Iamalwayshungry

• 2012-05-31 585 notes

  designcloud:

  by Henrietta Harris

  Source: ephemeraa

• 2012-05-30 454 notes

  

  (via leopoldgursky)

  Source: inherwar

• 8 notes

  

  Source: celebritieswithbooks

• 87 notes

  (via steamboat-willies)

  Source: ktutt15

• 113 notes

  [Flash 9 is required to listen to audio.]

  steamboat-willies:

  Donald Duck Theme Tune (1947-1953)

  “Who gets stuck with all the bad luck? No one but Donald Duck!”

  
  

  Source: steamboat-willies

• 242 notes

  marlucci:

  - The Idle Class (Chaplin), 1921

  (via fuckyeahchaplin)

  Source: marlucci

• 347 notes

  

  fuckyeahgiantpanda:

  © Jola.mint.

  Source: fuckyeahgiantpanda

• 5 notes

  

  thebrownarchitect:

  ITALO CALVINO, INVISIBLE CITIES (1972) SHORT REVIEW.

  In this short novel Calvino describes the fictional conversation between explorer Marco Polo has with emperor Kublai Khan, as Polo describes cities he has explored. Marco Polo describes 55 cities, these cities are all imaginative potentialities of a city, this book has become iconic amongst architects and artists providing visualisations of how a city could be one day.

  Calvino breaks down the cities Polo has explored into categories: ‘City & memory’ these are stories of philosophical experiments about nostalgia, history, ageing and decline; it also explores the patterns and flows of cities that we become familiar with and are ingrained in our memories. ‘City & desire’ explores discovery, wage slavery and idealisation this could also be manifested in the description of one of the city being paved with “streets of dreams” referring to how cities can create hopes and dreams which lead to desires.  ’City & sign’ looks at how buildings are defined by their function and how signs of a city repeat themselves; this also explores how we conform to the conventions of a city and the signs that we are familiar with.

  Most of the cities are described as having ornate beauty and as being aesthetically pleasing, however as Polo describes them he is more interested in the inner social workings of each city and describes how he experiences each city as opposed to the architecture. For example Polo describes Anastasia as a city that awakens desires, this could be likened to Las Vegas and how it’s immersive nature appeals to the senses, similarly Polo describes his sensory and social experiences. 

  The characters of the public spaces are the different cities that Polo describes, they create different situations, opportunities and identities for each of these cities. Polo describes the effects and experiences these different ‘characters’ induce on him as he visits and explores them. The public life is how the inhabitants of these cities interact with their surroundings and how they are effected by them, each of the cities of course depicting a different public life for all the civilians to inhibit. 

  The layout of the novel is almost reminiscent of being a poetry-in-prose, which could lead to Calvino’s romanticism ideas of a city, however he also towards the end of the novel explores how cities have an expiry date and will crumble eventually. However the overarching theme to this novel, from my understanding, is Calvino trying to convey a different lifestyle and meaning of a city than that of which we are conventionally aware of.

  REFERENCES:

  • CALVINO, ITALO (1972) Invisible Cities. Italy; Giulio Einaudi

  Source: thebrownarchitect

• 43 notes

  

  stilllifequickheart:

  Teisai Hokuba

  Dried Cuttle-Fish and Plum Blossoms

  Early 19th century

  (via leopoldgursky)

  Source: stilllifequickheart

• 2012-05-29 364 notes

  

  theniftyfifties:

  Dovima and Jean Patchett

  Source: theniftyfifties

• 134 notes

  

  fuckyeahgiantpanda:

  © James & Christina.

  Source: fuckyeahgiantpanda

• 22 notes

  My quarrel comes when I turn back to the preface and read this, ‘Vincent van Gogh was one of the world’s loneliest souls.’
  A common mistake. This preface-writer-editor is however, sadly enough, one only of many who have taken that superficial, somewhat patronizing, wholly impertinent attitude to the artist. […]
  Just as a remark and the sort of thing to get the reading public, I repeat this ‘loneliest soul’ touch is a commonplace, hardly vital enough to be noted. Yet the accumulation of these public-mind-forming sentences does, in time, heap up such a cotton-wool of false padding between the reality of creative impulse and the, so to speak, receiving station of the reader or, in the case of pictures, the spectator. The trouble was, I think, with Vincent, he was not lonely enough. A spot of loneliness might have kept him from splitting in the middle, going mad, as they called it, in the midst of his most vivid period of creative output. If he had been comfortably lonely, he might have gone on painting carefully until he was eighty. As it was, he painted madly, five pictures in one week now and again, breaking in to the world of reality, his reality, Mr. Stone’s illusion. The dream.
  The dreamer isn’t lonely. Not when, like van Gogh, he has reached that level of spiritual perfection. The dreamer, the artist, the saint, the monk on the snow levels of Tibet, are frightfully and dynamically and electrically unlonely people.

  — H.D., “Vincent van Gogh” (review of Dear Theo, An Autobiography from His Letters, ed. Irving Stone)

  (via leopoldgursky)

  Source: imagists.org

• 2012-05-28 5 notes

  

  Source: thetrialsoflulu

• 245 notes

  

  typeverything:

  Typeverything.com - ggc: grand green challenge conference by shin, dokho

  Source: shindokho.kr

• 1 note

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  ayatonia:

  
  المزيكا في المكان

  عالية… و بالمظبوط

  حلوة… و دة المطلوب

  خلتني أكتب للوداع

  وداع جوّاه لقا أكبر

  و مش بس الوداع جوّاه لقا

  لكن اللقا..

  يمكن كمان يخلق لقا أقوى

  يخلِّي حياه تِخلَق ما بين اتنين

  روحين

  و يتّفقوا.. حتى ع الّاختلاف

  و الاختلاف ف طبيعة الأرواح

  تعيش أحزان تعيش أفراح

  و تطلب بس وحده الحب

  ما فيش أكتر مافيش أقل

  الحب بالمظبوط

  و م الطلوب

  مزيكا عالية بالمظبوط

  و حلوة حلاوة بالمظبوط

  Source: SoundCloud / Fouso