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boredpanda

Crocheter Uses Her Skills To Turn Dried Leaves Into Works Of Art (30 Pics)

apolonisaphrodisia

Impressive paper sculpture by the artist Patrick Cabral. About 3 months of work and around 900 of individual layers.

artist-dechirico

The Fall of Phaeton, 1913, Giorgio de Chirico

Medium: oil,canvas

Old Mill. Wow!

Anna Beöthy Steiner (French-Hungarian, 1902-1985) - Abstract composition, Gouache on paper, 36 x 26,5 cm (1931)

theegoist

Liu Dan (Chinese, b. 1953) - Warring States Procession, ink on paper, 46 x 51 cm (1981)

delladilly-deactivated20161011

do you ever see someone in some quiet intimate moment and suddenly love them so desperately you feel like you’re dying

#like when they pass a mirror and make a face and mess with their hair a little #or when you hear someone singing in their car with the windows rolled up as they drive past you #i don’t know how to express this i just. people are people and it makes me so sad and filled up sometimes

mrrrl

I love seeing grown humans setting about little creative tasks out of boredom and then looking quietly pleased with themselves, like maybe a middle-aged woman on her train home from work manages to make a tower out of empty coffee creamers and gazes at it proudly for a few seconds.

I love seeing other people make the overblown OOPS I FORGOT SOMETHING performance for no-one that most of us do when we have to turn around in the middle of the pavement.

I love seeing stony-faced people in queues unable to contain a smile when a baby looking over its mother’s shoulder in front of them locks eyes and does that astonished stare.

brittascribbles

- when someone is standing in line and they don’t quite dance to the music playing, but you can SEE their head bop and them mouthing the words

- when someone thinks no one’s paying attention and they sing-talk themselves thru a task

- when they laugh or try to hide a laugh when looking at their phone

elodieunderglass

- when someone does the thing where they enter another space (such as a supermarket aisle) striding with total purpose, then suddenly forget what they’re doing/looking for, and stop there looking blank for a millisecond while they reboot.

- when people are looking for scissors, in their home or in a store, and they make the scissors gesture with their non-dominant hand as an aid to remind them what they’re doing.

- when automatic social interactions glitch, like when you tell a waiter that you hope he enjoys his food too, or tell the stranger on the phone that you love them.

- the hand gesture people make when they’re thinking at their computer, not typing, and their elbow rests on the table, and they feel the edge of their fingernail with their thumb. This is such a lovely little gesture and to my knowledge I have never seen it in fiction. You’d think it would come up all the time in fic.

- when you’re sharing an experience with a complete stranger (like watching a seagull throw up in public, or waiting for a late train) and you make eye contact, and some comment to each other, and then you guys are, like, ALLIES now. Like you would willingly ride to war to save them. You can’t make eye contact again, but you are very aware of them.

- just evidence of other people’s rich, baffling and complex inner lives.

liquidlightning

i love watching couples or friends walking in tandem. i love seeing when they make each other laugh

strangerose

This is what Hozier means when he says ‘I fall in love just a little bit everyday with someone new.’

vital-information

I told Miyazaki I love the “gratuitous motion” in his films; instead of every movement being dictated by the story, sometimes people will just sit for a moment, or they will sigh, or look in a running stream, or do something extra, not to advance the story but only to give the sense of time and place and who they are.

“We have a word for that in Japanese,” he said. “It’s called ma. Emptiness. It’s there intentionally.”

Is that like the “pillow words” that separate phrases in Japanese poetry?

“I don’t think it’s like the pillow word.” He clapped his hands three or four times. “The time in between my clapping is ma. If you just have non-stop action with no breathing space at all, it’s just busyness, But if you take a moment, then the tension building in the film can grow into a wider dimension. If you just have constant tension at 80 degrees all the time you just get numb.”

Which helps explain why Miyazaki’s films are more absorbing and involving than the frantic cheerful action in a lot of American animation. I asked him to explain that a little more.

“The people who make the movies are scared of silence, so they want to paper and plaster it over,” he said. “They’re worried that the audience will get bored. They might go up and get some popcorn.

But just because it’s 80 percent intense all the time doesn’t mean the kids are going to bless you with their concentration. What really matters is the underlying emotions–that you never let go of those.

— Roger Ebert in conversation with Hiyao Miyazaki