#like i have it. cause i pre-ordered it.

[stairset]

Mom went to Starset with me and when we got home we showed dad someone else's video where they recorded their whole show so he could experience the Whole Ass Movie they were playing in-between songs so even though they already knew there was a story now they actually wanna know what the story is so now I gotta figure out a way to explain the entire plot of The PROX Transmissions in a concise manner.

[nerdymariamania]

As someone who's been a Team Starkid fan since the beginning, since 2009... do the young fans who only know hatchetfield know the old lore?? Do you know about crying in the choir room?? Do you know the door gag? Do you know Liam's got a phone call? Do you know about the iconic accidental sing along SanFran Con appearance? This isn't me being elitist or anything, I genuinely want to know! I just feel so very much older than all of you, all the time. Does anyone remember Tanya and her gay little blonde bob???

[minblossoms]

Listen, it is NOT a good look to have so many new content announcements in the middle of a member's ongoing promotions (if we can even call what they are doing 'promo'). These men share one fandom. Is it so hard to wait to open pre-orders for non-music content? Or is hybe simply that greedy for money?

[dykethevvitch]

god i have so many disjointed mechs hcs and thoughts. ask me about themes and tropes

[rometabss]

sorry but all i can think about now when i listen to this song is romencken

[todayisafridaynight]

some heretic put the idea in my head that gaiden might be a dynasty warriors game and that.................

[retiredcultistredux]

FLUFF. Slow the FUCK down. You are injured still. You're missing a fucking arm now and you're still getting used to it. If you run in without support who knows what else you'll lose?!

Prince Fluff: "I told you, I don't care! Plus, if I really need her to, Zan can shock him or something! Not that I'm happy with her right now either, but still!"

His voice was still raised, causing it to echo and travel down the hall slightly. Not to mention Prince Fluff was running pretty fast. Which meant, eventually...

...He caught up with him.

[cosmic-aria]

Everything has bad textures and if I get an unexpected crunch it’s over, never eating it again

[ignatiaflamen]

sorry for ai (+airing personal grievances) but posting this for future reference

(context: putting info in google search)

(ai search result)

the long-term effect of your mother saying "do you wanna" do something when telling you to do it and not actually asking if you want to do it

When a mother frequently uses "do you wanna" to tell a child to do something without genuinely asking for their input, it can have a long-term effect on the child's sense of agency and autonomy, potentially leading to feelings of manipulation, difficulty asserting their needs, and a lack of confidence in expressing their opinions. 

Potential impacts:

Low self-esteem:

Constantly being told to do something even when phrased as a question can make a child feel like their opinion doesn't matter, impacting their self-worth and confidence in decision-making.

Difficulty with boundaries:

Not learning to clearly distinguish between genuine questions and directives can make it harder to set healthy boundaries later in life, both in personal relationships and social interactions.

Passive-aggressive behavior:

A child might adopt similar patterns of communication, using seemingly polite questions to convey demands, potentially causing conflict in their own relationships.

People-pleasing tendencies:

To avoid conflict, the child might prioritize their mother's desires over their own, leading to a pattern of people-pleasing behavior.

Difficulty expressing needs:

Not being encouraged to voice their own opinions or preferences might make it harder for the child to assert their needs and wants in different situations later on. 

Important considerations:

Context matters:

While occasional use of "do you wanna" might not be problematic, the consistent pattern of using it as a way to direct rather than inquire is key.

(believe me: it's constant)

Intention and tone:

The mother's intention and tone of voice when saying "do you wanna" also plays a role. If it's clearly meant as a genuine question, the impact can be less negative.

(haha nope. never)

Open communication:

If a child feels uncomfortable with this communication style, it's important to be able to openly discuss it with their mother and express their need to be genuinely asked for their input

(i wish. tried it once and got an insulted reaction. "that's just how i say it!"/"that's just how i do things!" response. half-hearted occasional attempts to say 'could' or 'would' (like i told her to do) and then right back to the "do you wanna" (which by itself is a lazier/lower effort/less respectful way of saying "do you want to" (which is what she had been saying for years. "do you wanna" is a relatively recent development.))

