(via devojka)




This is actually really interesting.

(via unrulywhippersnapper-deactivate)


Shelley Winters - c. 1950’s

(via dreamfawn)


Pavel Baňka - Portrait with a Small Mirror, Image No. 35, 1984

to infinity and beyond…

Of course.


At a time of increasing individual public retreat into the media offered on mobile phones, New Zealand experimental design collective OH.NO.SUMO have intervened in a hardscape environment, to link people virtually and physically. The stairway cinema is free for communal public enjoyment. Photography courtesy of Simon Devitt.

Timber camera constructed from Torafu-Architects-Dowel-Blocks


emotion contenue, marie-ange guilleminot, 1995


“The mirror was often used as a symbol of the vanityof woman. The moralizing, however, was mostly hypocritical.

You painted a naked woman because you enjoyed looking at her, you put a mirror in her hand and you called the painting Vanity, thus morally condemning the woman whose nakedness you had depicted for your own pleasure.

The real function of the mirror was otherwise. It was to make the woman connive in treating herself as, first and foremost, a sight.”

John Berger, Ways of Seeing


Ways of Seeing with John Berger

Episode 1

This is a fantastic BBC program from the 1970s about how the context and framing of a piece of art changes the meaning. Its quite fascinating. Even if you’re not all that interested in art I’d recommend it


“To be born a woman has to be born, within an allotted and confined space, into the keeping of men. The social presence of women is developed as a result of their ingenuity in living under such tutelage within such a limited space. But this has been at the cost of a woman’s self being split into two. A woman must continually watch herself. She is almost continually accompanied by her own image of herself. Whilst she is walking across a room or whilst she is weeping at the death of her father, she can scarcely avoid envisaging herself walking or weeping. From earliest childhood she has been taught and persuaded to survey herself continually. And so she comes to consider the surveyor and the surveyed within her as the two constituent yet always distinct elements of her identity as a woman. She has to survey everything she is and everything she does because how she appears to men, is of crucial importance for what is normally thought of as the success of her life. Her own sense of being in herself is supplanted by a sense of being appreciated as herself by another….One might simplify this by saying: men act and women appear. Men look at women. Women watch themselves being looked at. This determines not only most relations between men and women but also the relation of women to themselves. The surveyor of woman in herself is male: the surveyed female. Thus she turns herself into an object ― and most particularly an object of vision: a sight.”

Ways of Seeing by John Berger


*Another Way of Telling
*The Sense of Sight
*Art & Revolution
*And Our Faces, My Heart, Brief as Photos
*The Shape of a Pocket

now in stock at BooksActually

Techniques of the Observer: On Vision and Modernity in the 19th Century, Jonathan Crary

La jetée (French pronunciation: ​[la ʒɛte], “The Runway”) is a 1962 French science fiction featurette by Chris Marker. Constructed almost entirely from still photos, it tells the story of a post-nuclear war experiment in time travel. The film runs for 28 minutes and is in black and white. It won the Prix Jean Vigo for short film.
The 1995 science fiction film 12 Monkeys was inspired by, and takes several concepts directly from, La jetée.

"The originality of Chris Marker’s film obviously resides, as has been regularly demonstrated, in the work of the image itself: a framing of the most obscure zones of memory’s fragility and unpredictability; and a montage that replicates gaps in recollection. The image itself constitutes an unusual organization of storyline: Marker invents a type of narration that literature cannot often produce." (source)