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@whatevsies

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"Mangosteen", Fumi Koike.
This image shows the changing arcs of the sun throughout the year. The smallest arc at the bottom marks the winter solstice, and the largest one at the top the summer solstice. The band in the middle is the 'equinox'.
Breathless (1983)
I asked if this was an art installation and a Danish person said "no this is quite a serious impedance"

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Sally Michel Avery - Cat Lover, 1978 - Oil on canvas
Ă ma soeur (Catherine Breillat, 2001)
Le Petit Êcho de la mode, no. 10, vol. 10, 11 mars 1888, Paris. 3. Papillons en tapisserie. Brun moyen, foncÊ, très foncÊ. Jaune très clair, clair, moyen, foncÊ, très foncÊ. Rouge moyen, foncÊ, très foncÊ. Bleu clair, moyen, foncÊ. Beige très clair, clair, foncÊ. Ville de Paris / Bibliothèque Forney
Sarah Hinckley

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Fort Lauderdale, Florida
Joel Meyerowitz, 1977
Sheepdogs enjoying the sunshine
by James Rebanks
Gina Adams (American, b. 1965)
Alex Colville
Seven Crows, 1980

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Sayan-Altai petroglyphs. Various animal and symbolic figures. The source of this drawing is the book Ancient Nomads in the Center of Asia, written by Soviet archaeologist Aleksandr Danilovich Grach (Đ. Đ. ĐŃаŃ) and published in Moscow in 1980 by Nauka Publishing House.
According to the Russian notes beneath the image Iâve shared, these petroglyph copies are listed as being compiled from specific archaeological sites in Tuva, including Churuk-Maldyg-Khaya, ĂvĂźr, Mugur-Sargol, and Kuylug-Khem. Most of the drawings were gathered from M.A. Devletâs systematic research.
The Sayan-Altai petroglyphs arenât the product of a single culture or era. Over thousands of years, successive communities have left their marks on the very same rocks. In the words of archaeologist Marina Kilunovskaya, each newly arrived civilization marked its presence hereâand it didnât destroy the works of its predecessors.
#archaeology #petroglyphs #altai
Attraction and Repulsion. Modern views of electricity. 1892.
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