What can be done:

Be direct:

Parents can explicitly state what they want the child to do, using clear language like "It's time to clean your room" instead of "Do you wanna clean your room?"

Ask genuine questions:

When seeking the child's input, use open-ended questions that truly invite their opinion and perspective.

Validate feelings:

Acknowledge the child's feelings if they express frustration about being told to do something even when asked as a question.

(last part is so wishful thinking. 'as if'.)

[polarfarina]

I am really sore from work I wish riding five hours in the car didn't require having your feet on the ground

[stairset]

I had Spider-Man 2 mailed to my house when I pre-ordered it and it hasn't arrived yet so I've just been spending my entire day dodging spoilery Youtube thumbnails like Tobey Maguire dodging Green Goblin's razor bats in slo-mo in that one scene.

[gender-trash]

I would be very interested in hearing the museum design rant

by popular demand: Guy That Took One (1) Museum Studies Class Focused On Science Museums Rants About Art Museums. thank u for coming please have a seat

so. background. the concept of the "science museum" grew out of 1) the wunderkammer (cabinet of curiosities), also known as "hey check out all this weird cool shit i have", and 2) academic collections of natural history specimens (usually taxidermied) -- pre-photography these were super important for biological research (see also). early science museums usually grew out of university collections or bequests of some guy's Weird Shit Collection or both, and were focused on utility to researchers rather than educational value to the layperson (picture a room just, full of taxidermy birds with little labels on them and not a lot of curation outside that). eventually i guess they figured they could make more on admission by aiming for a mass audience? or maybe it was the cultural influence of all the world's fairs and shit (many of which also caused science museums to exist), which were aimed at a mass audience. or maybe it was because the research function became much more divorced from the museum function over time. i dunno. ANYWAY, science and technology museums nowadays have basically zero research function; the exhibits are designed more or less solely for educating the layperson (and very frequently the layperson is assumed to be a child, which does honestly irritate me, as an adult who likes to go to science museums). the collections are still there in case someone does need some DNA from one of the preserved bird skins, but items from the collections that are exhibited typically exist in service of the exhibit's conceptual message, rather than the other way around.

meanwhile at art museums they kind of haven't moved on from the "here is my pile of weird shit" paradigm, except it's "here is my pile of Fine Art". as far as i can tell, the thing that curators (and donors!) care about above all is The Collection. what artists are represented in The Collection? rich fucks derive personal prestige from donating their shit to The Collection. in big art museums usually something like 3-5% of the collection is ever on exhibit -- and sometimes they rotate stuff from the vault in and out, but let's be real, only a fraction of an art museum's square footage is temporary exhibits. they're not going to take the scream off display when it's like the only reason anyone who's not a giant nerd ever visits the norwegian national museum of art. most of the stuff in the vault just sits in the vault forever. like -- art museum curators, my dudes, do you think the general public gives a SINGLE FUCK what's in The Collection that isn't on display? no!! but i guarantee you it will never occur, ever, to an art museum curator that they could print-to-scale high-res images of artworks that are NOT in The Collection in order to contextualize the art in an exhibit, because items that are not in The Collection functionally do not exist to them. (and of course there's the deaccessioning discourse -- tumblr collectively has some level of awareness that repatriation is A Whole Kettle of Worms but even just garden-variety selling off parts of The Collection is a huge hairy fucking deal. check out deaccessioning and its discontents; it's a banger read if you're into This Kind Of Thing.)

with the contents of The Collection foregrounded like this, what you wind up with is art museum exhibits where the exhibit's message is kind of downstream of what shit you've got in the collection. often the message is just "here is some art from [century] [location]", or, if someone felt like doing a little exhibit design one fine morning, "here is some art from [century] [location] which is interesting for [reason]". the displays are SOOOOO bad by science museum standards -- if you're lucky you get a little explanatory placard in tiny font relating the art to an art movement or to its historical context or to the artist's career. if you're unlucky you get artist name, date, and medium. fucker most of the people who visit your museum know Jack Shit about art history why are you doing them dirty like this

