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Spider Web and Stables, New York, Ilse Bing, 1951, MoMA: Photography

Bequest of Ilse Bing Wolff Size: 13 9/16 × 10 ½" (34.5 × 26.6 cm) Medium: Gelatin silver print

http://www.moma.org/collection/works/172491

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BBC HISTORY OF PHOTOGRAPHY #bbcarchives ))

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Ølafur Arnalds : ICELAND

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In the manifesto, Haraway argues that the cyborg - a fusion of animal and machine - trashes the big oppositions between nature and culture, self and world that run through so much of our thought. Why is this important? In conversation, when people describe something as natural, they're saying that it's just how the world is; we can't change it.

Women for generations were told that they were "naturally" weak, submissive, overemotional, and incapable of abstract thought. That it was "in their nature" to be mothers rather than corporate raiders, to prefer parlor games to particle physics. If all these things are natural, they're unchangeable. End of story. Return to the kitchen. Do not pass Go.

On the other hand, if women (and men) aren't natural but are constructed, like a cyborg, then, given the right tools, we can all be reconstructed.Everything is up for grabs, from who does the dishes to who frames the constitution. Basic assumptions suddenly come into question, such as whether it's natural to have a society based on violence and the domination of one group by another. Maybe humans are biologically destined to fight wars and trash the environment. Maybe we're not.

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"Shelter" (originally by The xx)

I find shelter in this way Under cover, hide away Can you hear when I say I have never felt this way

Maybe I had said something that was wrong Can I make it better with the lights turned on Maybe I had said something that was wrong Can I make it better with the lights turned on

Oh [x4]

Can I be, was I there Felt so crystal in the air I still want to drown whenever you leave Please teach me gently on how to breathe

And I'll cross oceans like never before So you can feel the way I feel it too And I'll send images back at you So you can see the way I feel it too

Maybe I had said something that was wrong Can I make it better with the lights turned on Maybe I had said something that was wrong Can I make it better with the lights turned on

Oh [x8]

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:: WARPAINT :: 

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What is the universe? What is consciousness? Where did time come from? What is the universe made of? How did the universe begin? Did the brain come first or did consciousness? #deepakchopra #neuroscience #lifesquestions #searchingformeaning #planetearth #cosmology #spirituality #freedomfromtheknown #krishnamurti 

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BIRDY : : Without a Word )) THE NATIONAL : ABOUT TODAY  VASHTI BUNYAN : SAME BUT DIFFERENT )) MOGWAI : Take Me Somewhere Nice )) SLOWDIVE : DAGGER )) DEMarco : My Kind Of Woman )) VASHTI BUNYAN : I’d Like to Walk Around in Your Mind ))  Ólafur Arnalds - Only the Winds ):{} //. Ólafur Arnalds - Full Performance ./.  ******                                                      SHELTER FOR HS JAMES BLAKE )) /.[=‘ Lykke Li Lykke Li ))  Norwegian Singer : AURORA  Daughter LIVE ))                       *&^% Conor Oberst )   /////////                    eugene ]        ]][]]]pp]]]]] //<<//  BEIRUT ))        swans 2 be alone with you   metal heart Cat Power once i wanted to be the greatest        SLOWDIVE        IIIIIIIIIIIIIIII BIRDY *_* LET HER GO ))  IMPOSSIBLE SOUL : Sufjan Stevens ) Full Album :  MICHIGAN 1. Flint (For The Unemployed And Underpaid) - 0:00 ^.^ { } |\|            halfaxa ::::::::::::::::: :::::::::::::: ::::::::: ::::::::::::::: “““““““““ :::::::: ALL OF ME WANTS ALL OF YOU )) 

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dekemdemkenfieogemegmnknfkenfi4jfo4nfk4ng4ng

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La Innocente. Quetzaltenango, Guatemala. 2010.

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blog-jrkvc: Efficient design for modern living.

Dnes som bol navštíviť dom v Čunove. Záhrada sa krásne rozrástla a drevo osivelo, všetko je tak, ako má byť.. Záhradný architekt Dano Lapšanský s kolegami z ateliéru Sarahs odviedli naozaj skvelú prácu.

