VOID-COMP
ART/MUSIC/DESIGN/GRAFF/TECH

MENTAL IMAGES
VOID-COMP
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refactortactical:

refactortactical
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"Extreme stress, depression or anxiety can lead to depersonalisation, a mental condition where you feel out of touch with yourself."
(via psych-facts)
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champagne4theepain:

(via yungtaco )
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gilded-dragon:




AJANI GOLDMANE
Ajani Goldmane is torn between his leonin ferocity and his sense of justice. He was born on Naya and became an outcast within his own family, an albino leonin never accepted by the rest of his pride. The only person who cared about him was his brother Jazal, the leader of their pride and Ajani’s inspiration. Ajani had always shown potential as a mage and healer, but had assumed his main calling was to be a warrior in Jazal’s service. The day that Ajani’s brother was assassinated by unknown forces was the day that Ajani’s Planeswalker spark ignited, and everything changed.
No longer could Ajani worry about his problems with his pride. His quest to discover his brother’s killer has led him into a tangle of intrigue woven by mysterious forces, forcing him to broaden his skills as a warrior and to unlock new potential within himself. After thwarting Nicol Bolas’s plans on Alara, Ajani set aside his anger and began to travel the Multiverse. He became a mentor to leonin communities on many planes, including Theros.
Ajani travels to Theros in search of his old friend, Elspeth. With the help of King Brimaz, he searches the plane for the woman who has become known as the Hydra Killer. When he finally finds Elspeth, the situation is far more dangerous than he realized. The gods blame Elspeth for the state of the world. To set things right, Ajani and Elspeth journey into Nyx and battle Xenagos. Elspeth kills the God of Revels, but with dire consequences. Theros is restored to its natural state, but Ajani is furious at the gods who wronged his friend.
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"Let us toast to animal pleasures, to escapism, to rain on the roof and instant coffee, to unemployment insurance and library cards, to absinthe and good-hearted landlords, to music and warm bodies and contraceptives… and to the “good life”, whatever it is and wherever it happens to be."
Hunter s. Thompson (via lost-roads)
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gilded-dragon:

TARKIR
Dragons once thrived on the plane of Tarkir. They spawned from mighty elemental storms, filled the sky with their destructive breath, and terrorized the five ancient warrior clans. But the dragons met their fate long ago.
For many years, the clans fought a war against the dragons for their own survival, hoping for some way to gain an advantage in the struggle. At a crucial turning point over a thousand years ago, the dragon tempests stopped coming, and no new dragons were spawned. Their numbers thinned, and the tide of the war changed. Ultimately, the warriors of the clans were able to hunt down the last of the sky-beasts and destroy them. Dragons were rendered extinct on the plane, never to return. In the centuries that followed, the five warrior clans claimed dominion over Tarkir, growing and evolving into today’s powerful clans.
http://magic.wizards.com/en/game-info/story/planes/tarkir
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ryanpanos:

Theater Series | Hiroshi Sugimoto | Socks Studio
Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole length of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to compare Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi  3 years long exposures: read “The passing of time“, (on Socks).
ryanpanos:

Theater Series | Hiroshi Sugimoto | Socks Studio
Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole length of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to compare Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi  3 years long exposures: read “The passing of time“, (on Socks).
ryanpanos:

Theater Series | Hiroshi Sugimoto | Socks Studio
Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole length of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to compare Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi  3 years long exposures: read “The passing of time“, (on Socks).
ryanpanos:

Theater Series | Hiroshi Sugimoto | Socks Studio
Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole length of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to compare Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi  3 years long exposures: read “The passing of time“, (on Socks).
ryanpanos:

Theater Series | Hiroshi Sugimoto | Socks Studio
Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole length of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to compare Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi  3 years long exposures: read “The passing of time“, (on Socks).
ryanpanos:

Theater Series | Hiroshi Sugimoto | Socks Studio
Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole length of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to compare Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi  3 years long exposures: read “The passing of time“, (on Socks).
ryanpanos:

Theater Series | Hiroshi Sugimoto | Socks Studio
Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole length of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to compare Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi  3 years long exposures: read “The passing of time“, (on Socks).
ryanpanos:

Theater Series | Hiroshi Sugimoto | Socks Studio
Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole length of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to compare Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi  3 years long exposures: read “The passing of time“, (on Socks).
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ikoi:

_7051 by Michael Salisbury
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sullenmoons:

moebius
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brutalshadows:

Sigur Rós ↳ Fjögur píanó
" A couple trapped in a perpetual cycle of addiction and abuse, set to a somber piano melody that at times hints at some light at the end of the tunnel.”
brutalshadows:

Sigur Rós ↳ Fjögur píanó
" A couple trapped in a perpetual cycle of addiction and abuse, set to a somber piano melody that at times hints at some light at the end of the tunnel.”
brutalshadows:

Sigur Rós ↳ Fjögur píanó
" A couple trapped in a perpetual cycle of addiction and abuse, set to a somber piano melody that at times hints at some light at the end of the tunnel.”
brutalshadows:

Sigur Rós ↳ Fjögur píanó
" A couple trapped in a perpetual cycle of addiction and abuse, set to a somber piano melody that at times hints at some light at the end of the tunnel.”
brutalshadows:

Sigur Rós ↳ Fjögur píanó
" A couple trapped in a perpetual cycle of addiction and abuse, set to a somber piano melody that at times hints at some light at the end of the tunnel.”
brutalshadows:

Sigur Rós ↳ Fjögur píanó
" A couple trapped in a perpetual cycle of addiction and abuse, set to a somber piano melody that at times hints at some light at the end of the tunnel.”
brutalshadows:

Sigur Rós ↳ Fjögur píanó
" A couple trapped in a perpetual cycle of addiction and abuse, set to a somber piano melody that at times hints at some light at the end of the tunnel.”
brutalshadows:

Sigur Rós ↳ Fjögur píanó
" A couple trapped in a perpetual cycle of addiction and abuse, set to a somber piano melody that at times hints at some light at the end of the tunnel.”