(if you don't get it you're just not Cultured enough. fuck you, we're the art museum!)

i think i've talked about this before on this blog but the best-exhibited art exhibit i've ever been to was actually at the boston museum of science, in this traveling leonardo da vinci exhibit where they'd done a bunch of historical reconstructions of inventions out of his notebooks, and that was the main Thing, but also they had a whole little exhibit devoted to the mona lisa. obviously they didn't even have the real fucking mona lisa, but they went into a lot of detail on like -- here's some X-ray and UV photos of it, and here's how art experts interpret them. here's a (photo of a) contemporary study of the finished painting, which we've cleaned the yellowed varnish off of, so you can see what the colors looked like before the varnish yellowed. here's why we can't clean the varnish off the actual painting (da vinci used multiple varnish layers and thinned paints to translucency with varnish to create the illusion of depth, which means we now can't remove the yellowed varnish without stripping paint).

even if you don't go into that level of depth about every painting (and how could you? there absolutely wouldn't be space), you could at least talk a little about, like, pigment availability -- pigment availability is an INCREDIBLY useful lens for looking at historical paintings and, unbelievably, never once have i seen an art museum exhibit discuss it (and i've been to a lot of art museums). you know how medieval european religious paintings often have funky skin tones? THEY HADN'T INVENTED CADMIUM PIGMENTS YET. for red pigments you had like... red ochre (a muted earth-based pigment, like all ochres and umbers), vermilion (ESPENSIVE), alizarin crimson (aka madder -- this is one of my favorite reds, but it's cool-toned and NOT good for mixing most skintones), carmine/cochineal (ALSO ESPENSIVE, and purple-ish so you wouldn't want to use it for skintones anyway), red lead/minium (cheaper than vermilion), indian red/various other iron oxide reds, and apparently fucking realgar? sure. whatever. what the hell was i talking about.

oh yeah -- anyway, i'd kill for an art exhibit that's just, like, one or two oil paintings from each century for six centuries, with sample palettes of the pigments they used. but no! if an art museum curator has to put in any level of effort beyond writing up a little placard and maybe a room-level text block, they'll literally keel over and die. dude, every piece of art was made in a material context for a social purpose! it's completely deranged to divorce it from its material context and only mention the social purpose insofar as it matters to art history the field. for god's sake half the time the placard doesn't even tell you if the thing was a commission or not. there's a lot to be said about edo period woodblock prints and mass culture driven by the growing merchant class! the met has a fuckton of edo period prints; they could get a hell of an exhibit out of that!

or, tying back to an earlier thread -- the detroit institute of arts has got a solid like eight picasso paintings. when i went, they were kind of just... hanging out in a room. fuck it, let's make this an exhibit! picasso's an artist who pretty famously had Periods, right? why don't you group the paintings by period, and if you've only got one or two (or even zero!) from a particular period, pad it out with some decent life-size prints so i can compare them and get a better sense for the overarching similarities? and then arrange them all in a timeline, with little summaries of what each Period was ~about~? that'd teach me a hell of a lot more about picasso -- but you'd have to admit you don't have Every Cool Painting Ever in The Collection, which is illegalé.

also thinking about the mit museum temporary exhibit i saw briefly (sorry, i was only there for like 10 minutes because i arrived early for a meeting and didn't get a chance to go through it super thoroughly) of a bunch of ship technical drawings from the Hart nautical collection. if you handed this shit to an art museum curator they'd just stick it on the wall and tell you to stand around and look at it until you Understood. so anyway the mit museum had this enormous room-sized diorama of various hull shapes and how they sat in the water and their benefits and drawbacks, placed below the relevant technical drawings.

tbh i think the main problem is that art museum people and science museum people are completely different sets of people, trained in completely different curatorial traditions. it would not occur to an art museum curator to do anything like this because they're probably from the ~art world~ -- maybe they have experience working at an art gallery, or working as an art buyer for a rich collector, neither of which is in any way pedagogical. nobody thinks an exhibit of historical clothing should work like a clothing store but it's fine when it's art, i guess?

