#i cited no source

[valtsv]

obviously people steal things from other people it's one of the oldest tricks in the book but it still always surprises me to learn that people plagiarise because my introduction to the concept was basically being told that if i ever plagiarised anything i would be executed by firing squad and my head would be removed and displayed on a spike outside the walls of the hallowed academic institution i was attending as a warning to others

[judas-not-that-one]

posted an Instagram note asking how i cite something i just know and immediately got two messages about it and someone liked the note. it’s 2am. three separate people. this never happens. didn’t know that was so relatable

[theabigailthorn]

We know you were on accutane. Stop lying

not that it would matter if I had, and not that it's any of your business, but I have in fact never taken accutane.

This is a useful teaching moment though, because what you're doing is a well-studied phenomenon in digital media called 'policing fake femininity.' It's a thing people do to women in the public eye, a specific kind of criticism centred around accusations of being inauthentic, fake, or having cheated in some way. Often it's men doing the policing but women do it to each other a lot too, there are whole websites dedicated to it in fact. Often those criticisms centre around our appearances, as yours did here.

It's sometimes a response to perceived inequality, of which there is plenty! Women in the public eye - myself included - do benefit from a lot of privilege. I've always been quite open about that. People who engage in that kind of public bullying often tell themselves that because of the privilege (or perceived privilege) of their targets the fake femininity policing is socially justified, or the fault of the target. But it doesn't really do anything to correct the structural problems that give rise to that inequality.

In their paper "Policing Fake Femininity," scholars Brooke Duffy, Kate Miltner, and Amanda Wahlstedt say,

“The solution to the structural concerns associated with capitalist patriarchy is not, we contend, to label individual influencers “stupid famewhores” and disparage their mental health in ways that invoke the spectre of hysteria (e.g., “batsh*t crazy,” “delusional,” and “lunatic”). As Chemaly [Rage Becomes Her, 2018] argues, it is necessary that girls and women express their anger, but such a directive “is not an endorsement of unbridled rage, or permission to deliver a swift roundhouse kick to the face of anyone who upsets you, or to regularly fill the spaces you live and work in with hostility and discomfort.” While venting anger at these influencers and their purportedly questionable choices may provide some form of much-needed catharsis, such gender-coded vitriol amplifies the rampant misogyny and toxicity that women already face in online environments.”

If you'd like to know more, I recommend:

Steve Cross & Jo Littler, “Celebrity and schadenfreude: The cultural economy of fame in freefall,” in Cultural Studies

Brooke Duffy, Kate Miltner, & Amanda Wahlstedt, “Policing “fake” femininity: Authenticity, accountability, and influencer anti-fandom,” in New Media & Society

[emuanon34]

[circumstantialsimultaneity]

to be honest i kind of think a lot of the people who say really fearmongery things about how media literacy is "in decline" and how the younger generations are worse at dealing with "uncomfortable topics" than those before them are blinded by forced generational lines and their own nostalgia. our tragic and unimpeachable past youth in which we were innocent victims of the social climate around us vs their banal and doomed current youth in which they are hopelessly weak-willed agents of societal downfall. And they're stupider than us and uglier too.

[homunculus-argument]

I have no sources and zero recollection of where I read this, but there is a speculation that the first written mention of finnish (or finnic) peoples' existence, and that of the traditional dog breed finnish spitz, kind of loop around to support each other. It was from some Ancient Roman history, one of those "I heard this from a drunk sailor who heard it from another drunk sailor and who am I to dispute such a reliable source" historians writing down everything that is known about the known world.

It was just one random offhand side-clause mentioning that when you go far out enough into the north, there are wild people living in there, who have red dogs. And the circular logic here is that finns live in the north, the finnish spitz is a red dog, and since it must have been finns, the dogs must have been early finnish spitz. And since finnish spitz is the dog of the finns, therefore the northmen with the red dogs must have been finnish.

