dialécticas

View this post on Instagram

Hypnagogia: The Unique State of Consciousness Between Wakefulness and Sleep by Andreas Mavromatis. 1987, Routledge & Kegan Paul. . "This is the only work in English dealing with hypnagogia, the state of consciousness between wakefulness and sleep. It provides an exhaustive account of hypnagogia, bringing its diverse phenomena into a comprehensive framework. Dr. Mavromatis argues that this common, naturally occurring state may not only be distinct from wakefulness and sleep but unique in its nature and function, possibly carrying important evolutionary implications. He analyzes the relationship between hypnagogia and other states, processes and experiences- such as sleepdreams, meditation, psi, schizophrenia, creativity, hypnosis, hallucinogenic drug-induced states, eidetic phenomena and epileptic states- and shows that, functioning in hypnagogia, a person may gain knowledge of aspects of his or her mental nature which constitute fundamental underpinnings to all adult thought. In addition, functioning in hypnagogia is shown to play a significant part in mental and physical health." . . . . . . #consciousness #hypnagogia #hypnagogic #consciousnessstudies #sleep #dreams #liminal #liminality #liminalstates #meditation #hypnosis #psi #creativity #psychedelic #psychedelics #psychonaut #andreasmavromatis #psychology #philosophy #bookstagram #bibliophile #bookblog #bookcollector #neuroticavintagebooks

A post shared by Neurotica Vintage Books (@neurotica_vintage_books) on

View this post on Instagram

"I don’t really destroy things, I just change them, I change their shape, just like any sculptor does. I chose the refrigerator. I stoned it for a week, every day, until I got the shape really changed. I chose it because I wanted to throw stones at something as sculptural work, but I wanted an object that no one would care about. I thought that if I stoned a TV or an automobile, everyone would be glad and care in some way or another, and I thought that a refrigerator was completely neutral. It was, until I started stoning it and then it wasn’t neutral anymore. Then it started being brave, so that in the end I called it Saint Frigo, because it was a martyr. I saved its life by making it a martyr. It was going into the trash, now it’s eternal, now it’s art." Jimmie Durham piece from 1996 #jimmiedurham #work2day

A post shared by work2day (@work2day) on

View this post on Instagram

#sculpture #theadjordjadze #blue #object

A post shared by JJ (@obj_object) on

View this post on Instagram

Thomas Van Lingue #ThomasVanLingue

A post shared by @ ____gino on

View this post on Instagram

#folded #painting #contemporaryart

A post shared by Tess Williams (@tess_williams_studio) on

https://www.instagram.com/p/BMmHbexhBRW/

https://www.instagram.com/p/BZS4J1qAHma/

View this post on Instagram

🌶 #signlove #emptybillboard

A post shared by Guan Nan 冠楠 (@_soon_li) on

View this post on Instagram

14/365 blank slate

A post shared by erikashisler (@erikashisler) on

View this post on Instagram

#emptybillboard

A post shared by Joe Bruns (@joy_buns) on

View this post on Instagram

#emptybillboard #nothingisordinary #spacey #spacescape

A post shared by joe (@r3phl3x) on

View this post on Instagram

#nothingisordinary #spacey #emptybillboard

A post shared by joe (@r3phl3x) on

View this post on Instagram

kode 9 & the space ape|love is the drug

A post shared by vassilis (@bilan_) on

View this post on Instagram

#faildeadly #vincentbezuidenhout Declassified documents printed on standard A4 copy paper, plinth. In the 1970 and 80’s South Africa built six atom bombs in seemingly complete secrecy. As the apartheid system crumbled the program was swiftly disbanded before the advent of democracy. Pelindaba consists of more than 900 pages of declassified documents from various sources including the N.S.A., C.I.A. and internal government communications regarding South Africa’s clandestine Nuclear weapons program during apartheid. These documents cover a period of twenty-five years of South African nuclear policy, from early uranium supply arrangements under the United States-South Africa Atomic Energy Bilateral to the South African response to the September 1979 Vela incident and the subsequent destruction of its nuclear program. Large sections within these documents have been redacted.

A post shared by Vincent Bezuidenhout (@vincent_bezuidenhout) on

View this post on Instagram

HBRD

A post shared by Great Art in Ugly Rooms (@greatartinuglyrooms) on

View this post on Instagram

Abraham Zabludovsky

A post shared by Lenz Vermeulen (@city_furniture_) on

View this post on Instagram

making sure i share a special one ✨

A post shared by Hayley Eichenbaum (@inter_disciplinary) on

View this post on Instagram

Smite by Mark Bradford #markbradford

A post shared by Avant Arte (@avant.arte) on

View this post on Instagram

artwork by Thea Djordjadze. #theadjordjadze #spruethmagers

A post shared by TIMO_OHLER_FOTOGRAFIE (@timo_ohler_fotografie) on

 

