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MARIE ANTINETTE costumes appreciation: ― Marie Antoinette’s green dress (costume design by Milena Canonero)
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Crimson Peak 2015 ‧ Guillermo del Toro
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i’m starting a movement to stop calling this shit “artificial intelligence” cause it’s fucking not. it’s not intelligent, and the things it produces are not informed by logical choices. it doesn’t know how to research sources for you. it doesn’t compose art thoughtfully or meaningfully.
call it machine-generated, text generator, chat bot, but it’s not intelligent.
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BLACK SWAN (2010) —
dir. Darren Aronofsky.
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Metropolis (1927) dir. Fritz Lang Blade Runner (1982) dir. Ridley Scott
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Second style fresco fragment, 1st C BCE - 1st C CE.
Unfortunately, no details of find location available beyond 'Italy'.
From the Getty Museum: here.
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Precious man (not in black!) sighted ❤ (x,x)
Neil Gaiman: Hi, I'm Neil Gaiman. I'm wearing the first red T-shirt I've worn since 1987. Because I'm a member of the WGA. I'm on strike. I care so much for the things that I've written but I'm out here right now not working and here until we get a good contract because I care about the future of the WGA, the future of young writers. I want a world in which no AI writes scripts or attempts to. I want a world in which young writers get to learn how to make television. And I want a world in which we are fairly compensated for the things that we put up on streaming.
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The mysterious architectural stone models at the archaeological site of Awkimarka in Peru. They measure between 40 and 50 cm. Date and purpose unknown
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Costumes from Barry Lyndon (1975) on a temporary exhibition in the Istanbul Cinema Museum
"What is very important is to get some actual clothes of the period to learn how they were originally made. To get them to look right, you really have to make them the same way. Consider also the problem of taste in designing clothes, even for today. Only a handful of designers seem to have a sense of what is striking and beautiful. How can a designer, however brilliant, have a feeling for the clothes of another period which is equal to that of the people and the designers of the period itself, as recorded in their pictures?"
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Back of the soundtrack to the virgin suicides
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sing, o muse, of the rage of achilles
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An ancient shop in Pompeii, using pictures of the corresponding Gods to show the shop’s open days. Left to right: Sunday (Apollo), Thursday (Jupiter), Wednesday (Mercury), Monday (Luna).
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The blue of the ancient greek world:
The earliest blue in the ancient greek world has been found in pigment lumps within Cycladic vessels- it was perhaps used both as a cosmetic and a pigment for painting sculptures and murals. Later on the Minoans and the Mycenaeans imported lapis lazuli from modern day Afghanistan, as well as blue faience objects from Egypt. Later on the Mycenaeans finding lapis lazuli too expensive developed their own blue-mainly for the production of blue glass- known as “κυανή” (cyane).
Sometimes I come across some terrible misunderstandings about ancient greek art- and life in general- being parrotted not by social media users in their teens and tweens, but primarily by respectable institutions. One of those, some years ago, was that the ancient greeks did not have any notable production of significant wooden objects- they had astounding furniture and sculpture btw, it’s just the climate that doesn’t favour their survival.
The most recent such misunderstanding is the dismissive one-liner in this BBC documentary about how ancient greeks did not have the color blue in their art, because they did not have it in their vocabulary (not the only mistake in this documentary). Actually, they had the color blue practically everywhere, blue is in fact omnipresent in art within greek space from the neolithic era to today. And it’s an integral color to the palette of the ancient greek world.
After all the greek world is always surrounded by the clear sky and the ever moving sea, how could blue not be in its collective mind.
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A miniature book made by Charlotte Brontë at age 13, one of more than two dozen she created. It recently surfaced after being considered lost for more than a century.
Credit…Clark Hodgin for The New York Times
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Pride & Prejudice 2005, dir. Joe Wright
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