#Different articles

[biggest-gaudiest-patronuses]

the fact that shakespeare was a playwright is sometimes so funny to me. just the concept of the "greatest writer of the English language" being a random 450-year-old entertainer, a 16th cent pop cultural sensation (thanks in large part to puns & dirty jokes & verbiage & a long-running appeal to commoners). and his work was made to be watched not read, but in the classroom teachers just hand us his scripts and say "that's literature"

just...imagine it's 2450 A.D. and English Lit students are regularly going into 100k debt writing postdoc theses on The Simpsons screenplays. the original animation hasn't even been preserved, it's literally just scripts and the occasional SDH subtitles.txt. they've been republished more times than the Bible

[adsilverfashion]

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[my-autism-adhd-blog]

Autism (Non-stereotypical) vs Autism (Stereotypical)

Neurodivergent Insights

[camellcat]

I think it's a bit funny I have seen spike been called both a trans man and a butch lesbian. the people may not be able to agree on a specific label here but the answer's certainly queer

[reasonsforhope]

"The world's coral reefs are close to 25 percent larger than we thought. By using satellite images, machine learning and on-ground knowledge from a global network of people living and working on coral reefs, we found an extra 64,000 square kilometers (24,700 square miles) of coral reefs – an area the size of Ireland.

That brings the total size of the planet's shallow reefs (meaning 0-20 meters deep) to 348,000 square kilometers – the size of Germany. This figure represents whole coral reef ecosystems, ranging from sandy-bottomed lagoons with a little coral, to coral rubble flats, to living walls of coral.

Within this 348,000 km² of coral is 80,000 km² where there's a hard bottom – rocks rather than sand. These areas are likely to be home to significant amounts of coral – the places snorkelers and scuba divers most like to visit.

You might wonder why we're finding this out now. Didn't we already know where the world's reefs are?

Previously, we've had to pull data from many different sources, which made it harder to pin down the extent of coral reefs with certainty. But now we have high resolution satellite data covering the entire world – and are able to see reefs as deep as 30 meters down.

Pictured: Geomorphic mapping (left) compared to new reef extent (red shading, right image) in the northern Great Barrier Reef.

[AKA: All the stuff in red on that map is coral reef we did not realize existed!! Coral reefs cover so much more territory than we thought! And that's just one example. (From northern Queensland)]

We coupled this with direct observations and records of coral reefs from over 400 individuals and organizations in countries with coral reefs from all regions, such as the Maldives, Cuba, and Australia.

To produce the maps, we used machine learning techniques to chew through 100 trillion pixels from the Sentinel-2 and Planet Dove CubeSat satellites to make accurate predictions about where coral is – and is not. The team worked with almost 500 researchers and collaborators to make the maps.

The result: the world's first comprehensive map of coral reefs extent, and their composition, produced through the Allen Coral Atlas. [You can see the interactive maps yourself at the link!]

The maps are already proving their worth. Reef management agencies around the world are using them to plan and assess conservation work and threats to reefs."

-via ScienceDirect, February 15, 2024

[katabay]

PAGLUIB

way back in like. march?? I took a stab at writing some kind of kabitserye type of story but it was a mess: it kept veering off into murder mystery drama territory because I was reading a lot of murder mystery novels around then and it Wasn't Good because I hadn't tried writing mysteries, let alone murder mysteries, before lmao

I did write a handful of short mystery stories since then, so next year I might take a stab at this idea again now that I'm no longer jumping head first into a genre pool I don't know how to swim in :)

[stressfulsloth]

I've seen a couple of takes about Disco Elysium being copaganda going around recently, and beyond the fact that DE is relentlessly critical of the police force in general and makes explicit reference to the failures of the system that allow the officers in game to abuse their power, I also think it's important to note that there very literally is an in-world version of copaganda that the writers of the game use to parody that romanticised view of the brutality of policing. The RCM at their inception were structurally inspired by in-world copaganda- their culture, their "fashions, even weapon preferences, borrow heavily from classic Vespertine cop shows." Every investigation is it's own little drama, every officer imagining themselves to be the bad-ass hero of their own crime serial. Detectives name their cases like they're naming episodes of a TV series in a "robust but literary system"; a title that "draws inspiration from snoop fiction and Vespertine cop show staples". They give themselves nicknames to sound like cool, suave fictional officers- Ace, Dick Mullen, etc.- from the cool, suave world of copaganda.

The legend of the RCM's inception, the "point of contention" over its uncertain origins, is even an extention of that; the whole organisation is shrouded in this self-fictionalising mythos that allows for distance that in turn obfuscates much of its violence to the officers that participate in it. They get to convince themselves that they're not abusing their power; they're the hero of the story! The dichotomy of "good guy" taking out the "baddies," a manifestation of the libertarian fantasy of the "good guy with a gun" who does what it takes, just like in Annette's detective novels, and at the same time who rails against oversight bodies like Internal Affairs/'the rat squad' because due process slows down the immediate satisfaction of Swift Justice, despite Internal Affairs existing to protect the citizens from overreach on behalf of the police. "Wanton brutality" from police in their real world is a cold bitter reality but Dick Mullen was "made to crack skulls," "bend the rules and solve cases no one else can," and which version of that story is more comforting to the overworked, underfunded officers of the RCM?

