shhhh

the eyes don't see what the mind doesn't know

40 notes

Who looks in the sun will see no light else; but also he will see no shadow. Our life revolves unceasingly, but the centre is ever the same, and the wise will regard only the seasons of the soul.
Henry David Thoreau (via terramantra)

(Source: ladyjungle, via terramantra)

319 notes

Pleasure to me is wonder—the unexplored, the unexpected, the thing that is hidden and the changeless thing that lurks behind superficial mutability. To trace the remote in the immediate; the eternal in the ephemeral; the past in the present; the infinite in the finite; these are to me the springs of delight and beauty.
H.P. Lovecraft (via terramantra)

(Source: fernsandmoss, via terramantra)

62,331 notes

French Friend:
well, the total cost of me going to Med school is about 406 a year -
American Friend:
THOUSAND?
French Friend:
Um, no. 406 Euro. It sounds a little high but it covers the cost of my textbooks, extra classes and most of my housing. How much is it for you?

799 notes

thekhooll:

8 Secondes Nicolas Ruel

Any urban space, from a village to a megalopolis, furnishes my work with the fictional raw materials for transfiguration. I take a formal approach to photography, based on urban design and architecture. Structuring and disarticulating these elements is the predominant theme of my work. I am fascinated by transitory and transitional sites—places that in their nature and function incarnate motion and metamorphosis, such as ports, terminals, docks, highways, construction sites, churches, and stadiums. These spaces belong to a form of monumentality that when deserted inclines to material silence a vacuum in the world of things and beings.

For a number of years I have been using very long exposures that function like a movie set, condensing each photograph into a kind of 8-second micromovie. This long exposure makes it possible to assemble key moments in a single take, analogous to the process of condensation in dreams. Thus, in this dolly shot, I translate the actions and spectacle of the city and its residents as I follow their unceasing movement.

Through each exposure, I intensify a symbolic charge, which I then recombine in order to reverse the codes attached to the photographed real. And because I print onto stainless steel, I need to take into account a sculptural reality, as if my work were an image being crystallized. I photograph the city in the knowledge that the metal, like a prism, is going to change reality in its turn. So it is that the imaginary cities I inventory fall into place.”

(Source: archatlas)