[fairy-bard]

i’ve been loving watching critical role recently if for no other reason than because i get to watch a decent portion of viewers actively falling for cult tactics lmao

a forbes article describes cult tactics as when cult leaders “censor dissenting viewpoints, promote a distorted narrative and use relentless repetition and peer pressure”

ludinus needing to monologue at everyone he meets. cherry picking what information to let people know (ie the orb). showing popular world leaders (gods?) at their absolute worst as a means to win over the vulnerable. creating dissent between cult prospects and the people who they’re close to outside the cult. doesn’t take no for an answer. repeating his points over and over, in whatever context he thinks will be most persuasive. targeting people who’ve lost everything. convincing people that they’re special

matt is a genius.

[arcturite]

Chimer that live in my head rent free.

These designs are fairly anachronistic with each other according to my vague timeline. I really only drew what I felt like at the time (started this in February to stave off demons from class). Brief headcanons below

Sotha Sil loses his arm and is left with scarring before the formation of the First Council. He tends to wear long robes and the mask seen in Foul Murder. Influenced by @sothasil 's design!

Almalexia is quite young here, still a puppet queen to the Nordic occupation. She completes her facial tattoos (the lines above the dots) later in life.

Vivec’s hair changes from white-blonde to a dark brown to reflect how ze grows beyond who ze is with Nerevar.

Alandro Sul’s tattoos might change, and don't really have meaning at the moment. He’s an Ashlander by birth, and I tried to incorporate the line designs seen on the banners in Morrowind. Influenced by a piece of @mannimarcos artwork!

Voryn Dagoth is older in this depiction. He grows facial hair after betraying the First Council and bringing the news of the Heart of Lorkhan’s whereabouts to the Nords.

Nerevar is also older, well into his council years. He takes good care of his locs. He uses gel from scathcraw as a locking gel. And is sure not to ingest it, as that “Ravage Health” side effect does not sound pleasant. I was very influenced by @nerevarines Nerevar design, regarding the texture of his hair.

[codacheetah]

Tell me your opinions on the stuff. Any stuff.

Grins. Smiles, even

I'm using you as an excuse to infodump my theory about the Island because I've had no in to do that, and my theory is pure opinion. Anyways:

THE ISLAND IS STUCK IN THE FUCKING FUTURE

(SCARE CHORD)

Hi so you might ask me. What the fuck do you mean by that. Well. Let's start with what we know about the Island, the King, and Wish Craft. (long ass post under cut. sorry)

The Island was redacted from the perception of outside world, via Wish Craft.

Wish Craft has the power to enable Time Craft. We see this primarily through Siffrin's timeloops, but also through the King's powers.

One of the King's powers is to show the saviors a "vision of the future."

...And this same attack is deflected back at the King by Mirabelle in ACT 5, in which the King is able to see the Island before being frozen in time.

...So. The King's "vision of the future." We're never told explicitly what this vision is. All we know is that it's apparently powerful enough to wipe the party in one hit, hearing it from a distance hurts your head, and that whatever Siffrin (and Loop) saw, they don't seem to actually be able to describe it. Even the King himself doesn't know what his vision entails.

We don't know whether the party all sees the same thing when struck by the vision, and Adrienne's answer to the question about it in the Reddit AMA is. vague? It's not a "no," and the specific wording makes me think the answer might be yes. But that's me reading into it.

Now. What do we know about the Island's redaction? The Island was affected by the wish recently, as in "like a decade ago" recently. We know that nobody in Vaugarde or the rest of the world is capable of thinking about the Island, anything closely tied to the Island's culture, or people on the Island for very long. When they do recall these things, they slip right out of reach. Particularly, the consequence for trying to think about the Island (or, more specifically, break the wish that forces the Island out of perception) is significant pain, localized in the head.

And that said pain is enough to become lethal, if pressed hard enough.

From here forward I'm running with the assumption that the King's "vision of the future" is not personalized to any individual, and is unchanging throughout the course of the whole story. Now. Remember the end of ACT 5, where the King gets hit with the deflected "vision of the future", and instead of dying, he recalls the Island and gets frozen in time? Very odd, yeah? Why wouldn't the King just die like everyone else does? He even does take 9999 damage when trying to say its name, like Siffrin does, and like the party does when they're hit by the attack.

Well. We know that he has a "true wish" that the ability to freeze Vaugarde in time grants. I don't think it's at all a stretch to guess that the King's "true wish" is to be able to remember the Island. My personal guess is that the King (and Siffrin) brought this "true wish" into effect via the "SAY ITS NAME" sequence- he even tries three times, a significant number in wishing.