also the experience of going to an art museum is pretty user-hostile, i have to say. there's never enough benches, and if you want a backrest, fuck you. fuck you if going up stairs is painful; use our shitty elevator in the corner that we begrudgingly have for wheelchair accessibility, if you can find it. fuck you if you can't see very well, and need to be closer to the art. fuck you if you need to hydrate or eat food regularly; go to our stupid little overpriced cafeteria, and fuck you if we don't actually sell any food you can eat. (obviously you don't want someone accidentally spilling a smoothie on the art, but there's no reason you couldn't provide little Safe For Eating Rooms where people could just duck in and monch a protein bar, except that then you couldn't sell them a $30 salad at the cafe.) fuck you if you're overwhelmed by noise in echoing rooms with hard surfaces and a lot of people in them. fuck you if you are TOO SHORT and so our overhead illumination generates BRIGHT REFLECTIONS ON THE SHINY VARNISH. we're the art museum! we don't give a shit!!!

[blkkizzat]

@ 𝙭𝙓𝘿𝙞𝙜𝙞𝙂𝙤𝙙69𝙓𝙭 𝙞𝙣𝙫𝙞𝙩𝙚𝙨 𝙮𝙤𝙪 𝙩𝙤 𝙥𝙡𝙖𝙮...

AND GOD KNOWS I'M TRYIN', BUT THERE'S JUST NO USE IN DENYING... ❤︎︎︎︎ THE OTAKU IS MINE ❤︎︎

⏯︎︎ OTAKU!GOJO X BIMBO!READER SERIES

bunny, how on earth did you end up dating this huge otaku nerd? urgh, you actually like him and match his freak too? and he buys you what?! omg! what will your friends think?!

⏯︎︎ 𝐏𝐑𝐄𝐒𝐒 𝐏𝐋𝐀𝐘

𖦏 genre: college au

𖦏 ratings: 18+MDNI. unprotected, ecchi gojo, dubcon, cnc, bdsm, puppy play, public sex, creampies, spanking, sugar daddy/baby dynamics, edging, squirting, threesums, femdom, the ridiculous ass pervy pet names gojo gives you & reader is called 'bunny' in lieu of 'y/n'. each story will have warnings on its story page.

𖦏 pre register: comment to be tagged. i may not respond to everyone but rest assured if you comment you will be tagged!

𖦏 gamer's guide: all fics are listed in chronological order, but likely won't be written in chronological order. summaries subject to change slightly. they also will be written over time so please don't rush me for the next installment but feel free to ask me questions i love talking about this lil freak❤︎︎

⏯︎︎ 𝐌𝐀𝐈𝐍 𝐒𝐓𝐎𝐑𝐘:

𝐥𝐯𝐥 𝟏: ❝ DIGIMON—BUT MAKING U CUM IS MY REAL HOBBY! ❞

𖦏 your best friend gojo is a hopeless otaku virgin with zero rizz that's still obsessed with digimon—despite being a grown ass man. you're a slut who despite her best whoring efforts—can't cum. you'll take his v-card and he'll fix your broken pussy, deal? ⏯︎︎ plays: 13.3k

𝐥𝐯𝐥 𝟐: ❝ STICKS N' STONES MAY BREAK MY BONES BUT CHAINS N' WHIPS EXCITE ME! ❞

𖦏 so now that you have a filthy rich boyfie who is completely obsessed with you and has moved you into his house, you're winning, right? or you will be at least— if can survive a trip to the sex dungeon. don't worry it's professionally sanitized after each use! ...what? that's not what you're worried about? oh... ⏯︎︎ plays: lvl in-progress

𝐥𝐯𝐥 𝟑: ❝ AND ALL OF THAT WAS OKAY, CAUSE IT WAS IN A 3-WAY!❞

𖦏 the three of you: you, gojo and geto are like peas in a pod, especially since its summer! and if two of you start f*cking in that pod well its only natural that the third want to join in, right? besides, you both already want to f*ck him. just make sure your current boyfie doesn't get too jealous from how hard you are moaning on your other besties' joystick. your only his ecchi angel, remember? ⏯︎︎ plays: lvl in-progress