The level of fantasy and detachment required for the cops to still see themselves as the good guys after everything that they do in the line of duty mimics The Pigs and her breakdown too; she parallels Harry so clearly. Both "did right by the kids" in the past, hoping for a better future- Marianne (The Pigs) by looking out for Titus and the Hardy boys when they were young, Harry in his role as a gym teacher. Both abandoned and left behind by the system that the RCM uphold- a brutal capitalist landscape with no safety nets. Both turning the source of their trauma into a costume, a performance, a shield, shaped by "radio waves and cop shows." The Pigs uses RCM items scavenged from the Esperance where they'd been thrown away, while Harry uses the Dick Mullen hat that Annette gives him but both are essentially in costume.

Harry identifies himself with the fictional detective as a kind of wish fulfilment; Dick Mullen is "wicked smart." He doesn't fuck up his cases and when he's sad it's not pathetic; it's effortlessly cool brooding and everyone sympathises. Everyone loves him. His violence- "skull crack[ing]"- is justified because he's a "good guy" enacting that violence against the victims of police brutality sorry "bad guys". He doesn't ever face repercussions; "Dick Mullen won't be sent to the clink for the sake of some legal niceties!" So if Harry is Dick Mullen then his failures, his breakdown, they're all just a part of being a "bad-ass, on-the-edge disco cop." He's not wrong, he's a hero! This idealised fictionalised idea of the police force, this "new, sadly better, reality" that both Harry and The Pigs cling to is "escapist stuff," "receed[ing] into a ludicrous fantasy world," so far removed from the brutal material reality that they're in.

My point is, idk. Disco Elysium is so far from being copaganda. It is a multi-million word long dissection of it, of the purpose of policing, of state sanctioned violence and its interaction with capital and the fallout experienced within the wider community as well as the trauma cycle created for individual officers. A dissection of how copaganda interacts with RCM culture and perception, and by extension how we interact with irl perceptions of police through that lens.

[deoidesign]

Wearing your boyfriend's jacket

[reineydraws]

had to draw this to understand the way i feel about him now that the manga's ended. 🥲 on that note: if you like hawks and his ending, maybe don't read my tags lol. it's not bashing (imo) but they're not v nice. 😅

bg + unobstructed pose under the cut!

his expression's a lil different 'cuz i only changed the merged layer, all the lighting effects already flattened onto it. 💀 alas.

[door]

more queer houses!

Klovharu Summer Cottage by Raili Pietilä for Tove Jansson and Tuulikki Pietilä

1964-1965, Klovharu Island, Porvoo Archipelago, Finland

Tove Jansson and Tuulikki Pietilä spent every summer in this cottage for nearly 30 years. Tove chose the site by camping on various places on Klovharu, and they designed it with Tuulikki's sister-in-law, based on a fisherman's cabin on the island of Pellinge. It lacked electricity and running water, and if guests arrived, Tove and Tuulikki would give up the bed and camp outside. the cottage is a single room, with a cellar underneath--for food storage and a small sauna--built into the rock. the cottage is now an artist residency--with the original interiors preserved--but can be visited during one week in July. More about the cottage. Interview with Raili Pietilä. Tuulikki's films.

Hangover House by William Alexander Levy for Richard Haliburton

1937, Laguna Beach, California, USA

Hangover House, or Halliburton House, was designed by William Alexander Levy (he later dropped Levy from his name) for celebrity explorer Richard Halliburton and his ghostwriter and lover Paul Mooney. Supposedly, by the time the house was completed Halliburton and Mooney's relationship had expanded to include a third: Alexander himself. The house was built of concrete, with large public rooms and three small bedrooms, one for each of the men. Sadly, Halliburton and Mooney were lost at sea in 1939, and Halliburton's family sold the house and buried all references to his queerness. The house still stands today and is a private residence. More images here.

Azurest South by Amaza Lee Meredith 1938, Ettrick, Virginia, USA

Azurest South might be the first International Style home to have been built in Virginia, and instead of in a wealthy white enclave like you might expect, it's located just off of the campus of Virginia State University, an Historic Black College/University. it was built by pioneering artist, architect, and educator Amaza Lee Meredith for herself and her partner, Dr. Edna Meade Colson. colson was the head of the education department at VSU, and meredith was head of the art department (which she had created in 1930). we know from her scrapbooks that meredith was looking at european designs and experimenting with them in the house. the result was something unlike everything around it--flat roofs, glass bricks, bright paint and tilework inside--an antidote to traditionally conservative virginia architecture. azurest south today belongs to the vsu alumni association. it is not open to visit, but has received increased attention and grant funding over the past few years, so it may well be someday! More about Meredith as architect. More about Azurest South. And more! (additionally, if you're near richmond va there's an exhibition about meredith & azurest south at the institute for contemporary art until march 9 2025)

