François Boucher (1703–1770), Vulcan Presenting Arms To Venus For Aeneas (details)

Posting this here for everyone!!

You with your precious eyes —

The gods differ from mortals here not because they are above the law but because they possess the insight to avoid breaking it. This marks the difference between gods and mortals perhaps more deeply than death itself: the gods never find themselves in the position of Oedipus, suddenly and unimaginably guilty. They are able to avoid actions whose consequences they cannot control; mortals risk such consequences in their every action. And perhaps it is even a kindness that transgression and death go hand in hand, that those who cannot die need not sin: for one who has broken the law which even the gods fear, the best thing is to die quickly.

-incest, cannibalism, and the rise of the house of atreus, michael kinnucan

So the ubiquitous counsel of the chorus concerning the hero—look what fortune has done here, she used to be on top of the world, don’t count on happiness, don’t believe anyone happy until he is dead—says more than it seems to. In the last analysis, what can one say of mere mortals? A human is just too partial, too speckled and subject and already-half-gone, for anything to be really true or false of him. Is he happy, is she sad? Maybe, a bit, for a time, but really—who can say, who can even care? That’s how it is for humans, unless and until they are tragic. The tragic hero is complete. You can call him unhappy (miserable, utterly broken) even before he is dead. For an instant he is something like divine. And then he dies, because there’s nothing left to do. The center of every tragedy is the image of a human being who has already died but keeps talking, someone whose face is a mask. Antigone says this explicitly—she is already dead; Oedipus acts it out in gouging out his eyes.

-the gods show up, michael kinnucan

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In alchemy and philosophy, prima materia, materia prima or first matter (for a philosophical exposition refer to: Prime Matter), is the ubiquitous starting material required for the alchemical magnum opus and the creation of the philosopher's stone. It is the primitive formless base of all matter similar to chaos, the quintessence or aether. Esoteric alchemists describe the prima materia using simile, and compare it to concepts like the anima mundi.

Starry Night   -  Nils Asplund , 1946.

Swedish, 1874-1958

oil paint on masonite , 61 x 71 cm.

“We often forget that WE ARE NATURE. Nature is not something separate from us. So when we say that we have lost our connection to nature. We’ve lost our connection to ourselves.”

— Andy Goldsworthy

they are the same person.

Natalie Díaz, from “exhibits from The American Water Museum”, Postcolonial Love Poem

in my island spring is just an illusion, a brief ghost of summer, that conquers winter - while in the rest of the world flowers are blooming, here, the omnipresent sea reminds us that these are its lands of summer and we are subjected with its everchanging moods

when im sad i draw fruits