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Jules of Nature

Discoholic 🪩
trying on a metaphor

@theartofmadeline

Love Begins

roma★
Game of Thrones Daily
Monterey Bay Aquarium

izzy's playlists!
TVSTRANGERTHINGS
i don't do bad sauce passes
Show & Tell
$LAYYYTER
Misplaced Lens Cap
PUT YOUR BEARD IN MY MOUTH
h
Alisa U Zemlji Chuda
styofa doing anything
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@ophillya
🗣️📢 PUT THAT MAN IN LACE UNDERWEAR.

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melina weger
Wafrica« by Serge Mouangue, a Cameroonian designer based in Japan. Wafrica creates African patterns on Japanese traditIonal kimonos
vegetable earrings by wolfandmoon

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sophia molen
correct me if i'm wrong, but i don't see any good reason for institutions to hoard thousands of photos taken by people who are no longer alive, keep them hidden, and then make money from access and from people wanting to use them for their own projects or any other purpose. these images are part of our shared history, not commodities. they should be seen, not stay hidden.
the asala collection (spanning 130 years, 355 albums/items, and more than 30.000 images) is a perfect example
the collection has been exhibited and promoted, & it is clearly an important historical archive. but who gets meaningful access?
a single rare photo album like those in collections such as this can cost thousands, putting them mainly within reach of wealthy collectors, universities, or museums.
these images are records of human history. when our shared visual heritage is locked behind ownership, price, and restricted access, most people lose the chance to see and learn from it.
they should be preserved, digitised & made accessible.
there is a pdf giving a glimpse into this huge collection; here. and this is only one collection; focused on the middle east & arabian peninsula. there are countless others.
南条はす公園
the simpsons + my favorite lgbt+ moments

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Koichi Kobayashi, Postcard, 1920s
emily battaglini
It’s Pride Month Eve, so leave out some milk for Freddie Mercury and his cats.
boy toys 🎾
embroidered ceramic vessel by caroline harrius

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marie léon