#i think it's our culture

[seven-saffodils]

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[skellydun]

I don't think I'm meant to be employed. It really cuts into my goofy silly haha time. and it makes it nearly impossible to have any wow life is beautiful let me take it in time.

[stonebutchery]

it's kind of baffling to me that entire sub-groups of queer folks endured a decade of being singled out and targeted for being asexual, aromantic, bisexual, pansexual, nonbinary, polyamorous, etc. and i have yet to see any substantial apologies from people who were directly responsible for causing genuine harm. i find it completely bizarre that there are so many people who want to sweep their past contributions to widespread lateral aggression toward specific queer groups under the rug like it didn't happen so they can wash their hands of it... there are people who are irreversibly traumatized because of this. there are people who took their lives because of it.

i'm wording the post like despite the fact that exclusionism targeting these groups (and more) continues to persist partly because it was a really frighteningly common trend to harass people just because they were ace, aro, bi, pan, nonbinary, poly, etc... and it's crazy to me that many of the people who were affected by this massive multi-pronged public online bullying campaign against the 'unacceptable types of queers' are the ones still receiving messages like "my url got put on an aphobe blocklist in 2016 because apparently a post i made making fun of asexuals got some teenage asexuals harassed and i still distrust asexuals to this day because of that" ...are you fucking kidding me?

we will never achieve any kind of unity as a queer community while we are insisting upon ignoring the hurt that lateral aggression has caused, and acting like the burden lies on the shoulders of the people who were harmed to forgive the people who harmed them and 'just move on', many of whom are not sorry for what they did! or they don't consider what they did to be wrong! how is that not deeply disturbing and troubling to more of you?

03/06/2024 edit: i’m putting a complete moratorium on this post because i am really sick and tired of having my point not only completely misconstrued and distorted entirely but also weaponized against transfems (particularly in replies i have decided to delete about how “ugh yes, exclusionism, and now transfems are bullying transmascs”) i find that really sickening and i’m demanding that it stop, and i can make it stop by turning off reblogs. so i have.

my objective in writing this post was never to request an apology from people who have been laterally-aggressive exclusionists in the past. i don’t think we’ll ever get more than a handful of apologies from those people, anyway. my point was that it was pretty terrifying to witness and experience a lot of lateral aggression that transferred from the real, in-person world to the deeply online spaces back into the real, in-person world in a really fucked up feedback loop and being a young queer person during this time and having that shape me, snd shape the experiences of my queer friends who have been traumatized by it.

however, it is absolutely unacceptable to me that the issue of transmisogyny is so blatantly overlooked by our entire community. for decades, transfems have experienced oppression and exclusion from transmisogyny-exempt women and queers. their exclusion from political queer liberation movements has caused many of the major schisms within our community we are still having arguments about to this day. if you want collective queer liberation, you must uplift transfems. there is no other option. you don’t get to write off all transfems just because one person who happened to be transfem was mean to you online or something.

i have answered and responded to way too many conspiracy-brained transmisogynist reactionaries to allow this post to keep fucking snowballing with people writing paragraphs in the tags about “transmisandry” or “transandrophobia.” please get your heads out of your asses.

this absolutely is the transmisogyny website, as always, and the place where all basic textual comprehension skills go to die, apparently.

[hellmandraws]

I, for one, am looking forward to Viking Piece.

[serpentface]

how do you come up with the ways cultures in your setting stylize people/animals/the world in general in their artwork, i.e. jewlery, rock carvings, statues, etc? Each culture in your world seems to have a very unique "art style" and I love it a lot - makes them seem that much more 'real'. This is something I struggle with a lot in my own worldbuilding and I'd love to pick your brain if possible 😁

I think a starting point is to have a research process based in the material realities of the culture you're designing for. Ask yourself questions like:

Where do they live? What's the climate/ecosystem(s) they are based in? What geographic features are present/absent?

What is their main subsistence method? (hunter gatherer, seasonal pastoralist, nomadic pastoralist, settled agriculturalist, a mix, etc)

What access to broader trade networks do they have and to whom? Are there foreign materials that will be easily accessible in trade and common in use, or valuable trade materials used sparingly in limited capacities?