𝐥𝐯𝐥 𝟒: ❝ IN THE BEDROOM I BE SCREAMIN', BUT OUTSIDE I KEEP IT QUIET—OR TRY TO AT LEAST!❞

𖦏 you can only keep your relationship underwraps from the rest of your friend group for so long. but you need to ease them into the idea first! although, when there's a yacht party for nanami's bday how is your uber clingy otaku boyfie supposed to keep his hands off of you when you're looking like the most perfect pervy princess in that itty bitty swimsuit? ⏯︎︎ plays: lvl in-progress

𝐥𝐯𝐥 𝟓: ❝ YEAH, HE MY MAN, HE WAS NEVER YO TYPE! ❞

𖦏 school is back! thankfully you somehow manage to instill some kind of decency into your otaku boyfie over the summer so he can come across as normal enough to make his own friends. but did you do too good of a job? wait, he actually has a lil rizz now? you mean you aren't the only girl attracted to him anymore... hol'up! ⏯︎︎ plays: lvl in-progress

𝐥𝐯𝐥 𝟔: ❝ MOVE IT UP, DOWN, LEFT, RIGHT, OH—SWITCH IT UP LIKE NINTENDO! ❞

𖦏 hey, when did you become freaker than your otaku boyfie? so he caught you touching yourself to his femdom p0rn when he came back early from a business trip? yikes! now he wants to try it out with you? don't worry you will do a great job training your new play puppy boyfie! ⏯︎︎ plays: lvl in-progress

⏯︎︎ 𝐒𝐈𝐃𝐄 𝐐𝐔𝐄𝐒𝐓𝐒:

𖦏 soundtrack: [ x ] 𖦏 moodboards: [ lvl 1 ] 𖦏 amazing art by amazing readers: [ x ] 𖦏 faq/thirsts: [ x ]

©𝐛𝐥𝐤𝐤𝐢𝐳𝐳𝐚𝐭 𝟐𝟎𝟐𝟒. 𝐝𝐨 𝐧𝐨𝐭 𝐬𝐭𝐞𝐚𝐥 𝐰𝐨𝐫𝐤𝐬 𝐨𝐫 𝐠𝐟𝐱, 𝐝𝐨 𝐧𝐨𝐭 𝐭𝐫𝐚𝐧𝐬𝐥𝐚𝐭𝐞.︎︎

[foxgloveinspace]

Ranting about Bujo/Journaling things, and being a stationary addict and contemplating what I want to use:

So, I’ve been thinking a lot about journaling, and how I journal, and how I want to journal, and I’ve been doing a lot of thinking about how I do like having an a5 size journal, it’s just that I can’t find one that lasts me the perfect timeframe, which is three months, I can find ones that last me two, I can find ones that last me five or six, but I can’t find one that lasts me three months. And then I decide that having left over paper in the back of my journal is not a big deal, so I’m just going with my favorite journal, the a5 leuchtturm1917 (which lasts about 4-5 and sometimes three depending on what exactly I’m journaling about how fast I am journaling). So I think that will be good.

But now I’m debating if I want to continue bujo into next year. I have been using a bujo for the last year and a half (different ones of course) and I’ve been testing what works for me, and shuffling my system around different notebooks, and I have finally found one that works pretty well for me, which is a field notes notebook. It lasts me two months perfectly, which means I’d only need two packs of them for next year, and I love using them, and the thought of having a little rubber banded stack of them at the end of the year sounds so nice!!

But. I am sort of in love with the idea of a Hobonichi Cousin A5 for next year. Just the idea of having this planning space and a page for the day to record little things, like a playlist for the day, or if I was reading something, or even if it’s just nothing and then I go back and log a bujo style collection on the page. It’s so appealing to me and my adhd creature brain, that loves journaling and keeping things, like shiny rocks.

But do I need all that space?? I’m gonna be in an a5 journal for at least awhile, and I’ll have all the space in there for things like that really…..

But also I don’t hate the idea of copying multiple lists and info over again into a different journal, and the idea of having a space that has the things I selected from over the year in it also sounds really appealing…..

