the look on their faces though. its like “omfg, charles. charles, charles. THE HUMAN IS WAVING. WAVE BACK, HURRY.”
omg cutest ever
Hey there, stranger.
It’s been a very long time, which I’m sure you’re aware of. I’d like to say that it was your decision alone to keep this distance, but I think we both know it was for the best. I’d like to say that I’m glad you are well, but as we both know I have absolutely no idea how you are. The one thing that can definitely be said is that when we cut ties, we leave no strand behind, but slice right through until we no longer remember how to find each other. It’s amazing to think that once we were inseparable, the best of friends.
You knew me inside and out, and I, you. We were there for each other in the best of times and through the most difficult of times. We definitely managed to put each other through hell on occasion, but when support was needed the most, support was given. Until, of course, that final day. I sometimes find myself wondering why we couldn’t stay in touch. Would it be so bad if we got together for coffee from time to time? Or if we gave each other a ring to see how the other was doing?
Using the phone to make calls has become archaic, but surely we could send a text to wish each other a happy birthday? Or a happy New Year? I mean, we’ve been through so much. You are a part of my life and there is nothing I can do to ever change that.
You can’t be forgotten because forgetting you would be like forgetting myself — impossible. But then again, maybe you are right. Maybe we are better off as far apart as possible. We know we aren’t right for each other. We know it would never work, and we know the friendship we have — we had — created a bond that would make slipping back into romance too easy. It would make repeating the same mistakes too likely, repeating the same heartbreak certain. That’s what it really comes down to: It’s not my heart that I’m worried about, but yours. Breaking my own heart would be my responsibility to bear, but I can’t once again be responsible for breaking yours.
So all that I can do is wish you the best. Wish you a great, bright, loving future. Wish you to find the lover of your dreams and to create a lifetime of your fantasies. I wish for you to find a friend as great as me, but a much better partner. One who won’t drag you through the mud. One who you won’t feel the need to bury with guilt. I wish you all the best and although you will never read this, although we will never speak to each other again, and although you are out of my life forever, I wish you nothing short of happiness.
Never again to be yours,
Your Lost Best Friend
OH MY GOD
SCREAMS AND DIES
DOES A BACKFLIP
only on tumblr would over 535,000 people be fascinated by a table. This is why I love you guys.
If you’ve ever wondered when Jupiter will next be aligned with Mars, Van Cleef & Arpels has a watch that will tell you. Its new Midnight Planetarium Poetic Complication watch has six rotating disks, each bearing a tiny sphere representing one of the six planets visible with the naked eye.
The disks rotate at different speeds so that each sphere makes one revolution around the dial in the time it takes the actual planet it represents – Mercury, Venus, Earth, Mars, Jupiter or Saturn – to orbit the sun. Mercury in 88 days, Venus in 224, Earth in a year, Mars in 687 days, Jupiter in 12 years and Saturn in 29. It’s a very complex watch and a true display of supreme watchmaking. Time is indicated by a shooting-star symbol rotating around the dial’s circumference. Leveraging the brand’s specialty in jewelry, each of the planets are represented by precious and semi-precious stones, ranging from red jasper to serpentine and turquoise. An even more extravagant edition is available with baguette-cut diamonds set into the bezel.
The planet module was designed by Christian van der Klaauw, renowned for his movements featuring astronomical indications. The movement is self-winding and contains 396 components. The case is 44 mm in diameter and made of rose gold. The dial is made of aventurine and the planets of semiprecious stones. Price: about $245,000; a diamond-set version will be about $330,000.
I hope there are days when you fall in love with being alive.Anonymous (via cardigansandcocktails)
Deadpool, I love you. So much.
I don’t even know what half of this food is supposed to be but I don’t fucking care, I want it. look at how fucking delicious everything looks. if you dare to even say looking at this doesn’t make you hungry, I know you’re a lying little piece of shit.
Breaking the yolk over the rice WHY HAVEN’T I THOUGHT OF THAT YET I AM SO STUPID
That strip of bacon in the first one… Fucking UMF!
More poetry and prose by Lang Leav here
“When we first came across American artist Soo Sunny Park’s gorgeous sculpture, called Capturing Resonance, we were blown away by two facts. One, that it was made by chain link fencing and Plexiglas, and two, that all the different colors emanating from it were the result of light being reflected and refracted off the Plexiglas squares. As she told us then, “There are no colored plexi used in the work. It is an optical illusion, depending on the intensity of light hitting the plexi and the viewer’s viewing angle, each plexi piece bounces color differently.”
Park is back with a new installation that’s even more impressive than the last. Called Unwoven Light, it’s similar to Capturing Resonance in that it’s made from the same materials however, this time, instead of being tightly squeezed in a corridor, it floats majestically in the middle of a large gallery space.
From now till August 30, visit the Rice University Art Gallery at Houston, Texas to be immersed in a shimmering world of light, shadow and color. Visitors are invited to enter the space and see how both natural and artificial light change when viewed at a certain angle or at a different time of day. As Park states, “We don’t notice light when looking so much as we notice the things light allows us to see. Unwoven Light captures light and causes it to reveal itself, through colorful reflections and refractions on the installations surfaces and on the gallery floor and walls.”
Photographs by Nash Baker