#or likely geographical locality

[bottombaron]

you know, i can handle a little bit of fun "Nandor is dumb" talk, but i have a net-zero tolerance for any implication that Nandor is not educated.

Nandor would have been incredibly educated in his lifetime.

even (or especially) as a soldier in the Islamic World. being a soldier was more like getting sent to boarding school that's also a military camp. they weren't just concerned with creating loyal fodder for war. they were building the next government officials, generals, accountants, advisors, etc. it was important that young men knew how to read, write, speak multiple languages, learn philosophy...sometimes even studying art and music was mandatory.

if he was nobility (and its most likely he was), take all that shit and multiply it exponentially. Nandor would have been reading Plato at the same age most people are still potty training. he would have been specifically groomed in such a way to not be just a brilliant strategist and warrior, but also diplomate and ambassador of literally the center of scientific and cultural excellence of the age.

so like yeah, he can be a big dummy sometimes, sure. but that bitch is probably more educated than any of us will ever be.

[just-here-with-my-thoughts]

Zircon!

The bright blue one is heated to induce that colour. Heating also changes the absorption spectra, to show only a single diagnostic absorption line at 653nm!

I can come back to you another day when I've got more time for a fuller review of gem-quality zircon (and how it differs from artificially created cubic zirconia) (only if you like?)

You're making me feel like I should get the spare room cleared and set up my microscope to have a go at photomicrography of some of these beuties...

just-thoughts-about-gems (this is the place to ask your gemstone questions)

[thisfuckingdork]

My Major suddenly attracted a lot of US-Americans this year so now half the major is students from the US and it's been a few months but I cannot get over how surreal an experience it was to go from having met maybe 2 Americans IRL in my life to unexpectedly being surrounded by TV Voice TM

[cliveguy]

i feel like there must be a way about talking about transmisogyny in trans spaces without making posts that act like every single trans person comes from a large liberal usamerican city

[graveyardrabbit]

marker for the geographic center of San Francisco, Corbett Street

[bijoumikhawal]

people talk about the difference between "arguing angry" and "arguing flirty" for Cardassians and you know what. I think it'd be really funny if that had a lot of regional variation

[misskamelie]

Not coming from a family of immigrants but also not coming from a family of not immigrants

[mantisgodsdomain]

It probably shows that we have a really bizarre... "cultural bubble" or whatever it's called, because we see a friend reblogging formline on the dash and saying "hey i remembered how to search tags" and we have a moment of just "what tag did they search for that??? native art??? no, that cant be right..."

Anyways, today we learned there's an actual specific name for that, despite living in an area where we saw it around pretty much every day for, like, the first few years of our life.

[thosewickedlovelies]

A guide to writing fics set in museums / with a museum worker character

Hey hi hello it’s your local museum worker here, offering you some insight and tips to writing museum-related fics! This is primarily organized as a list of different jobs you could have in a museum and what their duties entail. This post might also be useful to you if you’re considering working in museums and want to know What Goes On In There. Let’s go!

For simplicity/fic-writing purposes, I would divide museums into 2 very rough groups: large national or city museums that Have Money (think the Smithsonian or British Museums, or the Chicago Field Museum or the Royal Armouries Museum in Leeds); and smaller local museums. These could be local industry and culture/history-of-our town museums, historic houses, or  really niche subject museums run by One Person With A Passion.

Big national museums have a fuckton of staff and money (museums can never have enough money. But these places are very well-off compared to somewhere small that might always be hustling and writing grant applications). If you work here you’re likely to have a specific role in a particular department, and you probably won’t do much outside this role (ex., if you work in collections management, you probably won’t also design exhibits)

The smaller the museum, the more varied your workload will be/the more likely you are to be doing a little bit of everything. You’re probably organizing collections storage, manning the front desk, and desperately running fundraising efforts, all at once. 

To this end, smaller museums are more likely to be closed one or two days a week- you’ll be there, probably cleaning displays or managing storage, but visitors won’t be.

A lot of (most?) universities also have museums, so a college town setting is also doable. But the same big vs small museum disparity is still possible! At Penn State University, for example, the Palmer Art Museum is its own (recently redone iirc) building in the center of campus with a lovely plaza out front, while the Matson Museum of Anthropology is uhhhhh a couple classrooms in the Anthropology Department (which they’re currently rebuilding tbf, so we’ll see what they’ve done with it in 2025).

Types of Jobs

Curator

The one museum job that everyone can name. Nominally the person in charge. Probably laments that their job is way more admin than fun hands-on stuff now.

Actually this is the role I have the least knowledge of, but I think that’s partially because this job might vary the most from place to place? Structural organization can vary a lot between institutions, but I think the higher up you get in any field, the more your job tends to consist of meetings/overseeing, designating, and ~liaising~

A list of things a curator might do:

Planning or approving events and fundraisers, schmoozing with donors and members at said events, approving or designing a schedule of exhibits, publish outreach/advertising or research materials, oversee hiring, approve new object acquisitions (or de-acquisitions), generally make sure that the museum is working within the scope of its mission and if necessary, change or refine their mission

The curator might not necessarily control a museum’s funds; in this case they’ll liaise with the people who do, likely a Board of Executives or Board of Trustees. Once they get the money from these people, though, they could potentially redistribute it as they see fit.

 If you work in a fuckoff museum like the BM, you could also be the curator of a specific department, arranged by overarching subject, geographic area, time period, or even object type (eg Curator of Archaeobotany, Curator of Korean Collections, curator of coins from the medieval period). These categories can be more or less specific depending on what kind of holdings your museum has. I think these types of curators would still be able to do interesting things, as they aren’t the ones who Oversee The Whole Place.

You can also be an assistant or associate curator, like being an assistant manager.

Education/Engagement

These are the people who design fun extra activities (esp for kids) in the galleries or relevant events/workshops/lectures the public can attend. They might be called Engagement/Education Officer or Events Manager or anything similar

Again, the bigger the museum you work at, the more specific your role is likely to be. You might focus on web content/outreach and social media, manage the ‘friends/members of the museum’ program, or engage with shareholders, etc

Or you might do things like develop content and events to engage adult audiences. Workshops or lectures connected to new exhibits, after-hours visits. These people are also probably the ones with an eye on accessibility- you’ve probably seen advertisements for museums’ early or late hours for older visitors, or ‘quiet hours’ for people who might be overstimulated by normal museum hubbub, or tactile workshops designed for visually impaired folks.

I think most places would try to have someone specific for kids activities at the very least. They’ll be designing little activities or dress-up stations for the galleries, kiddie mascots or scavenger hunt trail kind of things, as well as, potentially, activities for any digital elements in the museum. They probably also coordinate school visits and act as a tour guide for classes, and will lead the kids in specific workshops or lessons in classrooms attached to the museum.