Der grüne Zaun

“The old Kent Road was very crowded on Thursday, the eleventh of October 1928. People spilt off the pavement. There were women with shopping bags. Children ran out. There were sales at drapers’ shops. Streets widened and narrowed. Long vistas steadily shrunk together. Here was a market. Here a funeral. Here a procession with banners upon which was written “Ra – Un”, but what else? Meat was very red. Butchers stood at the door. Women almost had their heels sliced off. Amor Vin- that was over a porch. A woman looked out of a bedroom window, profoundly contemplative, and very still. Applejohn and Applebed, Undert-. Nothing could be seen whole or read from start to finish. What was seen begun – like two friends starting to meet each other across the street – was never seen ended. After twenty minutes the body and mind were like scraps of torn paper tumbling from a sack and, indeed, the process of motoring fast out of London so much resembles the chopping up small of identity which precedes unconsciousness and perhaps death itself that it is an open question in what sense Orlando can be said to have existed at the present moment. Indeed we should have given her over for a person entirely disassembled were it not that here, at last, one green screen was held out on the right, against which the little bits of paper fell more slowly; and then another was held out on the left so that one could see the separate scraps now turning over by themselves in the air; and then green screens were held continuously on either side, so that her mind regained the illusion of holding things within itself and she saw a cottage, a farmyard and four cows, all precisely life-size.”

Orlando, Virginia Woolf. Pg. 151-152, Wordsworth Classics.

twins

Paterson (2016), Jim Jarmusch

 

“Paterson (Adam Driver) es conductor de autobuses en Paterson, Nueva Jersey. Escribe poemas en una pequeña libreta que siempre lleva consigo.”

Jim Jarmusch’s “Paterson” and the Myth of the Solitary Artist
Poem from the film ‘Paterson’. (Paterson’s poems were written for the film by the American poet Ron Padgett)
Books from the film ‘Paterson’

mu 無

Cuentos de Tokio. 1953. Yasujirō Ozu.

 

—Los otros embajadores me advierten de carestías, de concusiones, de conjuras, o bien me señalan minas de turquesas recién descubiertas, precios ventajosos de las pieles de marta, propuestas de suministros de armas damasquinas. ¿Y tú? — preguntó a Polo el Gran Kan—. Vuelves de comarcas tan lejanas y todo lo que sabes decirme son los pensamientos que se le ocurren al que toma el fresco por la noche sentado en el umbral de su casa. ¿De que te sirve, entonces, viajar tanto? — Es de noche, estamos sentados en las escalinatas de tu palacio, sopla un poco de viento — respondió Marco Polo—. Cualquiera que sea la comarca que mis palabras evoquen en torno a ti, la verás desde un observatorio situado como el tuyo, aunque en el lugar del palacio real haya una aldea lacustre y la brisa traiga el olor de un estuario fangoso. — Mi mirada es la del que esta absorto y medita, lo admito. ¿Pero y la tuya? Atraviesas archipiélagos, tundras, cadenas de montañas. Daría lo mismo que no te movieses de aquí.
El veneciano sabía que cuando Kublai se las tomaba con él era para seguir mejor el hilo de sus razonamientos; y que sus respuestas y objeciones se situaban en un discurso que ya se desenvolvía por cuenta propia en la cabeza del Gran Kan. O sea que entre ellos era indiferente que se enunciaran en voz alta problemas o soluciones, o que cada uno de los dos siguiera rumiándolos en silencio. En realidad estaban mudos, con los ojos entrecerrados, recostados sobre almohadones, meciéndose en hamacas, fumando largas pipas de ámbar.
Marco Polo imaginaba que respondía (o Kublai imaginaba su respuesta) que cuanto más se perdía en barrios desconocidos de ciudades lejanas, más entendía las otras ciudades que había atravesado para llegar hasta allí, y recorría las etapas de sus viajes, y aprendía a conocer el puerto del cual había zarpado, y los sitios familiares de su juventud, y los alrededores de su casa, y una placita de Venecia donde corría de pequeño.
Llegado a este punto Kublai Kan lo interrumpía o imaginaba que lo interrumpía, o Marco Polo imaginaba que lo interrumpía con una pregunta como: —¿Avanzas con la cabeza siempre vuelta hacia atrás? —o bien:—¿Lo que ves está siempre a tus espaldas? —o mejor:—¿ Tu viaje se desarrolla sólo en el pasado?

Todo para que Marco Polo pudiese explicar o imaginar que explicaba o que Kublai hubiese imaginado que explicaba o conseguir por último explicarse a sí mismo que aquello que buscaba era siempre algo que estaba delante de él, y aunque se tratara del pasado era un pasado que cambiaba a medida que él avanzaba en su viaje, porque el pasado del viajero cambia según el itinerario cumplido, no digamos ya el pasado próximo al que cada día que pasa añade un día, sino el pasado más remoto. Al llegar a cada nueva ciudad el viajero encuentra un pasado suyo que ya no sabía que tenía: la extrañeza de lo que no eres o no posees más te espera al paso en los lugares extraños y no poseídos. 