The King (and Siffrin's) wish breaks, because it can't be fulfilled in this moment without breaking the wish to prevent the Island from being thought about. However. Consider the conditions at the end of ACT 5- the King sees the vision of the future reflected back to him, and what he sees is the Island. He remembers the Island, fulfilling his own wish, and is frozen in time. I consider this a compromise between his wish and the one binding the Island- the King gets to remember the Island, but nobody alive is able to think about it, because he's frozen in time; it's like the Universe is correcting itself (I WILL GET BACK TO THIS). The wish of all of Vaugarde to defeat the King is fulfilled, since he is no longer a threat, and Siffrin's wish wraps itself up soon after.

MY POINT BEING. The King's attack is a vision of the future. This "future" is of the Island, in some uncorrupted state. The saviors see it when he attacks them, and he sees it when it is deflected back to him.

The logical next question is "okay, so the Island exists in the future, but how do you know time shenanigans are even related to the Island?"

Recall a very odd series of interactions throughout the game, in which you try to interact with a piece of equipment that you already own.

The game rewinds slightly, before the item disappears, as the Universe corrects itself.

This is awfully similar to two particular events: looping back without seeing the death screen, and talking to the Daydreaming One about her sister. The latter is more interesting to me for the purposes of this theory.

In both instances, something is misaligned within the Universe (an item existing in two places, someone remembering something they're not supposed to) and it is corrected through some sort of rewind. Also compare the dialogue above to when you try to give Mirabelle the Stylish Bow when you already own it.

The world glitches, but Siffrin defuses the situation before the Universe has to intervene. Omitted from the screenshot is the fact that Mirabelle's portraits switch to happy from "catastrophically anxious" with no transition after Siffrin shows her where the bow is. Important to note is that when Mirabelle tries to recall receiving the bow, her head hurts, much like how trying to break the Island wish causes a headache.

The Universe leads you away from perception, and you can only follow.

My theory that I keep circling around is that through Wish Craft, the Island has been displaced temporally. The denizens of the Island, as well as the Island itself, still exist, but they are in the future. The Island is still loaded into the world, like how equipment is before you try to interact with it, and the Island cannot leave this quantum state, because it never actually went anywhere. The magnitude of the redaction event is so severe with the Island, because it is so much larger as an entity than a sword or a bow. There are of course things I don't really have pieced together, like why somebody would wish the Island into the future, how far into the future it is, or why equipment behaves this way. But it's the only Island theory I've seen that I have some level of confidence in, so I might as well lay out my cards for it.

[jyndor]

sliman mansour - also referred to as suleiman mansour - is a palestinian painter, sculptor and cartoonist. he was born one year before the nakba in 1947 in birzeit, which is north of ramallah. he now resides in jerusalem. mansour is one of the most famous palestinian artists of all time, and palestinian american artist samia halaby considers him to be part of the liberation art movement¹. his art focuses on the concept of samud², or "a firm rootedness in the land." he is a founder of the league of palestinian artists³.

🍉🍉🍉🍉🍉🍉🍉🍉🍉🍉🍉🍉🍉🍉🍉🍉🍉🍉

on using only palestinian materials during the first intifada⁴:

That was the philosophy of the intifada. When you read their literature and leaflets, it's about boycotting Israeli goods and trying to rely on ourselves. Most people were trying to do that, by planting their land or starting a small farm to live from. As an artist I thought, why don't we do the same? Why don't we search for natural materials to do our work from?

The mud came from my childhood memories. As a child I used to work with my grandmother when she was building beehives and even ovens with mud. And I was always around her, trying to help. So when I thought about material that I could use, mud was the first thing that came to my mind. After a while, once I started making figures, I realized that the mud also reflects the human fate with the cracks, people waiting to disappear, fall down and go away.

go take a look at his art. reblog with your favorite pieces of his.

mine is the village awakens (1988)

sources:

jadaliyya interview with samia halaby

palestinian art by gannit ankori pg. 74

dafbeirut

dw interview with sliman mansour

his website | insta

[vamphorica]

Because I hate being happy for more than two hours at a time, I've been considering to what extent Matt knew that Takada's kidnapping was a suicide mission.