As a note on technology- some people would probably say that integrating digital elements into exhibits is the ~next big thing~, that museums have to get with the times in this regard, but opinions vary. Big science and technology museums are the most likely to have the most digital and techy elements in their exhibits, so if this is your setting, your character could also be a generic “tech person”. I would go so far as to say the smaller/more local the museum, the less technology you’re likely to have, but smaller museums are able to get grants, some of them potentially for specifically this type of thing, so it’s totally possibly that they have a few tablets with integrated activities, or some other Digital/Screen Thing.

Engagement Officers are probably the most likely people to be drafted for out-of-hours events, so that’s a potentially fun thing for your character to do. Some museums, particularly bigger ones, have event spaces attached that anybody can rent out, for weddings, galas, markets, etc, so they might also take care of these bookings as well.

Exhibit Design

This role has a lot of nebulous terms: exhibit coordinator, design constructor, exhibit programmer- but these are the people who design the exhibits. They’ll come up with a theme or narrative, a design scheme, choose the objects, write the text. They’ll probably come up with some marketing material as well, that matches the design scheme, or they’ll liaise with the marketing people who will.

These people might not be as familiar with the collections as the collections management folk (below), depending on how strictly divided your roles are, so they’ll likely consult with the collections people on choosing objects for a particular exhibit or theme (they say that good exhibit design builds an exhibit from the objects up, but I digress).

These people will also direct and participate in the install and deinstall (the actual terms) of exhibits- putting the objects on the right plinths/stands and arranging everything just so in the cases. Genuinely there’s a lot of psychology behind exhibit design- colors, lighting, the way you might design an exhibit to be navigated vs the path people will actually take through the gallery, people’s sight lines and where their eyes go first, how the display of any given object affects people’s perception of the importance of that object. Fascinating stuff, many books on the subject. 

There are also a lot of accessibility concerns to be considered here- how bright is the gallery, how large is your display text, at what height is the central eyeline of your cases?

Museums often loan objects to and from each other’s collections, so if you’re building an exhibit and you’d really like to include X type of object but your museum doesn’t have any, you can borrow some from another museum (this isn’t necessarily a guarantee- museums are allowed to say no to these requests, but I think manners would dictate that they should have a good reason)

Museums sometimes tour whole exhibitions as well- the objects, the text placards, maybe even the stands for super special or fragile items- and exhibit coordinator people are the ones who would handle those arrangements.

Potentially good opportunities for angst stories here- wow things come to life at your museum, you fall in love with a statue but oh no it’s only at your museum for three months

Collections Care

People who work in Collections Management have the most direct contact with the museum objects themselves. You probably work here if you prefer objects to people. When a museum gets new material, these are the people involved. They might not always initiate acquisitions, and the final approval is probably down to the relevant curator, but 98% of the time they’d be consulted (I hope).

A mind-boggling statistic is that most museums only have like 10% of their collections on display at any given time. Yeah. Forreal lol. But collections folk will know where the other 90% is and what’s in it (particularly the longer they’ve been there). 

There’s usually a head Collections Manager. Other workers might be a Collection Assistant/Associate, Collections Officer (we like calling people Officers for some reason), Registrar, or some variant of these depending on the specific flavor of your duties. 

Main job duties can be divided amongst documentation and database work, organization and storage of objects, and lite conservation. Just how much/how technical the conservation work depends on your own training, but also on the size/funding of your museum. The more money, the more likely your museum is to have its own lab with people specifically trained as conservators. More on them later. 

Here’s what happens when a museum gets new stuff!:

Ideally, it goes to a ‘quarantine zone’ first. This is a separate space or room where the objects can relax for a few weeks to a few months (ultimate best practice is actually a year, but, you know. that’s a long time) to ensure that they’re not harboring anything icky (bugs, mold, etc) that will infect the rest of the collections. It’s ideally super-sealed and climate-controlled, but the primary feature should be that it’s away from the main collections store.

Collections folk do the paperwork. They’ll give each individual object a unique number (following their preexisting system that will allow it to be identified distinct from all the other objects in the collection). They’ll create a ‘collections record’ for the object- documentation containing any and all information about the object. This includes the accession paperwork (everything that says ‘we legally own this now’); provenance info (all previous owners and everywhere else the object has been in its life); measurements and description (in painful detail); and conservation history and concerns (ie ‘there’s a crack in the side so pick up with care’, ‘this was repaired in the 70s so that glue is gonna fall apart any day now’).

(I'll say as a fic writer that this would be an great time to wax poetic over a beautiful statue or painting; you can’t write “This golden crown deserved to be worn by a great king, or maybe by that broody Roman general in the painting in Gallery B” in the collections paperwork, but you can think it.)

For fiction’s sake, your collections records could be either paper or digital, but in an ideal world a museum would have both setups, for security’s sake. So you’d fill out some long forms and/or input all the information to the digital collections management system (‘the CMS’, or referred to by your specific software’s name, as there are many out there). The CMS is not a static archive, but rather a living register that’s updated every time an object is interacted with. The object records also include where an object is at any given time (‘normally in Case E in the Fancypants Gallery, currently in Conservation Lab A for repairs’).

Once the objects are done in quarantine, they’ll go to storage. If they’re being displayed immediately, they’ll probably go to some interim storage space/shelf with other objects for the same exhibit and in that case only get a temporary setting. Every object will get labeled with their object number (directly on them, with a special pen that’s safe for this. Or if it’s really tiny, like a coin or jewelry, then their own tiny box will get the label). Small or fragile items, or items grouped together, will go in their own boxes (made of acid- and lignin-free cardboard or polyethylene plastic, like Rubbermaid totes; lined with polyethylene foam and then acid-free tissue paper). Stable ceramic vessels might sit directly on lined shelving, particularly if they’re very large or heavy, like many stone objects.

Listen, every type of object has a particular way(s) of storing that’s best for them, you’re gonna have to look that up yourself or consult someone if you need that level of detail

Ideally, before being stored away, objects are also photographed. This could be part of the Collection Officer’s duty, and/or your museum could have a photographer on staff. (say it with me:) This is more likely if your museum is really huge and/or has a backlog of unphotographed collections and has hired someone specifically, even if temporarily, to improve its collections documentation.

I would say a collections person, or anyone with a museum studies degree, should have some minimum amount of conservation knowledge that includes basic storage standards for different object materials, how to spot potential preservation problems (like if your bronze axe head is actively oxidizing or if that green spot looks the same as it always has since starting and pausing decaying), and maybe how to give objects a basic clean or deal with certain types of problems. But the nitty-gritty science is more the realm of Conservators, someone with a degree that ends in -Sci or who’s done some other certification course.

