arminismywaifu:

ba614:

THIS IS A PICTURE THAT SOMEONE TOOK WHO WORKS ON AN OIL RIG IN TEXAS.HE WANTED TO GET A SHOT OF THE LIGHTNING THAT WAS FLASHING BY. HE WAS UNAWARE OF THE TORNADO UNTIL THE LIGHTNING ILLUMINATED IT.This has been called a one-in-a-million photo; taken south of Ft. Stockton, Texas.

this is amazing

arminismywaifu:

ba614:

THIS IS A PICTURE THAT SOMEONE TOOK WHO WORKS ON AN OIL RIG IN TEXAS.

HE WANTED TO GET A SHOT OF THE LIGHTNING THAT WAS FLASHING BY. 
HE WAS UNAWARE OF THE TORNADO UNTIL THE LIGHTNING ILLUMINATED IT.

This has been called a one-in-a-million photo; taken south of Ft. Stockton, Texas.

this is amazing

flappers-and-philosophers:

half—parsnip:

ellefin:

Grimes, Pitchfork 2014.

okay, I’ll go back to lilac now

the best

Missing Air Algerie plane from Burkina Faso has crashed: Algerian official

aka14kgold said: I saw that last night and was just… ew, why. I hope they die.

yeah, like… it’s a classic case of privileged people butting into a conversation they have absolutely no place participating in, implicitly framing it as solidarity because they might get hit by a rocket too (which, if it happened, people would actually care, and their names would be on the front page, like how fucking dare they), and using the screenshots to aggrandize themselves. Pass.

palestinder dot tumblr dot com

so people from the US (who are neither jewish nor, as far as I can tell, muslim, and who have not mentioned their racial background) come to palestine to teach, start tinder & grindr accounts and start posting the racist communiques about palestinians they get from israeli people in the neighborhood. I’m seeing it a lot on my dash this morning and h m m 

why though

are these comments even that revealing or unexpected?

was 10:45 really the optimal time to start going at it with a jackhammer right outside my hotel window

this is so adoraterrible

why does anyone like the notebook when love actually exists

this movie is going a long way towards convincing me that I need to see emma thompson’s entire filmography

I just started watching Love Actually because I’ve never seen it and for some reason the decision to cast a Moderately Attractive Man as prime minister is killing me

(Source: fashisgonnahappen)

handaxe said: is it magic? does it come with a manicurist?

Is it made from the actual blood of my enemies? Will painting my nails with it hex them???

Two coats give the effect of 20 layers of traditional lacquer” my ass

lmao would YOU pay $50 for a Christian Louboutin red nail polish?

Even Tom Ford only charges $32 for polish. That price is absurd.

shines-like-phosphorus said: What is it, like, “powder your butthole with glitter so when you shit on the delivery table it sparkles. so feminine!”

This sounds like the start of a great parody article

I just read an article on a makeup blog called “how to look great during childbirth” and I know I am not supposed to judge this kind of thing but.

