#the women's exponent

[heathersdesk]

"Women Lovers"

Perhaps you do not know it, but there are women who fall in love with each other. Woe be to the unfortunate she, who does the courting! All the cussedness of ingenuity peculiar to the sex is employed by "the other party" in tormenting her. She will flirt with women by the score who are brighter and handsomer than her victim. She will call on them oftener. She will praise their best bonnets and go into ecstasies over their dresses. She will write them more pink notes, and wear their "tin types," and when despair has culminated, and sore-hearted Araminta takes to her bed in consequence, then only will this conquering "she" step off her pedestal to pick up her dead and wounded. But then, women must keep their hand in. Practice makes perfect. FANNY FERN

Published in The Women's Exponent, 15 April 1873

[lebensmudewing]

Why "male loneliness epidemic" is a male supremacy psyop

I said in a former post that the "male loneliness epidemic" is not real and is a male supremacy psyop, and I want to explain more broadly why it is.

Manosphere

If you don't know about it yet, there is a thing called "Manosphere", a name that stands for a group of communities created by men and oriented towards men. Manosphere is composed by incels, redpill, blackpill, MGTOW and MRA ideologies.

Incels are "involuntarily celibates", men who want to date but can't do it. The term was created by a woman called Alana (invcel) and mostly refered to people who felt isolated and incapable of forming romantic relationships or trapped on a dying relationship.

Redpill stems from the Matrix scene where Neo has to choose between the redpill and the bluepill, being the redpill the one who will awaken him. The whole ideology started to take its form in pick up artistry forums such as SoSuave, and states that in order to mate and get laid a lot you have to become a "high value male", while also understand "female nature". The original big three exponents of these ideology were Rollo Tomassi, Chateau Heartiste and Roosh V, but nowadays only Rollo remains moderately relevant.

Blackpill is the most pessimistic and nihilistic version of the redpill, it is tied to incels but is not exclusive of them. It focuses on biological determinism, and states that the most important thing on mating is looks.

MGTOW started as an independent community, with a first manifesto written in 2001 in a male forum. In the manifesto they advocated in favor of a society with enforced gender roles and a smaller state. But nowadays they are connected to redpill and blackpill. It is mostly overlooked, but in spanish communities there are also two other manifests, MGTOW 2.0 and MGTOW 3.0. I don't know if there is a fourth one, but both help to understand the transition MGTOW has made over the years and how manosphere ideologies have been adopted by this group.

MRA stands for Men's rights activism, also called Men's rights Movement (MRM). The father of the movement is Ernst Belfort, who wrote against women's rights and the "legal subjection" of men, in response to feminists and John Stuart Mill. Nowadays is also tied with redpill, given that prominent figures of the movement promote or believe in redpill ideology, such as Paul Elam or Karen Straughan.

In 2014, Cassie Jaye who was allegedly a feminist by that time, did a documentary on MRA called "The Redpill". It's not clear why she called it that way, but it is suspected that it was with the purpose of dragging more people on the redpill. It is also said that she received money from Theredpill subreddit. The documentary was international, since it reached both english and spanish audiences (I don't know much about other languages/countries). It exposes a lot of problems men face, such as dying in war, losing custodies and domestic violence, but never explains what MRAs do to help those men.

That term

Once you become familiar with all these communities, you start to see how they are all the same. They share the same stats, the same studies, the same terms, the same narratives. The only thing that changes is the label, if the members can or not to have sex with women, if the members want or not to have sex with women, and if the members "care" or not about society.

One of the core terms that is transversal to almost all communities is "Hypergamy". (The central one on MRA is Gynocentrism). And is a tricky one.

Men on these communities are used to gaslight and belittle external people, but also they bully each other constantly. In spanish, for example, MGTOW ones used to dedicate each other long livestreams and called each other cucks, betas, manginas, etc. One point of discussion and "artistry" on the manosphere is hypergamy. It has inspired long videos, livestreams, books, blogspots and debate among its members. Entire communities have been divided over this concept, and others have been created.

In their videos and "private" spaces they call any woman hypergamous. MacKenzie Scott divorced Jeff Bezos, and she was called hypergamous by these people, arguing that she planned it all and ignoring that she divorced because Jeff cheated on her. Women who date men who are more attractive than them are hypergamous, women who date men who are less atractive than them but have money are hypergamous, women who date men with less education than them are hypergamous. Women who rate men "below average" (another male bullshit story) are hypergamous.

Women's nature is hypergamous and male nature is not, even if men also leave their geriatric wives for 20 year old women, even if men also cheat with a more attractive mistress, even if men marry more educated women, even if men marry women with more money. They are not hypergamous, they are polygamous, but also don't mind to settle with a woman given that "women choose" and men barely have any chance with women.

Are you getting it, right? Anything a woman do is hypergamy. Except when you call them out and tell them it's all fake. Then, they come with studies on hypergamy. "How can you say that women are not hypergamous if this study say that they 'marry up'?". Suddenly the term only applies to marriage.

Here's the deal. Hypergamy is a term used by social scientists that is related to marriage and the act of marrying up in social class, annual income or status. Since superior education in the west is a high sign of status (repeated two times in a list of status signals among men and women across 14 countries), studies on the subject account for income and degrees.

The research found that women are married to men who earn more than them, but don't have more education than them, so men are "marrying up" in status. Such trend has no substantially changed among decades. Nevertheless, it is recognized that it doesn't translate on men being the breadwinners, given that most marriages are dual income.

