kaidanovskyys
god was a tall man of middle age.
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paintdeath:

Alexandra Levasseur

paintdeath:

Alexandra Levasseur

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All Along The Watchtower
Bear McCreary
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PENNY DREADFUL | SEASON ONE

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paintdeath:

Sasha Pivovarova photographed by Miles Aldridge

paintdeath:

Sasha Pivovarova photographed by Miles Aldridge

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Up Close: Evening Dress Mary Sachs 1950s (X)

Up Close: Evening Dress Mary Sachs 1950s (X)

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likeafieldmouse:

Trevor Paglen - They Watch the Moon (2010)

"This photograph depicts a classified ‘listening station’ deep in the forests of West Virginia.

The station is located at the center of the National Radio Quiet Zone, a region of approximately 34,000 square kilometers in West Virginia and parts of Maryland.

Within the Quiet Zone, radio transmissions are severely restricted: omnidirectional and high-powered transmissions (such as wireless internet devices and FM radio stations) are not permitted.

The listening station, which forms part of the global ECHELON system, was designed in part to take advantage of a phenomenon called moonbounce.

Moonbounce involves capturing communications and telemetry signals from around the world as they escape into space, hit the moon, and are reflected back towards Earth.

The photograph is a long exposure under the full moon light.”

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bosconos:

Elsa Benitez for Cosmopolitan april 1997 by Tiziano Magni

bosconos:

Elsa Benitez for Cosmopolitan april 1997 by Tiziano Magni

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"Eat me, Sebastian! It’s okay for guys like you and Court to fuck everyone. But when I do it, I get dumped for innocent little twits like Cecile. God forbid, I exude confidence and enjoy sex. Do you think I relish the fact that I have to act like Mary Sunshine 24/7 so I can be considered a lady? I’m the Marcia fucking Brady of the Upper East Side, and sometimes I want to kill myself. So there’s your psychoanalysis, Dr. Freud. Now tell me, are you in… or are you out?" - Cruel Intentions (1999)

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mughalshit:

Central Entrance to Sikandra
Photograph by W. Caney
India (Agra), British Raj, 1880

This photograph shows the southern gateway to the tomb complex of the Mughal emperor Akbar (r. 1556-1605) at Sikandra outside Agra inside the garden complex. It was taken by W. Caney in the 1880s for the Archaeological Survey of India. The gateway comprises the high central arched entrance or ‘pishtaq’ shown here flanked by smaller arches on two storeys. It is faced in red sandstone with white marble on the minarets above. The red sandstone surfaces are decorated with both inlaid and tessellated coloured marble mosaics of floral arabesques and geometric panels. Although the gateway is largely Persian in style, the four square domed kiosks on the roof are derived from local architectural traditions. This combination of architectural styles mirrors that of the mausoleum contained within the complex, which is a unique fusion of traditionally Hindu and imported Islamic forms. This catholic approach to architectural style is often cited as an indication of Akbar’s own tolerant views and interest in a wide range of religious philosophies.

mughalshit:

Central Entrance to Sikandra

Photograph by W. Caney

India (Agra), British Raj, 1880

This photograph shows the southern gateway to the tomb complex of the Mughal emperor Akbar (r. 1556-1605) at Sikandra outside Agra inside the garden complex. It was taken by W. Caney in the 1880s for the Archaeological Survey of India. The gateway comprises the high central arched entrance or ‘pishtaq’ shown here flanked by smaller arches on two storeys. It is faced in red sandstone with white marble on the minarets above. The red sandstone surfaces are decorated with both inlaid and tessellated coloured marble mosaics of floral arabesques and geometric panels. Although the gateway is largely Persian in style, the four square domed kiosks on the roof are derived from local architectural traditions. This combination of architectural styles mirrors that of the mausoleum contained within the complex, which is a unique fusion of traditionally Hindu and imported Islamic forms. This catholic approach to architectural style is often cited as an indication of Akbar’s own tolerant views and interest in a wide range of religious philosophies.

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