PURE PSYCHEDELIC INEBRIATION
"Be yourself. You’re okay."
Yohji Yamamoto (via spokewithnowords)
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propaedeuticist:

levitating bridges - Olivier Grossetete
propaedeuticist:

levitating bridges - Olivier Grossetete
propaedeuticist:

levitating bridges - Olivier Grossetete
propaedeuticist:

levitating bridges - Olivier Grossetete
propaedeuticist:

levitating bridges - Olivier Grossetete
propaedeuticist:

levitating bridges - Olivier Grossetete
propaedeuticist:

levitating bridges - Olivier Grossetete
propaedeuticist:

levitating bridges - Olivier Grossetete
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nevver:

Entanglement
nevver:

Entanglement
paulabraconnot:

Seeing sounds
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myampgoesto11:

Atelier Olschinsky: Ghost Cities/remix
myampgoesto11:

Atelier Olschinsky: Ghost Cities/remix
myampgoesto11:

Atelier Olschinsky: Ghost Cities/remix
myampgoesto11:

Atelier Olschinsky: Ghost Cities/remix
supersonicelectronic:


Ramona Ring.
Illustrations by Ramona Ring (On Tumblr):
Read More
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austinkleon:

Bradley Campbell uses napkins to diagram the narrative structures of radio shows.


  What’s cool about mapping structure like this is that the pieces are moveable. You can rearrange the parts like they’re Tinkertoys. In the Morning Edition structure, for example, you could open in a scene, then introduce two people with other views (like the lines on the right of Bradley’s napkin only on the left). Then the “V.” Then a return to the first character and the lines again. Or, maybe you start with the “V” then meet a character…. See what I mean?


Fantastic. See also: Vonnegut’s story shapes and John McPhee on structure.

Filed under: structure, storytelling
austinkleon:

Bradley Campbell uses napkins to diagram the narrative structures of radio shows.


  What’s cool about mapping structure like this is that the pieces are moveable. You can rearrange the parts like they’re Tinkertoys. In the Morning Edition structure, for example, you could open in a scene, then introduce two people with other views (like the lines on the right of Bradley’s napkin only on the left). Then the “V.” Then a return to the first character and the lines again. Or, maybe you start with the “V” then meet a character…. See what I mean?


Fantastic. See also: Vonnegut’s story shapes and John McPhee on structure.

Filed under: structure, storytelling
austinkleon:

Bradley Campbell uses napkins to diagram the narrative structures of radio shows.


  What’s cool about mapping structure like this is that the pieces are moveable. You can rearrange the parts like they’re Tinkertoys. In the Morning Edition structure, for example, you could open in a scene, then introduce two people with other views (like the lines on the right of Bradley’s napkin only on the left). Then the “V.” Then a return to the first character and the lines again. Or, maybe you start with the “V” then meet a character…. See what I mean?


Fantastic. See also: Vonnegut’s story shapes and John McPhee on structure.

Filed under: structure, storytelling
austinkleon:

Bradley Campbell uses napkins to diagram the narrative structures of radio shows.


  What’s cool about mapping structure like this is that the pieces are moveable. You can rearrange the parts like they’re Tinkertoys. In the Morning Edition structure, for example, you could open in a scene, then introduce two people with other views (like the lines on the right of Bradley’s napkin only on the left). Then the “V.” Then a return to the first character and the lines again. Or, maybe you start with the “V” then meet a character…. See what I mean?


Fantastic. See also: Vonnegut’s story shapes and John McPhee on structure.

Filed under: structure, storytelling
ZoomInfo
skeletales:

San Francisco-based artist Jeremy Mann lives and works in San Francisco where he executes these sublime, moody cityscapes using oil paints. To create each work he relies on a wide range of techniques including surface staining, the use of solvents to wipe away paint, and the application of broad, gritty marks with an ink brayer. The resulting paintings are dark and atmospheric, urban streets seemingly drenched in rain and mystery.
skeletales:

San Francisco-based artist Jeremy Mann lives and works in San Francisco where he executes these sublime, moody cityscapes using oil paints. To create each work he relies on a wide range of techniques including surface staining, the use of solvents to wipe away paint, and the application of broad, gritty marks with an ink brayer. The resulting paintings are dark and atmospheric, urban streets seemingly drenched in rain and mystery.
skeletales:

San Francisco-based artist Jeremy Mann lives and works in San Francisco where he executes these sublime, moody cityscapes using oil paints. To create each work he relies on a wide range of techniques including surface staining, the use of solvents to wipe away paint, and the application of broad, gritty marks with an ink brayer. The resulting paintings are dark and atmospheric, urban streets seemingly drenched in rain and mystery.
nevver:

The New Yorker
newyorker:

Cartoon by Tom Toro. For more from this week’s issue: http://nyr.kr/ZqjDNF
"The difference between the almost right word and the right word is really a large matter—‘tis the difference between the lightning bug and the lightning."
Mark Twain (via stxxz)

자꾸만 네가 떠올라, Sinking of you, Daehyun Kim, 2010
The Korean title translates into “i keep thinking of you,” but it literally means “you keep floating up”
and then the English title is “Sinking of you”
so when you think of another person, that mentally woven image will float up to the surface beyond your reach
while you are weighted down by your own obsession
hattiestewart:

If I draw summer stuff hopefully I can draw the sun out. Boo snow.