Placeholder: [colour high res photo: Night of the Living Dead (1968) by Romero n the eerie glow of a dimly lit comedy club, the stage was set for a performance unlike any other. The audience, a mix of the living and the undead, eagerly awaited the arrival of the stand-up artist who had risen from the grave to deliver his twisted brand of humor. As the spotlight flickered to life, revealing a figure clad in tattered clothes and sporting a ghostly pallor, the crowd erupted in a mix of laughter and nervous an [colour high res photo: Night of the Living Dead (1968) by Romero n the eerie glow of a dimly lit comedy club, the stage was set for a performance unlike any other. The audience, a mix of the living and the undead, eagerly awaited the arrival of the stand-up artist who had risen from the grave to deliver his twisted brand of humor. As the spotlight flickered to life, revealing a figure clad in tattered clothes and sporting a ghostly pallor, the crowd erupted in a mix of laughter and nervous an

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[colour high res photo: Night of the Living Dead (1968) by Romero n the eerie glow of a dimly lit comedy club, the stage was set for a performance unlike any other. The audience, a mix of the living and the undead, eagerly awaited the arrival of the stand-up artist who had risen from the grave to deliver his twisted brand of humor. As the spotlight flickered to life, revealing a figure clad in tattered clothes and sporting a ghostly pallor, the crowd erupted in a mix of laughter and nervous an

distorted image, malformed body, malformed fingers

17 days ago

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[colour high res photo: Night of the Living Dead (1968) by Romero n the eerie glow of a dimly lit comedy club, the stage was set for a performance unlike any other. The audience, a mix of the living and the undead, eagerly awaited the arrival of the stand-up artist who had risen from the grave to deliver his twisted brand of humor. As the spotlight flickered to life, revealing a figure clad in tattered clothes and sporting a ghostly pallor, the crowd erupted in a mix of laughter and nervous an
World premiere: Teatro alla Scala, Milan, 1887 (Giuseppe Verdi)
[colour high res photo: Night of the Living Dead (1968) by Romero] n the pulsating heart of the underworld, where the line between the living and the dead blurred, there existed a disco dancing floor like no other. The stage was set for a performance that defied the boundaries of time and space, a spectacle that drew the attention of both the departed and the living. As the ethereal lights flickered to life, casting a kaleidoscope of colors across the dance floor, a figure emerged from the shad
[photo from collection gilman and gonzalez-FALLA]
[colour high res photo: Jason and the Argonauts (1963) n the eerie glow of a dimly lit comedy club, the stage was set for a performance unlike any other. The audience, a mix of the living and the undead, eagerly awaited the arrival of the stand-up artist who had risen from the grave to deliver his twisted brand of humor. As the spotlight flickered to life, revealing a figure clad in tattered clothes and sporting a ghostly pallor, the crowd erupted in a mix of laughter and nervous anticipation.
Histoire(s) du cinéma est un film expérimental de Jean-Luc Godard, débuté en 1988 et achevé dix ans plus tard, en 1998. Il est divisé en huit chapitres.
[colour high res photo: Night of the Living Dead (1968) by Romero] In a climactic moment, intricate pipes appear, twisting and turning in a maze of complexity. Characters watch in awe as the pipes emit a harmonious hum, resonating with inexplicable power. Each pipe is adorned with ornate engravings and pulsating lights, forming a mesmerizing sight.
[Blade Runner (1982) style, view from above] a robot teacher in a classroom with a lot of different student robots. The main robot distribute work amongst smaller robots and computers in the factory. there is electricity in the air, the main robot coordinates other robots
The year was 1967. One fateful evening, Jack found himself at an underground groovy club in the vibrant beat of the counterculture reverberated, Surrounded by the pulsating music and hypnotic lights, he felt the unmistakable surge of energy that united them all.
World premiere: Teatro alla Scala, Milan, 1887 (Giuseppe Verdi)
[colour photo by helmut newton] 1950s office secretaries working in an office on the moon, having fun in agent provocateur
They spoke of the transformative power of words, the need to challenge societal norms, and the responsibility of artists to provoke change. In the sanctuary of the smoky bar, they found solace in their shared vision of a world reborn, where the groovy '60s became a catalyst for revolution, not just in society but within themselves. Together, they vowed to continue their journey, to push boundaries, challenge the status quo, and capture the essence of their era. The groovy '60s were not just a fl
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