intimate spaces


‘Glass Bar’ - LEESER Architecture - 289 10th Ave, NYC (March 2000)

“The main wall of the restroom is a one way mirror—giving users on the inside a view of themselves, while giving passersby a full view into the unisex washroom. The activities which are usually hidden behind closed doors are exposed, transforming the façade into an intimate performance space.”

Walk The Moon + lovey dovey lyrics

Artwork by agnes-cecile “Intimacy on Display”


since you’re already on the internet, why not take a moment to look up a bible verse and take 10 minutes to read and pray and talk to God.

go ahead. look up 2 Corinthians 12:9, read it out loud. and think about it for a minute. then close your eyes and talk to God. whether you pray every day, or you can’t remember the last time you prayed

take a moment tonight to reconnect and recommit to that intimate space between you and God.

It’s baffling to me when transwomen cry “transmisogyny” only moments after emotionally manipulating and punishing women for wanting to create a circle for people with a specific shared experience. The only misogyny I see here, is male-bodied and male-socialized people demanding that women put their own feelings aside, stop having boundaries, and let them into an intimate space, despite having done nothing to earn that trust. That’s misogyny. And we fail to see it for the predatory behavior it is, because we’ve all been well-trained to hear a woman say “no,” and interpret it as “convince me.”
—  Alicen Grey.

i’m constantly floored by how loving his parents are to me. this morning in church, his mom gave me this big hug and was just smiling and cracking jokes with me. as people leave the church, she stands by the door and talks to people and gives them hugs. today she held my hand and had me stand next to her. one of the members of the church told her they wanted to talk to her later. and she said “you can speak now hun. you can talk in front of Nissi.” and just that intimate space that she invited me into. it’s just….

and then his father was in the middle of a conversation as i was leaving to get in my car. and i tapped him on the shoulder to just say bye. and the way his whole face lit up when he saw me, saying it’s always a blessing to see me and giving me a big bear hug. 

i love his parents, both because they made the man who has my heart, and also because i see all the parts that i love in him, in them. i see that he got his warmth and compassion from his mom. and i see that he got his power and larger than life personality from his dad. i have never been in a relationship where it’s not just me and him, but us and our families. and it feels so good. Lord knows it feels good. to be loved by him, and loved by the people who love him. i have to thank God for that.

People who say [being kinky doesn’t necessarily make you qu**r] make my toy feel unwelcome in the community for being a sub.

lol okay listen you’re valid or whatever I guess but you still creep me the entire fuck out, forgive me for not wanting to immediately share a fairly emotionally intimate space with someone who refers to their sexual partner as “my toy” in public lmao, if I say you can call yourself qu**r will you shut the fuck up about how you get off on dehumanizing the people you have sex with, it’s not that I care that you’re doing it really as long as all parties are into it, it’s just super weird to have to engage with it as someone who doesn’t know you from adam


SHIPS + Aesthetic: Fitzskimmons (for eclectictsunami)

The intimate space of your personal life should be reserved for amazing, beautiful, radiant souls — good, wholesome and loving people. Your truest family is your chosen family, people with whom you most identify. Make a clear decision on the type of people you want in your life and if they don’t make the cut, then create some distance. — Bryant McGill

Why the Godswood scene supports Petyr x Sansa

Holy schnikes, I love this scene. 

My shippy analysis:

The scene is ripe with intimacy. Petyr finds Sansa in Winterfell’s Godswood, a quiet, spiritual, and emotional place. Not only is Sansa unbothered that he interrupts her thoughts in such an intimate space, but she willingly shares personal information (not believing in prayer, regretting her childhood ungratefulness) and GETS UP AND GOES TO HIM. Petyr initially stops quite a distance away. He even asks if he’s interrupting and gives her the opportunity to say, “yes, go away.” It’s Sansa that closes the distance between them.

Sansa isn’t naive. She isn’t being taken advantage of as she was when she was younger. She’s older, harder. She knows what Petyr is and how he operates. Yet she speaks to him with an incredible frankness and familiarity and, in this scene, Petyr returns that frankness by, for the first time, saying exactly what he desires. He makes himself vulnerable (remember he tells Sansa knowing what a man wants means you can move him.)

