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San Francisco April 18, 1906 Earthquake and Fire

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“Seismogram of the 1906 San Francisco earthquake, recorded at the Chabot Observatory in Oakland.”

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Thanks to David Bowie

Thanks to Blixa & Teho

🦇

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Kouros Maghsoudi

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Moog synthesizer at the University of North Texas in Denton, Texas, early 1970s.

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silly sheep from an abandoned village in sicily. shot with an old analog camera and expired film <3

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throbbing gristle

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From "Stereoscopic studies of anatomy", 1909 c. : https://archive.org/details/stereoscopicstud01cunnrich/stereoscopicstud01cunnrich/mode/2up

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two images of a coum transmissions' performance / from cosey fanni tutti's "time to tell" tape

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Der Blaue Engel (The Blue Angel), Germany, 1930.

Directed by Josef von Sternberg (1894-1969) w/Marlene Dietrich (1901-1992) & Emil Jannings (1884-1950)

Josef von Sternberg (born Jonas Sternberg) was an Austrian-born filmmaker whose career successfully spanned the transition from the silent to the sound era, during which he worked with most of the major Hollywood studios. He is best known for his film collaboration with actress Marlene Dietrich in the 1930s, including the highly regarded Paramount/UFA production The Blue Angel (1930)

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Die Elektrische - Otto Dix - 1919

The present work was executed in 1919, the year in which Otto Dix became a founding member of the Dresden 'Secession Group 1919'. This idiosyncratic and pivotal work draws heavily on Dadaism with its collaged elements. The combination of painterly texture and the magpie-like inclusion of found objects epitomises one of the defining dialogues of modernism as the artist moved increasingly towards such Dadaist tactics for a short while, particularily during the following year when he became friends with George Grosz. This bold new style found many supporters, including the renowned art dealer, Johanna Ey, the first owner of the present work. Ey's longstanding patronage of the avant-garde helped to gain them international recognition, and not before long Dix's extraordinary experiments caught the attention of other Dada artists such as Kurt Schwitters, whose own distinctive style would soon come to define the movement.

Oil and assemblage on panel 46 x 37cm (18 1/8 x 14 5/8 in.