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A somewhat chaotic multidisciplinary collection of visual art, photography, design, architecture, poetry, and literature.

Tiny, but cosy discussion group [Not to be taken too seriously!]:
https://t.me/+I522TcNiXNwwYTM6
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Bird Wandering Off, Paul Klee (1921)
The ecocentric argument is grounded in the belief that compared to the undoubted importance of the human part, the whole Ecosphere is even more significant and consequential: more inclusive, more complex, more integrated, more creative, more beautiful, more mysterious, and older than time. The "environment" that anthropocentrism misperceives as materials designed to be used exclusively by humans, to serve the needs of humanity, is in the profoundest sense humanity's source and support: its ingenious, inventive life-giving matrix. Ecocentrism goes beyond biocentrism with its fixation on organisms, for in the ecocentric view people are inseparable from the inorganic/organic nature that encapsulates them.

Stan Rowe, Ecocentrism: the Chord that Harmonizes Humans and Earth
Female Torso, c.1933, Kazimir Malevich
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Hilma af Klint, Tree of Knowledge, No. 1, 1913–15, watercolor, gouache, graphite, and ink on paper, 17 7⁄8 Γ— 11 5⁄8".
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Film poster for La JetΓ©e (1967) dir. Chris Marker
For many years, I have been moved by the blue at the far edge of what can be seen, that color of horizons, of remote mountain ranges, of anything far away. The color of that distance is the color of an emotion, the color of solitude and of desire, the color of there seen from here, the color of where you are not. And the color of where you can never go. For the blue is not in the place those miles away at the horizon, but in the atmospheric distance between you and the mountains. β€œLonging,” says the poet Robert Hass, β€œbecause desire is full of endless distances.” Blue is the color of longing for the distances you never arrive in, for the blue world.

Rebecca Solnit, A Field Guide to Getting Lost
Dominique Rayou (*1957) - Epi Center
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Si j'avais quatre dromadaires (If I Had Four Dromedaries, Chris Marker, 1966)