Six Acres by Mary Imrie and Jean Wallbridge 1954-1957, Edmonton, Alberta, Canada

Mary Imrie and Jean Wallbridge were partners in work and life, establishing the first all-female architectural firm in Canada. in the 50s, they built a house to serve as their home and office along the banks of the north saskatchewan river and called it "six acres" after the size of the lot. they traveled enthusiastically and widely (pdf) and were avid outdoorspeople. like a lot of women architects at this point in the 20th century, they were largely relegated to residential commissions, which they found frustrating. that said, they gained a reputation for helping clients who were struggling with construction costs by encouraging gatherings of friends and neighbors to assist with the work, something they had hands-on experience with, having assisted in the building of their own home. the house is still standing and is now the office of the alberta land stewardship centre. timeline of their lives and careers. more about the house itself.

Finella by Raymond McGrath for Mansfield Duval Forbes c. 1850, renovated 1929, Cambridge, England, UK

Mansfield Forbes was an english don at clare college, cambridge. in 1928 he leased a victorian home called "the yews" and spent the next year working with Raymond McGrath (previous seen here) to transform it into a modern fairyland, named in tribute of Finella, a 10th century Pictish queen. the interiors were a celebration of new materials--there were floors made of induroleum (wood and asbestos powder), walls painted with iridescent cellulose paint, something called copper plymax (??), and the entry hall had a vaulted ceiling covered in glass panels backed with silver leaf. forbes intended it to be a gathering place of sympathetic minds, to host salons in celebration of modern art and architecture in a setting a queer and future-looking as he himself was. unfortunately, he vastly overspent in outfitting Finella, and when he died suddenly in 1935, the contents of the house were auctioned off. Finella is still part of Cambridge and houses fellows of gonville & caius college. the college recently restored the hall, which can apparently be toured on specific days. interior photos from 1929 and 2004.

112 Charles Street by Eleanor Raymond 1868, renovated 1922, Boston, Massachusetts, USA

When Eleanor Raymond began work on 112 Charles Street, it had recently had the front 10 feet sliced off to allow for the widening of the street, so her renovation was essentially a reimagining. eleanor designed the house for her mother, who had her own apartment, as well as eleanor herself, her sister rachel, and her partner ethel powers. the three of them shared a floor. powers wrote for the magazine House Beautiful (and would go on to be its editor) and featured the home three times. in the largest feature on its interiors, she emphasized that since it was a home of three business women, it needed to be "self running." raymond would go on to design and build much more modernist houses, and the conservative appearance of this one might be due to how early in her career it was (she graduated from her architecture program in 1919), but i think it's more likely that she was aware of the necessity of appearing somewhat inconspicuous in her surroundings, as a queer woman with a career. read more about her work here. and here.

[spiltichor]

—   TYPES OF GHOSTS ( ft. my literature textbooks discussions of types of ghosts in narratives.)

[fraudulent-cheese]

...So i promised myself i'd try to assign responses to the second Super Mario Game survey Jan Misali made to Total Drama characters. Here's the first couple!

[artbyblastweave]

My increasingly preferred interpretation of the SCP Foundation is the version invoked by SCP-173- the fluorescent-lit bureaucracy housing or monitoring a few hundred distinctly impossible objects, entities or locations; contained and corralled less out of some sweeping ideological mandate about the veil of secrecy and more for the practical reason that they have no goddamn idea what these things can do or how they'll react to any given stimuli. Largely (though not totally) divorced from extant folklore and conspiracy culture in favor of a unique pantheon of weirdos that don't fit an obvious schema. Terse, clinical documentation that nonetheless clearly implies a discovery process only a little to the left of a bunch of nervous nerds poking at something with a long stick to see what happens. Don't get me wrong, I love the modern foundation. I love Eigenweapons, I love Akiva Radiation and tactical theology, I love the sprawling supernatural subcultures and the nine different equally-extant eschatologies that are slugging it out. But after a certain number of articles predicated on entire secret fields of academia or postmodern articles about "what even is an anomaly, man," you become increasingly aware of the ways in which you're looking at least three really cool settings that don't necessarily play nice with each other thematically. There Is No Canon yadda yadda

[cecoeur]

Something that I find so special about that article is that daniel is the only person on the grid who could give that interview. No other driver could have provided such an extremely personal view on Max and what he has accomplished. Daniel could give that insight because he’s been there since the beginning. Sure you have other drivers who’ve known Max as long or longer but Daniel played a significant role in Max’s growth and has felt the impact of Max and his talent perhaps more than any other driver. And even when it was difficult he always appreciated and respected Max for who he is both as a person outside of the sport and as driver with insane talent and ability. That article used just about every label imaginable to describe what they’ve been to each other over the years but through it all It’s just Max and Daniel and i think that’s pretty neat.

[presiding]

While browsing Vogue magazine, Sébastien Mitton found a photograph of Ruby Aldridge from the Céline Fall 2011 fashion show. He said, “Boom! We have the direction!” Her beauty and her unsettling gaze drove the first concept art for Emily.