Peter Jurkovic is the masterful architect that designed this efficient 914 sq. ft. minimalist home. I love the simplicity that is maintained throughout the dwelling leaving lots of room to breathe. The glass frontal facade is mindful and to think that such a design was constructed for 100,000 dollars is mind blowing. Less is more. I love the spare materials as the wood, glass, and concrete with small accents of bright color allows the interior to levitate.

(via blog-jrkvc)

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Astoria, Oregon. September 28th, 2015. 

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Robert and Kersten Adamses home in Astoria, Oregon. September, 29, 2015.  It was a surprise for me to recently discover that Robert Adams photographed his home for his latest work titled, Around the House, 2014. I made the above image just before summer vacation was over. My original impetus was to make a short film in Astoria, Oregon with Robert Adams. I did not have the courage to knock on his door. I am very aware that Adams is highly guarded and most of all fiercely private. One of my favorite films is HOW TO MAKE A BOOK WITH STEIDL. Of course, Robert Adams makes an appearance as do many other photographers in the film.  For readers, I highly recommend reading any of Robert Adams’s monographs. One of my personal favorites is Beauty in Photography, which includes three lyrical essays that defend the aesthetics of beauty. Also, Why People Photograph is another fine book by Adams.  Oh, I almost forgot! This is a very recent audio interview with Robert Adams himself. Here Adams speaks to his photographic process, aging, light, painting, nasturtiums, beauty, time, capitalism, literature, objects, books, and his love of nature. Not to be missed.  )) ) “Aesthetics is usually defined as “a branch of philosophy dealing with the nature of the beautiful and with judgements concerning beauty.” I recall the endurance it took when I was a student to complete an aesthetics course based on that definition. Beauty seemed to me then an obsolete word, appropriate to urns and the dead inside them; what had the term to do with the realities of this century?  I have since learned, however, that the word beauty is in practice unavoidable. Its very centrality accounts, in fact, for my decision to photograph. There appeared a quality -- Beauty seemed the only appropriate word for it -- in certain photographs and paintings that opened my eyes, and I was compelled to learn with the vocabulary of this new sight, though for many years I still found it embarrassing to use the word Beauty, even while believing in it.” ROBERT ADAMS

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Mark Power : The Children’s Society Photographs - In 1985 I was given my first substantial commission. It came from The Children’s Society, at the time Britain's third largest charity supporting children and young people; their entire fundraising campaign that year would be based on my pictures.I was directed to photograph the ‘real-life’ poverty faced by young people in some of Britain’s major cities, including Liverpool, Birmingham, Coventry, Leicester, Bradford, Newcastle, Middlesborough and London. Presented as a series of billboard posters throughout the UK, and in the national press, it was the first charity campaign in Britain to use real situations - no models, no make up, no retouching - since the infamous Shelter campaign of the 1960’s, photographed by Nick Hedges. It was so-called ‘negative advertising’; it didn’t show what the charity did, but who they might be able to help were they able to raise enough money. The campaign received a lot of press attention at the time, most of it positive, although one of the more right-wing newspapers challenged it by suggesting the children were paid to appear in the adverts. This was categorically untrue.I continued to work beyond the commission, extending the scope, and it eventually became my first touring exhibition, Hard Times, shown in London, Liverpool, Newcastle and Brighton during 1986. The show graphically illustrated the decay and dereliction which was a part of many British children’s lives. In a year in which Band Aid was so successful in raising money for African famine, my photographs were a sobering reminder of problems closer to home. One reviewer wrote in the British Journal of Photography:“The aim of these photographs is to inform and provoke, not to entertain or reassure. The decay, the squalor, the boarded windows, the graffiti, the implicit cold and overcrowding are all evident and the environmental signs are clearly legible. If the subjects of these pictures, children often too young to recognise and understand their social handicap, are posed, their surroundings are not. Scotswood, Toxteth and Brixton are effective and eloquent backdrops, often contributing more to the atmosphere and strength of these pictures than the children do themselves.