They stand incredibly close throughout. Sansa doesn’t have to stay close. She doesn’t have to be warm toward him anymore to secure his help (she recently told him to fuck off and he still came to her aid AND she already has what she wants - her home back and Ramsay dead.) When he stares at her, preparing to kiss her, trying to feel out whether she would be open, she doesn’t step away. And when he moves, she briefly leans in, eyes fluttering, before placing a hand gently on his chest, which she then rubs with her thumb. Even then, she still doesn’t step away for a few moments.

Her stopping Petyr is less a rejection of him (the intimacy with which she treats him, her comfort with his closeness, and the fact that she is tempted to kiss him confirms there is some form of attraction and comfort) and more a rejection of his dream to pursue the throne with her by his side. Though she rejects his dream, she is neither surprised nor repulsed by the idea, calling it a “pretty picture.” She could have said, “no way in hell,” or “not after what you’ve done,” but she doesn’t. She just thinks its a fantasy. She doesn’t have to call it a “pretty picture,” especially since she is nothing but frank in this scene (she unflinchingly calls him out on his fluid loyalties.)

Petyr, who knows Sansa well, clearly doesn’t think its an outright rejection because he calls her “my love” as she leaves. It would be strange and embarrassing for him to express endearment after a complete rejection.

Sansa and Petyr see each other for what they are. She knows he’s amoral and rabidly ambitious, but she still has some form of affection for him. He sees her strength, subtlety, and intelligence like no one else, except perhaps Brienne or Theon. Perhaps her affection is rooted in the fact that he DOES see her and believes she is thoroughly capable. Even at the end of the episode they are connected. She looks for him and they share a long glance in which they communicate something the other understands. I am undecided about that communication: it was either Petyr saying “that should be YOU” and Sansa realizing it is, indeed, what she wants… or Petyr and Sansa communicating an understanding that Petyr is now a threat to Jon because Jon’s ascension as King threatens Petyr’s plans.

Either way, there is a closeness between them they share with no one else.


Sandra Vásquez de la Horra (Chilean, b. 1967, Viña del Mar, Chile, based Berlin, Germany) - 1: El Castigo Ejemplar, 2012  2: La Construccion De La Realidad, 2012  3: Una Rosa Es Un Rosa, 2012  4: Retrato De Mi Madre, 2012  5: El Oido Interior, 2012  ALL from Untitled series.  Drypoint, Soft Ground Hahnemühle Bütten


Berlin apartment of interior designer Paul Linse, in Schonerberg.

Preserved the original heritage of the 1920s building- such as wooden doors, parquet and bonded terrazzo flooring- Linse has made the intimate space real warm and relaxed by using a neutral palette: gloss black parquet flooring is a key feature, along with alternating white and grey walls that form a backdrop to unique vintage pieces, such as the 1950s wall cupboard, a period sofa, designer classics and rare Dutch ones.

The Jupiter Ascending Drinking Game

Want to use Jupiter Ascending as an excuse to get heavily inebriated? If so, look no further!

Take one drink when…

‘Mother’ is mentioned.

Caine rescues Jupiter from falling.

Jupiter changes clothes.

A new detail is added to Caine’s origin/back-story (so one for half-albino, one for runt of the litter, etc.)

A spaceship enters/exits a portal.

Take two drinks when…

Balem screams/shrieks/shouts.

Balem tears up and starts talking about his mother.

Jupiter initiates an awkward flirting session with Caine.

Jupiter’s ‘children’ invade her personal space and intimately touch her face.

Take three drinks when…

Jupiter actually gets called ‘Jupe’.

Nesh (your favourite elephant splice pilot) blows his trumpet.

Mr Night gets drunk. (For verisimilitude, this shot MUST be premium-grade Russian vodka.)

Disclaimer: This is meant purely in fun. Please be aware that taking up the above challenge may cause serious damage to your liver. Drink responsibly, kids! 