But it's enough to them, even when the second they provide those studies they make it clear they are being dishonest. The seeds have been planted; women are choosing only the rich ones to marry, leaving poorer men single. The one who is debating them and the ones watching the exchange, only have to start to believe that female hypergamy is rising, being amplified by technology and being extended to other aspects of relationships.

The Lie

The manosphere term is not the one that social scientists use. It is whimsical and doesn't have sense...on the surface. The magic is on repeating that women are hypergamous, that they will choose all the time only a few men and let the rest sexless, single or childless, that sexual revolution and women's freedom of choice is a disaster and contrary to civilization. If the lie is repeated enough times, people will start to believe it.

And well, it worked. It worked so well that feminists, instead of checking the data, see the male strategy and debunk the nonsense, decided to repeat the same lie. Women are choosing better, women are making men single and sexless! Pussy Power! There is literally a book on this.

White supremacists also adopted the term, and the manosphere also adopted white supremacists perspective; they quote the work of Roger Devlin, Sexual Utopia in Power from time to time.

Normal people also believe in it. They say that there is a male sexlessness crisis, singleness crisis, marriage crisis, birthrate crisis. And women are the problem, they should lower their crazy standards, they should stop being delusional.

Women are rating 80% of men below average! They are delusional! Their simps make them believe they are 10/10!

It's extremely easy to fall in the rabbit hole. They start hearing about a disbalance on the distribution of sex, or dating, or in dating apps matches. They start hearing about a singleness crisis among men, and they have already accepted that such disbalance, such crisis is a modern thing, because no one seemed to talk about it in the past. (right?)

They hear about male loneliness and mental health issues, and they understand that the disbalance is a bad thing. So they are one step away from start believing that mating is a process that should be regulated and controlled by the state, religion or cultural norms. Like, one click away from watching Jordan Peterson saying exactly that.

The manosphere have been repeating this idea for more than 10 years. At least one decade feminists had to stop this shitshow and they didn't, which is surprising given that the whole thing is perfectly summarized in the white supremacist essay I linked above.

The ones who spread and believe in this idea don't care about the data, they want the narrative, and it can be used to promote diverse agendas. So, instead of debunking and calling out, they prefered to use the narrative for the feminist cause and they are now losing. Women are losing. Women lost.

The truth

While the General Social Survey graph from 2018 is made viral again and again on social media, the same survey on more recent years is completely ignored.

The most repeated bunk of the last couple years.

Reality is that in both 2021 and 2022, the sexless in those years where below the 20%, which is consistent with former years. Most men and women were having sex. In 2021, women even reported being slightly more sexless than men.

The survey also included a variable to measure people who were sexless for the last 5 years. Less than 10% of men and women reported being sexless.

It is also repeated constantly that there are more single men than women, and it is suggested that it is because women are part of soft harems with High Value Males. This idea has been repeated so many times that even researchers have adopted it.

But the truth is that this disparity has been a thing for decades, even a century.

Before the sexual revolution, when everyone was married (right?) there was also a disparity between single men and single women. The key here is that the disparity exists between young people, and the most near explanation is age gap relationships. But also, nowadays people report less interest in having a relationship.

I't curious how the "women and men are different" crowd swear that single women are looking for casual dates with "high value males" when it has been proven over and over than men have a higher sexual drive.

Dating apps don't seem to aggravate any human mating tendency, hook up culture has remained the same since the 80's. Here's a deep dive on dating apps and dating.

Academic naiveté(?

Manosphere gives a final push for the hypergamy narrative by quoting the experts on the matter. And somehow, researchers don't have a problem with it.

It has been said that there is or will be a mating crisis among educated women, because there will be a shortage of high income husbands. They say "women don't marry because there are not enough economically attractive men". And with "don't marry" they understand "remain single and childless".

Such crisis doesn't exist. Marriages between college educated people are the longest ones, even there are less widows and divorces. Educated women are more likely to be married than the opposite.

Their focus is on marriage, and I don't know why. They willfully ignore that between 40% and 60% of children are born outside of marriage in most European countries and how american women see children as a need and marriage as a luxury.

In the US, the poor are cohabitating and having children together, but they can't afford to marry or are afraid to marry and divorce just a couple of years later. Women are mating and having children with men that barely can pay bills, but they keep pushing for the "women are too picky" narrative.

The real crisis is happening among classes, the poor are poorer and the rich are richer. They are sharing their assests with each other and forming strong families while the poor live paycheck to paycheck.

Ironically, equality and women's choice have achieved what these men are apparently longing for. The secretary marrying her boss or the nurse marrying the surgeon is becoming a thing of the past. The doctor is marrying other doctor, the boss is marrying a woman with a Phd. Notice how rich men are not dating down, even when rich they marry rich women, not the cashier 20 years younger than them.

To counteract this they quote Leonardo Dicaprio and his creepy behavior, without noticing that the man is not marrying or having children with those women. While even richer men are married and with kids with women at their level.

The future

It's clear to me that the agenda is settled, and they will do anything that can reinforce it. They won't be able to use sexlessness or singleness gap as a thing, so they have created a new term: "dysphoric singlehood". And they will start measuring it soon.

The stats, the terms, the memes will change. But the core will remain the same; "women will destroy civilization" at worst and "women's nature cause pain to men -and only men- and it should be controlled or put in check" at best. And there are and there will be groups who will propose tight control over women as a solution.

