They Did Not Call Me Any Particular Nickname In College Because I Did Not Have Any Characteristics Or

nooooooo free her

reblog this to let a curious kitten explore your dash

i think a big part of the reason i love de is that it always affirms the things in themselves. there is a temptation, when a core part of your outlook on the world collapses, to look at everything that exists and say "well, what is the point of you, then? do you even mean anything anymore?" and it says yes, it does. the things - the lights, the clinking of cups, the smoke, the cold, the colors that make up the picture - just being - it has value, the things mean themselves if nothing else. it is what it is, and what it is is enough.

I'm actually really touched by this scene, which you only get if you're with Cuno or alone in the end:

You think you're going to be abandoned, but then a bunch of skills jump out to encourage you in their own way.

And all the options you get except the last one are positive.

posting the spotted hyena vision diagram again

VRML

"Disaster Taxon," poem assembled using text from Wikipedia articles

i think im still kind of lost on what kind of things constitute "genre" as opposed to scene or style. like the best ive come up with is that "tracks are in the same genre if their authors considered the same stylistic elements important to play around with and were in communication with each other either personally or through a shared canon of previous work" but i dont even know if i have it right i like the similarity webs because they capture that this is about this sort of interrelatedness and not just stylistic features, though, so in this sense i understand

music companies like genres for marketing i like genres for sociomusical understanding and exploration. we are not the same. do you understand

1st image:

Punta de Hidalgo lighthouse, by Ramiro Rodriguez-Borlado (1994).

Tenerife - Canary Islands, Spain.

© Roberto Conte (2023)

2nd image:

One of the "arkhitektons" by the Russian artist Kazimir Malevich, a series of models of avant-garde architecture produced from 1923 to the early 1930s and a way to apply to the three dimensions the principles of suprematism.

Moscow, Russia.

© Roberto Conte (2017) Follow me on Instagram

some attempts at vintage pulp covers style