Etc

And then do some research based on the answers, in order to get a sense of what materials they would have routine access to (ie dyes, metal, textiles, etc) and other possible variables that would shape how the art is made and what it's used for. This is just a foundational step and won't likely play much into designing a Style.

If you narrow these questions down very specifically, (ie in the context of the Korya post- grassland based mounted nomads, pastoralist and hunter-gatherer subsistence, access to wider trade networks and metals), you can direct your research to specific real world instances that fit this general idea. This is not to lift culturally specific concepts from the real world and slap them into your own setting, but to notice commonalities this lifestyle enforces - (ie in the previous example- mounted nomadic peoples are highly mobile and need to easily carry their wealth (often on clothing and tack) therefore small, elaborate decorative artwork that can easily be carried from place to place is a very likely feature)

For the details of the art itself, I come up with loose 'style guides' (usually just in my head) and go from there.

Here's some example questions for forming a style (some are more baseline than others)

Are geometric patterns favored? Organic patterns? Representative patterns (flowers, animals, stars, etc)? Abstract patterns?

Is there favored material(s)? Beads, bone, clay, metals, stones, etc.

When depicting people/animals, is realism favored? Heavy stylization? The emotional impression of an animal? Are key features accentuated?

How perspective typically executed? Does art attempt to capture 3d depth? Does it favor showing the whole body in 2 dimensions (ie much of Ancient Egyptian art, with the body shown in a mix of profile and forward facing perspective so all key attributes are shown)? Will limbs overlap? Are bodies shown static? In motion?

Does artwork of people attempt to beautify them? Does it favor the culture's conception of the ideal body?

Are there common visual motifs? Important symbols? Key subject matters?

What is the art used for? Are its functions aesthetic, tutelary, spiritual, magical? (Will often exist in combination, or have different examples for each purpose)

Who is represented? Is there interest in everyday people? Does art focus on glorifying warriors, heroes, kings?

Are there conventions for representing important figures? (IE gods/kings/etc being depicted larger than culturally lesser subjects)

Is there visual shorthand to depict objects/concepts that are difficult to execute with clarity (the sun, moon, water), or are invisible (wind, the soul), or have no physical component (speech)?

Etc

Deciding on answers to any of these questions will at least give you a unique baseline, and you can fill in the rest of the gaps and specify a style further until it is distinct. Many of these questions are not mutually exclusive, both in the sense of elements being combined (patterns with both geometric and organic elements) or a culture having multiple visual styles (3d art objects having unique features, religious artwork having its own conventions, etc).

Also when you're getting in depth, you should have cultural syncretism in mind. Cultures that routinely interact (whether this interaction is exchange or exploitation) inevitably exchange ideas, which can be especially visible in art. Doing research on how this synthesizing of ideas works in practice is very helpful- what is adopted or left out from an external influence, what is retained from an internal influence, what is unique to this synthesis, AND WHY. (I find Greco-Buddhist art really interesting, that's one of many such examples)

Looking at real world examples that fit your parameters can be helpful (ie if I've decided on geometric patterns in my 'style guide', I'll look at actual geometric patterns). And I strongly encourage trying to actually LEARN about what you're seeing. All art exists in a context, and having an understanding of how the context shapes art, how art does and doesn't relate to broader aspects of a society, etc, can help you when synthesizing your own.

[tiredyke]

every time queer discourse surges on this site everyone is so quick to jump to “it was actually the evil lesbians who divided us” because y’all heard the term “political lesbian” and never bothered to figure out what that meant

[prolibytherium]

Just in general I think trying to look to pre-late modern period history for validation of LGBT+ identities is an absolutely useless venture. Every single underlying human experience defined through the lens and framework of LGBT identity has always existed, but it's impossible to pin down Exactly who and what a figure might have been if they existed in this contemporary context and decided to self identify via these labels.

It's also a wildly reductive lens that flattens the complexity and variety of how sex and gender has been constructed across time in different cultures, how sexual norms have varied, etc. This is not a constructive approach to learn about history and you're never going to be able to fit historical figures neatly into little identity categories.

