#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

[emuanon34]

[goldxnfemme]

I finally found an essay that discusses the origins of the word "bulldagger" and its association with black lesbians, hell yeah!

[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

[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.

[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

[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.

[gayghostrights]

thinking about John Doe and the dark world as a metaphor for addiction/relapse.

How circumstance and trauma pushed him to do something he told himself he’d never do again, and how he has to live with the consequences and the memories, even though he’s working to not be that person anymore.

And how much shame he carries about the things he’s done, because even if he was pushed to do them, he still did them. To him, he still made that choice, and he has to bear the weight of that.

Thinking about 43, in particular, where the witch is trying to tell John that all he was is all he’ll ever be. That, despite the work he’s put into bettering himself, he’ll only be seen as his mistake in the eyes of some.

And it just feels really meaningful that Arthur’s love is what saved him, in this context. That being forgiven and loved unconditionally, even though he’s made mistakes and hurt people, is how he can cope with the memories of what he’s done. It’s how he can stop himself from slipping back into being someone he doesn’t want to be, even when it’s hard.

love isn’t what makes him better, but it’s what makes him want to work to be better. It doesn’t undo what he’s done but it allows him to live with it.

I just think it’s interesting to read this as an addiction narrative, because so often addicts are dismissed because they’re addicts. Regardless of how much we’ve healed or how far we’ve come, there are some people who will never see beyond our addiction and will force their perspective onto us. Some people hold no compassion for us because they think we’ve made the choice, and think that the harm that resulted from that “choice” makes us unredeemable.

and to see John receiving Arthur’s support and love despite what he’s done, or what he was pushed to do, really reflects how important support is to recovery. Arthur doesn’t absolve John of his mistakes, he doesn’t dismiss the harm he caused, but he doesn’t hold it against him. He knows John is more than what he’s been, he knows John is capable of change and a good person in spite of it, he knows John is capable of being better. Only John can do the work of becoming who he wants to be, but Arthur’s love and support makes the work a little more bearable.

[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

[lialox]

Yoohankim all have such different reactions to their other selves.

YJK to YJK: You're annoying. You're a fool. You're not me. (YJK's need to compartmentalize his identity)

HSY to HSY: Ah shit, I did that? (1863rd and 3rd round HSY both accept the other as 'herself')

KDJ to KDJ: You're not real to me. You're just a fleeting dream.

[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