These specimens were created under carefully controlled conditions in my own laboratory and were completed prior to a thorough investigation. who am I kidding
You may find this amusing for any kind of device but look only behind you:
as ink blood.
The blood:
Changing perception of the relationship between nature and art and the proximity of the feminine and the animal object. critique is not obsolete when represented as an idea of nature and as a source of materiality. Flourished in the wake of the Enlightenment identification translates as follows:
The milk ink:
The natural and supernatural perceptions of matter and the status of ornament. Focusing in the value of sacrificial objects and rows of protuberances that are constructed and inter relatedness. Nature is dead and fragmented as a grotesque conglomerate of mismatched parts. Illustrating the scientific approach without paying attention to the figure. Study can be harmful to empirical visualizations by discovery and control.
Respect the mystery.
The gold:
The production of decorative prints, consumers desire, The goal is not so much what the works of art mean but how it's read.
Instead of playing with my genitals through the artistic process, I like to reflect on advancement economic management and succeed in illustrating how nature is produced and dominated by man. who am I kidding
We fall to be symmetric, intertwined into a single continuum of space and time.There is no notion of distance but a concept of special relativity. It is a union, We see a static map on the Earth's surface and wonder what is motion?
Somewhere among the clouds death is on mathematics. There is no motion.
If I died today…
An Introduction to the practical manual for the revolutionary emergent
As every social project fails, we all
When we find ourselves in the context of facing a transformative experience, Every time you almost fails there's a way to make a decision. And the empty space die with us, as it should Today I was never born instead. How natural and intuitive it is.
The present is forever, and is always shifting away, as you become timeless full of excitement and too desperate to die. You want to deliberately think about who we are. In introspect it might be in conflict with the thought of that rational decision and that can revolutionize life as much as it make you die today.
Hasta La Victoria Siempre.
They cannot scare me with their empty spaces
between stars, on stars
where no human race is.
I have it in me so much nearer home
To scare myself with my own deserted places
between exploration of truth and beauty.
There is a crack in everything.
There is only one question; When will it alI be blown up?
Foreword and warning to the reader. Prologo y advertencia al lector: This is a prelude.
Armas de la fortuna, there is nothing intrinsically good or bad. Weapons themselves are elements of popular culture, diagrams of the general principles of operation, institutional artifacts of self-determination, material and emotional support, a conditioned act committed to destroy.
Despite, or perhaps because of it
From gun manufacture to silk mill Inefficiency and bureaucracy on this incongruent mistrustful world under the right to bear arms political beliefs, aggression, acceptance as intrinsic to human nature the sense of threat is too realistic to doubt myself.
People are fundamentally bad
The convergence between textile manufacturing transforming the structure of the wooden gun and social development of America.
all the monsters are human
in a foreign World Nobody cared Where is the comfort of my kind My world had changed, blazing sun piercing screams cold fucking concrete streets It’s, real black and white blending into the sidewalks crazy and sane Here is where I sleep cardboard box made into a bed Please look at me
a Refugee, my kind, don’t pity me, people boxes slaving lives My world had changed How much space do you have, I am on foreign World Please look at me.
todos los monstruos son humanos
en un mundo extranjero
ser encontrado albergue de refugiados cuando luego en casa otra vez mi mundo había cambiado fue el único.
Nadie cuida de donde es la comodidad de mi clase, no lástima cajas de carton personas pocas vidas
ardiente sol perforando la piel grita, frías calles de concreto jodido cuánto espacio tienes
verdadero blanco y negro mezclando en las aceras, locos y cuerdos aquí es donde duermo caja de cartón por cama
por favor mírame
The life and work of Cuban photographer Alberto Korda stand as a profound visual testimony to the ardent years of the Cuban Revolution. Born Alberto Díaz Gutiérrez in Havana, Cuba, in 1928, Korda's journey through life was intricately woven into the revolutionary tapestry of his homeland. His photography captured the essence of a pivotal era, offering a unique and deeply personal perspective on the historical and cultural transformation taking place in Cuba.
Korda's early career in photography was marked by his ability to seize the spirit of the moment. He honed his craft by working as a fashion photographer, creating captivating images that resonated with the elegance and style of the time. However, it was his association with Fidel Castro and the revolutionary movement that would redefine his photographic legacy.
In 1959, the Cuban Revolution led by Fidel Castro and Che Guevara brought profound social and political change to the nation. Korda's lens became an instrument of revolution, capturing not just the leaders but also the everyday people who played their parts in this grand transformation. His iconic image of Che Guevara, known as "Guerrillero Heroico," became a symbol of the revolutionary spirit, widely recognized around the world. Korda's ability to capture the intensity and dedication of the revolutionaries in their struggle for justice and equality marked a defining moment in the history of Cuban photography.
Throughout the following decades, Korda's work continued to evolve, reflecting not only the enduring revolutionary fervor but also the changing landscape of Cuba. He documented moments of both triumph and challenge, His photographs served as a mirror to the complexities of a nation in transition, encapsulating the hopes and aspirations of the Cuban people.
Korda's life and work were not just about recording history but also about creating art. His photographs displayed a keen sense of composition and an innate ability to capture the human experience, making them not only documents of a specific time but also timeless expressions of humanity.
Today, Alberto Korda's photographs remain part of Cuban history and an invaluable contribution to the global visual record of the Cuban Revolution. His images continue to inspire, educate, and provoke thought, offering a window into the fervent years of the Cuban Revolution