myedol: via The Curious Brain
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myedol:

via The Curious Brain

Source: thecuriousbrain.com

Bye House.

i’ve had way too many days like this…
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i’ve had way too many days like this…

now we have facebook life: On this day in LIFE Magazine — May 20, 1966: Electronic Snooping: Insidious Invasions of Privacy. Dun. Dun. Dun.
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now we have facebook

life:

On this day in LIFE Magazine — May 20, 1966: Electronic Snooping: Insidious Invasions of Privacy.

Dun. Dun. Dun.

Source: life

i hear you

in the back of my mind.  some things sane.  some things not so much.  never spoke to you until it was too late to enjoy the person you were.  i knew you three days before i signed my name to a form that helped you die.  three days after that you were gone.

inside the whispering of my mind. words loop over and over.  i feel like there is something i should say

or something i should do

but… nada.  

the page stays blank when i try to write and the thoughts seemed jumbled.

maybe there are no words.

maybe it just

is.

rockingreaders:

The Stuttgart Library, Germany - somehow beautiful modern!

Source: thecoolist.com

goodtimeforpie: Kurt Vonnegut by Danny Clinch
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goodtimeforpie:

Kurt Vonnegut by Danny Clinch

(via thegoodfilms)

Source: dannyclinch.com

…we, all of us, are what happens when a primordial mixture of hydrogen and helium evolves for so long that it begins to ask where it came from…

Jill Tarter 

Ted Talks - Jill Tarter’s call to join the SETI search

Want to know what the ‘L.’ in Samuel L. Jackson means? None of your fucking business. —Samuel L. Jackson
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Want to know what the ‘L.’ in Samuel L. Jackson means? None of your fucking business. —Samuel L. Jackson

(via thegoodfilms)

Source: mattybing1025

i12bent: Lawrence Ferlinghetti, Beat poet and publisher of City Lights Books, 93 years old today! — In Goya’s greatest scenes we seem to see                                      the people of the world         exactly at the moment when            they first attained the title of                                                            ‘suffering humanity’         They writhe upon the page                                in a veritable rage                                        of adversity         Heaped up               groaning with babies and bayonets                                           under cement skies           in an abstract landscape of blasted trees                bent statues bats wings and beaks                               slippery gibbets                cadavers and carnivorous cocks           and all the final hollering monsters              of the                     ‘imagination of disaster’           they are so bloody real                                 it is as if they really still existed    And they do                 Only the landscape is changed They still are ranged along the roads          plagued by legionnaires                false windmills and demented roosters They are the same people                                only further from home      on freeways fifty lanes wide                          on a concrete continent                               spaced with bland billboards             illustrating imbecile illusions of happiness            The scene shows fewer tumbrils                                but more strung-out citizens                                                    in painted cars                       and they have strange license plates             and engines                            that devour America— Lawrence Ferlinghetti, [“In Goya’s greatest scenes we seem to see …”] from Coney Island of the Mind, 1958 — Photo: Lawrence Ferlinghetti at City Lights Bookstore editorial office, North Beach, San Francisco, May 22, 1988 - by Allen Ginsberg
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i12bent:

Lawrence Ferlinghetti, Beat poet and publisher of City Lights Books, 93 years old today!

—

In Goya’s greatest scenes we seem to see
                                     the people of the world
         exactly at the moment when
            they first attained the title of
                                                            ‘suffering humanity’
         They writhe upon the page
                                in a veritable rage
                                        of adversity
         Heaped up
               groaning with babies and bayonets
                                           under cement skies
           in an abstract landscape of blasted trees
                bent statues bats wings and beaks
                               slippery gibbets
                cadavers and carnivorous cocks
           and all the final hollering monsters
              of the
                     ‘imagination of disaster’
           they are so bloody real
                                 it is as if they really still existed
    And they do

                 Only the landscape is changed

They still are ranged along the roads
         plagued by legionnaires
                false windmills and demented roosters
They are the same people
                                only further from home
      on freeways fifty lanes wide
                          on a concrete continent
                               spaced with bland billboards
             illustrating imbecile illusions of happiness


            The scene shows fewer tumbrils
                                but more strung-out citizens
                                                    in painted cars
                       and they have strange license plates
            and engines
                            that devour America

— Lawrence Ferlinghetti, [“In Goya’s greatest scenes we seem to see …”] from Coney Island of the Mind, 1958

—

Photo: Lawrence Ferlinghetti at City Lights Bookstore editorial office, North Beach, San Francisco, May 22, 1988 - by Allen Ginsberg

(via bookaddicted)

Source: lumpy-pudding

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(via physicsphysics)

Source: thetalkinghead

shortfilmmasterpieces:

The Fantastic Flying Books of Mr. Morris Lessmore

Source: shortfilmmasterpieces

it’s been a rough two weeks

my soul wants to scream…. my brain just wants quiet.

i’m trapped between.

[Flash 9 is required to listen to audio.]
  • 150 Plays
  • Running Up That HillPlacebo

Placebo - Running Up That Hill

nedhepburn: nevver: Six Tips on Writing from John Steinbeck Abandon the idea that you are ever going to finish. Lose track of the 400 pages and write just one page for each day, it helps. Then when it gets finished, you are always surprised. Write freely and as rapidly as possible and throw the whole thing on paper. Never correct or rewrite until the whole thing is down. Rewrite in process is usually found to be an excuse for not going on. It also interferes with flow and rhythm which can only come from a kind of unconscious association with the material. Forget your generalized audience. In the first place, the nameless, faceless audience will scare you to death and in the second place, unlike the theater, it doesn’t exist. In writing, your audience is one single reader. I have found that sometimes it helps to pick out one person—a real person you know, or an imagined person and write to that one. If a scene or a section gets the better of you and you still think you want it—bypass it and go on. When you have finished the whole you can come back to it and then you may find that the reason it gave trouble is because it didn’t belong there. Beware of a scene that becomes too dear to you, dearer than the rest. It will usually be found that it is out of drawing. If you are using dialogue—say it aloud as you write it. Only then will it have the sound of speech. ‘Cannery Row’ is one of the best books, and ‘Of Mice & Men’ can make a grown man cry. Steinbeck was a legend. Also; the third point here is vital, stellar advice.
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nedhepburn:

nevver:

Six Tips on Writing from John Steinbeck

  1. Abandon the idea that you are ever going to finish. Lose track of the 400 pages and write just one page for each day, it helps. Then when it gets finished, you are always surprised.
  2. Write freely and as rapidly as possible and throw the whole thing on paper. Never correct or rewrite until the whole thing is down. Rewrite in process is usually found to be an excuse for not going on. It also interferes with flow and rhythm which can only come from a kind of unconscious association with the material.
  3. Forget your generalized audience. In the first place, the nameless, faceless audience will scare you to death and in the second place, unlike the theater, it doesn’t exist. In writing, your audience is one single reader. I have found that sometimes it helps to pick out one person—a real person you know, or an imagined person and write to that one.
  4. If a scene or a section gets the better of you and you still think you want it—bypass it and go on. When you have finished the whole you can come back to it and then you may find that the reason it gave trouble is because it didn’t belong there.
  5. Beware of a scene that becomes too dear to you, dearer than the rest. It will usually be found that it is out of drawing.
  6. If you are using dialogue—say it aloud as you write it. Only then will it have the sound of speech.

‘Cannery Row’ is one of the best books, and ‘Of Mice & Men’ can make a grown man cry. Steinbeck was a legend. Also; the third point here is vital, stellar advice.

(via npr)

Source: nevver