The general collections store should always be dark, slightly too cool for prolonged human comfort, and labeled to high heaven. Objects will most likely be grouped by material- ceramics/pottery, metals, precious metals and stones (jewelry or beads), stone, glass, wood, bone/ivory/other organic material like feathers or teeth or anything that can be decorative, textiles, paintings. A museum often has some paper material/documents, usually part of or related to a group of objects they acquired, but generally paper and photographic material is the realm of archives and archivists. Yet again, the bigger/more well-funded the museum, the more likely it to have a separate archive department, so your character could also work as an archivist in a museum.

Another thing the collections care folk probably do is ship objects. Remember how I said that  museums loan objects and exhibitions to each other? The stuff’s gotta travel somehow! If things are being shipped internationally, they’ll go in big wooden crates, with specifically dimensioned partitions inside. Then it will be lined with our favorite foam and tissue paper, cut so the objects sit snugly inside. I haven’t personally worked anywhere with a possibility of local shipments, so I can’t say where the threshold might be as to when a museum would just pay an employee to drive the objects over vs ship them with a shipping company. But the preparations would be similar, minus the big wooden crate but with extra-careful packing (and paperwork and insurance etc)

Conservation

Conservators are the people who work in labs with fancy equipment. Not every museum will have a formal conservator or a lab of any kind; sometimes the collections care person fills this role, or if something urgently needs care beyond the abilities of the museum’s equipment, they might send it away to a lab elsewhere, the same way you can send your old VHS home videos to a professional archive to be digitized.

If an object is actively deteriorating in a way that could harm itself or other objects (as opposed to like, at risk of fading bc the lighting is wrong, which is a straightforward fix related to the environment), that’s when a conservator would intervene.

Some methods/machinery by which you can analyze objects:

Ultraviolet (UV) and infrared (IR) light - Different materials absorb and react to light differently, which you can use to identify them. Useful for seeing things like the different layers of paintings

Stereo-microscopy (microscopes, of varying strengths)

At magnifications of x5-x100 you can see things like tool marks from an object’s manufacture, traces from wear, deposits, and coatings

At x50-x500, with a thin sliver of a sample, you can see (and hopefully identify) fibers, layers, particles, metallographic structures 

You can get information from objects without taking samples, but samples are usually worth the information. 

energy dispersive x-ray fluorescence spectrometry (EDXRF) - EDXRF allows you to identify the elemental composition of the surface layer of an object. So it might tell you what a tool is made of, and also the composition of the objects it was used on, if they left traces

scanning electron microscopy (SEM) - an SEM uses a focused beam of electrons to produce a magnified, high-resolution image of the surface of an object

X-radiography, both film and digital - X-rayy are beneficial for objects that might be covered by dirt or corrosion and can show you details of an object’s construction or hidden structural weaknesses

I’m not a conservator, so if you want more hard science-based info, ask one of them lol

Listen to me. If you take nothing else away from this post, let it be this:

 Once an object is in a museum, it is never seeing natural daylight again. Sunlight is the ultimate enemy of every object’s lifespan. If you need to see an object in the sun or moon light for ~magical spell reasons~, you will straight up be stealing that object to smuggle it outside.

Okay. That being said, you do hear (and could probably google) stories about museum employees stealing things from their museums on purpose to prove a point about security or insurance to their higher-ups, so like. Depending on your type of museum, it might not be impossible to steal from lmao. (Don’t tell anyone I said that.)

Possibly the most useful advice for you to keep in mind when writing your conservator or collections care characters would be that touching objects hurts them. It might not hurt them now, it might not even hurt them in ten years, but every time you handle an object, there’s a risk that you’ll damage it. Not on purpose, obviously, but to err is human. The simplest, most effective advice my conservation professor ever gave us was “don’t handle an object if you don’t have to.” That means don’t move an object without a plan and a place to put it, first examination should always be visual, not tactile, etc. Unfortunately, that means that your character cannot walk around lovingly handling and caressing their favorite objects (unless this is a Night at the Museum situation where the objects are caressing them back, ykwim)

Museum Technician

These people probably have a lot of different names, but basically, technicians are the background muscle of the museum. They do the technical construction of bigger pieces of exhibition material, up to and including the exhibition cases themselves. 

So they wouldn’t deal with the small mount that the object rests on, but they might build the big plinth that the mount sits on. They’ll help move things around the building, particularly big heavy things, hang big framed works, assist with exhibit installs, and generally do most things which might involve power tools/equipment or heavy lifting

I worked in a big museum that hired a third party company to supply their technicians; I interviewed at another place that hired their own. If you’re a small museum, you might just have a freelance person that comes in once or twice a week to help move things.

Other

Other miscellaneous roles one could have in a museum: researcher (for exhibits and/or collections), gift shop or cafe worker, security guard, room attendant, translator, archaeologist, consultant

Honestly, TL;DR? Just have your character be a consultant of some kind. “Oh no, I don’t work here, I’m Y’s friend. They called me in to provide some expertise on X subject that they’re doing an exhibit on.” This could work for literally any subject- history/archaeology/anthropology, art, transportation, science and technology, anything you might find pictures of in an archive, idk. This could get you into an office or meeting room of some kind in the ‘employee only’ space of the museum, or potentially all the way into the collections store if you’re giving them information they were missing about some objects. Otherwise you’d probably (hopefully) need a key or some other kind of security clearance to get into the collections store.

Whew, that was a ride, huh? I hope this guide was useful to someone! I’m always open to answering questions if you think I forgot something or if anyone wants more details <3

[payblogs]

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[buttclench-ryugazaki]

i think the english localization making phoenix american actually really works, ie breaks the narrative less when taking ryunosuke into consideration. as we know, phoenix was written as Just Some Fucking Guy who becomes a renowned lawyer, but then retroactively making his great grandpa a legal legend who toppled the british judiciary somewhat lessens phoenix's charm as a complete rando. it can inadvertently support the vague idea that lawyering is in the naruhodo clan's blood, y'know what i mean? because ancestor veneration is valued in east asia, it's likely that ryuichi's parents would have put emphasis on ryunosuke being an admirable and aspirational figure. the naruhodos would have their in-house altar and be able to visit his grave and read about his exploits in whatever japanese public archives, on top of recounting their own personal memories of ryunosuke. retroactively, this makes it peculiar that ryuichi or any other lawyer never acknowledges his pioneer great grandfather

but the east asian diaspora tends to have a different relationship to its ancestors because our parents had no choice but to leave everything behind. we don't have access to those things anymore. some of us can't even speak the language, which is obviously a huge barrier. phoenix as a descendant of japanese immigrants would be far enough removed (temporally, geographically, and culturally) from ryunosuke and his legacy that i find it totally plausible that phoenix would never mention him. it would make sense if phoenix were mostly ignorant about who his ancestor even is because that's just realistic to the second-onward generation immigrant experience

[hellenhighwater]

i have. no idea what art prize is? but your blog is very cool and my brother lives in gr so i could easily drive over there to visit him and cast a vote for you :)

Huh, yeah, I guess I haven't explained it really.