I've been looking at this screenshot while I've been using it as a reference for a drawing and given that the poor boy is only designated sixty-nine seconds of screentime in the anime, I think it is interesting that there's a substantial pause on this specific frame. Matt is surrounded by Takada's bodyguards, unable to get out of the predicament he has found himself in. At this point, he believes there are two possible outcomes: he will either be arrested, or shot dead. You could interpret his expression here as apathetic, as that is how he tends to be characterised, but he sits in his car and looks out towards the row of headlights for about seven seconds. He considers his situation, acknowledging the number of men pointing their guns at him, and then he leaves his car.

The question is, did it occur to him then, or had he known beforehand, that his death was inevitable? Remember – Matt is one of a few characters in Death Note to be killed 'traditionally'. Should we take the Shinigami Eyes into consideration here, we have to assume that Matt is fated to die at this exact moment in time, regardless of circumstance. There is nothing that would have saved him from his demise that day.

However, I do wonder if, at nineteen years old, he is truly apathetic about his own life. I genuinely believe Mello sees his own death as an inevitable sacrifice, but I am not so convinced that Matt actually cares enough about defeating Kira to lay his life down for the cause alone. The manga suggests he leaves his car almost immediately upon being caught, and his final words, sadly, suggest a lack of foresight about the gravity of danger he is in.

Kira's world is not one in which justice prevails as Light envisioned, but rather it is an autocratic reign of terror. There is absolutely no chance in which Matt would be detained in a society in which death is considered the appropriate solution to crime. He is a Wammy's boy, but even if he had not have been associated with the House, Matt would have still been aware that his risk of death is heightened exponentially through his association with Mello alone.

In the anime, when Matt looks out the window of his car, we hear his inner monologue. Nonchalant, there is no fear to be heard in Drew Nelson's performance of the lines, and Matt's awareness of his impending death is presented as being limited. Is it an act? Or is Matt portrayed as lacking self awareness to such an extreme extent? Perhaps to 'justify' Matt's position as the third successor to L, Ohba felt the need to present Matt as ignoring the inevitable, but at least to me, this feels like it greatly undermines his intelligence. He may not be competing against Mello and Near, but that does not negate the fact he was still raised in the same institution that they were. All the children are freakishly smart, that is the whole point.

Did Mello propose the plan to kidnap Takada to Matt with the acknowledgement that they were both likely to be killed? Mello's final thoughts in the manga and anime are asking Matt for forgiveness, his death apparently unanticipated by the former, which feels like a failure in writing the deaths of these two in a manner that reflected who they were.

Matt is, by all accounts, a fandom project rather than a fully developed character within the Death Note canonical universe, but we are aware that Matt was created for Mello. I hardly expect Death Note to explore the intricacies of such themes in the series (particularly given, as much as I hate to admit it, Mello and Matt are not the main characters within the franchise). However, even with the rather minimal source material provided to us by both manga and anime, we are made aware that the two have a very unique relationship. They know each other intimately, and Matt does not fear Mello as many of the other characters in the series do.

Mello does not want Matt to die. He values Matt and while one could attribute the gratitude for him to the popular fan narrative that Matt is the one to look after Mello after the explosion, or indeed the idea that the two are in a relationship, their interactions with one another already set up their alliance as one that appears to transcend the regular boundaries of friendship. Again, I'm pulling a lot from fanon here, I know. Take it up with Ohba.

Narratively, if Mello has to die, so too does Matt. Ohba could not foresee this character that is so dependent on another to live beyond him. Yet I simply refuse to believe that Mello would have placed someone so important to him in a compromising position where the likelihood that he will be killed is almost certain. As much as I believe that Mello's final thoughts being directly addressed to the deceased Matt demonstrates an important ode to their relationship, I cannot understand how Mello would have been shocked to hear of Matt's death, given the risk.

We know Mello was fully aware that he was going to die that night. If he did not die, Near would have, and I think to Mello that would have been the greatest loss he could have suffered in their ongoing conflict. Regardless of whether you believe Mello cared about Near to any extent or not, I genuinely cannot imagine Mello would have been happy to succeed as L had it been attained through Near's 'sacrifice'. I am actually exploring an AU of this very idea in a fanfiction I intend to publish early next year, in case you're interested, haha.

