The blade is imbued with great power. I can feel it course through my hands as I unsheathe it. I do not know if I can sate its hunger. Read more on my blog.
Cosmic Funnies
styofa doing anything

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TVSTRANGERTHINGS

@theartofmadeline
One Nice Bug Per Day
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AnasAbdin
todays bird

Kiana Khansmith

if i look back, i am lost

ē„ę„ / Permanent Vacation

tannertan36
occasionally subtle
Peter Solarz

Love Begins
Misplaced Lens Cap
tumblr dot com
he wasn't even looking at me and he found me

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@3003105
The blade is imbued with great power. I can feel it course through my hands as I unsheathe it. I do not know if I can sate its hunger. Read more on my blog.
chilling with a sloppy style
Doug wasnāt even alive when dial-up was a thing, but he knows your website is slower than Geocities in 1999.
Doug wants you to check out Jetpack. Itāll make your site fast. ā”ļø
letting people reblog ads is the best decision this site has made
I wonder what kind of symbolism theyāre trying to get at
āThere are a lot of giant robot shows in Japan, and we did want our story to have a religious theme to help distinguish us. Because Christianity is an uncommon religion in Japan we thought it would be mysterious. None of the staff who worked on Eva are Christians. There is no actual Christian meaning to the show, we just thought the visual symbols of Christianity look cool. If we had known the show would get distributed in the US and Europe we might have rethought that choice.ā -Kazuya Tsurumaki, assistant director/art director on Neon Genesis Evangelion
eva is literally fake deep
#i love this tbhĀ #like their treating christianity like white people treat buddhism and what not is such an unintentional fuck you
tbh the Japanese sprinkling Christianity into their media like a cheap vaguely spooky seasoning is a tonic for my soul
Lifehack for getting out of things that are running late: at the scheduled end time, just tell whoever is in chargeĀ āsorry, but Iām expected elsewhereā and leave.Ā
You donāt have to say who is expecting you, or where youāre expected to be. They donāt need to know that, they just need to know youāre leaving. You donāt need other plans already, because other people donāt have any way of knowing if youāre telling the truth or not and social convention prohibits them from asking. They canāt argue that you shouldnāt have made plans for immediately after their event because thatās just their own fault for not telling you the correct timing.Ā
And if youāre like me and are autistic and incapable of lying, thereās still a way to make it work. Who says you canāt expect yourself to be somewhere? Who says you canāt be expected to be at home doing nothing? After all, the entire purpose of having a schedule in the first place is so that you have a time when you can expect whatever event to be finished. If you were ever given an end time, then at that time you can truthfully say that your past self expected you to be somewhere else afterwards, and then you can leave.Ā
Never stay stuck in a long boring meeting again. Donāt work past your assigned shift. Just say you have to go now, and go.Ā
im gonna throw up
eraserhead baby
Bobby hill
Don't do Imam Kotomine like this
may i have this caramelldanse
Do people know this is the husband of the prime minister of New Zealand
And who is the guy burying him in the sand
Illustrations of Kyo (Dir en Grey) by Junji Ito from his art book Twisted Visions.
the number of times i think about the full body viking skeleton i saw in the museum is ridiculous like when i say it haunts me i mean it actually haunts me
every time i remember the questions are endless ā what was his name? what did his mother call him? what sounds did he wake up to? what sounds did he die to? how old was he when he died? how old when he fell in love? how old when he first fell out? who cried with him and laughed with him? who cried for him? how many miles of separation can i draw between my ancestors and him? was he kind, serious, jokey? was he sombre or impulsive? was he chatty and good-humoured or a cantankerous asshole? likeā¦i have never stopped thinking about this.
the fact that at one point in time this was a living breathing person. with memories and petty hates and the dumbest jokes. and friends he loved. and the fact that he probably at some point burst out into drunken song or punched someone in an argument or GOT punched in an argument or tripped into the mud while his friends pissed themselves laughing or or or orā¦countless orās into infinity
and the fact that before all of that this massive skeleton was tiny toddler (was he scared of the dark? did he squabble with his siblings? did he have siblings?) who may or may not have hid behind his mother or probably got hoisted onto an adultās shoulders and in his little mind thought this person was the strongest human in the world and that he could hold the whole sky up just by standing there like that and as long as he was up there he was king of the world or could be.
likeā¦what am i supposed to do with this? what does ANYONE do with this? how are you supposed to cope with the enormity of this while at the same time realising just how tiny and fleeting our lives are? there is literally more than a THOUSAND years between us & ALL of it has been pinched down to a glass case not even 2 inches thick likeā¦iām losing my mind.