ArtPrize is a city-wide art show/competition in Grand Rapids, Michigan, which happens annually in September. It lasts a little more than half the month, and it usually involves somewhere around 500+ pieces of art, ranging in scale from handmade pots to building-sized murals to large-scale art installations. The venues that host the art are generally business, parks, or public spaces across the city. There's somewhere in the range of $600,000 in prize/grant money this year, spread out across categories. There's also parades, live events--it's a little like a citywide festival.

There's three direct ways for an artist to get money out of ArtPrize. The first is by receiving a grant, which I did! There's a limited number of grants available, (I think ten?) most of them for $2,000. Which is both a lot of money and also not that much, when you're factoring in things like costs of lumber to build display pedestals, studio fees, etc. $2,000 mostly covers what it's cost me to participate. (Of course, costs of competition vary a huge amount from artist to artist! It depends entirely on what you're making.) It's a huge gift (and a big vote of confidence) to get the grant I did.

Second, you can win a juried award for your category. Juried awards are selected by a panel of judges from the professional art world, and they choose based on the more academic criteria that art is generally judged by. There's a $10,000 cash prize for the jury award winner in each category of art, 2D, 3D, installation, time-based, new media, and design. I'm in the 3D category! It's one of the bigger categories, so competition is stiff.

For every $10,000 juried award category, there's also a public vote award! This is the bit I will be bothering all of the locals about. Anyone who visits the geographic range of ArtPrize (a specific area of the city that they map out) and gets out their smartphone, logs in to the website, and scans a QR code can vote once a day for an artwork. (You only have to be in the city the first time you vote, you can keep voting once a day from wherever you are after that. ) There were about 30,000 votes cast by the public last year, out of 700,000 attendees.

But the headliner is the Public Vote Grand Prize, for the art piece in any category that gets the most votes--a cash prize of $125,000. It's a lot! I don't know that I have any real chance at winning that but I will be trying my best!

So, if you go, you'll find my art at the Atrium by Uccello's, and I'll be asking you to vote for this series.

[dandelionsresilience]

Good News - July 15-21

Like these weekly compilations? Tip me at $kaybarr1735! (Or check out my new(ly repurposed) Patreon!)

1. Thai tiger numbers swell as prey populations stabilize in western forests

“The tiger population density in a series of protected areas in western Thailand has more than doubled over the past two decades, according to new survey data. […] The most recent year of surveys, which concluded in November 2023, photographed 94 individual tigers, up from 75 individuals in the previous year, and from fewer than 40 in 2007. […] A total of 291 individual tigers older than 1 year were recorded, as well as 67 cubs younger than 1 year.”

2. Work starts to rewild former cattle farm

“Ecologists have started work to turn a former livestock farm into a nature reserve [… which] will become a "mosaic of habitats" for insects, birds and mammals. [… R]ewilding farmland could benefit food security locally by encouraging pollinators, improving soil health and soaking up flood water. [… “N]ature restoration doesn't preclude food production. We want to address [food security] by using nature-based solutions."”

3. Harnessing ‘invisible forests in plain view’ to reforest the world

“[… T]he degraded land contained numerous such stumps with intact root systems capable of regenerating themselves, plus millions of tree seeds hidden in the soil, which farmers could simply encourage to grow and reforest the landscape[….] Today, the technique of letting trees resprout and protecting their growth from livestock and wildlife [… has] massive potential to help tackle biodiversity loss and food insecurity through resilient agroforestry systems. [… The UN’s] reported solution includes investing in land restoration, “nature-positive” food production, and rewilding, which could return between $7 and $30 for every dollar spent.”

4. California bars school districts from outing LGBTQ+ kids to their parents

“Gov. Gavin Newsom signed the SAFETY Act today �� a bill that prohibits the forced outing of transgender and gay students, making California the first state to explicitly prohibit school districts from doing so. […] Matt Adams, a head of department at a West London state school, told PinkNews at the time: “Teachers and schools do not have all the information about every child’s home environment and instead of supporting a pupil to be themselves in school, we could be putting them at risk of harm.””

5. 85% of new electricity built in 2023 came from renewables

“Electricity supplied by renewables, like hydropower, solar, and wind, has increased gradually over the past few decades — but rapidly in recent years. [… C]lean energy now makes up around 43 percent of global electricity capacity. In terms of generation — the actual power produced by energy sources — renewables were responsible for 30 percent of electricity production last year. […] Along with the rise of renewable sources has come a slowdown in construction of non-renewable power plants as well as a move to decommission more fossil fuel facilities.”

6. Deadly cobra bites to "drastically reduce" as scientists discover new antivenom

“After successful human trials, the snake venom antidote could be rolled out relatively quickly to become a "cheap, safe and effective drug for treating cobra bites" and saving lives around the globe, say scientists. Scientists have found that a commonly used blood thinner known as heparin can be repurposed as an inexpensive antidote for cobra venom. […] Using CRISPR gene-editing technology […] they successfully repurposed heparin, proving that the common blood thinner can stop the necrosis caused by cobra bites.”

7. FruitFlow: a new citizen science initiative unlocks orchard secrets

“"FruitWatch" has significantly refined phenological models by integrating extensive citizen-sourced data, which spans a wider geographical area than traditional methods. These enhanced models offer growers precise, location-specific predictions, essential for optimizing agricultural planning and interventions. […] By improving the accuracy of phenological models, farmers can better align their operations with natural biological cycles, enhancing both yield and quality.”

8. July 4th Means Freedom for Humpback Whale Near Valdez, Alaska

“The NOAA Fisheries Alaska Marine Mammal Stranding Hotline received numerous reports late afternoon on July 3. A young humpback whale was entangled in the middle of the Port of Valdez[….] “The success of this mission was due to the support of the community, as they were the foundation of the effort,” said Moran. [… Members of the community] were able to fill the critical role of acting as first responders to a marine mammal emergency. “Calling in these reports is extremely valuable as it allows us to respond when safe and appropriate, and also helps us gain information on various threats affecting the animals,” said Lyman.”

9. Elephants Receive First of Its Kind Vaccine

“Elephant endotheliotropic herpesvirus is the leading cause of death for Asian elephants (Elephas maximus) born in facilities in North America and also causes calf deaths in the wild in Asia. A 40-year-old female received the new mRNA vaccine, which is expected to help the animal boost immunity[….]”

10. Conservation partners and Indigenous communities working together to restore forests in Guatemala

“The K’iche have successfully managed their natural resources for centuries using their traditional governing body and ancestral knowledge. As a result, Totonicapán is home to Guatemala’s largest remaining stand of conifer forest. […] EcoLogic has spearheaded a large-scale forest restoration project at Totonicapán, where 13 greenhouses now hold about 16,000 plants apiece, including native cypresses, pines, firs, and alders. […] The process begins each November when community members gather seeds. These seeds then go into planters that include upcycled coconut fibers and mycorrhizal fungi, which help kickstart fertilization. When the plantings reach about 12 inches, they’re ready for distribution.”