[adiradirim]

From right to left: Beya Melamed; Bulgaria, 1890 - Jewish bride after the wedding; Turkey, early 20th century - Torah ark curtain made from a woman’s dress; Izmir, Turkey, 1929 - Wedding dress belonging to a Jewish family from Edirne, Turkey; early 20th century, gifted to museum exhibition in memory of Colombe Papo

Worn in the 19th and 20th century for weddings and other occasions by women across the Balkans and Anatolia, bindallı dresses were typically made of velvet in deep jewel tones. They were decorated with extensive gold embroidery of floral designs, which give this group of dresses their name, meaning thousand branches. This Ottoman-derived yet European-influenced style marked a transitional period between uses of traditional and modern western fashions.

The dresses - adopted from the surrounding culture as a fashionable item without any Jewish specificity - took on unique Jewish meaning through their use in the synagogue, where they became ark curtains, Torah mantles and binders, bimah covers, and the like, frequently with added dedicatory inscription. The donation of dresses and trousseau items by women to the synagogues created a personal bond between the women and the synagogue. The habit of donating these textiles to the synagogue endured long after the original embroidered bedclothes and dresses had gone out of fashion, and the transitional bindallı fashion thus remained alive in Sephardi synagogues long after the passing of the brides who wore the dresses.

[sixohsixoheightfourtwo]

I actually love glass onion being set deep in covid times but where's the post that was like . Glass Onion should have ended with benoit blanc getting home and testing positive for covid . I really think that would've tied the whole thing together

[thatstruwu]

i swear this is funnier in my head but i'm not disappointed at all

[idkthisismyusernameiguess]

Could the Ace Attorney fandom stop pretending that Phoenix Wright or Miles Edgeworth or any of the main cast is white? Idgaf if the localized version is set in America. Asian Americans exist. You are consuming a piece of Asian-made media, not everything is about white people

[dreamyintersexouppy]

all the tme intersex people i used to know suddenly jumping on the newest transmisogynistic bandwagon and immediately spewing all the same “ur just overreacting, you call everything transmisogyny, stop being hysterical!!!” bullshit really puts into perspective how the intersex community on here gained any traction to begin with, y’all are not immune to pulling the same bullshit perisex people do and you’re calling the intersex transfems arguing against you perisex??? just to let afabs pretend to be us so you have that idealized quiet trans woman again, like i’m sorry but this is a strawman on par with “white trans woman” nothing has changed and at some point you need to realize that your conception of what these terms mean just doesn’t reflect their actual rhetorical use in real conversations about queerness

[glitterarygetsit]

Why do you comment?

Was discussing fic commenting practices with a friend the other day, and realised we both comment on things for different underlying reasons. So I thought it might be interesting to make a poll about it! Why do you comment? Do you see it as a one-on-one interaction with the author, or as a way of supporting the community? Is it a form of payment or the start of a dialogue?

I think there are a lot of different and valid attitudes to this, and I’m curious to see what different readers’ thought processes are! I’m sure that for most readers, multiple of these answers apply—try to pick the one that feels most important to you, and please do expand on them in the tags if you like!

[poorly-drawn-mdzs]

That's the face he makes when he's feeling silly.

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[lookinghalfacorpse]

your favorite cc is NOT immune to the curse of your generation: 0 communication skills

listen. i'm 26 and I work at a college campus, so im constantly juggling the drama of 19-23 year olds. My job is basically just begging people to talk to each other. Our culture defaults to putting people on blast on social media because we love cancel culture and we love our phones. the same culture that makes us feel comfortable recording strangers in public and making fun of them on tiktok is the same culture that has created this situation.

None of this ever needed to be public. I think some of us are starting to see that, but i also want us to understand that this situation doesn't exist in a vacuum and that there's a reason why we're at this point. We're here because folks feel safer behind their phones than communicating with each other about it. In this case, we're looking at young people with massive audiences, and this makes it more dangerous

it sounds like many ppl were hurt and I hope they can recover. I also think that a day will come when they'll wish that this information was private. We need to learn to value our privacy and protect our futures, and to respect the privacy of others. we will continue seeing wack situations like this if we don't shift the culture.

[langernameohnebedeutung]

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