Conclusion

It is important to understand that evolution doesn't allow everyone to reproduce. It's nothing new that some men and women didn't pass their genes, this was a thing in the past and will always be.

The influence of women on reproduction is discussed, but given that even in cultures with arranged marriages the future wife has a word on it and mothers, who are also women, have also a said in who the husband should be, I highly doubt that there was a long period of time in human history where women had no choice at all. But even if that scenario is true, the whole genetic side of mating still plays a role on it; female bodies reject embryos who are not fit or genetically compatible with them.

Mating, having sex and therefore, reproducing is not a right. The whole point of evolution is that only fit subjects can make it, and the few remaining ones are left behind. This process is not being blow up by technology or women having more freedom.

The most important lesson about data on human relationships, is to be careful with the word "single", because most of the time it is about unmarried people. There is a default focus on married people and anyone who is not married is put in the "single" cage and overlooked. The second lesson here is to not believe a great narrative that relies on only one source or one result obtained in only one given year.

Finally, I think this whole deal exposes feminism as a fraud. They are not rooting for women. Women have been terrorized and killed by men who genuinely believe that there is a crisis caused by women. Instead of thinking on this, they chose to integrate the same narrative for ideological purposes and give women a false sense of power and victory over men.

[charlott2n]

If you two women repeatedly forcefem eachother, does the femming multiply or exponate?

it actually decreases as they both approach the asymptote!

[mikasa-imadebiscults]

MHA Characters as Me & My Friends Conversations

Part 6..

.

.

Denki: If there’s no AC and it’s really hot all you have to do is turn on the oven and open it and all the heat will go into the oven.

Kirishima: Wait. Actually that might work.

Denki: Apparently it’s PEMDAS and it’s gonna cancel.

Kirishima: PEMDAS? YOU MEAN AS “PARENTHESES EXPONENTS MULTIPLICATION DIVISION ADDITION SUBTRACTION”?

Denki: YEAH IT’S GONNA CANCEL THE HEAT.

Kirishima: HOW?! HOW IS MATH INVOLVED?!

Denki: OK LISTEN. YOU GO IN THE OVEN, OPEN IT, TURN IT ON AND ALL THE HEAT WILL GO INTO THE OVEN. PEMDAS. BOOM THE HEAT IS CANCELED.

- - - - - -

Denki: I would be a medic and patch up some hot military women.

Mina: I’d be in the front screaming “MOVE MOVE MOVE I GOT A NAIL APPOINTMENT AFTER THIS BATTLE WE GOTTA HUSTLE PEOPLE.”

[proudhinduforever]

Sanatani Saints

Part 3

Shri Samartha Ramdas

We will look into the life of Shri Samartha Ramdas who was a prominent Sanatani saint, poet, and spiritual leader in Maharashtra.

Early Life and Renunciation:

Shri Ramdas or previously Narayan was born into a Marathi Deshastha Rigvedi Brahmin family to Suryajipant and Ranubai Thosar. His father was thought to have been a devotee of the Vedic deity, Surya. Ramdas had an elder brother named Gangadhar. His father died when Narayan was only seven years of age. He turned into a sadhaka after the demise of his father and would often be noticed to be engrossed in thoughts about the divine.

As per legend, Narayan fled his wedding ceremony in Asangao near Jamb, at age 12, upon hearing a pandit (Hindu priest) chant the word 'Saawadhaana!' (Beware!) during a customary Hindu wedding ritual. He is believed to have walked over 200 km along the banks of Godavari river to Panchavati, a Hindu pilgrimage town near Nashik. He later moved to Taakli near Nashik at the confluence of Godavari and Nandini river. At Taakli, he spent the next twelve years as an ascetic in complete devotion to Rama. During this period, he adhered to a rigorous daily routine and devoted most of his time to meditation, worship and exercise. As per legend, he once blessed a widow lady of a long married life, without knowing that her husband has just died. It is said that he was able to give life back to the dead body of her husband and this act of miracle made him very famous in Nashik. He is thought to have attained enlightenment at the age of 24. He adopted the name Ramdas around this period. He later had an idol of Hanuman made from cowdung installed at Taakli.

His contribution to Freedom movement and literary works:

Unlike the saints subscribing to Warkari tradition, Ramdas is not considered to embrace pacifism. His writings include strong expressions encouraging militant means to counter the barbaric Islamic invaders. He endorsed significance of physical strength and knowledge towards individual development. He expressed his admiration for warriors and highlighted their role in safeguarding the society. He was of the opinion that saints must not withdraw from society but instead actively engage towards social and moral transformation. He aimed to resuscitate the Hindu culture after its disintegration over several centuries owing to consistent foreign occupation. He also called for unity among the Marathas to preserve and promote the local culture. Samartha Ramdas Swami served an inspiration for a number of Indian thinkers, historians and social reformers such as Bal Gangadhar Tilak, Keshav Hedgewar, Vishwanath Rajwade ,Ramchandra Ranade, and Vinayak Damodar Savarkar. Tilak derived inspiration from Ramdas when devising aggressive strategies to counter the British colonial rule. Ramdas had a profound influence on Keshav Hedgewar, the founder of Hindu nationalist organization Rashtriya Swayamsevak Sangh. He is also recognized for his role as a Guru to the Maratha king Shivaji Maharaj, inspiring him with principles of governance, spirituality, and valor.