Las ciudades invisibles, Italo Calvino. Pág. 20.

 

Cuentos de Tokio. 1953. Yasujirō Ozu.

 

 

saved

Saved images:
¿imágenes "salvadas" y/o guardadas?

View this post on Instagram

This Diana Markosian photograph is from a new series on refugees learning to swim. The image features in the 'Women Seeing Women' exhibition, which is on display at @staleywisegallery in New York until the end of August. Find an exhibition near you to mark World Photo Day today. See Magnum exhibitions around the world on magnumphotos.com/events. PHOTO: "Hanan Saeed Abdo, 15, from Iraq, boarded a small rubber boat in Turkey to cross the Mediterranean. It was night. She remembers many families on that boat, crammed together shoulder to shoulder, feet to feet. She was sitting on the edge. A year later, now in Germany, she is among a handful of refugees learning to swim as a way of overcoming fear of water." Wolfsburg, Germany. March, 2017. © @markosian/#MagnumPhotos #DianaMarkosian #WorldPhotoDay

A post shared by Magnum Photos (@magnumphotos) on

View this post on Instagram

MetaModern – Jordi Colomer in #BRUTgroup

A post shared by #BRUTgroup (@brutgroup) on

View this post on Instagram

Photo by @zitrusfrisch Selection by @farvator91 Congratulations on this intriguing capture of architectural perfection. Please do visit the amazing gallery of the featured artist/photographer and share your architecture-view loves ___________________________________________ ◽Use #architecture_view  for a chance to be featured ◽ ___________________________________________ Please, take a minute for visiting our friendly hub: @skyscraping_architecture @arkiminimal #archimasters #minimal_lookup #lookingup_architecture #architecture_greatshots #facade #architecturephotography #architecturewatch #modernarchitecture #architecturedesign #skyscraper #rsa_architecture #architektura #architecture_hunter #unlimitedcities #architectural #archigram #archiporn #architectureschool #architecturestudent #archidesign #archidaily #beautifularchitecture #architizer #архитектор #housedesign #architectures #architecturephoto #архитектура

A post shared by Architecture Hunter (@architecture_view) on

 

ort

 

Alles (Asturias)

 

“When you travel a lot, and when you love to just wander around and get lost, you can end up in the strangest spots. . . . I don’t know, it must be some sort of built-in radar that often directs me to places that are strangely quiet, or quietly strange.”

Wim Wenders, Places, strange and quiet.

Alles (Asturias)

 

Alles (Asturias)

 

La modernidad es lo transitorio, lo fugitivo, lo contingente, la mitad del arte, cuya otra mitad es lo eterno y lo inmutable. Ha habido una modernidad para cada pintor antiguo; la mayor parte de los hermosos retratos que nos quedan de tiempos anteriores están vestidos con trajes de su época. Son perfectamente armoniosos, porque el traje, el peinado e incluso el gesto, la mirada y la sonrisa (cada época tiene su porte, su mirada y su sonrisa) forman un todo de una completa vitalidad. Este elemento transitorio, fugitivo, cuyas metamorfosis son tan frecuentes, no tienen el derecho de despreciado o de prescindir de él. Suprimiéndolo, caen forzosamente en el vacío de una belleza abstracta e indefinible, como la de la única mujer antes del primer pecado.

Charles Baudelaire, El pintor de la vida moderna.

 

Alles (Asturias)

 

Alles (Asturias)

 

Sobre Alles escribió José Saro y Rojas en 1886: “Es Alles de lo más delicioso de Peñamellera Alta; frondosos castañedos, extensos praderíos, maizales vigorosos, acusan un suelo rico y feraz y deleitan la vista con la belleza inimitable del paisaje. Sorprende al viajero en aquellas soledades su hermosa iglesia, acaso la más bella de la zona oriental de Asturias, con una torre tan ligera y gallarda que es el encanto de cuantos la contemplan”.

fachadas

Ángel González García. Cuatro lecciones sobre Mark Rothko (II)(II) “A propósito de Mark Rothko (II)” 19/11/1987

¿Y es Nueva York la ciudad más hermosa del mundo?
No dista mucho de serlo. No hay noches urbanas como las suyas. He contemplado a la ciudad desde la altura de ciertas ventanas. Es cuando los grandes edificios pierden realidad y asumen sus poderes mágicos. Son incorpóreos, es decir que uno no ve sino las ventanas encendidas.
Cuadrado en llamas tras cuadrado en llamas, engastados en el éter. Aquí hay poesía, pues hemos hecho descender a las estrellas (…)

Patria Mía. Ezra Pound (1885 – 1972)

 

Mark Rothko, Underground Fantasy, c. 1940, oil on canvas, Gift of The Mark Rothko Foundation, Inc., 1986.43.130

 

Sandra Lousada. Rothko Exhibition 1961 at The Whitechapel Gallery London.

