Mary Oliver, from "The Pond" in Felicity: Poems
Jules of Nature
$LAYYYTER
Monterey Bay Aquarium

Misplaced Lens Cap
let's talk about Bridgerton tea, my ask is open
Game of Thrones Daily

Game Changer & Make Some Noise
almost home
I'd rather be in outer space 🛸
Cosmic Funnies

gracie abrams

Product Placement

shark vs the universe
Interview Vampire Daily
hello vonnie

Jar Jar Binks Fan Club
Doug Jones
seen from Pakistan

seen from Jordan
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seen from Bahrain
seen from United States
seen from Kenya
seen from Singapore
seen from United States

seen from United States

seen from Indonesia
seen from United States

seen from Singapore

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@theuncommonplace
Mary Oliver, from "The Pond" in Felicity: Poems

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Picked some magnolia petals and discovered as they started to wilt at creases they turned a beautiful warm brown color. Then got the idea to use a silverpoint stylus to scratch a magnolia drawing into the petal~ smells divine
@chthonic-cassandra
Liz Toohey-Wiese, 2024.
"A sign installed in the largest wildfire burn I’ve ever seen, along the BC/YK border. Borrowing the aesthetics of BC Recreation Site signs, once again pointing to the overlaps of outdoor recreation, resource extraction, and the consequences of the climate crisis. Most recreation sites in BC exist along previously built logging and mining roads.
“Forced into a great and difficult transformation” was a line I heard in a lecture on Buddhist philosophy I was listening to on my drive up north. But it became another mantra I thought about while living in a place that’s been utterly transformed by resource extraction over the past century, and as I thought about the burnt landscapes I drove through."
More here.

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the thing they dont tell you about learning to "trust the process" is that you forget and relearn it every single time you make a new piece of art. unfortunately there is no cure either
a chart of what i mean for the visual learners in the audience
“WRITE IT BADLY. Write it badly, write it badly, write it badly, write it badly. Stop what you’re doing, open a Word document, put a pencil on some paper, just get the idea out of your head. Let it be good later. Write it down now. Otherwise it will die in there.”
— Brandon Sanderson on overcoming writer’s block to create a first draft as a professional author (via almost-always-eventually-right)
Falling in love and identifying birds have similar effects. Normal life is altered; every experience heightened; what was mundane begins to explode with meaning. You think birds are just birds—undifferentiated fluttering, then you find one magnified in your lens. You recognize its unique markings, lines, and color. Your heart pounds. It is a cerulean warbler. It is your new mate. I believe both things have equal power to change your life.
Debbie Blue, Consider the Birds: A Provocative Guide to Birds of the Bible

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Ingmar Bergman
you are only alowed in my room if u love me
i can feel myself changing for a man
This is very good
hey did you know that uhh
i. the monster's body is a cultural body
ii. the monster always escapes
iii. the monster is the harbinger of category crisis
iv. the monster dwells at the gates of difference
v. the monster polices the borders of the possible
vi. fear of the monster is really a kind of desire
vii. the monster stands at the threshold… of becoming
oh shit i didn't expect this to actually get notes lmao
these are all direct quotes from jeffrey jerome cohen's "monster culture (seven theses)" (full pdf linked) i highly encourage you to read it yourself!
that said, while i think cohen's writing is evocative, it can be a little dense, so while i'm here, here's my capsule summary (you can also hear me talk about this in the first episode of my podcast) (listen to @ghostswerepeopletoo)
i. the monster's body is a cultural body - The monster is a work of fiction to be analyzed through tools of literary and sociological theory.
ii. the monster always escapes - As long as the cultural fear from which the monster stems persists, the monster will reappear in retellings, reimaginings, and sequels.
iii. the monster is the harbinger of category crisis - Monsters defy binaries and challenge easy comprehension or categorization.
iv. the monster dwells at the gates of difference - The monster represents the Other.
v. the monster polices the borders of the possible - Tales of the monster exist to discourage unacceptable or taboo behaviors.
vi. fear of the monster is really a kind of desire - Subjects can vicariously participate in the disruption of the social order through the monster.
vii. the monster stands at the threshold… of becoming - Within the monster we find information about the self.

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di Petsa FW20 by Charlotte O’Shea