"Individuals find a real name for themselves only through the hardest exercise in depersonalization, by opening themselves up to multiplicities everywhere within them, to the intensities running through them. A name [one’s own name, speaking for yourself in your own name] as the direct awareness of such intensive multiplicity is the opposite of the depersonalization effected by the history of philosophy; it’s depersonalization through love rather than subjection. What one says becomes from the depths of one’s ignorance, the depths of one’s own underdevelopment. One becomes a set of liberated singularities, words, names, fingernails, things, animals, little events."

Gilles Deleuze, “Letter to a Harsh Critic” in Negotiations 1972-1990 (via givemeabody)

kicker-of-elves:

favelados of Rochinha         National Geographic March 1987           Stephanie Maze

vagabondaesthetics:

RIP to generations of women creatives we’ve lost because their eccentricities got them locked up in insane asylums and corrective religious institutions.

"Dignity as a form of truth character no longer means anything to us. Just as it is not binding for us in reality, it can equally not be so in art, which does not contain the real past but is relevant to us only to the extent that we are forced to recognize its content as truth content. Today, art could assert dignity only as semblance. It would have to simulate an expression of unimpaired richness of being that is unattainable and not worth attaining for us, and whose aesthetic postulation thus lacks any legitimacy; dignity could be bought only by sacrificing our current state of musical awareness–and moreover at the price of boredom."

Theodor W. Adorno, ‘New Tempi’

(Source: hhuummff)

aleyma:

Architectural model of the Tempietto, made in Italy, c.1830-1900 (source).

More than any other architect, Donato Bramante (1444-1514) was responsible for re-establishing the use of classical proportion and the ‘grammar’ of ancient Roman building. The small church,called Tempietto, of San Pietro in Montorio, Rome, was designed by him in 1502 or later. The first building of the High Renaissance, it came closer to the spirit of antiquity than any other building. As such it has become an architectural icon, noted for its rigorous proportion and symmetry, characteristics of the Renaissance, but seen in particularly harmonious form in the Tempietto.

It was commissioned in 1502 by King Ferdinand and Queen Isabella of Spain and marks the spot on the Janiculum Hill on the west side of Rome where St Peter was supposedly martyred. Bramante worked on it over a period of years and is thought to have completed it by 1512. 

The model, made of walnut and pearwood, is thought to be a nineteenth-century representation of the Tempietto. Architectural models such as this one were usually made as teaching aids. They recorded detailed information of the buildings of the past and were design aids for building projects of the future. This particular model differs in detail from Bramate’s original design and may have been made for a building paying homage to the famous original. - from the V&A description

"I am staggered by artists who assume that they freely create themselves, that it is actually possible to do so; for it is the lot of the artist to accept that he is created by his time and the people amongst whom he lives."

Andrei Tarkovsky, The artist’s responsibility

cravingdesires:

artmastered:

Vittore Carpaccio, The Visitation, 1504-06

blastedheath:

universum-lateralis

Erika Giovanna Klien (1900-1957), Silex Abstraction, 1935. Watercolour and pencil on paper mounted on silk paper, 48.5 x 34.5 cm.

(Source: bluecohosh)