She took the hand and, breathing hard, pulled heavily up on it and then stood for a moment, swaying slightly as if the spots of light in the darkness were circling around her. Her eyes, shadowed and confused, finally settled on his face. ... She continued to plow ahead, paying no attention to him. Her hair had come undone on one side. She dropped her pocketbook and took no notice. He stooped and picked it up and handed it to her but she did not take it. ... She continued to go on as if she had not heard him. He took a few steps and caught her arm and stopped her. He looked into her face and caught his breath. He was looking into a face he had never seen before. ... Crumpling, she fell to the pavement. He dashed forward and fell at her side, crying, “Mamma, Mamma!” He turned her over. Her face was fiercely distorted. One eye, large and staring, moved slightly to the left as if it had become unmoored. The other remained fixed on him, raked his face again, found nothing and closed.
nickkahler reblogged
Luigi Ghirri, Doric Portal at Bagnolo San Vito, Italy, c. 1990 (via mythofblue)
In the past decade, universities have added layers of administrators and staffers to their payrolls every year even while laying off full-time faculty in increasing numbers–ostensibly because of budget cuts. In a further irony, many of the newly minted–and non-academic–administrators are career managers who downplay the importance of teaching and research, as evidenced by their tireless advocacy for a banal 'life skills' curriculum.
If the Movement should ever fall silent, even after thousands of years this witness here will speak. In the midst of a sacred grove of age-old oaks the people of that time will admire in reverent astonishment this first giant among the buildings of the Third Reich.
Adolf Hitler in Cornelius Holtorf, “A Theory of Ruin-Value,” c. 1995
Consult the genius of the place in all;
That tells the waters or to rise, or fall;
Or helps th' ambitious hill the heav'ns to scale,
Or scoops in circling theatres the vale;
Calls in the country, catches opening glades,
Joins willing woods, and varies shades from shades,
Now breaks, or now directs, th' intending lines;
Paints as you plant, and, as you work, designs.
Alexander Pope, “On the Genius Loci” in Epistle IV to Richard Boyle, Earl of Burlington, c. 1730
nickkahler reblogged
Sverre Fehn, Nordic Pavillion, Venice, Italy, 1958-62 (via lindman)
nickkahler reblogged
The fall of Rome, as the very name implies, was accompanied by a reassertion of the elemental power of gravity. The suspension of stone in midair came to an end, as did the towering arguments of classical philosophers. The ectoplasmic theories of early Christianity permeated reason and dissolved the mortar holding together the refined syllogisms of the previous millennium. The precise connections joining the granite blocks of the Greco-Roman structures underwent a parallel dissolution and their monumental stone structures toppled. So lost were all the vestiges of this classical tradition that when the Renaissance began a thousand years later most ordinary people could not remember who had built the magnificent ruins that dotted the landscape of Europe. The consensus was that they had been erected by a vanished race of giants.
Leonard Shlain, Art & Physics, 1993 (via mbelt)
nickkahler reblogged
palethrough-deactivated20171224
I’m an eye. A mechanical eye. I, the machine, show you a world the way only I can see it. I free myself for today and forever from human immobility.
I’m in constant movement. I approach and pull away from objects. I creep under them. I move alongside a running horse’s mouth. I fall and rise with the falling and rising bodies. This is I, the machine, manoeuvring in the chaotic movements, recording one movement after another in the most complex combinations.
Freed from the boundaries of time and space, I coordinate any and all points of the universe, wherever I want them to be. My way leads to the creation of a fresh perception of the world. Thus I explain in a new way the world unknown to you.
Dziga Vertov, "On the Eye," 1923 (via palethrough)