I got this feeling when I saw some petroglyphs on the side of a cliff like.. a human made those. That human felt all of the emotions I feel they went through the same universal human experience and they each had vivid internal lives and memories. Wild.
ok this is next level and i honestlyā¦i honestly canāt
during my prehistory module we got given Roman pottery and roofing slabs that had thumb prints in the handles and I put my thumb over those thumb marks and cried in the middle of the tutorialĀ
I do pottery, and itās one of my favorite things about the medium: that you can often see the shape of someoneās fingers in the surface. I love it when someone just shoves a finger somewhere while throwing, and leaves it there as a place for YOU to put your finger. Little thumbrests on top of mug handles is a fave. āHow did you make those ridges like that on the outside? How did you make that spiral on the bottom?ā āWith my fingers.ā
All of this.Ā
At Wells Cathedral in England the stairs down from the chapter house have had dips worn into their stone by centuries of human feet taking the most direct route up and down.Ā
Thinking about the immense distances between the stars makes me panic, but looking back into human history gives me peace.Ā
Reminds me of when we got to see this exposition on ancient egypt.Ā
I was like,Ā āWow a real life papyrus!ā
but then my mom said, clearly moved, āWow, thatās someoneās handwriting.ā
Part of why I love medieval calligraphy so much is that my sources are these centuries old manuscripts that have⦠doodles in the margins, and scribbles where they tested their pens and ink, notes at the end and in the margins complaining about the temperature or their work materials or thanking god that theyāve finished. There are surviving artifacts with cat paw prints across the page where some pet got into the ink, and thereās even one with a pee stain on it followed by a long note explaining why nothing of importance is written on that page and a reminder not to leave your books out at night.
They were made by people, and I love feeling connected to those people by what I do.
The one that gets me every time is this bowl:
I want to know what the person who was making it was thinking, so badly. Maybe it was all done very seriously. But maybe they were giggling, as they said to themselves, āBut what if I put feet? FEET ON THE BOWL!ā Were they giggling at the idea? Did it make them happy, every time they shaped those little toes? If they were having a bad day, did they make a foot bowl, to cheer themselves up?
Did they ever consider that, some 6000 years later, someone would look at their foot bowls, and smile every time, and wonder about the person who made them?
As someone who has worked in clay? Yes, we think about that. We wonder about it. We wonder who will see our work, if it somehow survives even a hundred years, let alone a thousand, two, or ā amazing! ā six thousand years. When you work in a durable medium, you wonder whose thumb will fit the prints you leave. Who they will be. If your work will bring them the same joy that it brought you in its making.
I transcribe documents. Mostly ship logs. But also personal diaries and journals. They were just like you and me. They write donāt forget eggs, and wondered if their neighbors secretly hated them or if they are reading into it too much. They loved and were loved and they wondered. They wondered about you. Who were you going to be? Would you live in a hose like them? Would you travel the stars? Would you care about them? The things they wrote the things they made? Did they leave an impression. Everything I transcribe from ship notes, research papers, census, to diaries. Are just people saying I was here, what I did mattered, please remember me. And every word I type out is me whispering back. You were, you did, we will.
The addition about Wells Cathedral reminded me - when I visited it in the late 1990s (it may be different now) the main part of the cathedral was lined on either side by sarcophagi.Ā They had effigies on top, carved stone figures lying on their backs - there must have been twenty at least.Ā
They dated back centuries.Ā All these worn images, bits broken off here and there, pits and cracks - but most of the damage was just from time passing.Ā
Except for one.Ā
I donāt remember whose tomb it was, but one of them was absolutely covered in graffiti.Ā Names and dates scratched all over it.Ā Centuries of graffiti.Ā People had been cutting into that stone since before the English set sail for America.Ā
And what got me wasnāt so much the time illustrated by those datesā¦it was the long, unspoken, intergenerational agreement that this one particular tomb would be the only one defaced.Ā Decade after decade, visitors and vandals had kept this silent rule unbroken.Ā
People are fascinating.Ā
one of my favorite books as a kid was this one on speculative zoology/evolution that I loved so much I borrowed it to the point my school had to chase me up on returning it several times. it influenced my early creature art and design and pushed me to delve into my own specbio (on dragons. no surprises there). I loved the informatic entries, all their little lore bits and ecological adaptations; the wild color palettes, their weird little shapes. it was called The New Dinosaurs, by Dougal Dixon.
there were two more books in the series that my school didnāt have, which is either a blessing or a curse, because the third book in the set is called Man After Man.
which contains this.