Below are some of his notable literary works:

Manache Shlok (co-written by Kalyan Swami)

Dasbodh

Shree Maruti Stotra

Aatmaaram

11-Laghu Kavita

Shadripu Nirupan

Maan Panchak

Chaturthmaan

Raamayan (Marathi-Teeka)

His Teachings:

Ramdas was an exponent of Bhakti Yoga or the path of devotion. According to him, total devotion to Rama brings about spiritual evolution. His definition of "Bhakti" was in accordance with the philosophy of Advait Vedant. In Chapter 4 of his literary work Dasbodh, he describes Nice levels of devotion / communion - starting from listening / comprehending (श्रवण) to Surrender of oneself or being One with Self (आत्मनिवेदन) - the later being the core tenet of Advait Vedant - where the sense of separate "I" dissolves into non-duality. He encouraged the participation of women in religious work and offered them positions of authority.

Ramdas Swami is a revered spiritual figure in Maharashtra and remains relevant to contemporary society in Maharashtra.

🙏🙏 jai jai Raghuveera Samartha 🙏🙏

[haggishlyhagging]

Socialist feminists generally say that there was an original harmony between women and men. Only with the knowledge of paternity, the growth of private property, and the urge to pass it on to their sons did men become oppressive. Many of their writings even imply that women were not so greatly oppressed until industrial capitalism moved much production out of the home.

Elizabeth Fisher, the late author of Woman's Creation, is a strong exponent of the original harmony thesis.

...Humanity, being based on co-operation, has its origins in primitive egalitarianism and... this egalitarianism may even apply to the sexes... The earliest humans shared tasks... Dominance is inherent neither in the animal world nor in humanity.

Dominance, after all, is a laboratory concept. It simply means that when a piece of food is thrown before two animals, one of them often defers to the other...

Fisher says the men in the family did not become oppressive until the state was created and became a model for oppression. Fisher sees the patriarchal family as the authoritarian state in microcosm rather than its model. The state developed in Sumer around 6,000 years ago.

The authoritarian state was the model from which individual fathers derived power.

Integral to the success of the first organized bureaucracies was the distortion of human sexuality into actual and symbolic production, the repression of female sexuality, and the linkage of war and sex for men. With the worship of material accumulation, people were reified to be used as tools and frequently were treated as possessions themselves.

Fisher suggests that even rape was not practiced until after men became herdsmen. She says introducing forced coitus in animal breeding may have given men the idea of rape. She ignores anthropological studies describing rape in hunter/ gatherer societies, such as those cited in works like Gayle Rubin's article, "The Traffic in Women."

Fisher suggests that worshipping fertility did not mean worshipping women, but was anti-woman.

Fertility worship led to the forced breeding of women; more important, it signified the perversion of sex from pleasure to procreation.

Fisher does not believe that women and men are inherently different. She suggests that any sex hormones can increase the amount of aggression in an animal or person.

What is clear is that sex is energizing, be it testosterone or estrogen. When that energy finds no outlet, it gets displaced into irritability and, on occasion and in some species, into fighting behavior.

She adds,

We are told that ingesting testosterone makes a female more aggressive; we are not told that ingesting estrogen is also likely to make her more aggressive.

-Carol Anne Douglas, Love and Politics: Radical Feminist and Lesbian Theories

[mybeingthere]

Ningura Napurrula was a young woman in her mid-twenties when she took her first journey out of the Gibson Desert in 1962 to Papunya with the Northern Territory Welfare Branch patrol. After their son received medical treatment at Papunya, Napurrula and her husband Yala Yala Gibbs Tjungurrayi were transported by another patrol back to their own country, close to the present day site of Kiwirrkura. The following year, Napurrula and Tjungurrayi walked back to Papunya with their whole family group as part of a general migration of Pintupi people from their country.

Yala Yala Gibbs Tjungurrayi became one of the founders of Papunya Tula Artists in the early 1970s, and one of the exponents of the classic Tingari painting style that dominated Pintupi men’s painting until the early 1990s. In the 1980s, the family moved back to the newly established Pintupi township of Walungurru (Kintore), then to Muntarti outstation in Western Australia, before returning to Walungurru. Here, Napurrula and Tjungurrayi’s other two wives began assisting Tjungurrayi in infilling the backgrounds of his canvases with the meticulous, precisely placed dots that characterised the Tingari style.

Napurrula first painted in her own right in 1995, in the second year of the Haasts Bluff/Kintore women’s painting project. Following Tjungurrayi’s death in 1998, her painting activity increased dramatically. Her bold, intricate linework and dense monochrome infilling – as seen in Untitled (Wirrulnga), 2000 – are reminiscent of Tjungurrayi’s earliest works. Wirrulnga is an important women’s rockhole site east of Kiwirrkura. Napurrula’s work is strongly charged with the seriousness of women’s business, echoed in the distinctive paintings of fellow Papunya Tula Artists, Makinti Napanangka and Inyuwa Nampitjinpa. Napurrula and Tjungurrayi’s sons, Morris Gibson Tjapaltjarri (Mawitji) and Adam Gibbs Tjapaltjarri, now carry on their mother’s and father’s work in their own paintings.

Vivien Johnson in 'Tradition today: Indigenous art in Australia’, Art Gallery of New South Wales, Sydney, 2014

[sincericida]

About this grifter witch. Let’s not insult trans people by comparing her to them when there are so many legitimate reasons to drag this woman for reasons she actually deserves.