BUT!! Then I don’t get the rubber band stack of field notes….

I think I’m leaning toward the Hobonichi right now, mostly cause I also want to be able to use my fountains pens in it, and field notes don’t take the ink well, it bleeds and feathers badly all the time, and I just use it cause I don’t want to carry two pens constantly.

Ugh. I am……. Conflicted.

[mondaymelon]

₊⊹ … ALMIGHTY DRAGONLORD K'UHUL AJAW AND TWO CLUELESS MORONS | kinich x gn!reader

— in which ajaw tends to interrupt kisses. and ruin moments.

— this took way too long to get out, winner of this poll w 458 votes .. includes pre + post getting together, kinich does bite , i love ajaw

recently, the little pixelated... thing that called itself "almighty dragonlord k'uhul ajaw" had proved to be quite troublesome.

and it wasn't just in your love affairs with malipo kinich; ajaw took it upon himself to make not a single second of your day silent.

"i'm nOT forigiving you for this you... you... you- aGH, NEVERMIND! you're literally HOGGING kinich's attention so like.. screw off already!!"

needless to say, it seemed that ajaw was a jealous individual. you'd heard a thing or two about him from kinich, though rather.. unsavory things: irrelevant tidbits, a nonchalant little comment of "i forgot to mention, he'll take over my body when i die, so he constantly wishes for my misfortune."

oh yeah, like that was totally normal.

then, perhaps ajaw's jealousy wasn't unfounded — you "owned" kinich more than he ever would, lol. funnily enough, the way the two of you had met was purely due to ajaw, so if anything, he didn't have the right to complain.

from what kinich told you later on, he had been on some bounty mission for a troupe of ragtag saurian poachers, and had swung by to check grappling indents on the cliffside when ajaw spotted an adventurer scaling the rock. doing what he does best — causing a celestial fuck of a racket — he hovered over, preaching about how "real adventurers don't use equipment" and to "drop everything to show your bravery" ... after a proper talking to, kinich met with you to convey a formal apology.

at the time, you didn't know such a professional relationship would develop into something more.

"he's bothering you again? i'll scold him..."

kinich's voice was quiet, his head settled in your lap, one hand gently circling your wrist. you slowly ran a hand through his hair, released from its typical headband-style. soft, it was fluffy to the touch, and you heard kinich hum in content, bringing his hands up to caress your face — a silent request for a kiss.

and how could you resist? there was something in that gaze that seemed so pleading, so intimate-

"you ICKY ICKY LovEBIRDS !! FOR THE LOVE OF- GET A ROOM!!"

kinich withdrew his hands with a scowl, lips pressing into a thin line. "... read the room, ajaw."

"this almighty dragonlord is not going to witness a k-kis- grOSS, i can't even SAY it...!!"

"..."

kinich seemed to consider something, very briefly.

then, he grabbed the sputtering pixel-dragon forcefully, smothering ajaw's face with a gloved hand. watching in awe and feeling thoroughly entertained, you heard indignant shouts grow muffled.. and just like that, ajaw shut up for the first time in over a decade. historical.

your lover leaned forward, angling his head to the side to press a chaste little kiss into your neck. like he had flipped a switch, he grazed his teeth lightly against your skin, nipping at it first, though not hard enough to draw blood, then biting at it.

"ouch, are you trying to leave a mark? what's with you?"

"shush." he spoke with his face flush to your neck, kissing a small trail up your neck and onto your jaw as if in apology. "i'm merely claiming what's mine."

and there ajaw floated, suffocated and forgotten. "..hell, are those two SERIOUSLY making out ?? when im literally rIGHT HERE!?"

