On the bright side, I finally learned how to roll badass joints.

On the bright side, I finally learned how to roll badass joints.

Pretty sure I severely dislike Portland. It makes my social anxiety go through the fucking roof. Maybe I’m an obvious tourist or something, but I catch so many people (girls especially) giving me death glares when I’m doing something as simple as sitting at a table, eating in a fucking food court. The ONLY people who reached out to me and were friendly these past four days were those who were being paid to do so, and those who wanted to smoke my weed. Maybe I’m not cool enough for them?

It is a beautiful city, though, and I definitely appreciated it for that.

coalgirls:

it dont even feel like september it dont even feel like any month we just floatin thru time

vanconcastiel:

ignotum-per-aeque-ignotum:

fandomstuck:

the fact that there are animals who can see colors that i cant which means that there are colors that exist that it is literally impossible for me to envision is such fucking bullshit that i wanna rip open a couch and eat it

Humans have 3 types of rods for processing color (red green and blue). Mantis Shrimp have 16.

Fucking shrimp. I will NOT be jealous of food.

caravaggista:

Happy birthday Caravaggio! 

This year’s collection of images celebrating his birth are some of his self-portraits. The most moving of these, for me, are the ones where he inserts himself into the narrative: as a witness (fleeing) from Matthew’s martyrdom, as the bearer of light in The Taking of Christ, or as the defeated Goliath, whose consciousness hovers between life and death. The detail from the Beheading of Saint John (the last image in this photoset) shows the only signature he placed in his work. Flowing from the pool of blood pouring out of John’s neck, it reads “F. Michelangelo,” representing his new appointment as a fra (brother) of the Knights of Malta. 

When I tell people I specialize in Caravaggio, I often hear: “What’s left to be done?” The question doesn’t have to be verbalized. It is of a gnawing sort, and I think it testifies to a lack of historical imagination. The answer is: so much. As a scholar, I am not interested in yet another rehearsal of the narrative of Caravaggio’s life. Until new primary sources are discovered, we have that wrapped up for now, although Caravaggio’s early life before he moved to Rome remains mysterious. What I am interested in is looking afresh at Caravaggio’s oeuvre. There is much that can still be said, wrestled with, interpreted, about his work.

Caravaggio was born Michelangelo Merisi in 1571 in Milan. His father, Fermo, was a stonemason for the Marchese of Caravaggio, Francesco Sforza. As a youth, Caravaggio was apprenticed to Simone Peterzano, a native of Bergamo and purported pupil of Titian, whose painting style fused Venetian colore with naturalism and the maniera. Caravaggio was highly influenced by the Lombard artists and artworks he encountered during his youth. 

Caravaggio arrived in Rome at the age of 21 in 1592. He found work in the famed Cavalier d’Arpino’s workshop painting flowers and fruits. Caravaggio’s mastery of naturalist still life painting was unparalleled in Rome at this time. He was soon under the patronage of Cardinal Francesco Maria del Monte, for whom he painted allegorical scenes celebrating love and music. Del Monte’s circle of friends were impressed with Caravaggio, which led to commissions from Vincenzo Giustiniani and Matthieu Cointerel (for the Contarelli Chapel in San Luigi dei Francesi), among others. The Contarelli Chapel was his first major public commission, and its masterful composition is in part responsible for Caravaggio becoming Rome’s premiere religious painter. Some of his works, like the Death of the Virgin, roused controversy and were never publicly displayed, while second versions of some works, such as the Conversion of Saint Paul, were accepted. Caravaggio was stubborn about his artistic convictions, and in his stubbornness, he changed the way religious art was made, perceived, and experienced.

Art was not all Caravaggio was known for. Extensive police records illuminate Caravaggio’s volatile, often violent, personality. A series of arrests culminated in the 1606 murder of a former friend, Ranuccio Tomassoni. The exact circumstances and motive of Ranuccio’s death are still debated today, with theories ranging from a gang fight to a quarrel over a love triangle to a murder due to a mere 10 scudi bet over a tennis match. What is certain is that neither party was alone and that Ranuccio died (whether or not this was premeditated or intentional) and Caravaggio was wounded. 

Caravaggio fled his beloved city, and the Pope swiftly condemned Caravaggio to death for his crime. I have outlined elsewhere what a death sentence in Rome entailed in 1606. Caravaggio had a network of influential patrons and protectors across Italy who hoped for his safe return to Rome but who kept him sheltered during his exile. He spent most of his exile in Naples, Malta, and Sicily, where he was welcomed as a famous artist and where he continued to receive commissions.

In Malta, he was made a Knight by the Grand Master of the Knights of Malta (the Order of Saint John), a move that was sure to propel his pleas for a papal pardon. Caravaggio needed permission from the Pope to become a Knight, as he was not of noble birth and was a fugitive. His only signed work, The Beheading of Saint John the Baptist, made for the Order’s oratory, prominently displays his new title, Fra Michelangelo, flowing from the pool of blood around John’s neck. In 1608, after his new appointment, Caravaggio was imprisoned for a brawl involving other Knights (the motive for which is still mysterious). He escaped from the Order’s prison and the island of Malta in a Hollywood-worthy manner. By December, the Knights stripped him of his title in absentia, casting him out as “a foul and rotten member.”

