20aliens:

Ryan Mcginley

(via excdus)

hifructosemag:

likeafieldmouse:

Sarah Schönfeld - All You Can Feel

"Since the 1950s, we in the western world have increasingly come to understand our most intimate desires and experiences as the products of a so-called ‘chemical self’. We can explain moods, angers and diseases both physiological and psychological as an imbalance of substances in the body.

All of this, of course, takes place against the backdrop of a constantly shifting legal and political climate regarding the regulation of different types of mood-altering substances.

What do all these substances actually look like when their essence is visually depicted?

Schönfeld squeezed drops of various legal and illegal liquid drug mixtures onto negative film which had
already been exposed. Each drop altered the coating of the film.

Much like the effect of some of these substances on humans, this can be a lengthy process – sometimes one that can barely be stopped.

She then enlarged these negatives including the chemical reaction of the particular drug, to sizes of up to 160 x 200cm.”

1. Valium

2. Ketamine

3. Speed

4. Crystal Meth

5. Solian

6. Magic

7. Orphiril

8. Pharmaceutical Speed

9. Dopamine 

10. Cocaine

The literal negative effects of drugs (on negatives)

stuffaboutminneapolis:

Minneapolis Mid Century Modern ING Building

hobbitballerina:

chelseawelseyknight:

witchesbitchesandbritches:

lifeundefeated:

Yea it’s clearly our “generation that’s making homosexuality a trend.” Seriously, pisses me off when people say that. look at this! It’s always been around, it’s not a trend, it’s real. It’s beautiful.

These are really beautiful images.

This makes me really happy

There’s a long history of lesbian-like activity in the West.  In the 19th century US, especially after the Civil War killed off so many young men, middle-class and other genteel girls were encouraged in Boston marriages — relationships with other women of similar educational and class backgrounds.  Since women were considered naturally chaste and disinterested in sex, these love affairs were seen as innocent and spiritual.  Women’s lives were wholly separate from men’s that young women infrequently had male friends who weren’t considered a marriage prospect.  They were encouraged to keep to all-female social circles, and the advent of women’s colleges further encouraged that.  Women were expected to mentor each other, love each other, dance with each other, with the older woman acting as the cavalier, the man in the relationship, protecting and guiding the younger, pursuing her and courting her in ways not unlike how young men would court their brides.  But the prevailing cultural wisdom was that these relationships would be limited to kisses and poetry — women were incapable of sexual desire, they tolerated sex in heterosexual marriages because men were sex-driven beasts who demanded it of them.  Without a man, it was presumed that these relationships would be chaste, innocent, and wholly emotional.  Lesbian-like behaviour is most tolerated when women are perceived as less sexual than men.  Homosexual behaviour becomes threatening when sex is involved — when, in the 1920s, women were seen as able to have sexual drives and the idea of sexually companionable marriages came onto the landscape, Boston marriages suddenly became unnatural and disgusting because they directed women’s sexual interests towards other women instead of to the proper channels: towards men.  The flapper was all about the sexually available (to men) young woman.  She contributed to the demise of widely accepted lesbian or lesbian-like relationships.  As soon as the flapper was capable of wanting sex herself instead of tolerating it from her male partner, lesbian/lesbian-like relationships were threatening, deviant, and ruined young women’s chances to become good wives and mothers.

So remember this as you look at the pre-1920s images.  Those women were allowed these passionate loves, even encouraged in them (sometimes after they managed to get a husband, Eleanor Roosevelt in particular), all because the patriarchy was convinced that women weren’t capable of sexual feelings towards one another.  As long as women were seen as desexed, as creatures of sentiment and emotion instead of passion and desire, lesbianism wasn’t a threat.  The minute women were regarded by patriarchal culture as having a natural sex drive, lesbian-like behaviour became deviant and damning.

We didn’t invent homosexuality in the past 20 or 30 or 50 years.  But we continue to labour under the belief and cultural expectation that women’s sexuality is something owed to and owned by men, forever de-legitimising women’s relationships unless men in some way benefit. 

(Source: babycocodill, via sorman)

fuckyeahanarchopunk:

The Brat Attack - “Mr. Capitalist”

Suit of gold enslaves your soul. 
The power of the dollar bill. 
That tie is a noose around your throat. 
Sick empire makes us ill.

This pill forced down my throat gives me the chills. 

Wall Street crumbles into decay. 
Monuments of greed are torn away. 
Who is Mr. capitalist? 
It sucks that we all have to live like this.

We’re part of it! 
Hello Mr. capitalist, have you met my Mr. fucking fist?

(Source: crutal, via yumyumcult)

likeafieldmouse:

Sara Bjarland - Collapses (2013)

wapiti3:

The Hymenomycetes, or description of all fungi (fungi) that grow in France, with an indication of their useful properties, or POISONOUS By Gillet, Claude Casimir on Flickr.

Publication info Alençon :Ch. Thomas,1874-[1898].
Contributing Library:
Missouri Botanical Garden, Peter H. Raven Library
BioDivLibrary

(via mossqveen)

d-dracarys-s:

lunar-amethyst:

❂ॐ☮Hippie|Spiritual|Nature blog☮ॐ❂

I want some of this!

(Source: hayashiwylona, via mineralia)

skidmoreowingsmerrill:

Turning Bridge-Building Sideways

In 1978, SOM architect Myron Goldsmith and engineer T.Y. Lin created a remarkable structure to span the challenging middle fork of California’s American River. Ruck-A-Chucky Bridge elegantly solves the problem of building a stable, economical structure across a wide, steep gorge by entirely rethinking the principles of bridge-building. A “hanging arc,” the bridge was to be suspended by 80 high-strength cables and balanced by tensile forces. Though unbuilt, Ruck-A-Chucky Bridge stands as a masterwork of innovative design and structural economy to this day. Learn more

(via ryanpanos)

cross-connect:

Mary Iverson received a BFA in design from received Cornish College of the Arts in 1995 and an MFA in painting from University of Washington seven years later.

Initially a plein air painter, the focus of her work gradually shifted toward the colorful and geometric aspects of shipping containers, and the shipping industry at large.

Iverson has won several awards and her work has been widely exhibited in museums and galleries across the Pacific Northwest, including Museum of Northwest Art, Kittredge Gallery at the University of Puget Sound, and Gage Academy of Art via

:)

(Source: neco-299, via titsandtires)