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intpmusings:

Sometimes I wonder whether I have any real intelligence or if I just have enough random bits of surface knowledge to bullshit my way through most things.

Yeah cuddling naked is nice but there is something so sensual about laying together with your clothes on just to have them lift your shirt a little and grab your hip, then run their hand up and down your body to tease you. And by having just a small bit of your skin exposed, it leaves your body begging for more, and your nerves burn to have their hand pull your shirt up just a little more, grab your waist and caress your skin. Then the sweet and dangerous motion of their hand tugging your pants down slightly to give you false hope of satisfaction is dispelled by the sudden tug to pull your pants back up, and it gives you the feeling of dire need to be touched more. Clothes are great, actually.

chekovvv:

bottomjared:

Hey! So, Coming Out Day is coming up soon (Oct. 11) and I just want to post a very stern reminder to NOT out anyone without their explicit permission.

Do NOT out anyone.

Got it?

Okay.

do not “come out” as straight or anything as a joke

do not “come out” as gay/bi/trans/etc as a joke

do not treat this day like a joke and don’t out anyone 

fuckyeahsexanddrugs:

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.”  

we were so creepy and fucking dumb

asylum-art:

Meghan Howland

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The story of Meghan Howland‘s oil paintings are quiet like a secret.  Her work captures understated dreamy scenes.  A confusion of birds, hidden faces, a scarf that may or may not be choking its wearer – her work at once is lighthearted and hints at a darker undercurrent.
Her gallery relates, “Her paintings are often dreamlike, and yet carry a weight of something that is slightly more dissonant. The question of whether something is safe or dangerous, loving or hateful, is often unexplained in her work.”

A snapshot quality to the image, fill flash like lighting, lends the paintings the characteristic of a caught instant.  However, her painterly hand stretches the moment.  While definitely working a contemporary aesthetic, Howland’s paintings are at times reminiscent of Degas’ style and palette.

pharoahsectotherm:

sapientpawnkeeper:

somebody should write an essay comparing and contrasting tina from bob’s burgers and meg from family guy and explain why tina hit the mark for respectfully portraying the awkward teenage years and why meg is a huge fucking insensitive joke that isn’t even funny

Tina is a character, Meg is a punchline. 

landorus:

cashier: that’ll be $4.20

me: bruh

cashier: bruh