July 8-14 news here | (all credit for images and written material can be found at the source linked; I don’t claim credit for anything but curating.)

[bitchimasnake-sss]

i love from me to you sm! 😭 like it aimed directly to my heart 😭 you're so good at writing stuff so, here i am asking for a zoro!fic where reader hides that she got wounded during their last battle and zoro founds out and our poor moss head thought reader was gonna die so, he confessed (i just love flustered zoro) 😚 n e ways, continue writing the best stories!! lotsoflove! - glasses of nanamin

i feel like this is your second ask cause of the "n e ways" but lol, eitherways that's such a cute concept!! i would love love love this (i tweaked the prompt a little bit to fit it better, but i hope you like it it still)

got me losin' my cool ft. roronoa zoro!

set-up: as anon asked!! you get hurt during a fight and zoro almost has a mental breakdown haha live, laugh, love <3

warning: a bit of angst, zoro is a dumbass. otherwise, wholesome!

roronoa zoro's feet pound against the earth and he was sure that with every leap he took, his heart sunk further under. his fingers were clammy. so very clammy against your soft skin. and he was sure the sweat dripping off his forehead and dropping onto your bloodied tank top was the last thing you wanted to see before you died.

"zo—" you rasped helplessly and your voice felt like graters against his skin. your chapped lips, almost closed eyes, the wound on your stomach and your week, blood-stained hand on it. he couldn't even bear to look at you without wanting to breakdown.

"stop talkin, please." he clenched his jaw tighter, the sound of teeth against teeth jarring. and although he refused to look down at you, cradled carefully in his arms, he could hear the desperate heaves that rocked your body.

he picked up the pace, ducking under hanging vines and leaping over overgrown roots of ancient trees carefully, so, as to not hurt you. the ship should be two minutes away, docked at the edge of the island and chopper must be there. and chopper would know what to do. how to help you.

zoro had to just deliver you to chopper.

but with his poor geographical skills, he felt like he had been running for the past thirty minutes without finding the ship. and he was certain the ship was docked only 10 minutes away from where the fight was taking place between the strawhat crew and a local pirate crew.

"zoro—" you started again.

why were you speaking? DID YOU WANT TO DIE?

"—don't use up your breath. please." he panted, feet still working to find the ship. where was that goddamn ship?

"that side—" you winced as you pointed your arm in the opposite direction. you coughed, wincing again before whispering, "the sunny."

zoro's head whipped around to look behind him. and at once, he changed the course. running as fast as he could, he soon found himself at the rocky beach the ship had been docked at.

"CHOPPER!" the swordsman bellowed for the mini doctor as he climbed up the ship. the reindeer was peering over the deck and when he looked at your nearly passed-out figure, he yelped in surprise.

"she got stabbed." zoro explained as he carried you inside to chopper's makeshift office/operation theater. laying you down gently, they both looked guilty as you groaned and clutched your own hand on the wound tighter.

"i need to apply some anti-septic, clean the wound and stitch it up." chopper stated, eerily calm in the heat of the moment. "here—" he gave zoro a sterilized cloth from his cupboard, "—apply it to her wound. put pressure on the area, i need to go make the anti-septic really quick."

"you have to make it? how long will that take?" if the swordman wasn't scared out of his wits, he would be surprised at how desperate he sounded.

"five minutes."

zoro looked at the reindeer wide-eyed. but the reindeer ran off, presumably to make the said medicine.

he looked back at you, putting the cloth to the wound and gently pushing down. he knew how to make the bleeding stop, he had done this multiple time. what he hadn't done multiple times was see you so lifeless, so incredibly overtaken by pain.

"hey." he found himself saying softly. softer than he had ever spoken before, "hey, can you look at me? hear me?"

you nodded slowly and relief washed over him. atleast you hadn't lost all cognitive senses.

"just focus on my voice, okay?" he knelt down so that he was on your eye-level from the bed. his other hand gingerly took ahold of yours. mindlessly, he rubbed soothing circles on your skin. he repeated, "just focus on my voice. yeah, close your eyes. i'm here okay?"

you found yourself closing your eyes, relying solely on the darkness of your eyelids and his voice to guide you to safety. his hand felt like a familiar weight against your stomach, the kind of touch that will renew a dead man and get him climbing back from his grave. his voice was sweet, too sweet to be even called his.

"i—" he paused, rubbing your skin with the pad of his thumb, "chopper's gonna fix you up, you know. h-he always does. i mean you're stronger than this. you'd survive, right?"

he's not sure if he meant to ask it as a question. he was sure he had said it to sound reassuring. but somewhere in between him uttering the words and you hearing them, they had turned into a desperate, desolate plea.

your chest fluttered underneath him, your breath strained. the face he adored slowly scrunched up from the pain. and he found himself talking even more.

"focus on me, okay? just me." he steeled his voice. and his nerves. "you'd be okay. you know, you always said you'd make me mochi, you never did. you said you'd make sake flavoured mochi. is that even a thing?" he laughed despite himself. it was barely a laugh. a pitiful scoff maybe? it was not the kind of laugh that would fool you.

"uh— once you get better." he pretended to ignore the way your body seemed to go slack under him. he repeated, "once you get better, i'm gonna convince franky to make us fireworks. you love those. and- and nami. i'd convince that money-hungry witch to lend me some money so that i can take you out. we will go shopping. you always said you—"

why were you so awfully quiet? usually, you'd talk to the point where he wanted to cut his ear off. now, he wanted to her you. he wanted to hear you call him a moss-head like sanji and he wanted you to laugh when he yelled at luffy for doing something stupid. and—

"—hey?" his voice pitched higher, "please wait, chopper will be back yeah?"

but you didn't even shake your head a weak yes. his shaky fingers reached out to look for your pulse on your neck. it was there. feeble, but there. but for how long?

how long till he lost you?

his throat was closing up, he couldn't breathe. his eyes burned and he was sure he was gonna mark your skin with his own from the way he held onto your wrist.

why won't you talk to him? call out his name, god fucking dammit. nobody called his name the way you did. as if you liked the syllables enough to make a home out of them. nobody smiled at him the way you did. so sweet, too sweet for him. you were everything. even though he was just another wrecked, broken boy with dreams too big for his mortal body, you were everything.

"please," he clutched onto you like a maddening bastard, "please. just hold on, okay?"

but bile seemed to crawl farther up his throat every time you didn't respond. not even a slight glance. not even the movement of a pinky. his fingers checked for your pulse. faint, but there.

and he couldn't hold his words back. he called out your name in a desperate effort to awaken you. water blurred his vision and he blinked it away. his throat was scratchy. too scratchy. and where was chopper?