 

Entrance to Subway (Subway Station / Subway Scene)1938 by Mark Rothko

 

Mark Rothko – Entrance to a Subway (1938)

 

Rothko Exhibition 1961 at The Whitechapel Gallery London. Sandra Lousada became a photographer in the late 1950s.

 

Rothko Exhibition 1961 – Sandra Lousada
Rothko Exhibition 1961 – Sandra Lousada
Rothko Exhibition 1961 – Sandra Lousada

 

Mark Rothko at Whitechapel Gallery, 1961; photo: Sandra Lousada

 

Mark Rothko Untitled [Woman in Subway], 1936
Mark Rothko (1903-1970), Subway, 1935, c/o Pictoright Amsterdam 2011. Oil on canvas, 24 x 18 in. Collection Kate Rothko Prizel.

 

Installation view of Mark Rothko, Portland Art Museum

 

Mark Rothko. 1964.

 

“I also hang the pictures low rather than high, and particularly in the case of the largest ones, often as close to the floor as is feasible, for that is the way they are painted.”

Mark Rothko

narcosis

 

¿Las imágenes reclaman, en verdad, su propia destrucción?

Utz, p. 152; B. Chatwin.

View this post on Instagram

Human by Gábor Arion Kudász is now available at the #tipibookshop. Link in Bio. Bricks, taken in isolation, are more or less pointless. Like us, they only acquire their 'raison d'être' in association with their fellows. It is in their community that they have meaning. Whenever a brickie lays them out in any one of an infinite number of patterns, they form the structures of our houses, walls, factories and offices. They mark the boundary between Inside and Outside – between the inner kraal in which humanity subsists and the dangerous otherness of the bush, the desert, the sun and snow. As in any aesthetic enterprise, the successful interaction of function and form determines the beauty or ugliness of the building. People have been making and using bricks for thousands of years. Max Ferguson #photography #photographer #architecture #home #lines

A post shared by Tipi Bookshop (@tipibookshop) on

 

Vindicación y reivindicación del ojo. ¿No sería acaso la historia del arte moderno la historia de su exclusión? Georges Bataille la ha contado admirablemente; y sobre todo: ha querido avisarnos de los peligros de pretender verlo todo; esa enfermedad moderna que desciende fulminantemente sobre los protagonistas de su Histoire de l’oeil (…)

El resto, p. 5; Á. González.

Narcosis narcisista: por qué en la era de las redes sociales todos somos Narciso. AlterCultura. Alejandro Martínez Gallardo – 09/22/2018

https://www.instagram.com/p/BfPS5O3FZI-/

Instadialectics

Photo by @codycobb

A post shared by Booooooom.com (@booooooom) on

British Cops Want to Use AI to Spot Porn—But It Keeps Mistaking Desert Pics for Nudes

“Sometimes it comes up with a desert and it thinks its an indecent image or pornography,” Mark Stokes, the department’s head of digital and electronics forensics, recently told The Telegraph. “For some reason, lots of people have screen-savers of deserts and it picks it up thinking it is skin colour.”

Presents "Body landscape" By : @silvazquezphotography Congratulations and thanks for tagging #minimalism42. Check out this artists gallery for more awesome minimal shots! ________ @minimalism42 is a part of the @surreal42 (#surreal42) family. Follow @minimalism42 and tag your minimal creations to #minimalism42 for a chance to be featured. _________ Feature selected by @whispersaroundatree _________ #minimal #minimalism #surreal_minimalism #lightedlight #creative_minimalism #body #minimalchile #minimalha #lessismore #minimalzine #subjectivelyobjective #thisveryinstant #collecmag #somewheremagazine #abstractexpressionism #postthepeople #rentalmag #myfeatureshoot #lensculture #burnmagazine #oftheafternoon #verybusymag #ourmag #thisaintartschool #highsnobiety #seekthesimplicity #odtakeovers #archivecollectivemag

A post shared by Tag #minimalism42 (@minimalism42) on

“El algoritmo de la policía londinense no distingue un desierto de un desnudo.” (…) “Cuando el programa debía señalar o “flaggear” a personas desnudas fallaba y por mucho, demostrando poseer una mirada especialmente pecaminosa.” (…) “Confundía imágenes del desierto y sinuosas dunas de arena con piel humana, con cuerpos desnudos.”

https://www.instagram.com/p/Bf8zcw9BLmy/?hl=es&taken-by=rentalmagazine

-Send dunes.