one of the prostitutes. Then they pushed an empty quarter of a litre vodka bottle into the vagina of the other prostitute, an alcoholic and homeless woman. They finished the humiliation by urinating on them. All four were detained, sentenced, and imprisoned. It was the second imprisonment for the bearer of this tattoo. It was made during his first term in Corrective Labour Camp No.5, Metallostroy Settlement.

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No one before Bernini had managed to make marble so carnal. In his nimble hands it would flatter and stream, quiver and sweat. His figures weep and shout, their torses twist and run, and arch themselves in spasms of intense sensation. He could, like an alchemist, change one material into another - marble into trees, leaves, hair, and, of course, flesh. - Simon Schama’s Power of Art. Bernini
Kurt Cobain, Rome, Italy - November, 28, 1989.
Elizabeth Taylor, 1950s
Joaquin Phoenix & Liv Tyler

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"All True Romances" #9
The Kiss Of Death, Poblenou Cemetery, Barcelona, Spain
“This astonishing sculpture forms part of Barcelona’s Poblenou Cemetery. The Kiss of Death (El Petó de la Mort in Catalan and El beso de la muerte in Spanish) dates back to 1930. A winged skeleton bestows a kiss on the lips of a handsome young man: is it ecstasy on his face or resignation? Little wonder the sculpture elicits strong and varying responses from whoever gazes upon it.
There is some debate to the sculptor responsible for this arresting – astonishing – work of art in white marble. It is attributed to Jaume Barba but it seems quite likely that it was created by Joan Fontbernat. It is tucked away in the farthest corner of Poblenou Cemetery and it is often said to have inspired Bergman’s The Seventh Seal.
Rather than depicting death as a winged angel the sculptor instead chose a skeleton. The eroticism of the kiss is hard to escape – youth welcomes death as a partner, decay, vitality, entropy combine. The sculpture is at once romantic and horrifying. The eyes fix to it in a kind of compulsion of amatory abhorrence. It attracts and repels at once, the urge to touch combines with the desire to flee.
Below the sculpture the textile manufacturer Josep Llaudet Soler is interred. His words to the world, his message from beyond this mortal coil can still be read: His young heart is thus extinguished. The blood in his veins grows cold. And all strength has gone. Faith has been extolled by his fall into the arms of death. Amen.”
— The Kiss of Death | Kuriositas