Caravaggio went to Sicily, where he sojourned with his old friend Mario Minniti, and then returned to Naples. Upon his return, he was viciously attacked by unknown assailants and left for dead. Caravaggio survived, but his face was severely disfigured. In 1610 with the notion that his papal pardon was imminent thanks to the work of his friends and protectors, Caravaggio began his journey by boat back to Rome. He brought at least three paintings with him, perhaps intended as gifts for Cardinal Nephew Scipione Borghese. When his boat docked near Rome, Caravaggio was mistaken by local authorities for someone else and arrested. The facts here get tricky, but the common narrative is this: He spent a couple days in jail until he had the money to post bail, only to see the boat to Rome sailing off into the distance with his possessions. Caravaggio ran after the boat, along the rocky shore, until, after exerting all his energy in retrieving his possessions, he fell sick with fever and died on July 18 at the age of 38.

He was of a fantastic humor, indeed bizarre,
Pallid of face, and his hair
Thick and curly
His eyes lively, yet deeply sunk…
[he was]
The great protopainter,
Marvel of art,
Wonder of nature,
Though later a victim of misfortune.
- Giulio Cesare Gigli (1615), from Helen Langdon’s Caravaggio (1999, p. 391).

caravaggista:

Happy birthday Caravaggio! 

This year’s collection of images celebrating his birth are some of his self-portraits. The most moving of these, for me, are the ones where he inserts himself into the narrative: as a witness (fleeing) from Matthew’s martyrdom, as the bearer of light in The Taking of Christ, or as the defeated Goliath, whose consciousness hovers between life and death. The detail from the Beheading of Saint John (the last image in this photoset) shows the only signature he placed in his work. Flowing from the pool of blood pouring out of John’s neck, it reads “F. Michelangelo,” representing his new appointment as a fra (brother) of the Knights of Malta. 

When I tell people I specialize in Caravaggio, I often hear: “What’s left to be done?” The question doesn’t have to be verbalized. It is of a gnawing sort, and I think it testifies to a lack of historical imagination. The answer is: so much. As a scholar, I am not interested in yet another rehearsal of the narrative of Caravaggio’s life. Until new primary sources are discovered, we have that wrapped up for now, although Caravaggio’s early life before he moved to Rome remains mysterious. What I am interested in is looking afresh at Caravaggio’s oeuvre. There is much that can still be said, wrestled with, interpreted, about his work.

Caravaggio was born Michelangelo Merisi in 1571 in Milan. His father, Fermo, was a stonemason for the Marchese of Caravaggio, Francesco Sforza. As a youth, Caravaggio was apprenticed to Simone Peterzano, a native of Bergamo and purported pupil of Titian, whose painting style fused Venetian colore with naturalism and the maniera. Caravaggio was highly influenced by the Lombard artists and artworks he encountered during his youth. 

Caravaggio arrived in Rome at the age of 21 in 1592. He found work in the famed Cavalier d’Arpino’s workshop painting flowers and fruits. Caravaggio’s mastery of naturalist still life painting was unparalleled in Rome at this time. He was soon under the patronage of Cardinal Francesco Maria del Monte, for whom he painted allegorical scenes celebrating love and music. Del Monte’s circle of friends were impressed with Caravaggio, which led to commissions from Vincenzo Giustiniani and Matthieu Cointerel (for the Contarelli Chapel in San Luigi dei Francesi), among others. The Contarelli Chapel was his first major public commission, and its masterful composition is in part responsible for Caravaggio becoming Rome’s premiere religious painter. Some of his works, like the Death of the Virgin, roused controversy and were never publicly displayed, while second versions of some works, such as the Conversion of Saint Paul, were accepted. Caravaggio was stubborn about his artistic convictions, and in his stubbornness, he changed the way religious art was made, perceived, and experienced.

Art was not all Caravaggio was known for. Extensive police records illuminate Caravaggio’s volatile, often violent, personality. A series of arrests culminated in the 1606 murder of a former friend, Ranuccio Tomassoni. The exact circumstances and motive of Ranuccio’s death are still debated today, with theories ranging from a gang fight to a quarrel over a love triangle to a murder due to a mere 10 scudi bet over a tennis match. What is certain is that neither party was alone and that Ranuccio died (whether or not this was premeditated or intentional) and Caravaggio was wounded. 

Caravaggio fled his beloved city, and the Pope swiftly condemned Caravaggio to death for his crime. I have outlined elsewhere what a death sentence in Rome entailed in 1606. Caravaggio had a network of influential patrons and protectors across Italy who hoped for his safe return to Rome but who kept him sheltered during his exile. He spent most of his exile in Naples, Malta, and Sicily, where he was welcomed as a famous artist and where he continued to receive commissions.