Dean’s been used to having a bed to himself since he was 12 and told Sammy he was too old to share anymore. Except maybe for Lisa, he’s never really been with anybody long enough to think it’s normal to share a space so intimate. 

So it was weird when he started sharing a bed with Cas. He hardly slept at all the first few nights, and Cas kept asking him over and over if he was all right and if he was sure this was OK.

But then on the fourth night Dean fell asleep within minutes, Cas’ arm wrapped tightly around his waist and his face pressed into his hair. When he woke up in the morning, he was in the same position. Like magic.

It takes Dean a few weeks to realize it, but it turns out he loves sharing his bed.

So when Sam brings a mutt home from the dog shelter, Dean has no qualms about making a spot for her at the foot of his and Cas’ bed.

She tangles in their feet and wakes them up in the middle of the night and sometimes crawls up to rest her head on Dean’s belly or occupies the space directly between them so they don’t get to touch all night or relentlessly licks their ankles and whines until they pet her–

Dean should be annoyed. He thinks maybe a few years ago he would’ve been. He liked his own space too much.

But now, as he’s scratching the dog’s head and staring up at the ceiling while Cas reads next to him, he finds himself saying, “We should get another dog.”

body language & whouffaldi: season 9

My analysis of season 8 can be found here.

In “The Witch’s Familiar,” notice how Clara is surprised when the Doctor hugs her. His atypical body language indicates that something is deeply wrong (and, over the course of the episode, we find out what that is). In this moment, the Doctor is the one to initiate a touch signal and very clearly enters Clara’s intimate space (unf). Usually, Clara is the one to do so, as we saw in season 8. In season 9, however, the Doctor is shown to be more comfortable with intimate space, as long as it’s on his terms.

In “Under the Lake,” notice how comfortable he is while following Clara: his posture is relaxed and he’s allowing himself to smile. We saw hints of this in season 8 but in season 9 the Doctor is much freer in showing his feelings.

However, in “Before the Flood,” the Doctor is engaged in masking behavior. He is folded over as if to hide his face - as though he cannot bear or confront his feelings for Clara.

Here, we see more indications that the Doctor wants to control his interactions with Clara. Notice how he slaps her hand away - a touch signal that indicates that he is (or would like to be) the one in charge of the way they’re in each others’ space. Clara’s surprised expression echoes her expression in “The Witch’s Familiar.” Again, she’s been the one to initiate intimate distance with the Doctor, but his growing comfort with human interaction has begun to change this.

(Another indication of this changed behavior is seen in “The Girl Who Died,” y’all already know this.) This is the second hug that the Doctor has initiated, which suggests a progression in their relationship.

However, Season 9 is also full of masking behavior. Notice the ‘casual’ leaning he does as he gives the heartbreaking line about loss. He’s carefully controlling his face, his emotions, but the sad expression still creeps through. Notice as well how his hand is twitching, which indicates an inner discomfort that, try as he might to contain it, is still evident.

“Sleep No More” has an obvious parallel with the Nethersphere episode. However, look carefully: notice how they’re actually curling their hands together instead of just loosely holding on as they did in that other episode. This literally demonstrates how they’re afraid to let go of each other. Season 9 may be full of masking behavior, but there are moments where the Doctor’s tension between loving Clara and being afraid to lose her are outwardly expressed.

Hand-holding is also used in “Face the Raven.” Notice how tightly the Doctor is gripping Clara’s hand. They’re at a personal distance here, not intimate, which foreshadows Clara’s death. However, the Doctor wants to bridge this distance by holding her hand this way.

Ah, yes, the horribly watery/sad smile. Notice how the Doctor is not using masking behavior here, which suggests a degree of acceptance of Clara’s fate.

While the loose hand-holding here in “Hell Bent” may on the surface indicate a casual comfort with one another, it also shows how the Doctor ultimately has to lose Clara: he’s reaching for her, but see how she squeezes his fingers before letting go.

Finally, we come full circle from the hugging scene in “Deep Breath.” Clara is again initiating contact while the Doctor is unsure of how to respond.