Los perros de Colima
Howling Dog Effigy, Jalisco, 300 BC-AD 200.
Why were dogs so significant to the Mexica?
Dogs were associated with the god of death, Xolotl, among the Mexicas of the highlands of Mexico. Both a dog and Xolotl were thought to lead the soul to the underworld. The skinny body and white hue of the shown dog represented above may have underworld connotations, connecting it to this belief. Xolotl was also associated by the Mexica with the planet Venus as the evening star, and was portrayed with a canine head.
The dog’s special relationship with humans is highlighted by a number of Colima dog effigies wearing humanoid masks. This curious effigy type has been interpreted as a shamanic transformation image or as a reference to the modern Huichol myth of the origin of the first wife, who was transformed from a dog into a human. However, recent scholarship suggests a new explanation of these sculptures as the depiction of the animal’s tonalli, its inner essence, which is made manifest by being given human form via the mask.
The use of the human face to make reference to an object’s or animal’s inner spirit is found in the artworks of many ancient cultures of the Americas, from the Inuit of Alaska and northern Canada to peoples in Argentina and Chile. (Walters)
On the subject of the significance of dogs, and dog effigies wearing humanoid masks, check out this post from a while back of ‘examples of dogs represented in ancient Mexican art.’ The final artefact here is from Colima, and shows a dog wearing a human mask.
Courtesy of & currently located at the Walters Art Museum, Baltimore, USA, via their online collections, 2009.20.148.
i want to ride my bicycle i want to ride my bike!
Via @craigmcallahan: #cycling#bike #adventure #bicycle
Yakka Fob Mog!
[calvinandhobbes]
It's a funny thing about the modern world. You hear girls in the toilets of clubs saying, "Yeah, he fucked off and left me. He didn't love me. He just couldn't deal with love. He was too fucked up to know how to love me." Now, how did that happen? What was it about this unlovable century that convinced us we were, despite everything, eminently lovable as a people, as a species? What made us think that anyone who fails to love us is damaged, lacking, malfunctioning in some way? And particularly if they replace us with a god, or a weeping madonna, or the face of Christ in a ciabatta roll then we call them crazy. Deluded. Regressive. We are so convinced of the goodness of ourselves, and the goodness of our love, we cannot bear to believe that there might be something more worthy of love than us, more worthy of worship. Greetings cards routinely tell us everybody deserves love. No. Everybody deserves clean water. Not everybody deserves love all the time.
Zadie Smith "White Teeth"
El miedo a lo nuevo, sobre todo en el caso de las innovaciones tecnológicas, no tiene nada de nuevo.
Kurt Vonnegut’s classic lecture on the shapes of stories, now in an infographic.
Fotografías de tiempos y espacio
Singapore National Day Preview in Two images, 2013. All Rights Reserved.
More here.
Emojis que obtuvieron el tercer lugar en el concurso Emoji CDMX.
Mira más aquí: http://bit.ly/EmojisDeCDMX
Happy birthday to Fernand Léger, the preeminent painter of the modern city. He developed his brightly colored, machine-inspired style as a response to the sensory assault of the modern metropolis.
“The City,” 1919, by Fernand Léger © 2009 Artists Rights Society (ARS), New York / ADAGP, Paris