the Gleanings of a Drone Cowgirl

Serpentine

Wed, 15 May 2013 13:26:51 -0400

Serpentine

nardotinoniel: Milky Way around y Cassiopeiae (1914; more...

Wed, 15 May 2013 11:54:30 -0400

nardotinoniel:

Milky Way around y Cassiopeiae (1914; more here)

stevenhess: Serpentine

Wed, 15 May 2013 11:53:53 -0400

stevenhess:

Serpentine

Otto Marseus van Schrieck, A Forest Floor Still-Life (1666)

Mon, 13 May 2013 21:46:00 -0400

Otto Marseus van Schrieck, A Forest Floor Still-Life (1666)

Photo

Mon, 13 May 2013 19:14:48 -0400

suspicious-fern: “Creation Starts Spontaneously” from...

Mon, 13 May 2013 19:13:18 -0400

suspicious-fern:

“Creation Starts Spontaneously” from “Utriusqui cosmi maioris scilicet et minoris metaphysica,” Robert Fludd. 1617

asymptotic-silence: jan švankmajer, {1981} zánik domu...

Mon, 13 May 2013 19:12:42 -0400

asymptotic-silence:

jan švankmajer, {1981} zánik domu usherů

gifs from:

nardotinoniel: Walker Evans

Sat, 11 May 2013 19:53:14 -0400

nardotinoniel:

Walker Evans

Matthew BarneyKHU: Djed, 2011Brush and ink, gold leaf, iron, and...

Thu, 09 May 2013 18:10:19 -0400

Matthew Barney
KHU: Djed, 2011
Brush and ink, gold leaf, iron, and lapis lazuli on black paper in polyethylene frame
12 3/4 x 10 3/4 x 1 1/4 inches (32.4 x 27.3 x 3.2 cm)

Mundas Subterraneus, 1665, Athanasius Kircher “Water, Fire;...

Thu, 25 Apr 2013 18:12:00 -0400

Mundas Subterraneus, 1665, Athanasius Kircher

“Water, Fire; Fire, Water; mutually, as it were, cherish one another; and by a certain unanimous consent, conspire to the Conservation of the Geocosm, or Terrestrial World.”

Florian & Michael QuistrebertBleach 5 , bleach on fabric,...

Wed, 24 Apr 2013 16:00:15 -0400

Florian & Michael Quistrebert
Bleach 5 , bleach on fabric, 38cm x 55cm, 2010

Florian & Michael QuistrebertIntroversion , spray paint on...

Wed, 24 Apr 2013 15:57:53 -0400

Florian & Michael Quistrebert
Introversion , spray paint on canvas, 15cm x 25cm, 2010

Florian & Michael QuistrebertUntitled B&W painting, oil...

Wed, 24 Apr 2013 15:56:31 -0400

Florian & Michael Quistrebert
Untitled B&W painting, oil on canvas, 45x45cm, 2009

average-weekend: Michelangelo Pistoletto - Seventeen Less...

Wed, 24 Apr 2013 15:43:00 -0400

average-weekend:

Michelangelo Pistoletto - Seventeen Less One (2009)

"A witch ought never to be frightened in the darkest forest, Granny Weatherwax had once told her,..."

Wed, 24 Apr 2013 15:39:12 -0400

“A witch ought never to be frightened in the darkest forest, Granny Weatherwax had once told her, because she should be sure in her soul that the most terrifying thing in the forest was her.”

- Wintersmith by Terry Pratchett (via them-witches)

toad, Hans de Wit (c2013) “Magic Birth” in Timothy...

Wed, 17 Apr 2013 10:52:00 -0400

toad, Hans de Wit (c2013)

“Magic Birth” in Timothy Morton, Realist Magic: Objects, Ontology, Causality (2013)

Let’s analyze that MP3 recording of the croaking frogs. It’s a translation of the frog sound as much as the word “croak” or Aristophanes’ elaborate brek-ek-ek-ex, koax koax. First we select two seconds of the croak. A computer terminal translates the sound into a visual image of a wave. A special software application introduces zeroes into the wave so that each little piece of the wave become visible between increasingly stretched out sequences of space. A tiny piece of the wave that is two seconds of frog croak is a sequence of clicks. Speed up the clicks and we have a croak. At a very small scale, the wave is a series of beats, like the beats of a drum. These beats occur when one sound interrupts another. Think of a line. Now introduce a gap into the line—interrupt it: you have two lines. The space between them is a beat. In music composition software, one sample can be broken up according to the rhythm of another one, giving rise to an effect commonly known as “gating.” A voice, for example, can break up into the scattered patter of hi-hat beats or snare drum shots, so that a smooth-seeming “Ah” can become “A-a-a-a-a-ah.”

Think of a straight line. Then break it into two pieces by chopping the middle third out. Now you have a beat, the space between the lines; and two beats, the lines. Then chop the middle thirds out of those lines. You have some more beats. And more beats-as-lines. Eventually you end up with Cantor dust. It is named after Georg Cantor, the mathematician who discovered transfinite sets—infinite sets of numbers that appeared to be far larger (infinitely larger) than other sets of infinite numbers. Cantor dust is weird, because it has infinity pulses in it, and infinity no-pulses. Infinity beats and infinity beats-as-lines: p ∧ ¬p. This paradoxical fact is the sort of discovery that reinterpretations of Cantor have sometimes striven to edit out, most notably, the Zermelo-Fraenkel theory preferred by Alain Badiou. [6] We have seen this formula before, in our first foray into the world of fundamentally inconsistent objects. It is not surprising that we encounter it again here. Why?

The amalgam of beats and no-beats is also what happens at a smaller physical scale. Single waves break into and are broken by others. Sound cuts into silence. Silence cuts into sound. We have arrived at a very strange place. In order for a frog croak to arise at all, something must be there, yet missing! Some continuous flow, say of frog breath inside a frog’s mouth, must be interrupted somehow, to produce a beat. There must always be at least one extra sound or non-sound that the beat cuts into.

Béla Tarr and Ágnes Hranitzky, The Turin Horse (2011) What is...

Mon, 15 Apr 2013 13:00:00 -0400

Béla Tarr and Ágnes Hranitzky, The Turin Horse (2011)

What is this Darkness?

I do not know.

Even the embers went out.

We’ll try again tomorrow.

blushingcheekymonkey: vincent como

Sun, 14 Apr 2013 18:14:39 -0400

blushingcheekymonkey:

vincent como

Ash Borer, Bloodlands, 2013

Wed, 10 Apr 2013 17:07:26 -0400

Ash Borer, Bloodlands, 2013

Photo

Wed, 10 Apr 2013 15:01:52 -0400