She naturally loved solitary places, vast views, and to feel herself for ever and ever and ever alone.

Virginia Woolf, from Orlando  (via debourbon)

(Source: violentwavesofemotion)

Marilyn Monroe, in 1948.

Marilyn Monroe, in 1948.



(Source: seulpeuninyeon)

late noise, stranger to the hour,
gift to your thoughts, born of
wakefulness here in the final
account: a
carpel, large as an eye, and deeply
scored: bleeds
sap, and won’t
heal over.

Paul Celan, Glottal Stop

(Source: ifveniceissinking)


Wild at Heart, 1990

(Source: doriswalter)

Many people object to “wasting money in space” yet have no idea how much is actually spent on space exploration. The CSA’s budget, for instance, is less than the amount Canadians spend on Halloween candy every year, and most of it goes toward things like developing telecommunications satellites and radar systems to provide data for weather and air quality forecasts, environmental monitoring and climate change studies. Similarly, NASA’s budget is not spent in space but right here on Earth, where it’s invested in American businesses and universities, and where it also pays dividends, creating new jobs, new technologies and even whole new industries.

Chris Hadfield, An Astronaut’s Guide to Life on Earth (via thedragoninmygarage)


Home videos of Marlene vacationing in the South of France, 1930s

  Incredible Closeup of Horsehead Nebula by Aldo Mottino

Incredible Closeup of Horsehead Nebula by Aldo Mottino

(Source: afro-dominicano)

Malcolm X at a meeting in Paris, November 23, 1964

White interviewer: If it was our white ancestors who bought you and enslaved you, we are their children. We are the new generation. Why don't you call us your brothers?
Malcolm X: A man has to act like a brother before you can call him a brother. You made a very good point, really, that needs some clarification. If you are the son of the man who had a wealthy estate and you inherit your father's estate, you have to pay off the debts that your father incurred before he died. The only reason that the present generation of white Americans are in the position of economic strength that they are is because their fathers worked our fathers for over 400 years with no pay. For over 400 years we worked for nothing. We were sold from plantation to plantation like you sell a horse, or a cow, or a chicken, or a bushel of wheat. It was your fathers who did it to our fathers, and all of that money that piled up from the sale of my mother and my grandmother and my great-grandmother is what gives the present generation of American whites [the ability] to walk around the earth with their chest out; you know, like they have some kind of economic ingenuity. Your father isn't here to pay his debts. My father isn't here to collect. But I'm here to collect and you're here to pay.


James Dean photographing a friend on the set of Giant.

(Source: theglossiernerd)

I hold this to be the highest task of a bond between two people: that each should stand guard over the solitude of the other.

Rainer Maria Rilke, Letters to a Young Poet (via wordsnquotes)

1941: Bomb damage to 23 Queen Victoria Street during the Blitz


1941: Bomb damage to 23 Queen Victoria Street during the Blitz

Laetitia Casta photographed by Herb Ritts

Goffman starts his analysis of gender display with something seemingly simple and trivial – the way that hands are represented in advertising as male or female. He argues that female hands have a different relationship to reality than male ones. Female hands are shown not as assertive or controlling of their environment but as letting the environment control them. So, for example, when women are shown holding something, it often looks as though it is just resting there – not being held in a strong manner. Female hands are shown just tracing the outlines of an object, or cradling it – rather than carrying it and being in control of it – or they are presented as just using the ends of the fingers to hold objects, delicately and lightly, rather than using the whole hand. When this feminine touch is applied to other people – men – it is also light, soft, and caressing.

In contrast, the masculine touch is powerful and assertive, presenting a different relationship to the world. Instead of tentative, the male touch is utilitarian, controlling, and bold. Male hands are shown as manipulating their environment, molding it to their desires. And when applied to others, the touch is commanding and firm.

Sometimes you can see the difference in one image, where masculinity is about power and strength, and femininity is superficial and weak. Goffman further argues that the soft feminine touch can be extended into what he calls self-touching, which conveys a sense of the body as being a delicate and precious thing. In fact, women are constantly shown touching themselves – and there really is no part of the body that is off-limits. Whether it is the shoulder that is being utilized, or the face being touched in this soft and caressing manner, or the neck – symbolically connected with vulnerability and openness – there seems to be no end to how women will touch themselves in the world of commercial realism.

Women are also shown in a kind of breathless posture – though the world around them is too much for them to cope with – or holding themselves protectively, as if the body is a delicate thing that needs support. These are undoubtedly conventionalized positions of passivity and acquiescence to whatever else may exist in the immediate social situation.

- Professor Sut Jhally informing of symbolic interactionism’s relevance to the construction of gender through media advertising in the documentary The Codes of Gender (2009).

(via exgynocraticgrrl)