(a/n) ajaw is so detestable i love him if possible i think id want to pinch his pixel cheeks. anyway "so call me maybe" is up next w "so cradle these wings" after, they were supposed to be sorta related but i don't the release order matters so :p

[ tags: ] @manager-of-the-pudding-bank, @iamdedinside, @ilyuu-archive, @falors, @swivy123, @scara-is-my-wife, @lupicalbestwolf, @justyoureader,@fiannee, @aether-darling, @aioniela, @avensuersa, @dainsleif-when-playable, @intpessimistic

( dm or comment to be added ! i might miss ur comment so just to be sure, leave a comment on the actual masterlists page on my pinned ^ ^ )

[ghelgheli]

Historians are rarely challenged just for applying words like ‘woman’ and ‘man’ to the past; it would not inevitably cause a backlash to say that a historical figure wanted power, or grieved, or felt anger. A trans historian, though, is caught in the double-bind of the DSM-5. Our experiences and our desires are quite literally mad. We do not have the social license to see ourselves fractured and reflected in historical figures; we are standing in the wrong place to write. Put simply, if you foreclose trans readings, you foreclose trans writing. When we reflect on the similarities between our lives and those of historical figures, we are accused of spreading our social contagion to the dead. To read our own anamorphoses in a text, to communicate that to a cis academic establishment who have rendered our unqualified subjectivities unimaginable, we are forced to accuse historical figures of transness. And then, of course, we are chastised for pathologising them. For a trans historian, it is not viable to simply universalise our experiences of gender. In order to relate to historical figures’ gendered experiences in our writing in a way that is legible to cis readers, we have to assert that those figures were trans. There is a gap to be bridged, and the onus to bridge it falls on us… Transmisogyny and anti-effeminacy were and are integral to the structure of patriarchy and therefore to cisness (or vice-versa). In ‘Monster Culture (Seven Theses)’, Jeffrey Jerome Cohen proposed a methodology for reading cultures: ‘from the monsters they engender’. In concluding this sketch of Byzantine cisness, I would like to attempt to apply this method. To monster a group or an individual is a violent act, and through examining the way transfemininity was monstered in Byzantium, we can begin to understand the shape of the violent regulation of gendered possibilities that constituted Byzantine cisness… Synesius [of Cyrene] did not simply compare the image of the elegantly coiffed effeminate with the shiny dome of the soldier’s helmet; he went one step further, proclaiming that pretty hair was the give-away for hidden effeminacy. He rails against ‘effeminate wretches’ who ‘make a cult of their hair’, who he suggests engage in sex work not out of economic necessity but as an act of sex and gender exhibitionism, to ‘display fully the effeminacy of their character’. Then, he goes on to say:

And whoever is secretly perverted, even if he should swear the contrary in the marketplace, and should present no other proof of being an acolyte of Cotys save only in a great care of his hair, anointing it and arranging it in ringlets, he might well be denounced to all as one who has celebrated orgies to the Chian goddess and the Ithyphalli.

The implication is clear: long, well kempt, perfumed and curled hair is not just hair, it is a signifier, one that signals total abnegation of manhood, and therefore of cisness. This demonstrates one of the mechanisms by which cisness was maintained and enforced in the Byzantine world. Relatively minor embodied gender transgressions, like too-long or too-pretty hair, could be linked to transfemininity and to sexual receptivity, the two farthest points from patriarchal manhood. That is not to say that this prevented people from committing such gender transgressions; rather that it made them risky, a weapon that could be used against you by anyone who wanted to do you harm. The other thing demonstrated by Synesius’ invective is the relationship between effeminacy, unmasculine vanity and presumed sexual receptivity. It would be tempting, based on the relationship Synesius draws between long beautiful hair and receptive anal sex, to suggest that the animating force of this antipathy is, if not homophobia, a narrower pre-modern equivalent. There is, however, a fantastically complicating detail in Synesius’ remark on the reasons such ‘effeminates’ engage in sex work: being sexually available is presented as an instrumental, rather than terminal value. In Synesius’ imagination, sex work is the means, but social recognition of the feminine gender of the sex worker is the end: to ‘display fully the effeminacy of their character’. The monster Synesius invokes to shore-up his own gender position, to guard his own cisness and his access to hegemonic masculinity, is an unambiguously transmisogynist fantasy. It is here that Byzantine cisness most sharply converges with twenty-first-century cisness.

‘Selective Historians’: The Construction of Cisness in Byzantine and Byzantinist Texts, Ilya Maude [DOI]