This returns to the question as to when Matt realises he is not surviving this mission. Presumably Mello asked for his cooperation, and in doing so, he would have had to explain the plan to Matt which, quite frankly, reveals Mello's intent to die as soon as it is advantageous to do so. Given that Mello did not want Matt to be killed, did Mello reassure Matt that he had created the plan to guarantee his safety? Did Matt believe him? Was Mello deliberately vague, only telling Matt that he needed to set off the smoke gun, then hit the gas and get away from Takada's security team?

As far as I can tell, there is no reason as to why Mello would have been dishonest with Matt, explaining what he was planning to do and why. Perhaps he even suggested to Matt that he could find someone else to take on his position, given the danger he anticipated they would be in. Matt is, as I think the series makes clear, very loyal to Mello, and so I doubt such a proposal was even considered, but I think it is safe to assume that if Mello knew how this plan would end, so too would Matt, whether Mello explicitly told him or not. He would have figured it out.

When Matt and Mello part ways for the final time, not shown to us in either the manga or the anime, they both know that they are saying their last goodbye to one another. I think Mello hopes that Matt will survive somehow, experience a Kira-free world and move on with his life, but I believe Matt knows, well before he got caught, that there is no escape from the inevitability of his death.

Maybe, when he steps out of the car, confronted by the 'big guns', he holds out a little faith that at least he might see Mello again soon.

[wishing-well-art]

Smallishbeans viewer here, with a question to iskall viewers. What is going on.

[luna-loveboop]

Wind is not ok

Idk how to pinpoint it. It's something about how since Dawn part four, almost 45 percent of the sentences he's said have ended in questions marks or been directly theorising. How the Link who figured out the most about the timeline with ease hasn't spoken much outside of theorising about the monsters, the postman, the shadow. How he whipped his blade out the fastest and went for the fairy.

It's something to do with how the most expressive Link had tears standing in his eyes when Twilight was ill but never once let them fall. It's something to do with how the most energetic hasn't been the center of attention but has been on the sidelines for quite a few updates. How he told Hyrule it's about being ready for the variety and has seemingly been ready ever since.

It's something with how for the past ten updates (we're at entrance pt 3 now), he has only smiled on ten out of ninety pages. How an extremely reliable Kid appears the most ready outside of Sky to rip the shadows throat out, after being pushed by him in battle like he was nothing. How angry he looks when talking about the shadow.

It's something about how he yelled in Legend's face that they had to help, questioning if Twilight was corrupted or possessed. Something about how this kid sincerely asked his brother if he was feeling evil and hasn't stop asking questions since.

[marragurl]

Ok so like…. Who makes Ratio’s statues? 

Because every possible explanation just opens up a whole new can of worms. 

I’ve been trying to go through as much info about him as I can, including his character stories, but I can’t find anything??? 

So I’m just left stewing in the dark, which usually leads to my humor coming into play. 

So like… are the statues of Ratio’s own making??

Because that would insinuate that he takes the time out of his busy life to constantly make new statues of just himself, including the multiple plaster heads. And if it’s not him physically and it is a manifestation of his Imaginary powers, he’s still making them right??? 

So he still chooses the poses! 

Why??? 

What is his thought process??? 

Physically made or Imaginary Powers made, it’s still his choice on what the statue should look like right???

And if it’s not a conscious decision, then WHAT DO THE JOJO AND CUTESY POSES MEAN

IS JOJO’S BIZARRE ADVENTURES FUCKING CANON IN HSR??

IS IT A SHOW THAT EXISTS??

ARE YOU TELLING ME ARAKI FUCKING EXISTS IN HSR??

AND RATIO IS A FAN?????? 

DON’T TELL ME IT’S JUST A FUN REFERENCE BY THE HSR TEAM, YEA IT’S META TO US BUT IT’S CANON TO THE REST OF THE UNIVERSE THAT RATIO HAS A STATUE OF HIMSELF DOING A JOJO POSE

On the other hand, if it’s not Ratio himself making them… who is it????

Is Ratio commissioning some artists?? Multiple artists? Only one?!?!? 

Is it some weird form of extra credit for his students???

(Student A: Hey wanna hang out tonight? 

