SMEARED.

Adam. 25 years wise, studying art therapy, while maintaining a position of aspiring philosophy.
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  • thebrokenheartedthatstillsing:

    maxkirin:

    "This sentence has five words. Here are five more words. Five-word sentences are fine. But several together become monotonous. Listen to what is happening. The writing is getting boring. The sound of it drones. It’s like a stuck record. The ear demands some variety. Now listen. I vary the sentence length, and I create music. Music. The writing sings. It has a pleasant rhythm, a lilt, a harmony. I use short sentences. And I use sentences of medium length. And sometimes, when I am certain the reader is rested, I will engage him with a sentence of considerable length, a sentence that burns with energy and builds with all the impetus of a crescendo, the roll of the drums, the crash of the cymbals—sounds that say listen to this, it is important.” - Gary Provost

    Reading this was so satisfying woah

    (via wishingstardust)

    likeafieldmouse:

    Hidden Mother

    "Trying to get a baby or a fussy toddler to sit still for a photograph can feel like a herculean task. Luckily, it only takes a second to get the shot. In the nineteenth century, however, it was a different storyparticularly when it came to tintype portraits, which required a long exposure. 

    Photographer Laura Larson’s series, Hidden Mother, presents a survey of nineteenth-century tintype portraits in which the mother of the child was included in the photograph, but obscured. 

    In some instances, the mother would hold her child, with a cloth or props hiding her from the lens, or she would be painted over by the photographer after the image had been taken. In other examples, the mother is entirely absent from the frame, save for an arm, holding the child in place. 

    The results are both funny and slightly disturbing. The mother appears as an uncanny presence, Larson writes in a statement. Often, she is swathed in fabric, like a ghost.”  

    (via thinkgooodvibes)

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