“Especially my childhood…I spent quite a lot of time on my own walking the mountains in Iceland and the hills and just hearing music in my head. And being euphoric and very on a high and very self-contained and self-sufficient. And then once in a while going to school and doing these kind of things -and trying to take part in conversation with the other humans and just finding it a bit boring really and a bit not making a lot of sense a lot of the time because people saying one thing and then did completely different things.  They loved some people and hung out with other people. And so I ended up always going back on my hill.” –Björk, NPR World Cafe Interview, 2000

2 months ago 7 notes


Emile Friant, Voyage a l’Infini, 1899

2 months ago 126 notes


Cy Twombly, Fifty Days at Iliam: The Fire that Consumes All before It (1978), oil, oil crayon, and graphite on canvas, 299.7 x 379.7 cm. Collection of Philadelphia Museum of Art, Philadelpia, Pennsylvania, USA. Via the blue suitcase.

2 months ago 429 notes

"I understand. That’s the trouble. I understand. I’ll understand all the time. All day and all night. Especially all night. I’ll understand. You don’t have to worry about that."

- Ernest Hemingway, Winner Take Nothing (via porcelinas)

(via iridescentbecoming)

2 months ago 12,945 notes


Diving Bird  (1939)

Giovanna Erika Klien

(via detailsdetales)

2 months ago 317 notes


3 months ago 1 note

TAGORE: Instruments are used, not for harmony, but for keeping time and adding to the volume and depth. Has melody suffered in your music by the imposition of harmony?
EINSTEIN: Sometimes it does suffer very much. Sometimes the harmony swallows up the melody altogether.
TAGORE: Melody and harmony are like lines and colors in pictures. A simple linear picture may be completely beautiful; the introduction of color may make it vague and insignificant. Yet color may, by combination with lines, create great pictures, so long as it does not smother and destroy their value. 
EINSTEIN: It is a beautiful comparison; line is also much older than color. It seems that your melody is much richer in structure than ours. Japanese music also seems to be so.

3 months ago

Grace Jones in Issey Miyake

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4 months ago 2,362 notes


Avoid the flourish. Do not be afraid to be weak. Do not be ashamed to be tired.

— from How to Speak Poetry, Leonard Cohen 

4 months ago 62 notes

"Do not waver
Into language. Do not waver in it."

- Seamus Heaney, from “Lightenings,” Opened Ground: Selected poems 1966-1996 (Farrar, Straus and Giroux, 1998)

4 months ago 7 notes

"Some things are not meant to be clear; obscurity is their clarity. We should not underestimate obscurity. Obscurity is as rich as luminosity."

- Etel Adnan (via bombtune)

4 months ago 20 notes

"I love rains which carry desires

- Etel Adnan, The Manifestation Of The Voyage (via violentwavesofemotion)

4 months ago 418 notes

"Yes: you are going to sound pious and melodramatic. Suck it up."

- A David Foster Wallace footnote sort of addressed to himself in Brief Interviews with Hideous Men (via autobibliography)

(via hush-syrup)

4 months ago 136 notes

We do this because the world we live in is a house on fire and the people we love are burning. - Sandra Cisneros

4 months ago 2 notes

"To understand what I am saying, you have to believe that dance is something other than technique. We forget where the movements come from. They are born from life."

- Pina Bausch

4 months ago 3 notes