In Malta, he was made a Knight by the Grand Master of the Knights of Malta (the Order of Saint John), a move that was sure to propel his pleas for a papal pardon. Caravaggio needed permission from the Pope to become a Knight, as he was not of noble birth and was a fugitive. His only signed work, The Beheading of Saint John the Baptist, made for the Order’s oratory, prominently displays his new title, Fra Michelangelo, flowing from the pool of blood around John’s neck. In 1608, after his new appointment, Caravaggio was imprisoned for a brawl involving other Knights (the motive for which is still mysterious). He escaped from the Order’s prison and the island of Malta in a Hollywood-worthy manner. By December, the Knights stripped him of his title in absentia, casting him out as “a foul and rotten member.”

Caravaggio went to Sicily, where he sojourned with his old friend Mario Minniti, and then returned to Naples. Upon his return, he was viciously attacked by unknown assailants and left for dead. Caravaggio survived, but his face was severely disfigured. In 1610 with the notion that his papal pardon was imminent thanks to the work of his friends and protectors, Caravaggio began his journey by boat back to Rome. He brought at least three paintings with him, perhaps intended as gifts for Cardinal Nephew Scipione Borghese. When his boat docked near Rome, Caravaggio was mistaken by local authorities for someone else and arrested. The facts here get tricky, but the common narrative is this: He spent a couple days in jail until he had the money to post bail, only to see the boat to Rome sailing off into the distance with his possessions. Caravaggio ran after the boat, along the rocky shore, until, after exerting all his energy in retrieving his possessions, he fell sick with fever and died on July 18 at the age of 38.

He was of a fantastic humor, indeed bizarre,
Pallid of face, and his hair
Thick and curly
His eyes lively, yet deeply sunk…
[he was]
The great protopainter,
Marvel of art,
Wonder of nature,
Though later a victim of misfortune.
- Giulio Cesare Gigli (1615), from Helen Langdon’s Caravaggio (1999, p. 391).

jean-grey-o-lantern:

So last night cops arrested 7 protesters, then turned to the rest of the protesters and told them “we’ll release them without bond if you leave (stop protesting)”

They literally turned their own dubiously legal arrests into a hostage situation. They took hostages. Ferguson PD is a terrorist organization and they aren’t even trying to hide that fact any more.

Look at this

imageimageimageimageimageimageimageimage

You can donate to protesters’ legal defense and bail here

wilwheaton:

kngdmcat:

worthless-wolf:

blacksapphiredragon:

down-sizing:

Let’s remember, Jesus was a Jewish man of color, born homeless to an unwed teenager, who spent his formative years as an illegal immigrant before returning to his home country to hang out with twelve men, prostitutes, and socially untouchable tax collectors while he taught a radical social doctrine of equality, love, and forgiveness that included paying taxes, free healthcare, and the sharing of resources within a community.

Canon Jesus

Jesus called somebody an ass once because they where being rude to a crippled little old lady if you don’t think that’s the tightest shit then get out of my face.

Pretty sure that Jesus was also the first person to say, “don’t be a dick.”

wilwheaton:

kngdmcat:

worthless-wolf:

blacksapphiredragon:

down-sizing:

Let’s remember, Jesus was a Jewish man of color, born homeless to an unwed teenager, who spent his formative years as an illegal immigrant before returning to his home country to hang out with twelve men, prostitutes, and socially untouchable tax collectors while he taught a radical social doctrine of equality, love, and forgiveness that included paying taxes, free healthcare, and the sharing of resources within a community.

#CANON JESUS IS SIX MILLION TIMES BETTER THAN FANON JESUS

Canon Jesus

Jesus called somebody an ass once because they where being rude to a crippled little old lady if you don’t think that’s the tightest shit then get out of my face.


Pretty sure that Jesus was also the first person to say, “don’t be a dick.”

wilwheaton:

kngdmcat:

worthless-wolf:

blacksapphiredragon:

down-sizing:

Let’s remember, Jesus was a Jewish man of color, born homeless to an unwed teenager, who spent his formative years as an illegal immigrant before returning to his home country to hang out with twelve men, prostitutes, and socially untouchable tax collectors while he taught a radical social doctrine of equality, love, and forgiveness that included paying taxes, free healthcare, and the sharing of resources within a community.

Canon Jesus

Jesus called somebody an ass once because they where being rude to a crippled little old lady if you don’t think that’s the tightest shit then get out of my face.

Pretty sure that Jesus was also the first person to say, “don’t be a dick.”

brinepools:

reasons I can relate to a possum:

-tired & unkempt, smells weird
-emotions ranging from “displeased” to “existential scream”
-no work ethic
-lies around looking dead when overwhelmed
-will eat trash & live amongst trash if left to own devices
-sometimes you feel bad and feed it a sandwich