Happy Birthday to the wonderful, wise Dr. Seuss

Happy Birthday to the wonderful, wise Dr. Seuss

The only one you need in your life is that person who shows you he needs you in his.

—Oscar Wilde  (via woodwould)

(Source: quote-book, via woodwould)

“What I want is to be needed. What I need is to be indispensable to somebody. Who I need is somebody that will eat up all my free time, my ego, my attention. Somebody addicted to me. A mutual addiction.”

-  Chuck Palahniuk, Choke

cavetocanvas:

Julia Margaret Cameron, An Angel Unwinged By Your Desire, 1873

cavetocanvas:

Julia Margaret Cameron, An Angel Unwinged By Your Desire, 1873

femmekitten:

behindthefairyflossmachine:

Makes me cry

I used to really love this book/movie.

Yes of course! I understand! You just want me when you want me, kinda like a toy that gets ripped a part and left behind because its “been loved a little too much.”


You read my diary? At first I did not know it was your diary; I thought it was a very sad, handwritten book.

You read my diary?
At first I did not know it was your diary; I thought it was a very sad, handwritten book.

(via schwatto)

billyjane:

Marina Abramović, Rhythm 0, 1974
To test the limits of the relationship between performer and audience, Abramović developed one of her most challenging (and best-known) performances. She assigned a passive role to herself, with the public being the force which would act on her.
Abramović had placed upon a table 72 objects that people were allowed to use (a sign informed them) in any way that they chose. Some of these were objects that could give pleasure, while others could be wielded to inflict pain, or to harm her. Among them were a rose, a feather, honey, a whip, scissors, a scalpel, a gun and a single bullet. For six hours the artist allowed the audience members to manipulate her body and actions.
Initially, members of the audience reacted with caution and modesty, but as time passed (and the artist remained impassive) people began to act more aggressively. As Abramović described it later:
“What I learned was that… if you leave it up to the audience, they can kill you.” … “I felt really violated: they cut up my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the audience. Everyone ran away, to escape an actual confrontation.
photo courtesy of igoyugo , audio available @ MoMA

billyjane:

Marina Abramović, Rhythm 0, 1974

To test the limits of the relationship between performer and audience, Abramović developed one of her most challenging (and best-known) performances. She assigned a passive role to herself, with the public being the force which would act on her.

Abramović had placed upon a table 72 objects that people were allowed to use (a sign informed them) in any way that they chose. Some of these were objects that could give pleasure, while others could be wielded to inflict pain, or to harm her. Among them were a rose, a feather, honey, a whip, scissors, a scalpel, a gun and a single bullet. For six hours the artist allowed the audience members to manipulate her body and actions.

Initially, members of the audience reacted with caution and modesty, but as time passed (and the artist remained impassive) people began to act more aggressively. As Abramović described it later:

“What I learned was that… if you leave it up to the audience, they can kill you.” … “I felt really violated: they cut up my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the audience. Everyone ran away, to escape an actual confrontation.

photo courtesy of igoyugo , audio available @ MoMA

(via cavetocanvas)

NIGHTNIGHT by DEDDY