1. She spouts ‘feminism’ ideals and says terrible things online about a strong and powerful feminist (Taylor Swift). What a hypocrite.

2. She is clearly a wack a do con artist with a poorly written website that only a sycophant would believe. I’m sorry, but cons like this SHOULD be outed for the miscreants they are to prevent them from continuing to prey on the weak.

3. She sells ‘magic talismans’ online for an exorbitant cost and I’m sure if we were motivated we could find the same charms she uses on Amazon for $5 a piece. I don’t even WANT to know where or how she claims to ‘bless’ them, but I’m sure they smell fishy afterward. Kendra Scott, she is NOT.

4. What about the absolute tantrums she has online when someone calls her out on her BS? Deep down, she knows she’s a con and her attitude is downright HILARIOUS. Now that she is getting her 15 minutes and it’s not as magical as she probably thought she manifested, this is objectively funny.

5. If she really is separating Andrew from his close friends and family… well abusers should NEVER be tolerated or put on a pedestal.

Honestly, I don’t care who Andrew Garfield (or any celebrity) dates. But this poor man is a lost soul and I truly feel sad for him.

Let's go

That's it anon, no one should be using trans people as a joke or insult in this situation and in no other. As for the nature of the luxury witch and its questionable business activities, the more I see, the more I scare. Incidentally, about these questionable commercial activities involving "magic", I think that hardly is not happening cultural appropriation in this.

I don’t think Taylor Swift is a great feminist exponent. But once you call yourself a feminist - as the grifter calls herself, you shouldn’t go around attacking women online for no reason, whether they’re feminist icons or not.

Yes, the tantrums in the videos are a symptom that the 15 minutes of fame she’s gotten aren’t coming out as she imagined, Since she’s relating to someone famous and very dear, and that would theoretically make her life easier and maybe she was sure that fame and popularity would come in that situation. I also realized that there’s no way she wants to be questioned.

To provoke a person’s separation from his loved ones and friends of many years, is a very, very bad symptom.

As I have said in other answers to questions on this subject, I hope that at some point he will be able to see the situation objectively and jump out of this pierced canoe. We can do nothing but wish the best for him. For the rest, time is the lord of all things.

[eldritchamy]

Once we're done with Affini, we will transform them into companion species, just a speck in a interstellar ecosystem. We will provide you with a detox from their poisons. Then we will provide you with a choice - if you truly wish you can settle with them at Hylan-7, though note you'll be unable to leave the planet, because a rogue species like Affini will need 4 generations of deprogramming before we return them spacefaring abilities. Or if you wish to retrieve what's been lost to humanity you'll be able to do so with our help.

Best wishes, the day of liberation is near

The Benevolent Elephant Trunk Metastasis (The Hivemind)

I have no idea what this is from, but the thought of putting the entire Affini Compact on a single planet is hilarious.

The Affini are functionally immortal. They've existed as a spacefaring civilization for about 100,000 years by the time they reach Terran Accord space in roughly 2549, and conquered 16 entire galaxies.

And they're kind of like Time Lords, every 2-300 years they "rebloom" to eliminate all damage to their physical and mental health and just keep going with the same personality and memories. Barring injuries so severe they can't start the reblooming process in time, Affini just never die. Their population ONLY grows, forever.

The total population of the Affini Compact would have to be measured with exponents in the dozens. They have ships the size of cities and countries, and their SHIPS probably number in the Quintillions by the time they reach Terra.

I haven't come across a fic that mentioned it yet, but according to the HDG wiki an individual affini can theoretically be the size of an entire planet all by themselves, though they usually hover somewhere around twice the height of humans and quite a lot bigger by overall mass.

You can't put the entire Affini species on a planet. You couldn't put the entire Affini species on the surface of a STAR. You couldn't fit the entire biomass of the Affini species inside the VOLUME of the largest known star in the universe.

The scale of the Compact is unspeakably large. They've met hundreds of thousands, if not millions of other intelligent species.

And they've never lost.

They've never come CLOSE to losing.

That's part of the appeal for the fantasy of them. They are very overpowered in-universe, by design. But they are fundamentally a compassionate species.

They see other intelligent beings suffering under oppressive systems or violence or scarcity or war, and they go "we can fix that. we WANT to fix that. please let us fix that. we just want to help you become the best version of yourselves, free from cruelty, so you can thrive as you were meant to. if you don't let us fix it, we're going to fix it anyway, and domesticate your species for its own good, until you understand that you're SAFE now."

And given the intended audience of HDG (queer autistic trans women suffering under capitalist hell and the constant threat of violence while desperately wanting to be loved for our authentic selves), I'm sure you can imagine why a setting whose basic premise is "the one absolute inevitability, the thing that no one will ever stop, is a future where you are safe and loved and happy" caught on like it has.

It feels nice to fantasize about a world where inevitability is coming to protect you, not to hurt you.

Plus the stories are just SO GOOD. So much creativity in the HDG community.

