Monday, November 30, 2009

mix & match






a few old favorites

Friday, November 27, 2009

SO WATTLE-IT BE?


(wattle = fleshy lobe)



If I were to just dream up a name for that thing hangin off their noses, I'm like 80% sure it would be "snood".



Scrooge.

WATER BEARS and MOSS PIGLETS

Design schools should probably start offering a class involving the analysis of images from Scanning Electron Microscopes. Below is the infamous invertebrate Tardigrade, also known as the "Water Bear" or "Moss Piglet". Water Bears are some bad-ass die-hard polyextremophiles, known to withstand temperatures close to absolute zero, 1,000 times more radiation than any other animal, nearly a decade without water, and even the vacuum of space.


The claws:




Takamasa Sumi knows what I'm talking about:

Wednesday, November 25, 2009

MENDEL BOOTIES


REPOSTING RUMI'S NEW BCBG BECAUSE I'M DROOLING. T! COME BACK.

Tuesday, November 24, 2009

SKIN









SOURCES? NO IDEA. consult the downloads folder on my mac.
oops.

Sunday, November 22, 2009

KOH TIME




Untitled
performance by Terence Koh

part of Performa 09
featuring TMO

Beinecke



Rare Book Library @ Yale University

Tuesday, November 17, 2009

INTERVIEW


CORMAC MCCARTHY:  WRITER:  THE ROAD, BLOOD MERIDIAN, NO COUNTRY FOR OLD MEN, ALL THE PRETTY HORSES
JOHN HILLCOAT:  DIRECTOR FOR THE ROAD (^)
INTERVIEW BY WSJ
. . . 
JH: Viewers are being hardwired differently. In film, it's harder and harder to use wide shots now. And the bigger the budget, the more closeups there are and the faster they change. It's a whole different approach. What's going to happen is there will be the two extremes: the franchise films that are now getting onto brands like Barbie, and Battleship and Ronald McDonald; then there are these incredible, very low-budget digital films. But that middle area, they just can't sustain and make it work in the current model. Maybe the model will change and hopefully readjust.
CM: Well, I don't know what of our culture is going to survive, or if we survive. If you look at the Greek plays, they're really good. And there's just a handful of them. Well, how good would they be if there were 2,500 of them? But that's the future looking back at us. Anything you can think of, there's going to be millions of them. Just the sheer number of things will devalue them. I don't care whether it's art, literature, poetry or drama, whatever. The sheer volume of it will wash it out. I mean, if you had thousands of Greek plays to read, would they be that good? I don't think so.
JH: No, you're absolutely right. Just as an example, the Toronto Film Festival is one of the biggest in film festivals. They have made it, for the first time ever, much more difficult to submit a film. They charge an entry fee and they still had 4,000 submissions just this year and they boiled that down to 300.
CM: This is just entry level to what's coming. Just the appalling volume of artifacts will erase all meaning that they could ever possibly have. But we probably won't get that far anyway.
JH: You got that from the horse's mouth. Did someone at the Institute give you some inside information? Can you tell us a date?
CM: For what, the end of the world? [Laughing] No, they don't have the date.
JH: Your writing, it's a form of poetry. But so much of what you read and study is technical and based in fact. Is there a line between art and science, and where does it start to blur?
CM: There's certainly an aesthetic to mathematics and science. It was one of the ways Paul Dirac got in trouble. He was one of the great physicists of the 20th century. But he really believed, as other physicists did, that given the choice between something which was logical and something which was beautiful, they would opt for the aesthetic as being more likely to be true. When [Richard] Feynman put together his updated version of quantum electrodynamics, Dirac didn't think it was true because it was ugly. It was messy. It didn't have the clarity, the elegance, that he associated with great mathematical or physical theory. But he was wrong. There's no one formula for it.
. . . 

WSJ: Do you feel like you're trying to address the same big questions in all your work, but just in different ways?
CM: Creative work is often driven by pain. It may be that if you don't have something in the back of your head driving you nuts, you may not do anything. It's not a good arrangement. If I were God, I wouldn't have done it that way. Things I've written about are no longer of any interest to me, but they were certainly of interest before I wrote about them. So there's something about writing about it that flattens them. You've used them up. I tell people I've never read one of my books, and that's true. They think I'm pulling their leg.


Monday, November 16, 2009

Oh yeah thank you, it is time to take my psilocybin.


via Em.
A pagan parade inspired by Wayne Coyne of the Flaming Lips:


A rabid spasm inspired by acid:

White Snow



the genius
Paul McCarthy
is back to basics
@ Hauser & Wirth

Sunday, November 15, 2009

LOVE IN LA


Saturday, November 14, 2009

MY SEAMSTER





YOU MUST! SEE THE ENTIRE FILM.
 EQUIPPED WITH HARD-CANDY-COATED ACCENT,
ATOP IMAGES FROM ZAC POSEN RESORT.

IT'S ALWAYS OURSELVES WE FIND IN THE SEA




via LIFE archives, slm, but does it float

Friday, November 13, 2009

BECAUSE IT IS





SIMON EVANS, 2008.
PLEASE READ THE CAPTIONS.
they're beautiful.

Contributors