know me, broken by my master

With a smile so bright

And there are little moments, like Touka praying in the small space dedicated to Kaneki’s memory, tending to the little garden Kaneki left behind, seeing how the others who are still alive keep Touka company, and her father’s birthday, when Touka fell asleep next to his gravestone. And how Touka doesn’t want to leave the house where she raised her children and lived with Kaneki until the very end.

real teenage girls: imagine if he got injured and i had to tend to his wounds and i could watch him seize up a bit as i disinfect them and in the haze of fever he sees me as an angel

I wish I had this hat

knife of iron, wood, copper alloy, cloth, and resin; overall: 42.6 cm; congolese c. 1800s.

Is my act of screenshotting an object archived by MoMA equivalent to their stealing / profiting from the object in real life? No, but I’m a usamerican not from the black community and I have far too much awareness of the fact of their source. It feels like I am being duplicitous somewhat when I share them, because I am. I’m doing what the MoMA does, IF on a smaller scale. Still, from the act itself you can’t deny the similar ideological connotations of displaying the art without elaborating upon its origin. This works in favor of the hegemony, no matter how small the detail we aim for business as usual to maintain the symbolic order. Wouldn’t it be nice to forget where that dagger came from, how I got the photo of it in the first place? Most people don’t click the source link. The intention may be different and proportionally my screenshot is not quite so big-picture harmful, but it feels wrong and that is enough. This said my goal moving forward is to begin looking through books by africa native authors / historians and finding sources not from like belgium or x y z american museum. Thanks for listening 👍

Digital Benin brings together all objects, historical photographs and rich documentation material from collections worldwide to provide a long-requested overview of the royal artefacts from Benin Kingdom looted in the late nineteenth century. The historic Benin objects are an expression of Benin arts, culture and history, and were originally used as royal representational arts, to depict historical events, to communicate, to worship and perform rituals. The digital platform introduces new scholarship which connects digital documentation about the translocated objects to oral histories, object research, historical context, a foundational Edo language catalogue, provenance names, a map of the Benin Kingdom and museum collections worldwide. Digital Benin connects data from 5,304 objects across 139 institutions in 21 countries. Digital Benin’s scope focuses on objects looted by British forces from the Kingdom of Benin (now Edo State, Nigeria) in February 1897 and distributed in its immediate aftermath. Together, these events and processes led to the worldwide translocation of the objects shown on this platform. A small set of objects is included in the catalogue to represent the broader context in which the artistic production of Benin guilds is situated: Bini-Portuguese Ivories, produced and circulated outside West Africa in the 16th centuries, objects produced in neighbouring regions of the kingdom and a selection of works produced by named artists after 1930, which are held in museum collections.

…this has been a ramble. but I think that the main point is that I really believe she’ll hold anyone and anything at gunpoint for the sake of her crew, even if that occasionally means pointing the barrel at her own wants and the ship’s needs.

friends is this ^

my artist’s rendition of what i look like while drawing star trek characters having gay sex

whatever it is i actually have three

archived on 2009-04-28 09:41:39

archived on 2009-04-28 09:41:39