Max Richter // On the Nature of Daylight

05.25.13 @ 13:53♥2

Max Richterneoclassical
  Kamiya Bar, Asakusa Takyo, 1953, Kimura Ihee / 木村伊兵衛. Japanese (1901 - 1974)

05.25.13 @ 13:29♥41

 

Kamiya Bar, Asakusa Takyo, 1953, Kimura Ihee / 木村伊兵衛. Japanese (1901 - 1974)

 

Nostalghia, Andrei Tarkovsky (1983)

05.25.13 @ 13:24♥63

Andrei TarkovskyNostalghia

05.25.13 @ 11:58♥795

  Three-Dimensional Audio Analysis (20111211)

05.25.13 @ 11:54♥6

 

Three-Dimensional Audio Analysis
(20111211)

 

NOBUYOSHI ARAKI

05.25.13 @ 01:13♥4353

  c. 7,500, curated by Lucy Lippard at California Institute of the Arts, Valencia, 1973

05.25.13 @ 01:11♥40

 

c. 7,500, curated by Lucy Lippard at California Institute of the Arts, Valencia, 1973

Estou bastante acostumada a estar só, mesmo junto dos outros. Digo isso sem grande amargura.

~   Clarice Lispector

05.24.13 @ 21:32♥56

05.24.13 @ 18:44♥376

05.24.13 @ 16:52♥25

05.23.13 @ 23:31♥1686

Great writers, by definition, do lots of things well. I love Bolano’s irony, his strange flights of lyricism, the vivid atmosphere of his books. You can’t read him without getting lost in his world. I love his dialogue, I love the way his narrators lose the thread. Most of all, he seems always to be in the grip of his story — even when he doesn’t understand quite where the story is going, or what it means. He believes in what he writes.

~   lorin Stein, editor of the Paris Review, on what captivates him about Roberto Bolano

05.23.13 @ 23:13♥4

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05.23.13 @ 23:12♥9432

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  William S. Burroughs and Brion Gysin outside the Beat Hotel, Paris.

05.23.13 @ 23:10♥87

 

William S. Burroughs and Brion Gysin outside the Beat Hotel, Paris.

  Razvan Boar,  Nebula, 2012, Oil and acrylic on canvas

05.23.13 @ 23:05♥300

 

Razvan Boar,  Nebula, 2012, Oil and acrylic on canvas

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