untitled by thomā„ on Flickr.
Lint Roller? I Barely Know Her
One Nice Bug Per Day
Today's Document
AnasAbdin
noise dept.
Xuebing Du
RMH
wallacepolsom
tumblr dot com
let's talk about Bridgerton tea, my ask is open
Mike Driver
cherry valley forever
Cosimo Galluzzi
todays bird

PR's Tumblrdome

Origami Around
trying on a metaphor
styofa doing anything
sheepfilms
I'd rather be in outer space šø
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@abookplace
untitled by thomā„ on Flickr.

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2014.4.23 ļ½ē¹ęøļ½ by SilverYang on Flickr.
āWe make our world significant by the courage of our questions and the depth of our answers.ā
ā Carl Sagan
āThe best people possess a feeling for beauty, the courage to take risks, the discipline to tell the truth, the capacity for sacrifice. Ironically, their virtues make them vulnerable; they are often wounded, sometimes destroyed.ā
ā Ernest Hemingway

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āTo say goodbye is to die a little.ā
ā Raymond Chandler,Ā The Long Goodbye
āHow vain it is to sit down to write when you have not stood up to live.ā
ā Henry David Thoreau, b. 7/12/1817 (via randomhouse)
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(wow, somebody REALLY likes the book thief ;))
āI have grown to love secrecy. It seems to be the one thing that can make modern life mysterious or marvelous to us. The commonest thing is delightful if only one hides it.ā - The Picture of Dorian Gray, O. Wilde
Urgently looking for photo source and where to buy these books please. Urgently because I need these in my life rn

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There are characters you like but then there are characters you end up thinking about in the middle of the night with a cosmic ache in your chest because they resonate with you so much
jude st francis from a little life - tore a hole in my heart that no amount of fiction will ever mend š
sunday, december 20th 2020 ⢠first weekend of my christmas break, i finally found a great book to read: lobizona, and iāve spent the afternoon camping with my duvet in the living room, next to basil and gribouille š¤
looks like a perfect weekend :)
No live organism can continue for long to exist sanely under conditions of absolute reality; even larks and katydids are supposed, by some, to dream. Hill House, not sane, stood by itself against its hills, holding darkness within; it had stood so for eighty years and might stand for eighty more. Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut; silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone.
The Haunting of Hill House, Shirley Jackson
āThe idea of a rational, objective way of seeing art is an invention of the 15th century. In 1435, Leon Battista Alberti told a charming story about the architect Filippo Brunelleschi, who created an image of the Florence Baptistry so perfect that it was mistaken for the real thing. Brunelleschi gathered a crowd outside the Baptistry, and presented a bystander with a board to be held in one hand and a mirror in the other. Standing on a precise spot, looking through a small hole in the board towards the mirror that he was holding in front of him a precise distance away, the man was convinced he could see the Baptistry. In fact, he was looking at a reflection of Brunelleschiās picture of the Baptistry, painted on the boardās reverse side. Brunelleschi has ādiscoveredā how to depict objects and buildings in proportion to each other, so that they appeared to shrink and recede into the distance, just as they do in the in the real world. This was the invention of fixed-point perspective. Brunelleschiās revelatory painting no longer exists, so this origin story relies on Albertiās version (never mind that Alberti wasnāt there, since he was exiled from Florence at the time). It was a key turning point in European art history: the single moment when vision and knowledge were perfected, made flawless and ordered; the discovery of a system of rules that ushered in the Renaissance and all its glories. Brunelleschiās was a moment of genius that changed the world. At least, thatās how I remember my high-school art teacher describing it. This system of perspective will be familiar to anyone who has ever sat in a school art room dutifully drawings grids. But this way of telling the story misses an important point that is generally accepted in modern art history: there is no one ābetterā way of seeing or representing. The compulsion to represent a mathematically 'perfectā world, with 'correctā perspective and proportion, is not always the purpose of making. Brunelleschiās method reflected the very specific goal of creating a visual trick, which worked only if one single person stood at one single point, and looked with one single eye. Anybody can make a picture, and choose to use or not use fixed-point perspective; they can opt instead for any of the technologies of representation used by picture-makers in different times or places: using scale to denote power, flattening landscapes to focus on the foreground, depicting a single object from multiple angles. But representations tend to be cultural specific. For Brunelleschi and his contemporaries, illusions of perspective and depth were a key consideration, just as at other moments representing texture, light or movement became the priority.ā
ā Alice Procter,Ā The Whole Picture: The colonial story of the art in our museums & why need to talk about itĀ (via flaubertian)
this is literally all I need in my home bookshelves, couch

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Ellen Bass, āThe Thing Isā, Poetry of Presence: An Anthology of Mindfulness Poems
memorable bookstores are always the highlight of my travels