"i love you." he finally confessed, not thinking much of his words than the fact that he just wanted you to hear them. "i love you so much. i have for so long. i-it wasn't supposed to be like this. i- i was gonna take you out to explore some island. i would have bought you food and called you an idiot when you smiled at me. then— then." he paused, "i would have told you i loved you. you would have said nothing back. and i would have loved even despite that."

he called out your name, sobs racking through his body like accursed symphonies.

"move." chopper was back, in his hand was a ceramic bowl with a green, gooey paste. "go out. i'd call you back, okay?"

if chopped noticed the state zoro was in, he simply chose not to dwell on it. and if zoro had any residual doubts for what kind of a doctor chopper was, he didn't dwell on them either. he caressed your hand one last time and stepped out.

⋆.˚ ᡣ𐭩 .𖥔˚

the swordsman had been pacing around the deck. none of the members were back and it gnawed on his heart. what if they were hurt too? should he go back to see? but how could he leave chopper and you alone here? and what kind of a first mate was he if he cannot even save his own crew?

the world's greatest swordman be damned.

chopper stepped out and zoro looked at the doctor, frantic. chopper gave him a sigh and chased it with a smile, "she's okay."

zoro was not sure if it was the exhaustion, or the relief, or some other feeling his gut had concocted in him without asking. but he crashed down on his knees. his palms felt rough against his face and when he inhaled, he could smell dried blood on them.

"hey." chopper trotted towards him, keeping his paw on the green-haired man's shoulders, "she's okay, really. they missed any vital spots and she didn't lose a lot of blood. she will heal, okay?"

zoro couldn't do anything but just nod along. then, when he had the courage to look away from his hands. he looked at the doctor, finally muttering a faint "thank you."

the reindeer blushed at the compliment, "don't thank me. but you know, once she's better, you should tell her how you feel. this time maybe while she's conscious."

"chopper." the swordsman groaned.

the reindeer shrugged mechanically, "i won't tell anyone what i heard if you promise to take her out on that date."

after much deliberation— having to choose between humiliation at the hand of his crewmates when they discovered his crush or the humiliation from his crush when he finally confessed— he finally gave in. after all, humiliation from one was better than humiliation from seven. especially that fucking cook.

"fine." he grumbled, "i'd take her out."

⋆.˚ ᡣ𐭩 .𖥔˚

it had been two weeks since you were stabbed. well, you didn't talk to anyone about it, really. but when you drifted off into the wicked embrace of sleep, you would be plagued by the memories. and well, a confession.

it's not like you were pretending to be dead!! your body had simply given up. it was exhausted from the fighting and the not-dying. so, when you were laid on chopper's bed to be patched up, your body had gone slack. but just because your body had gone slack doesn't mean you weren't awake.

it had been two weeks and you hadn't told the green-haired asshole what you had heard. why? maybe cause you thought he would make the first move. or maybe because you weren't quite sure if he actually said those things or if you hallucinated it to dilute the pain.

eitherways, seemed like things between you and the mosshead were the same as they were before the incident. and you were really starting to consider the hallucination excuse. but then—

"hey." zoro quipped up as he came to stand beside you. it was cloudy today, the grey skies churning in anticipation of a storm. the winds were unkind and the sea was malevolent. beautiful nonetheless.

"oh hey." you turned and gave him a small smile. you shifted from one feet to another, pretending as if you weren't terrified of the route this conversation might take, "whats up?"

"uh—" he looked back for a spilt-second and you saw— from the corner of your eyes— chopper hidden behind a bunch of boxes, giving zoro his best death glare. zoro sighed, "so, uh, this is random, i think? but when we dock on the next island tomorrow morning. do like... do you want to go see some new sword-cleaning equipment with me?"

you shouldn't have laughed. but you did.

"what's funny?!" his eyes widened and his cheeks were dusted pink.

"no-nothing." you heaved, closing your eyes. "that's the best excuse you could come up with? sword cleaning equipment?"

"what do you mean 'excuse'? i need some equipment!"

"zoro." you forced open your eyes, your smile still frozen over your lips, "if you want to go out on a date with me, you should say that okay?"

his ears went red and he looked away. you were sure if the weather was quiet, you could hear his heart picking up the pace. clearing his throat, he finally asked, "who told you? chopper?"

"no, dummy." you reached your hand out, taking his calloused palm in yours. your thumb rubbed familiar patterns on his hand, "you did."

"me?" he snapped to look back at you, "me?"

you just gave him a grin, "this reminds me, i did promise you i'd try making sake flavoured mochi. i never did. but again, you said you'd ask frankie to make us fireworks and we're still firework-less. but hey, i forgive you if you forgive me okay?"

his head could have burst open from the sheer pressure on his brain but you continued, "but eitherways, what i really mean is that if you said i love you." you stepped a bit closer, "i'd say i love you too."

your hand let go of his and you chose to walk away, leaving him dumbfounded. when his senses came to him, he ran upto you, "YOU HEARD THAT ALL?!"

"all of it."

"ugh."

"heh, it was kinda cute."

"i thought you were dying, woman."

"in a way, we all already are."

"have you been hanging out with robin too much? god, kill me."

"god doesn't need to. you're already dying."

"i want to die faster."

you took his hand back in yours and pulled him towards yourself. pecking his cheek, you said, "no. we still have to go on that date. i mean, if you ever actually ask me."

the flustered mess that was rorononoa zoro just sighed. accepting his fate, he asked, "well, do you wanna go on that date or what?"

you snickered, "i'll think about it"

"do you live to annoy me?"

"maybe. but you love meee."

"i might change my mind after this."

but despite his words, his fingers stayed gently intertwined with yours. hey, maybe getting stabbed in the stomach wasn't all that bad? (jk, it was very very bad)

a/n: i love writing stoic men are flustered little guys lmaoo. hopefully y'all like this? i've been writing a lot of fluff/semi-angst lately. i wanna write some nsfw content but im so out of ideas. send reqs if you guys have anything in mind!!

[clementinegreye]

safer dreams

spencer reid x fem!bau!reader ||

summary: it's not easy to keep someone safe in your nightmares, something Spencer knows all too well.

word count: 2.3k

warnings: fluff || there was only one bed || brief talks of CM themes (nothing graphic)

Exhaling slowly and processing what she could see in front of her, she let out a small huff of frustration. Her feet ached and her back felt tense from the day. The team had pinned down their current Unsub’s geographical profile which had led them on a tense chase which, had it not been for Spencer’s quick trigger finger, might have ended with her meeting a bullet.

After such an intense case the team had decided to stay the night in a local motel and hit the runway early in the morning. Hotch had insisted, they all needed a night to rest and decompress before they had to go back and meet the paperwork waiting for them in Virginia.

