1 day ago
c0ssette:

Mihael Stroj; Judith With The Decapitated Head Of Holofernes, 1858. Detail.

c0ssette:

Mihael Stroj; Judith With The Decapitated Head Of Holofernes, 1858. Detail.

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3 days ago
fibrearts:

(via The Coral Garden Hat - gooseflesh)
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dvdp:

140315

dvdp:

140315

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1 week ago

(Source: luciid-dr3ams)

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1 week ago
jubilatio:


axiomaticanathema said: If it’s not any trouble, could you make this rebloggable? Thank you!

As you wish!

jubilatio:

axiomaticanathema said: If it’s not any trouble, could you make this rebloggable? Thank you!

As you wish!

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(Source: cosmicwolfstorm)

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1 week ago

beccaandthebox:

I’ve been having a busy few weeks tying up my final bits of school, here’s a big ol Instagram sketch/comics dump to tide over!

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(Source: nov.2chan.net)

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1 week ago
nevver:

Let’s
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2 weeks ago

(Source: lastjapan)

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2 weeks ago
charmainevee:

He is just not that into you, bro.

charmainevee:

He is just not that into you, bro.

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jtotheizzoe:

okkultmotionpictures:

EXCERPTS >|< Congruent Triangles (1977)

A series of GIFs excerpted from Congruent Triangles, a short animation movie by Bruce and Katharine Cornwell. The video demonstrates with animation the various relationships of angles and sides to congruency in triangles.

We invite you to watch the full video HERE


EXCERPTS by OKKULT MOTION PICTURES: a collection of gifs excerpted from open source/unknown/rare/controversial moving images. A digital humanities project for the diffusion of open knowledge.

>|<

There’s three sides to this awesome story.

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2 weeks ago
putaplastika:

"A hen is only an egg’s way of making another egg."
— Samuel Butler

putaplastika:

"A hen is only an egg’s way of making another egg."

— Samuel Butler

(Source: amospoe)

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likeafieldmouse:

Edward Burtynsky - Rock of Ages and Quarries

Artist’s statement:

"The concept of the landscape as architecture has become, for me, an act of imagination. I remember looking at buildings made of stone, and thinking, there has to be an interesting landscape somewhere out there because these stones had to have been taken out of the quarry one block at a time. I had never seen a dimensional quarry, but I envisioned an inverted cubed architecture on the side of a hill. I went in search of it, and when I had it on my ground glass, I knew that I had arrived. I had found an organic architecture created by our pursuit of raw materials. Open-pit mines, funneling down, were to me like inverted pyramids. Photographing quarries was a deliberate act of going out to try to find something in the world that would match the kinds of forms in my imagination.

I was excited by the striking patinas on the walls of the abandoned quarries. The surface of the rock-face would simultaneously reveal the process of its own creation, as well as display the techniques of the quarrymen. I likened the tenacious trees and pools of water to nature’s sentinels awaiting the eventual retreat of man and machine - to begin the slow process of reclamation.

Often my approach, the compression of space through light and optics, also yields an ambiguity of scale. I think that people are always trying to put a human scale on things. We need to put our human perspective into these images, and our presence is dwarfed by the spaces we’ve created. It’s an interesting metaphor for how technology seems larger than life, larger than our own lives.”

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