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Louis Appleby - Dark City, 2018

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From Thomas Bartholin's Anatomia, 1666.

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having a freeze response to stress is so funny in the context of normal adult stressors. millions of years of evolution are trying to tell me that the email will not find me if i stay very still and do nothing

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Panel 17. Gods of the Modern World - The Epic of American Civilization, 1934, José Clemente Orozco

Medium: fresco

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The Lithuanian-American artist Irving Norman was a social surrealist who painted large-scale and highly detailed critiques of contemporary life with hopes that viewers would consider the consequences of their actions and change their behavior. Influenced by the dire conditions of the Great Depression, his massive canvases feature armies of clone-like figures behaving in the clockwork manner in which they have been programmed. He moved from New York to Los Angeles in 1934 before helping to defend the Spanish Republic from the fascist Franco dictatorship. He survived the Spanish Civil War and in 1939 settling on Catalina Island off the Southern California coast, where he began drawing and painting from the atrocities he had witnessed. In 1940, he moved to San Francisco and had a solo exhibition at the San Francisco Museum of Art two years later. He then traveled to Mexico City and saw the murals of Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros before moving to New York City to studying at the Art Students League from 1946 to 1947. He returned to San Francisco in the late 1940s. Because of his political and social engagement, Norman was under FBI surveillance for decades. From 1950s, in the wake of McCarthy’s conspiracy theories and persecution of communists, his mail was monitored. The surveillance continued until 1974, despite the fact that he had brought successful legal action against the FBI’s frequent interrogations and harassment with the help of the American Civil Liberties Union. In 1988, fire destroyed his home, studio, artwork, and personal papers.

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Modern Industrial Man, from The Epic of American Civilization, 1932-34 - José Clemente Orozco

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The Forbidden Room, Guy Maddin, 2015

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1000 year old helical step well with 8 staircases twisting from 8 shrines, hidden for centuries, found in Maharashtra, India

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These practices make us organisms with a nimble intellect that can deceive themselves “for their own good.” Isolation, anchoring, distraction, and sublimation are among the wiles we use to keep ourselves from dispelling every illusion that keeps us up and running. Without this cognitive double-dealing, we would be exposed for what we are. It would be like looking into a mirror and for a moment seeing the skull inside our skin looking back at us with its sardonic smile.

And beneath the skull—only blackness, nothing. Someone is there, so we feel, and yet no one is there—the uncanny paradox, all the horror in a glimpse. A little piece of our world has been peeled back, and underneath is creaking desolation—a carnival where all the rides are moving but no patrons occupy the seats. We are missing from the world we have made for ourselves.

Maybe if we could resolutely gaze wide-eyed at our lives we would come to know what we really are. But that would stop the showy attraction we are inclined to think will run forever.

Thomas Ligotti, The Conspiracy Against the Human Race

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Snufkin doing whatever the fuck he does during the winter

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reblog for easter

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Where is my enemy to lovers romance