[ifspringwaseternal]

La Mort Parfumee/The Perfumed Death (1921)

by Margaret MacDonald Mackintosh

𓆸 watercolour

𓆸 one of Margaret MacDonald Mackintosh's last works

𓆸 influenced by Egyptian art and burial rituals

𓆸 characterised by abstraction of composition

𓆸 characterised by mannerist representation of the human form

𓆸 harmoniously combines sinuous and straight lines

𓆸 large dark areas are balanced by greys and pastel shades, giving the painting a delicate yet bold appearance

𓆸 the painting has a dreamlike quality to it; death is not depicted as completely terrifying, but rather akin to a slow descent into sleep or as a resignation, somewhat alluring, though not devoid of gloom

❉ Margaret MacDonald Mackintosh was a leading exponent of the "Glasgow style", the Scottish manifestation of Art Nouveau¹

❉ She worked in collaboration with Frances MacDonald McNair (her sister), Charles Rennie Mankintosh (her husband) and James Herbert McNair (her brother-in-law). They were known as "The Four".

❉ Part of the "Glasgow Girls"²

❉ Her mediums of choice were watercolours, beaten metal, textiles and gesso³

❉ Her work is stylised and decorative

❉ She did not use sketchbooks very often, which probably means that her art is made from imagination rather than from direct observation

❉ Some of her influences are folklore, poetry, the Bible, symbolism, Celtic myths and the work of Aubrey Beardsley

❉ Though overshadowed by her husband, her art is no less innovative and remarkable

¹Art Nouveau is a period of Art History between 1890 and 1914 which tried to bridge the gap between the fine arts and the decorative arts. It was influenced by William Morris's Arts and Crafts Movement and is connected to the scientific advancements of the era and to the bourgeois desire for modernisation.

²The "Glasgow Girls" were a group of young women artists and designers active during late XIXth and early XXth centuries. Though they pursued diferrent styles, these women were connected by their shared experiences and by the support they gave one another.

³Gesso = Gesso, pronounced 'jesso', was traditionally used to prepare or prime a surface so Oil paint would adhere to it. Gesso is the same as a primer, as in 'pre-primed canvas'. It is made from a combination of paint pigment, chalk and binder.

Sources

https://www.mackintosh-architecture.gla.ac.uk/catalogue/name/?nid=MMM

https://www.willowtearoomstrust.org/margaret-macdonald-mackintosh-life

http://museu.ms/collection/object/151316/la-mort-parfumee-1921?pUnitId=6677

https://www.nationalgalleries.org/art-and-artists/glossary-terms/glasgow-girls

https://willkempartschool.com/how-to-prime-a-canvas-with-gesso-for-an-acrylic-painting/

Dark/Masculine—Light/Feminine: How Charles Rennie Mackintosh and Margaret MacDonald Changed Glasgow School of Art, María Teresa González Mínguez

Image source - Wikipedia

[watching-pictures-move]

Movie Review | Lady Frankenstein (Luppi & Welles, 1971)

Lady Frankenstein is the horrifying tale of what happens when women go into STEM. Okay, that was terrible. Please don't hit unfollow. Anyway, as this is a Frankenstein movie, you get all the requisite Frankensteinian fun. You have Dr. Frankenstein, played by Joseph Cotten, not phoning it in, who insists that this peers will stop doubting his sanity once he reveals his experiments on bodies stolen by graverobbers. The big experiment scene is full of the stuff you expect, like bubbling liquids, electric sparks, wires, all sorts of fancy glass laboratory accoutrements, and coloured lighting for dramatic effect. During this experiment, the monster's face ends up catching on fire, so there's no fucking way I'm ever going to Dr. Frankenstein for surgery.

The monster ends up breaking free and rampaging through the countryside, so Frankenstein's daughter, the titular Lady Frankenstein, comes up with the absolutely foolproof plan of creating another monster to kill it, which in no way will result in two monsters breaking free and rampaging through the countryside, at which point she'll need to make two more monsters to kill the first two, and then four more to kill those, and then eight more, and on and on until you can use this as a math lesson about exponents. Anyway, how much of that happens I won't reveal, but her plan involves a very questionably portrayed mentally challenged man who spends a good amount of his screentime hugging a sheep, as well as Jess Franco regular Paul Muller.

Anyway, I had fun with this. Italian horror is something of a comfort food for me, and gothic horror is a reliably cozy strain, so I was inclined to like this anyway, but this delivers enough of what you'd want out of those things. I will say that this suffers from the monster being kind of lame. It's a bald guy with a big head (one of the posters makes him look like Peter Boyle, which isn't entirely accurate but not too far off either), who the movie frequently opts to shoot from a higher angle so as to make him look unimposing. And he kills people mostly by hugging or pushing them, so the deaths are rarely as fun as you'd hope. But I watched this primarily for Rosalba Neri as Lady Frankenstein, who does a lot of eye widening to accentuate her sociopathy and can be seen in an assortment of period appropriate costumes ranging from flowy robes and dresses to a labcoat for when she enacts her plan that involves a number of monsters that I wouldn't dream of disclosing and certainly am not creating ambiguity about for the purpose of the very stupid joke.

[yaellaharpe-blog]

LAS VENUS DEL HAMBRE

THE VENUSES OF HUNGER

(English / Español)

In stone, mammoth ivory, bone or even terracotta, the so-called "Venuses" populated Europe and Asia during the last glaciations. They are undoubtedly the most famous category of Palaeolithic artefacts. Artistic representation of an ideal of beauty? Fertility cult? Amulets? Portraits or even self-portraits? Toys? Many interpretations have been ventured, including some that we are not going to point out because we are in children's time. But the University of Colorado has put a new hypothesis on the table suggesting that the motivation of the artists was much more urgent and dramatic.

