E-GONE.ORG
The non-musical explorations and findings of E GONE.
www.e-gone.org
E-GONE.ORG
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joncarling:

hero’s journey
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obeytheprophecy:

▲ obey the prophecy ▲ the door to wonderland
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magictransistor:

Mervyn Peake. Illustrations to Coleridge’s Rime of the Ancient Mariner. 1943.
Striking illustrations to the work of English poet Samuel Taylor Coleridge, written in 1798. Rime of the Ancient Mariner was a signal shift to modern poetry and the beginning of British Romantic literature. Peake numbered his drawings keying them to exact lines of text as follows (top to bottom): I.  The sun came up upon the left, Out of the sea came he! And he shone bright, and on the right Went down into the sea. II.  ..‘with my cross-bow I shot the Albatross.’ III.  Instead of the cross, the Albatross About my neck was hung. IV.  I bit my arms, I sucked the blood And cried ‘A sail! a sail!’ V.  Her lips were red, her looks were free Her locks were yellow as gold her skin was white as leprosy, The Night-mare Life-in-Death was she, Who thicks man’s blood with cold. VI.  Alone, alone, all, all alone, Alone on a wide, wide sea! VII.  I could not draw my eyes from theirs nor turn them up to pray. VIII.  I pass like night, from land to land.   
magictransistor:

Mervyn Peake. Illustrations to Coleridge’s Rime of the Ancient Mariner. 1943.
Striking illustrations to the work of English poet Samuel Taylor Coleridge, written in 1798. Rime of the Ancient Mariner was a signal shift to modern poetry and the beginning of British Romantic literature. Peake numbered his drawings keying them to exact lines of text as follows (top to bottom): I.  The sun came up upon the left, Out of the sea came he! And he shone bright, and on the right Went down into the sea. II.  ..‘with my cross-bow I shot the Albatross.’ III.  Instead of the cross, the Albatross About my neck was hung. IV.  I bit my arms, I sucked the blood And cried ‘A sail! a sail!’ V.  Her lips were red, her looks were free Her locks were yellow as gold her skin was white as leprosy, The Night-mare Life-in-Death was she, Who thicks man’s blood with cold. VI.  Alone, alone, all, all alone, Alone on a wide, wide sea! VII.  I could not draw my eyes from theirs nor turn them up to pray. VIII.  I pass like night, from land to land.   
magictransistor:

Mervyn Peake. Illustrations to Coleridge’s Rime of the Ancient Mariner. 1943.
Striking illustrations to the work of English poet Samuel Taylor Coleridge, written in 1798. Rime of the Ancient Mariner was a signal shift to modern poetry and the beginning of British Romantic literature. Peake numbered his drawings keying them to exact lines of text as follows (top to bottom): I.  The sun came up upon the left, Out of the sea came he! And he shone bright, and on the right Went down into the sea. II.  ..‘with my cross-bow I shot the Albatross.’ III.  Instead of the cross, the Albatross About my neck was hung. IV.  I bit my arms, I sucked the blood And cried ‘A sail! a sail!’ V.  Her lips were red, her looks were free Her locks were yellow as gold her skin was white as leprosy, The Night-mare Life-in-Death was she, Who thicks man’s blood with cold. VI.  Alone, alone, all, all alone, Alone on a wide, wide sea! VII.  I could not draw my eyes from theirs nor turn them up to pray. VIII.  I pass like night, from land to land.   
magictransistor:

Mervyn Peake. Illustrations to Coleridge’s Rime of the Ancient Mariner. 1943.
Striking illustrations to the work of English poet Samuel Taylor Coleridge, written in 1798. Rime of the Ancient Mariner was a signal shift to modern poetry and the beginning of British Romantic literature. Peake numbered his drawings keying them to exact lines of text as follows (top to bottom): I.  The sun came up upon the left, Out of the sea came he! And he shone bright, and on the right Went down into the sea. II.  ..‘with my cross-bow I shot the Albatross.’ III.  Instead of the cross, the Albatross About my neck was hung. IV.  I bit my arms, I sucked the blood And cried ‘A sail! a sail!’ V.  Her lips were red, her looks were free Her locks were yellow as gold her skin was white as leprosy, The Night-mare Life-in-Death was she, Who thicks man’s blood with cold. VI.  Alone, alone, all, all alone, Alone on a wide, wide sea! VII.  I could not draw my eyes from theirs nor turn them up to pray. VIII.  I pass like night, from land to land.   
magictransistor:

Mervyn Peake. Illustrations to Coleridge’s Rime of the Ancient Mariner. 1943.
Striking illustrations to the work of English poet Samuel Taylor Coleridge, written in 1798. Rime of the Ancient Mariner was a signal shift to modern poetry and the beginning of British Romantic literature. Peake numbered his drawings keying them to exact lines of text as follows (top to bottom): I.  The sun came up upon the left, Out of the sea came he! And he shone bright, and on the right Went down into the sea. II.  ..‘with my cross-bow I shot the Albatross.’ III.  Instead of the cross, the Albatross About my neck was hung. IV.  I bit my arms, I sucked the blood And cried ‘A sail! a sail!’ V.  Her lips were red, her looks were free Her locks were yellow as gold her skin was white as leprosy, The Night-mare Life-in-Death was she, Who thicks man’s blood with cold. VI.  Alone, alone, all, all alone, Alone on a wide, wide sea! VII.  I could not draw my eyes from theirs nor turn them up to pray. VIII.  I pass like night, from land to land.   
magictransistor:

Mervyn Peake. Illustrations to Coleridge’s Rime of the Ancient Mariner. 1943.
Striking illustrations to the work of English poet Samuel Taylor Coleridge, written in 1798. Rime of the Ancient Mariner was a signal shift to modern poetry and the beginning of British Romantic literature. Peake numbered his drawings keying them to exact lines of text as follows (top to bottom): I.  The sun came up upon the left, Out of the sea came he! And he shone bright, and on the right Went down into the sea. II.  ..‘with my cross-bow I shot the Albatross.’ III.  Instead of the cross, the Albatross About my neck was hung. IV.  I bit my arms, I sucked the blood And cried ‘A sail! a sail!’ V.  Her lips were red, her looks were free Her locks were yellow as gold her skin was white as leprosy, The Night-mare Life-in-Death was she, Who thicks man’s blood with cold. VI.  Alone, alone, all, all alone, Alone on a wide, wide sea! VII.  I could not draw my eyes from theirs nor turn them up to pray. VIII.  I pass like night, from land to land.   
magictransistor:

Mervyn Peake. Illustrations to Coleridge’s Rime of the Ancient Mariner. 1943.
Striking illustrations to the work of English poet Samuel Taylor Coleridge, written in 1798. Rime of the Ancient Mariner was a signal shift to modern poetry and the beginning of British Romantic literature. Peake numbered his drawings keying them to exact lines of text as follows (top to bottom): I.  The sun came up upon the left, Out of the sea came he! And he shone bright, and on the right Went down into the sea. II.  ..‘with my cross-bow I shot the Albatross.’ III.  Instead of the cross, the Albatross About my neck was hung. IV.  I bit my arms, I sucked the blood And cried ‘A sail! a sail!’ V.  Her lips were red, her looks were free Her locks were yellow as gold her skin was white as leprosy, The Night-mare Life-in-Death was she, Who thicks man’s blood with cold. VI.  Alone, alone, all, all alone, Alone on a wide, wide sea! VII.  I could not draw my eyes from theirs nor turn them up to pray. VIII.  I pass like night, from land to land.   
magictransistor:

Mervyn Peake. Illustrations to Coleridge’s Rime of the Ancient Mariner. 1943.
Striking illustrations to the work of English poet Samuel Taylor Coleridge, written in 1798. Rime of the Ancient Mariner was a signal shift to modern poetry and the beginning of British Romantic literature. Peake numbered his drawings keying them to exact lines of text as follows (top to bottom): I.  The sun came up upon the left, Out of the sea came he! And he shone bright, and on the right Went down into the sea. II.  ..‘with my cross-bow I shot the Albatross.’ III.  Instead of the cross, the Albatross About my neck was hung. IV.  I bit my arms, I sucked the blood And cried ‘A sail! a sail!’ V.  Her lips were red, her looks were free Her locks were yellow as gold her skin was white as leprosy, The Night-mare Life-in-Death was she, Who thicks man’s blood with cold. VI.  Alone, alone, all, all alone, Alone on a wide, wide sea! VII.  I could not draw my eyes from theirs nor turn them up to pray. VIII.  I pass like night, from land to land.   
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obeytheprophecy:

▲ obey the prophecy ▲ the door to wonderland
+
asylum-art:

Justyna Neryng photography: Childhood Lost
on Tumblrr, Justyna N on Behance
Justyna Neryng is a multi-award winning fine art photographer from Poland. She spent much of her childhood playing with her father’s cameras and dark room while roaming the forests of Chelmsko on the Czech border. As an adult, a mother and an immigrant to Britain, her photography has flourished into a substantial body of portraiture. Perhaps the most evocative of her works are her exquisitely emotive self-portraits that seem to carry the dark spirit of the forest from her childhood as well as potently baring the scars of modern womanhood. They show vulnerability and intimate eroticism as well as deep sense of isolation and alienation. It is these portraits that have been most published and exhibited in both her Polish homeland and in the UK.
asylum-art:

Justyna Neryng photography: Childhood Lost
on Tumblrr, Justyna N on Behance
Justyna Neryng is a multi-award winning fine art photographer from Poland. She spent much of her childhood playing with her father’s cameras and dark room while roaming the forests of Chelmsko on the Czech border. As an adult, a mother and an immigrant to Britain, her photography has flourished into a substantial body of portraiture. Perhaps the most evocative of her works are her exquisitely emotive self-portraits that seem to carry the dark spirit of the forest from her childhood as well as potently baring the scars of modern womanhood. They show vulnerability and intimate eroticism as well as deep sense of isolation and alienation. It is these portraits that have been most published and exhibited in both her Polish homeland and in the UK.
asylum-art:

Justyna Neryng photography: Childhood Lost
on Tumblrr, Justyna N on Behance
Justyna Neryng is a multi-award winning fine art photographer from Poland. She spent much of her childhood playing with her father’s cameras and dark room while roaming the forests of Chelmsko on the Czech border. As an adult, a mother and an immigrant to Britain, her photography has flourished into a substantial body of portraiture. Perhaps the most evocative of her works are her exquisitely emotive self-portraits that seem to carry the dark spirit of the forest from her childhood as well as potently baring the scars of modern womanhood. They show vulnerability and intimate eroticism as well as deep sense of isolation and alienation. It is these portraits that have been most published and exhibited in both her Polish homeland and in the UK.
asylum-art:

Justyna Neryng photography: Childhood Lost
on Tumblrr, Justyna N on Behance
Justyna Neryng is a multi-award winning fine art photographer from Poland. She spent much of her childhood playing with her father’s cameras and dark room while roaming the forests of Chelmsko on the Czech border. As an adult, a mother and an immigrant to Britain, her photography has flourished into a substantial body of portraiture. Perhaps the most evocative of her works are her exquisitely emotive self-portraits that seem to carry the dark spirit of the forest from her childhood as well as potently baring the scars of modern womanhood. They show vulnerability and intimate eroticism as well as deep sense of isolation and alienation. It is these portraits that have been most published and exhibited in both her Polish homeland and in the UK.
asylum-art:

Justyna Neryng photography: Childhood Lost
on Tumblrr, Justyna N on Behance
Justyna Neryng is a multi-award winning fine art photographer from Poland. She spent much of her childhood playing with her father’s cameras and dark room while roaming the forests of Chelmsko on the Czech border. As an adult, a mother and an immigrant to Britain, her photography has flourished into a substantial body of portraiture. Perhaps the most evocative of her works are her exquisitely emotive self-portraits that seem to carry the dark spirit of the forest from her childhood as well as potently baring the scars of modern womanhood. They show vulnerability and intimate eroticism as well as deep sense of isolation and alienation. It is these portraits that have been most published and exhibited in both her Polish homeland and in the UK.
asylum-art:

Justyna Neryng photography: Childhood Lost
on Tumblrr, Justyna N on Behance
Justyna Neryng is a multi-award winning fine art photographer from Poland. She spent much of her childhood playing with her father’s cameras and dark room while roaming the forests of Chelmsko on the Czech border. As an adult, a mother and an immigrant to Britain, her photography has flourished into a substantial body of portraiture. Perhaps the most evocative of her works are her exquisitely emotive self-portraits that seem to carry the dark spirit of the forest from her childhood as well as potently baring the scars of modern womanhood. They show vulnerability and intimate eroticism as well as deep sense of isolation and alienation. It is these portraits that have been most published and exhibited in both her Polish homeland and in the UK.
asylum-art:

Justyna Neryng photography: Childhood Lost
on Tumblrr, Justyna N on Behance
Justyna Neryng is a multi-award winning fine art photographer from Poland. She spent much of her childhood playing with her father’s cameras and dark room while roaming the forests of Chelmsko on the Czech border. As an adult, a mother and an immigrant to Britain, her photography has flourished into a substantial body of portraiture. Perhaps the most evocative of her works are her exquisitely emotive self-portraits that seem to carry the dark spirit of the forest from her childhood as well as potently baring the scars of modern womanhood. They show vulnerability and intimate eroticism as well as deep sense of isolation and alienation. It is these portraits that have been most published and exhibited in both her Polish homeland and in the UK.
asylum-art:

Justyna Neryng photography: Childhood Lost
on Tumblrr, Justyna N on Behance
Justyna Neryng is a multi-award winning fine art photographer from Poland. She spent much of her childhood playing with her father’s cameras and dark room while roaming the forests of Chelmsko on the Czech border. As an adult, a mother and an immigrant to Britain, her photography has flourished into a substantial body of portraiture. Perhaps the most evocative of her works are her exquisitely emotive self-portraits that seem to carry the dark spirit of the forest from her childhood as well as potently baring the scars of modern womanhood. They show vulnerability and intimate eroticism as well as deep sense of isolation and alienation. It is these portraits that have been most published and exhibited in both her Polish homeland and in the UK.
asylum-art:

Justyna Neryng photography: Childhood Lost
on Tumblrr, Justyna N on Behance
Justyna Neryng is a multi-award winning fine art photographer from Poland. She spent much of her childhood playing with her father’s cameras and dark room while roaming the forests of Chelmsko on the Czech border. As an adult, a mother and an immigrant to Britain, her photography has flourished into a substantial body of portraiture. Perhaps the most evocative of her works are her exquisitely emotive self-portraits that seem to carry the dark spirit of the forest from her childhood as well as potently baring the scars of modern womanhood. They show vulnerability and intimate eroticism as well as deep sense of isolation and alienation. It is these portraits that have been most published and exhibited in both her Polish homeland and in the UK.
asylum-art:

Justyna Neryng photography: Childhood Lost
on Tumblrr, Justyna N on Behance
Justyna Neryng is a multi-award winning fine art photographer from Poland. She spent much of her childhood playing with her father’s cameras and dark room while roaming the forests of Chelmsko on the Czech border. As an adult, a mother and an immigrant to Britain, her photography has flourished into a substantial body of portraiture. Perhaps the most evocative of her works are her exquisitely emotive self-portraits that seem to carry the dark spirit of the forest from her childhood as well as potently baring the scars of modern womanhood. They show vulnerability and intimate eroticism as well as deep sense of isolation and alienation. It is these portraits that have been most published and exhibited in both her Polish homeland and in the UK.
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asylum-art:

Gerda Steiner & Jörg Lenzlinger
The Conference  Art Unlimited Basel, 2010  La Casa Encendida Madrid, 2010 Kunstverein Hannover, 2011
The meeting room contains a table, six chairs, jackets, laptops, writing utensils, papers, diaries, cell phones, coffee cups, …… the usual. A powerful light at the room’s center casts an intense beam across the table. A ventilator churns the air. A subtile nocturnal recording of the Borneo jungle can be heard. An unknown consciousness befalls the entire scenario.
asylum-art:

Gerda Steiner & Jörg Lenzlinger
The Conference  Art Unlimited Basel, 2010  La Casa Encendida Madrid, 2010 Kunstverein Hannover, 2011
The meeting room contains a table, six chairs, jackets, laptops, writing utensils, papers, diaries, cell phones, coffee cups, …… the usual. A powerful light at the room’s center casts an intense beam across the table. A ventilator churns the air. A subtile nocturnal recording of the Borneo jungle can be heard. An unknown consciousness befalls the entire scenario.
asylum-art:

Gerda Steiner & Jörg Lenzlinger
The Conference  Art Unlimited Basel, 2010  La Casa Encendida Madrid, 2010 Kunstverein Hannover, 2011
The meeting room contains a table, six chairs, jackets, laptops, writing utensils, papers, diaries, cell phones, coffee cups, …… the usual. A powerful light at the room’s center casts an intense beam across the table. A ventilator churns the air. A subtile nocturnal recording of the Borneo jungle can be heard. An unknown consciousness befalls the entire scenario.
asylum-art:

Gerda Steiner & Jörg Lenzlinger
The Conference  Art Unlimited Basel, 2010  La Casa Encendida Madrid, 2010 Kunstverein Hannover, 2011
The meeting room contains a table, six chairs, jackets, laptops, writing utensils, papers, diaries, cell phones, coffee cups, …… the usual. A powerful light at the room’s center casts an intense beam across the table. A ventilator churns the air. A subtile nocturnal recording of the Borneo jungle can be heard. An unknown consciousness befalls the entire scenario.
asylum-art:

Gerda Steiner & Jörg Lenzlinger
The Conference  Art Unlimited Basel, 2010  La Casa Encendida Madrid, 2010 Kunstverein Hannover, 2011
The meeting room contains a table, six chairs, jackets, laptops, writing utensils, papers, diaries, cell phones, coffee cups, …… the usual. A powerful light at the room’s center casts an intense beam across the table. A ventilator churns the air. A subtile nocturnal recording of the Borneo jungle can be heard. An unknown consciousness befalls the entire scenario.
asylum-art:

Gerda Steiner & Jörg Lenzlinger
The Conference  Art Unlimited Basel, 2010  La Casa Encendida Madrid, 2010 Kunstverein Hannover, 2011
The meeting room contains a table, six chairs, jackets, laptops, writing utensils, papers, diaries, cell phones, coffee cups, …… the usual. A powerful light at the room’s center casts an intense beam across the table. A ventilator churns the air. A subtile nocturnal recording of the Borneo jungle can be heard. An unknown consciousness befalls the entire scenario.
asylum-art:

Gerda Steiner & Jörg Lenzlinger
The Conference  Art Unlimited Basel, 2010  La Casa Encendida Madrid, 2010 Kunstverein Hannover, 2011
The meeting room contains a table, six chairs, jackets, laptops, writing utensils, papers, diaries, cell phones, coffee cups, …… the usual. A powerful light at the room’s center casts an intense beam across the table. A ventilator churns the air. A subtile nocturnal recording of the Borneo jungle can be heard. An unknown consciousness befalls the entire scenario.