All she wanted was to crawl into bed and rest her muscles. But of course, nothing ever happened that smoothly. There hadn’t been enough rooms for everyone at the motel, meaning everyone had to double up. It wasn’t something they hadn’t done before, and over the phone, the motel owner had promised the rooms all had twin beds.

The day had been exhausting, and now she realised after taking in the room in front of her that she had another problem to deal with.

Spencer let the door shut behind him as he came up behind her. Letting his go bag drop to the floor with a light thud. He flexed his fingers allowing the circulation to come back to where the straps of his bag had cut it off.

‘What’s wron… Oh,’ His own eyes caught the layout of the hotel room and landed on exactly what caused his co-worker’s reaction.

The room was small, the door to the bathroom tucked into the corner to the left of the entrance, there was no room for a desk or table but they’d squeezed in a small two-seater sofa. The burgundy plush carpet radiated the warm glow from the bedside lights and cast the room in a cosy ambience. But there was a problem, clearly just a miscommunication with the booking.

One bed.

‘I’ll go back to the front desk; I swear Hotch told me the motel owner told him earlier that there were twin beds for the team.’ He knew it was simply a case of human error. A case of mixed-up keys and booking information. It really wasn’t a big deal, so why did it feel like such a big deal?

‘Spence, we knew we already had to double up, and they had a no vacancies sign.’ She sighed, allowing her feet to travel across the carpet to the other side of the room. ‘It’s fine.’

‘Maybe they gave us the wrong room, I’m sure they can swap…’ His reasoning was futile, he didn’t need to be a genius to realise there was no negotiating with a no vacancies sign. It was almost like he was trying to talk himself down from a ledge, trying to make sense in his mind the panic he was feeling rising in his chest.

‘It’s almost 2 am. If it was a mistake, I’m sure the couple who have our twin beds are fast asleep.’ She had her back to him, facing the small sofa.

She dropped her own go bag on the blush cushion and stretched her arms above her head. The movement caused her shirt to rise just enough that a sliver of her back hit the light, showing two distinct dimples at the bottom of her spine. The image caught Spencer’s eye. It was an innocent move, but his gaze felt all too intimate. With the proximity of the four walls surrounding them, and the quietness of the room it caused an irregular beat in his heart that he was certain was audible and he snapped his eyes away. He swallowed thickly, glaring at the threadbare curtains shutting out the beams of moonlight.

‘We’re the FBI.’ He spoke almost factually as if the authority of the title could force the hotel to rouse a sleeping couple and get them to move rooms, simply for the convenience of guarding his own feelings.

‘Spence. It’s fine with me if it’s fine with you.’ Her voice was quiet, tiredness lacing its way into her speech. She rubbed a hand up her forearm absentmindedly, and if Spencer was in the right mind to focus on profiling her behaviour, he might have deduced that the action was caused by nerves.

‘If what’s fine?’ He stuttered, his brain not quite working to its usual capacity when he met her tired eyes. She raised an eyebrow, almost annoyed but not quite committed enough to it.

‘The bed. We can share for one night. It’s just one night.’ His eyes held a panicked glint. She wasn’t to know that the problem wasn’t that he was going to have to share a bed with her. The problem was he was worried she’d realise exactly how much he wanted to share a bed with her. His lack of response made her uneasy. Spencer Reid was very rarely lost for words. ‘If you’re uncomfortable I can sleep on the sofa.’

‘It’s tiny, and you almost got shot today…’ He stammered, suddenly regaining control of his runaway thoughts long enough to register the lengthy silence between them. She nodded, almost shyly, and his throat closed as he realised how she’d inferred his words. ‘I’m not uncomfortable, don’t sleep on the sofa. There’s no way I can let you sleep on the sofa. There’s enough room for both of us in the bed.’

There was a pause, a shift within the room as if the atmosphere had moved. A gentle smile crept across her face, and it managed to relax Spencer. The lamplight cast a golden haze across the room and her face looked angelic in the low lighting. A breathy sigh left her lips with the force of an almost chuckle.

They settled into their respective evening routines, turning off their lights in tandem before letting sleep wash over them as gently as the ocean. 

___

Spencer jolted awake after feeling a swift kick to his shin. Panic ripped through his body as his eyes scanned the moonlit room. He couldn’t see any imminent danger and his brain fought through the fog of post-sleep confusion. His senses kicked in and he instinctively reached a hand across the bed in search of her. She was shaking, sighs and almost gasps slipping through her lips at a barely audible volume.

He held his breath while he watched her movements waiting. Her shaking continued, a strangled mix of a moan and a yelp left her throat and her arm shot out searching for something. Spencer’s heart picked up its pace, his brows furrowed in concern. He considered reaching for the light but before his sleep-drenched body could she sobbed, a garbled, purely fearful ‘no’. 

She tossed side to side so violently Spencer thought she might throw herself from the bed. Without overthinking it he sat up and leaned over her. His body halted the thrashing movements and, in her sleep, she grabbed his bicep with wincing firmness.

He held her, with gentleness and enough security that she couldn't throw herself around. One hand went to her hip the other held himself up. Her eyes shot open, sparkling in the darkness with the wetness of un-spilled tears, a scream stuck in her throat, retreating when her eyes recognised Spencer’s soft gaze above her.

‘Hey... Hey, it’s okay. It was just a nightmare. You’re okay.’ He breathed, hovering above her, he moved his hand from her waist to rest it at the side of her head as if to hold her in place and stop her from injuring herself. Her hand gripped his bicep loosely, the thin material of his pyjama shirt soft between the pads of her fingers. Her breathing matched the rapid beat of her heart and Spencer - without thinking - lifted his hand from the pillow to stroke the side of her face.

It was meant to be comforting, to show her that she wasn’t alone. But the gesture, in the cool pooling light of the late hour, seemed entirely too intimate. He watched as her breathing began to slow and her fear slipped out as a quiet whimper, leaving her in the quiet safety of their shared room, their shared bed.

‘I’m here…’ Spencer whispered, his hand lightly tracing the shape of her face. He felt a strange tightness in his chest as he watched her slowly find her way back to reality, her grip on his arm lessening.

His gaze lingered on her face, taking in the softness of her features in the dim light. The silence was deafening, yet comforting, a shared moment of vulnerability and intimacy in the aftermath of her nightmare. "You're safe," he reassured her, his voice barely a whisper in the quiet room.

He could smell her perfume, it mingled with the dusty smell of the motel, sweet and undeniably her. He didn't know how long they stayed like that; the seconds ticked by with no accountability. The moment felt suspended in time, her eyes went from glassy to sparkling in the pale light and he felt her relax under him. He finally pulled away, his hand lingering in the space between them for a moment before he retreated to his side of the bed, the echo of her nightmare still lingering in the quiet room.

