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Keni
Claire Keane
RMH

祝日 / Permanent Vacation
Sade Olutola

#extradirty
will byers stan first human second
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Three Goblin Art

pixel skylines
Cosmic Funnies
sheepfilms
dirt enthusiast
Lint Roller? I Barely Know Her
NASA
Alisa U Zemlji Chuda
Game of Thrones Daily
Mike Driver
YOU ARE THE REASON
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@4di7
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This too shall never pass
Close Dangerously and drastically Touching Fervently and ferociously Colliding Ceaselessly and endlessly In distance and distortion In despair and destruction Drenched in the drought Dipped to the core A flutter A festination Desperate concatenation Moments of madness Eager to make sense Mindlessness in the mist Unspoken but not unfelt A whimpering gasp Born in a figment Broken, interrupted, inhibited, aborted A fully formed sentence Gradually dissipating Swirling unseen in the smoke
Love Rainy Weather....
I have never heard of Norman Rockwell. I don’t understand anything about art. But this picture shook me and caused a storm of emotions. It is called Breaking Home Ties, 1954
The boy is going to a Uni and wearing his best outfit; the Uni sticker is on his luggage, even his tie and his socks are the colours of the sticker. He is excited and impatient. The father - obviously a farmer, is sitting at the worn farm truck with a flag and a storm lamp, because their place is so small the train won’t normally stop there, so the father will need to “catch” the train and signal with the light and the flag for it to stop.
His son will never come back to the farm.
I think I understand why this picture sold at 15,4 million dollars in 2006.
Sweet is this memory, restrained in retort. Extended and drawn out. Like a slow furtive breath coughed out of lungs that do not want to let it out. Your sob of anguish held inaudibly in the folds of skin on your forehead. These nights go on uninterrupted like a compelte stranger to light. An alien to the break of dawn. These seconds die a stagnant death in front of me, only to be resurrected, moments later to regurgitate all that I have been trying to escape. Why do I even try? Why do I even inoculate myself with new ideas that explode into a drastic pandemonium of panic even before there is a hint of fruition to any of the branches I impale upon myself. I see your face and I close my eyes, and I see it again. I plot my escape route but never find the road. Acquiesce is the answer. I have to freeze the fear cold and face the hideous facade. The ugliness is soaking but it cleanses. You are yet a spirit trying to grow your skin. You talk to me in a million ways that I don't yet understand. Your words are weightless but they still weigh me down. Perhaps you know more. Perhaps you feel more. Perhaps this deficiency of expression is only a hindrance and deep down, when I talk to you, you absorb my dialogue, and you absorb my stare, and the dust on my words leave a little stain on the canvas of your brain. Perhaps one day when you wake up you will see the dusty sketches I have tried to create. For now you are resticted and restrained to within the small confines of what your brain lets you hear. That is why there is ink on these pages. That is why these words are not talking, but screaming, raging, yelling in anger and anguish. Drawn out is this night. Time is a terribly slow drudge. I nudge my reality to stumble forward but who really knows what comes next? I am afraid of the distant future because thats what men do. Men fear. Mean fear theeir greatest unrealized possibilities. Maybe you will turn out to be a mirage: sparkling and shimmering from a distance, but always staying at a distance. Maybe the stains I try to leave will be washed away by the sheer acidity of a well structured and coherent barrage of a multidimensional propoganda. That future is bleak and pointless. I feel like a time traveler leaping to and from the future trying to carve out my next stride. Time is oblivious and impervious. Time moves on and forgets but it treads on a delicate string. I'm holding on to this string, orchestrating this opera of madness. I ask myself if it even matters whether my premonitions see the light of the day? In 200 years, maybe 300, this will all be extinct. You and me, and perhaps what spawns after you. You and I are a speck, holding an inconsequential space, trying to give this machine somewhat of a form. The machine roars forward, with or without us. This massive clout of 'what ifs' and 'what nots' brewing in my brain, swirling and swimming around in my being, this is all ethereal. We are following an unstoppable train. Does it matter what the tone of the timeline is? Does it matter what hymn it sings and to whom? I apologize for being an inconsiderate minimalist. The moments and minutes we live through can be quiet as well. Does that change the fact that time goes on, and that you and me, play our parts in this machine and propel it towards an uncharted end? Are my thoughts any different from what I feel when we touch? At the end, isn't it all just an imperceptible image of a memory etched somewhere in crypt of my brain? I'm