For Dr Richard Johnson and his team, so far no approach has assessed the relationship of figurines of obese women to the climatic and environmental changes that were taking place more than 30,000 years ago. Johnson argues that the time period associated with the Upper Palaeolithic figurines correlates with advancing glaciers and falling temperatures. In other words, hunger, nutritional stress and starvation. And he has found that figurines show greater obesity during the time of glacial advance and less during glacial retreat, and the figurines of women closest to the glaciers show the greatest obesity. For Johnson, in a scenario of scarcity, obesity became an ideal to be achieved. They understood that an obese woman was able to maintain a pregnancy to the end and breastfeed the baby without problems. In contrast, thinner or starving women lost their pregnancies, perished in childbirth or were unable to feed their babies properly. In short, this new hypothesis turns the Venus into a symbol of survival.

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En piedra, marfil de mamut, hueso o incluso en barro cocido, las llamadas "Venus" poblaban Europa y Asia durante las últimas glaciaciones. Son sin duda la categoría de arte mobiliar más famosa del Paleolítico. ¿Representación artística de un ideal de belleza? ¿Culto a la fertilidad? ¿Amuletos? ¿Retratos o, incluso autorretratos? ¿Juguetes? Muchas interpretaciones se han aventurado, incluso alguna que no vamos a señalar por encontrarnos en horario infantil. Pero la Universidad de Colorado ha puesto sobre la mesa una nueva hipótesis sugiriendo que la motivación de los artistas o las artistas era mucho más urgente y dramática. Y es que para el Dr. Richard Johnson y su equipo, hasta ahora ningún enfoque ha evaluado la relación de las figurillas de mujeres con obesidad con los cambios climáticos y ambientales que se estaban produciendo hace más de 30.000 años. Expone Johnson que el período de tiempo asociado con las figurillas del Paleolítico superior se correlaciona con el avance de los glaciares y la caída de las temperaturas. Es decir, con el hambre, el estrés nutricional y la inanición.Pero la Universidad de Colorado ha puesto sobre la mesa una nueva hipótesis sugiriendo que la motivación de los artistas o las artistas era mucho más urgente y dramática. Y es que para el Dr. Richard Johnson y su equipo, hasta ahora ningún enfoque ha evaluado la relación de las figurillas de mujeres con obesidad con los cambios climáticos y ambientales que se estaban produciendo hace más de 30.000 años. Expone Johnson que el período de tiempo asociado con las figurillas del Paleolítico superior se correlaciona con el avance de los glaciares y la caída de las temperaturas. Es decir, con el hambre, el estrés nutricional y la inanición. Y ha descubierto que las figurillas muestran mayor obesidad durante el tiempo de avance del glaciar y menos durante el retroceso del glaciar, y las figurillas de mujeres más cercanas a los glaciares presentan la mayor obesidad. Para Johnson, en un escenario de escasez la obesidad se convirtió en un ideal a alcanzar. Entendían que una mujer obesa era capaz de mantener un embarazo hasta el final y de amamantar al bebé sin problemas. Por el contrario, las mujeres más delgadas o castigadas por el hambre perdían sus embarazos, perecían en el parto o no podían alimentar correctamente a sus bebés. En definitiva, esta nueva hipótesis convierte a las Venus en símbolos de supervivencia.

Fuente: ArqueoEduca

[abwwia]

#PalianShow presents:

An Artist you probably never heard about. The most important representative of Viennese Kinetism:

Erika Giovanna Klien (1900-1957)

Diving Brid, 1939

Born: April 12, 1900, Borgo Valsugana, Italy

Died: July 19, 1957 (aged 57), New York, USA

Erika Giovanna Klien was an artist and art educator.

She began her studies at the Vienna School of Applied Arts in 1919 and graduated in 1925.

Klien was introduced to a new style known as Viennese Kinetism – a style that emphasized movement and modern vitality, in a way similar to #FrenchCubism, #ItalianFuturism and #RussianConstructivism.

After learning about the technique and theories of Kinetism, Klien became one of its leading exponents.

After graduation, Klien found it difficult, as did many women, to earn a living as an independent artist.

She worked as a commercial graphic artist and art teacher. Klien's work was included in several international exhibitions.

In 1928 Klien had a son, whom she kept secret from her family. In 1929 Klien sailed for the United States, bringing with her hopes for an artistic career and the reform theories of children's art education she had acquired in Vienna. To earn a living for herself and her son, she taught simultaneously at four institutions from 1930 to 1940. She became a U. S. citizen in 1938. Klien's son became a pianist.

Erika Giovanna Klien died on 19 July 1957 from a heart attack in New York City, USA. via Wikipedia (edited by pp)

see: www.fembio.org/biographie.php/frau/biographie/erika-giovanna-klien/ for more.

with HUGE gratitude to Maryellen Brown from the Celebration of Female Artists in History fb group, who's post introduced me to this Artist and her art practice 🙏 #womensart #artbywomen

[2broschlininahotub]

Creator weapons and accessories of Mondstandt

These are belonging to the exosisters and Minerva is the one who gives them.

The weapons are only able to be used by women or holy beings. These weapons are given as a sign of respect and honor. These weapons can only be used by the current gender of the saint which means fragment of creator for their home world. The solfachord and lyrilusc join in making the weapons by enchanting the weapons with a melody. The melodies can vary but the base weapons are all connected to a deity, catholic saint, prophet, angels or important figure in the Bible or church.