It was Spencer’s turn for his heart to hammer in his chest. Her breathing had steadied and she shifted, hand stretching out to find Spencer's in the empty space between them. The reigniting of contact made Spencer's breath hitch in his throat. He turned to face her, but the fear in her eyes was replaced with something else. He didn't have to be a profiler to know what that look meant. It was the same look that haunted his own reflections.

At that moment, under the soft glow of the moonlight spilling through the window, Spencer thought how pretty she looked. Silence spilt between them, she swallowed gently, blinking her eyes rapidly to quell any tears building. 

‘You kept me safe.’ Her voice came out as a whisper, a kind of admission with more behind it than just the nightmare.

Her words hung in the air, a quiet acknowledgement of the intimacy of the moment. He didn’t respond, because for once he didn’t know how to. He didn’t have a statistic or fact to explain how he felt at that moment. Instead, he squeezed her hand gently, a quiet acknowledgement.

‘Do you get them often?’ He whispered, genuine concern lacing through, the warmth seeping from his chest to his fingers where if he focused, he could feel her pulse. He wasn't sure if she'd even want to talk about it.

She paused, her gaze dropping to where their hands were intertwined. 'More often than I'd like.' Her voice was barely more than a whisper, a vulnerability seeping into her words that Spencer had never heard before. He realised just how close they were in that moment. So close he could see the exact shade of her eyes and the way her brow furrowed when she felt she was being too honest. She always seemed so confident, especially at work.

Being vulnerable was not a luxury many could afford in the BAU.

'And what about you, Spencer?' she asked, her gaze meeting his again. 'Do you ever have nightmares?' It was an unexpected question, one that caught him off guard.

'Sometimes,' he admitted, the truth slipping out before he could stop it. Her fingers lightly tightened around his as if bracing for impact. He squeezed his eyes shut, thinking of his night terrors.

‘What are they about?’ She breathed, in a hushed way that sounded like she was almost afraid to ask.

‘You.’ His answer was faster and breathier than enunciated. As if that might take away from the confessional impact.

‘You have nightmares about me?’ She took a genuine pause, letting go of his hand and sitting up slightly so she was resting on her elbows looking down at him. He scrunched the duvet up in his now empty palm, holding himself.

‘No! Not about you. I mean, yes about you. About losing you. Like today, I thought I was going to lose you today, and without you, it’d be unbearable. I don’t know what I’d do if I lost you like I do in my nightmares.’ His words were a whisper in the stillness of the night. Rambled at his usual speed as if the pace would disguise the weight of the feeling rising in his chest. It was panic, mixed with almost shame.

‘But you kept me safe.’ She stated, reaching out to unfurl his hand from the covers as if taking tension away from him like autumn takes the leaves from trees.

‘I don’t always manage to in my dreams.’ He sighed, looking up at her through his lashes. She was quite beautiful and in that second it scared him how much he cared.

"I guess we'll just have to keep each other safe, then," she murmured, a soft, genuine smile tugging at her lips. She rested a hand on his cheek and he instinctively leaned into her, as agreement settled over his features.

Spencer placed a hand atop hers as it stroked his face with more tenderness than he was sure he’d ever experienced. "I guess we will," he smiled a true and honest smile that happily made a home across his whole face. 

They fell into a comfortable silence, and she lay back down beside him, this time with no space separating them. Their hands fell to their sides, fingers instinctively finding each other and intertwining. The fear and tension of the nightmare had evaporated, leaving the quiet intimacy that the two had just shared.

Sleep began to reclaim them and they both felt safer next to each other just from the knowledge that they’d be there, ready to protect each other from whatever nightmares the future held.

[fairuzfan]

How history directly plays a part in the colonization of Palestine

"The modern claim that Joseph's Tomb is directly related to the biblical Joseph appears to have emerged as a result of claims by William Cooke Taylor in the 1830s. Cooke was an Irish journalist traveling in the area motivated by interest in biblical history but with no expertise in the field. Although in his writings he claims the site was believed be the tomb of the patriarch and that all the religions agreed as much, no other geographers who ventured into the area in the decades that followed reported anything of the sort. And it is unclear from his writings what local Palestinians, the people who were actually living in and around the shrine and worshipping there, believed about the shrine. British geographers subsequently took up Taylor's claim, however, and over the years it was forgotten that it had been more or less made up based on conjecture.

But the claims of biblical archaeologists had a strong role in how the Zionist movement would come to understand and conceive of the landscape.6 As European Jews migrated to Palestine in the first half of the twentieth century, they drew upon biblical archeology's claims. They adopted archeologists' claims that Palestinian holy sites were directly linked to ancient biblical figures. In many cases, they focused on occupying those sites in order to legitimize the colonial endeavor by giving it a sense of deeper history. In many cases, this would mean evicting the Palestinians who actually frequented these holy sites.

When Israel occupied the West Bank in 1967, religious Zionists began flocking to Joseph's Tomb. The tomb, which was previously open to pilgrims of all faiths, began to fall under exclusively Jewish control. As growing numbers of armed Jewish settlers were escorted to the tomb under military escort, the area became increasingly viewed with apprehension by Palestinians living around the site. In 1975, the Israeli military banned Palestinians – that is, the Samaritans, Muslims, and Christians living around the site – from visiting, a ban that has remained in place until this day. When I visited in summer 2015, the tomb was shut closed, but a sympathetic guard allowed me and a friend to look around, under his close watch.

Unsurprisingly, the ban has ignited intense anger over the years. This is true particularly given that frequent visits by Jewish settlers to the shrine are accompanied by hundreds of Israeli soldiers, who enter the area and run atop the rooftops of local Palestinians to “secure” the tomb. As a result, Joseph's Tomb has increasingly become associated with the Israeli military and settlement movement in the eyes of Palestinians. Its presence has become an excuse for frequent military incursions that provoke clashes and lead to arrests and many injuries in the neighborhood.7

Some fear that Israelis will attempt to take over the shrine to build an Israeli settlement around it. This fear is not unfounded, given the fact that Israeli settlers have done exactly that all across the West Bank in places they believe are connected in some way to Jewish biblical history. The notoriously violent Jewish settlements in Hebron, for example, were built there due to the location of the Tomb of the Patriarchs in that southern West Bank town. Following the initial years of settlement, settlers even managed to convince Israeli authorities to physically divide the shrine – which is holy to local Palestinians – and turn the whole area into a heavily-militarized complex. Other shrines have become excuses for the Israeli military to build army bases inside Palestinian towns, like Rachel's Tomb in Bethlehem – which is surrounded by twenty-foot high concrete walls on three sides to block Palestinian access. The village of Nabi Samwel near Jerusalem, meanwhile, was demolished in its entirety to provide Jewish settlers access to the tomb at its heart."

—Excerpt from Why Do Palestinians Burn Jewish Holy Sites? The Fraught History of Joseph's Tomb by Alex Shams