Student B: Can’t. Gotta finish up this statue of Dr. Ratio examining his codex by Friday if I wanna get a passing grade in the class

Student A: You can sculpt???

Student B crying with 100 tabs of ‘how to sculpt’ videos and wikiHows pulled up and no sleep: I’m trying my best here Sharon)

Is he like those Renaissance time rich people who basically paid for their favorite artist’s livelihood in order to just make nice art in return??? Is there now a really well-off sculptor somewhere in the universe who is just constantly being paid by THE Dr. Ratio to make stone statues of the man??? Does the artist just put that down in their tax returns?? 

(back at it again with Topaz suffering from Ratiorine’s antics, she’s the one in charge of Ratio’s Sculptor’s taxes)

THAT STILL DOESN’T ANSWER THE STATUE POSE QUESTIONS

DID THE ARTIST ADD IN THE JOJO POSE AND HEART POSE AS A GAG??? AND SURVIVE RATIO SEEING THEM?? 

WORSE- DID RATIO COMMISSION THE POSES??? WHAT WAS THAT CONVERSATION EVEN LIKE??? DID HE HAVE TO POSE?? DOES THE ARTIST JUST HAVE AN ENTIRE SCRAPBOOK OF RATIO DOING DIFFERENT POSES FOR CONSTANT REFERENCE?

FUCK IT, DID AVENTURINE GET IN CONTACT WITH THE ARTIST AND PAY EVEN MORE MONEY FOR THE CUTESY POSES??

(Whole new thought process, the artist is making statues of Ratio for both Ratio AND Aventurine, and all the cute statues are actually commissions by Aventurine for his little Dr. Ratio idol crush shrine. There’s a constant slapstick comedy routine of Aventurine trying to hide them anytime Ratio comes over to his place and barely getting away with it. Does he ever come clean when they start dating? Do they start dating because Ratio finds the statues? Fuck it, if Ratio is the one making the statues and not an artist, does he teach Aventurine how to sculpt?? Does it become like something they do together to spend time?? Ok damn wait that’s kinda cute wait-)

WAIT ADDING ON TO THAT- DOES THAT MEAN FOLLOWING THIS THOUGHT PROCESS THAT AVENTURINE IS THE JOJO FAN???? HE’S A FUCKING JOTARO STAN???

(wait- brisk MC who’s rude to everyone but soft on those he cares about and has the muscles of a Greek god and eventually goes into academia, oh my fucking god Aventurine has a type)

PLEASE

I NEED TO KNOW WHERE ARE THESE STATUES COMING FROM

EVERYONE SEEMS TO KNOW ABOUT THEM, THEY AREN’T A SECRET

IS HIS HOUSE JUST FULL OF STATUES???

DOES HE HAVE A WHOLE-ASS GRECO-ROMAN-STYLE GARDEN FULL OF HIS OWN STATUES???

DOES THE ARTIST SEE A STATUE DISAPPEAR FROM THE GARDEN AND IMMEDIATELY KNOW RATIO USED HIS TECHNIQUE TO SLAM ONE DOWN BREAKING IT AND JUST GO “fucking hell man, I was just about to go on break! Now I need to start a new one!”

IS IT A HOBBY?? HOW THE FUCK DID HE GET INTO SCULPTING AS A HOBBY WITH HIS SCHEDULE???

ARE THEY GIFTS?? 

FROM WHO, STUDENTS??? ADMIRERS? FUCK IT, AVENTURINE???

DOES THE ARTIST BEING COMMISSIONED EVEN HAVE A LIFE OUTSIDE OF THE RATIO STATUES??? DO THEY EVEN HAVE THE ABILITY TO SCULPT ANYTHING OTHER THAN RATIO AT THIS POINT??? HAVE THEY SEEN ANY OTHER BEING OUTSIDE OF THEIR STUDIO AND THE HUNDREDS OF RATIO STATUES???

PLEASE I NEED SOMEONE TO ANSWER ME

[the-way-astray]

why would you pay attention to whether keefe has muscle tone when you could instead pay attention to the fact that keefe has checked out fitz’s muscles and fitz has shown off his muscles for keefe

[pondering-the-blorbs]

me not believing hbomberguy when he said he might ruin some of my favorite youtubers for me and then he drops the james somerton bomb