#ideal landscape

[artthatgivesmefeelings]

Werner Holmberg (Finnish, 1830-1860) Ideal Landscape, 1860 Finnish National Gallery

[fatehbaz]

Because tuatara are very long lived - between 100 and 200 years by most estimates […] - the founding of Aotearoa/New Zealand as a modern nation and the unfolding of settler-wrought changes to its environment have transpired over the course of the lives of perhaps just two tuatara [...].

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[T]he tuatara (Sphenodon punctatus) [...] [is] the sole surviving representative of an order of reptiles that pre-dates the dinosaurs. [...] [T]he tuatara is of immense global and local significance and its story is pre-eminently one of deep timescales, of life-in-place [...]. Epithets abound for the unique and ancient biodiversity found in Aotearoa/New Zealand. Prized as “Ghosts of Gondwana” (Gibbs 2008), or as denizens of “Moa’s Ark” (Bellamy et al. 1990) or “The Southern Ark” (Andrews 1986), the country’s faunal species invoke fascination and inspire strong language [...]. In rounded terms, it [has been] [...] just 250 years since James Cook made landfall; just 200 years since the founding of the handful of [...] settlements that instigated agricultural transformation of the land [...]. European newcomers [...] were disconcerted by the biota [...]: the country was seen to “lack” terrestrial mammals; many of its birds were flightless and/or songless; its bats crawled through leaf-litter; its penguins inhabited forests; its parrots were mountain-dwellers; its frogs laid eggs that hatched miniature frogs rather than tadpoles [...].

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Despite having met a reassuringly temperate climate [mild, oceanic, comparable to western Europe], too, the newcomers nevertheless sought to make adjustments to that climate, and it was clear to them that profits beckoned. Surveying the towering lowland forests from the deck of HMS Endeavour in 1769, and perceiving scope for expansion of the fenland drainage schemes being undertaken at that time in England and across swathes of Europe, Joseph Banks [botanist on Cook's voyage] reported on “swamps which might doubtless Easily be drained” [...]. Almost a century later, in New Zealand or Zealandia, the Britain of the South, [...] Hursthouse offered a fuller explication of this ethos: The cultivation of a new country materially improves its climate. Damp and dripping forests, exhaling pestilent vapours from rank and rotten vegetation, fall before the axe [...]. Fen and march and swamp, the bittern’s dank domain, fertile only in miasma, are drained; and the plough converts them into wholesome plains of fruit, and grain, and grass. [...]

[The British administrators] duly set about felling the ancient forests of Aotearoa/New Zealand, draining the country’s swamps [...]. They also began importing and acclimatising a vast array of exotic (predominantly northern-world) species [sheep, cattle, rodents, weasels, cats, crops, English pasture grasses, etc.] [...]. [T]hey constructed the seemingly ordinary agronomic patchwork of Aotearoa/New Zealand's productive, workaday landscapes [...]. This is effected through and/or accompanied by drastic deforestation, alteration of the water table and the flow of waterways, displacement and decline of endemic species, re-organisation of predation chains and pollination sequences and so on [...]. Aotearoa/New Zealand was founded in and through climate crisis [...]. Climate crisis is not a disastrous event waiting to happen in the future in this part of the world; rather, it has been with us for two centuries already [...].

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[T]he crest formed by the twinned themes of absence and exceptionalism [...] has shaped this creature's niche in the western imagination. As one of the very oldest species on earth, tuatara have come to be recognised [in Euro-American scientific schemas] [...] as an evolutionary and biodiversity treasure [...]. In 1867, [...] Gunther [...] pronounced that it was not a lizard at all [...] [and] placed the tuatara [...] in a new order, Rhynchocephalia, [...] igniting a frenzy of scientific interest worldwide. Specifically, the tuatara was seen to afford opportunities for "astonished witnessing" [...], for "the excitement of having the chance to see, to study, to observe a true saurian of Mesozoic times in the flesh, still living, but only on this tiny speck of the earth [...], while all its ancestors [...] died about one hundred and thirty-five million years ago" [...]. Tuatara have, however, long held special status as a taonga or treasured species in Māori epistemologies, featuring in a range of [...] stories where [...] [they] are described by different climates and archaeologies of knowledge [...] (see Waitangi Tribunal 2011, p. 134). [...]

While unconfirmed sightings in the Wellington district were reported in the nineteenth century, tuatara currently survive only in actively managed - that is, monitored and pest-controlled - areas on scattered offshore islands, as well as in mainland zoo and sanctuary populations. As this confinement suggests, tuatara are functionally “extinct�� in almost all of their former wild ranges. [...] [Italicized text in the heading of this post originally situated here in Boswell's article.] [...] In the remaining areas of Aotearoa/New Zealand where this species does now live [...], tuatara may in some cases be the oldest living inhabitants. Yet [...] if the tuatara is a creature of long memory, this memory is at risk of elimination or erasure. [...] [T]uatara expose and complicate the [...] machineries of public memory [...] and attendant environmental ideologies and management paradigms [...].