Ludwig Hilbersiemer’s Chicago Tribune tower competition entry

The Chicago Tribune’s illustrious tower competition from 1922 required that the winner be ‘the most beautiful and distinctive office building in the world’36 and that will look to ‘qualified architects of established reputation in all parts of the world’. The international scope of the competition ensured its seminal nature as it invited well-known participates to partake, and resulted in a eclectic array of various styles. The competition presented, among others, Europeans Walter Gropius’ and Adolf Meyer’s astute, Streamline Moderne entry (fig. 17) and the Americans John Mead Howells and Raymond Hood and their neogothic attempt that would become the winning design (fig. 17). 
The competition is equally memorable as it served as the context for Ludwig Hilberseimer’s skyscraper project that was never submitted (fig.18). Hilberseimer—a professed Marxist—cut against the grain of the other competition entries and adopted an industrial aesthetic that was decidedly reductive in comparison to Gropius’ and Meyer’s entry of an already reduced aesthetic. Hilberseimer’s tower also seemingly reinterprets visual culture and architecture of 1920s Weimar Germany of 1920s Weimar Germany of which he was a product. The sort that employed a ritzy Americanism and found advertising as a device for decorating facades, displaying the very exuberance and flair of a thriving republic.
That same exuberance and flair within social relations was addressed some twenty years before the competition but also in Chicago, by sociologist and economist Thorstein Veblen in his theory of conspicuous consumption, the claim that buying is linked with social status. He speculated that because we relate to each other through the products we own, this entices people to buy so as to reflect a certain persona, often exceeding their true reflection. Forming, as it were, the last battleground of capitalism. Veblen called for us to don a mask of neutrality to remedy conspicuous consumption; a mask meant to be worn to deny those who believe they are superior through their consumption; to remain partial to their perceived superiority, to deny them any difference.
Rather than using Chicago as the point of departure for addressing conspicuous consumption, Hilbersiemer, at odds with Wiemar Germany, comparatively addresses the aesthetic jouissance of Chicago and indeed his fellow competition entrants. His real and raw take – seeing architecture as a political instrument to form a cultural awakening through, quite simply, an attribute-less, nonfigurative architecture – is successful because he understood that the aesthetic depoliticizes space. As Hilbersiemer removes all discussion of the aesthetic that capital demands, if nothing, that it be for ‘accumulation for accumulation’s sake, production for production’s sake’, it opens the doors to pertinent discourse on the social and political. Hilbersiemer’s architecture wore a mask of neutrality. The bien-pensant proposals of his fellow entrants’ entries surrendered to the stylizing of their architecture to either evoke nostalgia for a former era or suggest a superior identity for the Chicago Tribune.

from Capital and Architecture

Ludwig Hilbersiemer’s Chicago Tribune tower competition entry

The Chicago Tribune’s illustrious tower competition from 1922 required that the winner be ‘the most beautiful and distinctive office building in the world’36 and that will look to ‘qualified architects of established reputation in all parts of the world’. The international scope of the competition ensured its seminal nature as it invited well-known participates to partake, and resulted in a eclectic array of various styles. The competition presented, among others, Europeans Walter Gropius’ and Adolf Meyer’s astute, Streamline Moderne entry (fig. 17) and the Americans John Mead Howells and Raymond Hood and their neogothic attempt that would become the winning design (fig. 17). 

The competition is equally memorable as it served as the context for Ludwig Hilberseimer’s skyscraper project that was never submitted (fig.18). Hilberseimer—a professed Marxist—cut against the grain of the other competition entries and adopted an industrial aesthetic that was decidedly reductive in comparison to Gropius’ and Meyer’s entry of an already reduced aesthetic. Hilberseimer’s tower also seemingly reinterprets visual culture and architecture of 1920s Weimar Germany of 1920s Weimar Germany of which he was a product. The sort that employed a ritzy Americanism and found advertising as a device for decorating facades, displaying the very exuberance and flair of a thriving republic.

That same exuberance and flair within social relations was addressed some twenty years before the competition but also in Chicago, by sociologist and economist Thorstein Veblen in his theory of conspicuous consumption, the claim that buying is linked with social status. He speculated that because we relate to each other through the products we own, this entices people to buy so as to reflect a certain persona, often exceeding their true reflection. Forming, as it were, the last battleground of capitalism. Veblen called for us to don a mask of neutrality to remedy conspicuous consumption; a mask meant to be worn to deny those who believe they are superior through their consumption; to remain partial to their perceived superiority, to deny them any difference.

Rather than using Chicago as the point of departure for addressing conspicuous consumption, Hilbersiemer, at odds with Wiemar Germany, comparatively addresses the aesthetic jouissance of Chicago and indeed his fellow competition entrants. His real and raw take – seeing architecture as a political instrument to form a cultural awakening through, quite simply, an attribute-less, nonfigurative architecture – is successful because he understood that the aesthetic depoliticizes space. As Hilbersiemer removes all discussion of the aesthetic that capital demands, if nothing, that it be for ‘accumulation for accumulation’s sake, production for production’s sake’, it opens the doors to pertinent discourse on the social and political. Hilbersiemer’s architecture wore a mask of neutrality. The bien-pensant proposals of his fellow entrants’ entries surrendered to the stylizing of their architecture to either evoke nostalgia for a former era or suggest a superior identity for the Chicago Tribune.

from Capital and Architecture