being too inquisitive and I'm asking too many questions. I feel like you could have been here today, but you weren't, and even if you were, when I wake up tomorrow you would just be a memory that I can access, but never the person I can hold. Why does it matter how we stride through these moments? How selfish can we be? If all memories are the same, why does it matter how we create them? Can't I creat an alternative narrative, where I have you, and you narrate our story, and we pass through that moment and create a memory that is complete, devoid of all the dirt? I may appear desperate. I think that is what I am. I do not fear my future. I fear my past. I do not fear what I have yet to live through, but I fear what I may have to live with. None of that changes the fact that none of it matters. The machine keeps rolling, and in another 200 years, there will be another you, and another me, and they will talking about another 200 years in the future, dreading a time that they have not yet seen.
Giving And Getting - Tony Hoagland
I like that, he said in the hospital, where I was rubbing his feet which were dry and smelled a bit.
Ahh, he said, ahhh, as I worried what the nurse in the corridor might think,
pushing my thumbs into the pads and calluses, the skin that had grown leathery and hard
over a lifetime of streets and shoes—
and me trying but unable to forget some of the things he had done
over the course of our long friendship. Rubbing his feet was like reaching into some
thick part of my heart that couldn’t feel and kneading away at it—
Blame caught inside the love like a fishhook, or a bug in honey.
It is in my character, this persistent selfishness—
one of my hands offering the gift, the other trying to take something back.
Giving and getting like two horses arriving at the same time
from opposite directions at the stone gate
that will allow only one to pass.
HENRY CAVILL as SOLO The Man from U.N.C.L.E. (2015) | dir. Guy Ritchie
i went to the intersection of desire and suffering and everybody knew you
Breakfast at Tiffany’s
As these dragging moments of anguish turn the piercing brevity of daylight into the screaming stillness of night, I retreat further and further into a dizzying vortex of despair. My brain craves repose. The constant mayhem swirling behind my eyes wants to burst through my forehead and escape to calmer skies. Perhaps this is all irrational. Perhaps these are my deepest fears boiling from the relentless burns that crackle by the flame that has kept me alive. The flame is keeping me alive, but it is also disintegrating me into thousand million vapors creating a havoc behind my eyes. Constantly pulling me apart. Constantly coming back together to form visions that tip the first domino of a whole new catastrophe. I live through several different iterations of this orchestra all mingled and jumbled together to create my next excruciating disaster. Excruciating to begin with, beautiful to endure, and pointless for the most part. I grew up a stoic. I hated that quality, and I did my best to change it. I withstood and struggled just like any stoic would. I uprooted myself and planted myself into foreign soil. A much fertile soil. A soil rich with moisture of dreams and promise. Debauchery and decadence. An emotional binge of shrouded morals and the feeling of success. It gave me new leaves, new branches, new avenues to grow into, and I bore flowers I had only smelled from a distance. What it could never give me was the emptiness of peace. Peace is in dearth. Peace is in absence. Absence of everything that I want to grow into. That must be what divinity is. Absence of the organic thread of life. Rules, regulations, expectations, roles, ideals, and retribution. That’s what makes me human. Perhaps every single one of us, deep down in the crypts of soul, away from all that we know, is trying to escape structure and rubrics. I will never know the answers. Because I am bound by the same rules. What I do know, is that once all rules are broken, and form switches to fiction, the transcendence is irreversible. I hope to one day interact with you at a place devoid of all human conjectures and tell you that you gave me a momentary state of emptiness that qualified as ultimate peace, and that you are a miracle. We are all kegs in this machine, crushing ourselves to help it propagate. This is our story. This is the script we were served. We are mere actors devoid of improvisation. If I could rewrite the script, I would write a cataclysmic calamity following the moment you fell asleep breathing your heavy breaths. Because that is ultimate peace.
a lower case loop of loss
you and me chasing each other every moment every day with hungry eyes and dreams of love soaking our hearts and numbing our brains never stopping to think never daring to talk but always running sometimes in circles on each others trail losing sight vision and hope as quick as the trickling of sand through the slit in the time hole but still continuing to run and never finding each other at the same spot at the same time to celebrate the silence of our conversations and the music in our noise
you and me without punctuations without full stops without a beginning and without an end
Work view.
Slowly steady.