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All text above by: Anna Boswell. "Climates of Change: A Tuatara's-Eye View". Humanities, 2020, Volume 9, Issue 2, 38. Published 1 May 2020. This article belongs to the Special Issue Environmental Humanities Approaches to Climate Change. [Bold emphasis and some paragraph breaks/contractions added by me. Text within brackets added by me for clarity. The first paragraph/heading in this post, with text in italics, are also the words of Boswell from this same article. Presented here for commentary, teaching, criticism purposes.]

[rainbow280372]

[j-esbian]

in the face of animal crossing pocket camp closing, can i just say. i don’t understand why new horizons was like that. after acpc the next animal crossing game should have been amazing and yet,

acnh feels very stale very quickly imo. it has the bones of an animal crossing game (unlocking shops, filling the museum, etc) but the villagers are sooo samey, and it feels like there’s fewer interactions and games between them than there was in acnl. (and i know this isn't a new criticism but it feels unfinished. harv's island co-op in the final update feels like a weak alternative to letting lief, kicks, katrina, etc. have physical stores on your island.) but i do love having the ability to build and customize your own furniture, to an extent. the new furniture designs are great and i especially love that villagers have more versatile clothes options. sheep can wear shirts!! everyone can wear hats!!

but also, acpc has WAY more furniture and clothing options than acnh. and i love the way the villagers work there: they have a set personality and a set style. and you can help them give gifts to other villagers or give them fashion tips, and your relationship improves more (im pretty sure ?) if you pick the option that’s The Right Style. it makes it feel like you're actually getting to know them, and it gives a little bit more variation because a cranky jock FEELS markedly different than a cranky cool guy

[lavenderjewels]

saw a comment about how Gojo’s afterlife could’ve actually been a product of his imagination that was his acceptance of death—I never even considered it, although now it feels like an obvious option on the table. Haibara mentioning him butting into Nanami’s death is the only thing I can see going against that, but Gojo knows of their past that affected Nanami his entire life, so it doesn’t debunk it. When Jogo was dying, he spoke of reincarnation with Hanami and Dagon, and that too was vague in how real it was (at least for Hanami and Dagon being there), but was likely Jogo himself accepting his and their ends. A surprisingly similar end to Gojo’s. That interpretation does make everything 10 times sadder though.

[phoenixiancrystallist]

Month 10, day 2

Made changes to the runes so they look the way I wanted them to, plus also some subtle color adjustments on them that will animate (eventually). Will it look like fire the way I want it to? I dunno! We'll find out together lol

I'm also working on redoing the curtains but those weren't ready to render yet, I'm still fucking with the cloth physics simulation. I could just sculpt the curtains but like why?

[bitegore]

I think I need to learn to make really unusual book bindings because I keep wanting to bind specific things for myself (sketchbook that is exactly the size of my jacket pocket, for example) and the current one i'm stuck on is "formal-looking notebook outside, leather and shit, with interior binding designed to let you switch out signatures easily and featuring graph paper instead of lined or unlined paper" and I know that that is just a binder. That's literally just what a binder is meant to be. But i also, crucially, want the paper to have a .25cm/~0.1 in grid size and be around 7.5x6cm /3x2.3in. I do not think these sized binders exist and I most certainly do not think that they look good if they do.

[partlyironic]

i cannot believe that the takes were so rancid that you had me fighting tooth and nail across two platforms to defend putting art behind a paywall

[bspoquemagazine]

Opening at the Soy Capitán: Talisa Lallai - Still Life

Join the Soy Capitán for the opening of Still Life, a solo exhibition by Talisa Lallai this Friday, November 15, from 6–9 pm in Berlin Kreuzberg.

“I imagine the landscape beneath the water’s surface, mirrored, uneven, at least as deep as it lies above the horizon. A friendly, mossy Atlantis over barren rocks. Or perhaps an impenetrable darkness, or both. It feels as if I am sinking into all the water that surrounds me.�� Thea Mantwill About the Artist: Talisa Lallai (b. 1989 in Frankfurt am Main, Germany) explores identity and belonging…

[tetrameryxx]

I need the old person gym I go to (right next to senior center) to be open later than 4. thank you.

[pynkhues]

Why do you think there are not many new faces in film/Tv anymore it seems like there is a common list of actors always used for the main stream stories. Do you agree with this? And do you have any thoughts on why this always happens. Like I’m sure auditioning happens still but I wonder if there’s always a select group of actors they choose from. Like I feel like I always see Timothy/ Jacob/ Zendaya etc

Mm, I mean, I kind of disagree with your proposition, anon? I think we're in a huge state of flux right now with mainstream stars with actors like Jenna Ortega, Ayo Edebiri, Cailee Spainey, Daisy Edgar-Jones, Margaret Qualley, Glenn Powell and even Jacob Elordi (who actually is still pretty new star-wise) all on the pretty dramatic rise.

That said, yes, name recognition has always mattered when it comes to films regardless of how mainstream they are. It's actually more about production and distribution than it is about anything else. Investors want a return on their investment when financing films, which means they want stars with proven box office draw, and distributors rely on name stars to sell a film to the market. It's not a perfect system by any stretch of the imagination, but it's basically the way it's always been within the studio system (although I do think it's worse now).

Name actors are still the way most films get bankrolled because they ultimately are the public face of it, for better and for worse.

[schoolrust]

Schoolrust is....

Something nostalgic, soft, childlike

Something cherished once

Something in a state of age

Something in a state of decay

Something abandoned

But not completely forgotten

Schoolrust is....

An abandoned schoolyard

Rusting playground equipment

An ornate dress with moth holes in it

A decaying house filled with cozy knickknacks

A beloved doll in a thrift shop

A sunset view from a broken down car

A rainy day from under the shelter of an unused bus stop or phone booth

Comfort in exploring the things we've left behind with the perspective of childlike wonder and curiosity

Beauty in the things we've thrown away

Childhood and rot

Nostalgia and decay

[ali-1996]

Chinese natural culture wall paper

[dalish-delight]

[whentherewerebicycles]

therapy was “helpful” and I “liked it” and sigh I’ll “keep going”

[michaelespositolarosa]

Michael Esposito Larosa — Discovering Flavorful Delights: La Rosa Chicken & Grill in Richmond Valley

Located in the center of Richmond Valley on Staten Island, a culinary jewel that promises not only wonderful flavors but also a commitment to providing dining experiences that are wholesome and nutritious can be found. Stunning landscapes and historical charm surround this gem. The restaurant’s menu is filled to the brim with mouthwatering delicacies that are produced using the freshest ingredients.

Michael Esposito’s Staten Island focus is not simply on providing excellent food; rather, it is on providing nourishment to both the body and the soul via the consumption of meals that are as healthful as they are delicious. Every meal at the restaurant is precisely prepared to produce a symphony of flavors that leaves customers wanting more. This demonstrates the restaurant’s commitment to quality, which is visible in every dish made.

La Rosa’s distinctive rotisserie chicken, which is marinated in natural rosemary herbs to create an unrivaled level of tenderness and flavor, is the centerpiece of the restaurant’s dinner menu. Every mouthful is a demonstration of the restaurant’s dedication to providing exceptional culinary experiences, regardless of whether it is consumed as a single meal or blended into salads and wraps.

However, La Rosa is not only about chicken; rather, it is about providing a wide variety of options to satisfy the preferences of every customer. At this popular restaurant on Staten Island, you may find something that will appeal to everyone, from chicken tenders that are fried to salads that are bursting with colorful veggies that are derived from the area.

It is not just the quality of the food that makes La Rosa different; it is also the philosophy that guides the restaurant. To create a dining experience that combines the comforts of home-cooked meals with the ease of casual eating, Michael Esposito had a vision that was both straightforward and profound. It is precisely because of this dedication to tradition and authenticity that La Rosa has won the hearts of countless generations of customers, who come back time and time again to indulge in their meals of choice.

The ambiance at La Rosa is warm and inviting, and it invites people to linger and make cherished memories with their friends and family. In addition to the gastronomic pleasures, La Rosa offers a warm and inviting setting. If you are looking for a genuinely unforgettable dining experience, La Rosa is the ideal place to go. Whether you are celebrating a special event or simply seeking a hearty dinner, La Rosa offers the ideal environment.

In a world where fast food is frequently the most popular option, La Rosa Chicken & Grill shines as an example of pure, made-from-scratch goodness. From its humble beginnings by Michael Esposito Larosa to its status as a renowned culinary institution in Richmond Valley, Staten Island, La Rosa’s path is a monument to the enduring allure of quality, handcrafted meals. La Rosa currently serves as a culinary institution in Richmond Valley.

It is highly recommended that you make it a point to stop by La Rosa Chicken & Grill the next time you find yourself in the Richmond Valley area. When you visit this hidden gem, your taste buds will be grateful to you, and you will learn why it has become a treasured favorite among both locals and tourists alike. The phrase “Eat well, live healthy” is more than simply a motto at La Rosa; it is a promise that is kept with every delicious bite that is served.

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