We have a blindfold which is used in the circlet spot in game.

Lucy's blindfold, It blinds the wearer when worn but has the ability to grant invincibility by getting on your knees in prayer as and you cannot move. It references saint Lucy the patron Saint of the blind. (fun fact Lucy is fuuka's persona in persona 3). If your wore the blindfold and you are blind because your eyes were literally removed i. e. your eyes were gouged out, they can be healed and will come out as incredibily beautiful but you are still blind. The user of this weapon must have a theme of making her own path instead of following a laid out one. An example of this could be a girl who is betrothed to a man she doesn't love and instead falls in love with a man she likes or Romeo and Juliet but if Juliet was betrothed to another man and survived. This is a parallel to saint Lucy's story.

David's harp or in game the name would be the song of David. It would be treated as both a bow weapon. The harp is weilded by David the man who killed a giant with single stone. The harp has an ability by playing a melody when fighting something that is bigger than them physically or metaphorically you can use a sling or slingshot and hit the opponent with five stones. The the first four stones break in order, total resistance to all attacks including physical 20%, defense 25%, Hp30%, atk 40%. The last shot will deal 50% of the enemies total hp as an exponent of your total damage you would deal. the requirement for this weapon. Doing something that is impossible and making it possible or overcoming an impossible challenge.

Joan's Flag, The flag of Joan is a weapon that was granted with the help from the angel of victory Raguel, or goddess of victory Nike, depending on the gender of the user. It grants the user the ability of summoning fallen heroes and soldiers to fight once more. It also grants the allies the survive a single fatal hit and leaves them at 25% Hp. The weapon treated as a spear because the flag can become a Jousting Lance when on horse back. The Lance also summons a unicorn or a Pegasus as a mount. The requirement for the weapon is a person who freed others from tyranny or corruption and, it works better with women who are virgins and single.

Trisagion, The song sang by the seraphim is in a book. By saying the words in the book, It can burn the opponents with it. You can also summon a biblical accurate seraphim or an angel with six wings with eyes on each individual feather and looks like a naked humanoid body being covered up by the wings. It is said that the lyrics are so powerful the book would burn anyone who does not fit the requirements of the item. The requirement is that a person who is pure in heart and reason. Children have a better chance of wielding it.

The Sword of saint George is used in the sword weapon. The blade is used to slay a dragon. The weapon is best used against dragon's giant snakes or any thing similar. The weapon has the ability to summon a laser from the sky or the blade it self becomes shrouded with light. The blade grants all of the user's allies to just gain a shield of light around them or grant them holy Armour meaning they can take any hit no matter what and take no damage so something like an instant kill attack would do no damage. The person requirement is must have the ability to follow their own wills.

Here are the personalities of exosisters.

Elis is described to be a cheerful and nice but has the inability to get any hint without telling it directly and is in love with Stella.

Stella is an amazing cook with a motherly personality. She is in love with Elis.

Malfa is the leader of the exosisters. She has a very bug sister energy. She has a crush on Elis jut Elis doesn't reciprocate. She also has a crush on Minerva but feels like she cannot act on it cause it feels like she is dating her boss.

Irene is described to be as a less manipulative and smarter version of Yae but makes up in it by making incredible roasts. She loves to tease and fluster Sophia but Irene also cheers her up when she is down.

Sophia is described to be as a very down to earth woman. She is an investigator for the group and worked part time at a detective agency in the past. She is has the inability to be funny. Her relationship with Irene is that of your an idiot but you're my idiot.

The question of how does this fit into the theme of freedom. The weapon could represent this Lucy = freedom of choice, David= freedom of limit, Joan=Joan of Arc so this is obvious, Trisagion= freedom from evil, George=freedom from corrupt rules.

[very-grownup]

Many great divas of the last thirty to forty years have been African Americans: Grace Bumbry, Martina Arroyo, Shirley Verrett, Leona Mitchell, Betty Allen, Mattiwilda Dobbs, Kathleen Battle, Leontyne Price, Jessye Norman. And yet, until recently, opera was a white enterprise. Most opera houses forbade women or men of color from singing or attending. Few blacks attended the Metropolitan Opera, even in the absence of strict segregation policies, and no blacks sang leading roles there until Marian Anderson made her postprime debut in 1955 as Ulrica the gypsy witch in Un Ballo in Maschera. Rosalyn M. Story's recent study, And So I Sing: African-American Divas of Opera and Concert, details a long history of African-American women achieving fame either through recital work or through operatic performances in all-black companies.

In Jean-Jacques Beineix's film Diva, the diva, Wilhelmenia Wiggins Fernandez, an American woman of color, subverts the traditional image of the white diva and reminds us that divas, though usually white, have been linked to racial otherness, darkness, exoticism, and "blood". Long before the recent flourishing of the African-American diva, opera culture used images of darkness to demonize the diva. Color is one of the primary metaphors for the qualities of vocal tone. Singers are taught to avoid the "white" sound and to cover the tones, to make them darker. Roles like Carmen rely on the notion of the diva's "Latin blood". When divas have been made up to appear Asian or African for such roles as Aida, Selika, Cio-Cio-San, and Iris, they were expressing opera culture's insistence on the dark nature of the diva, as well as underscoring, in a problematic masquerade, the white diva's separation from the women of color she portrays.

The voice of the black operatic or concert diva was imagined to emanate directly from her ethnicity: commentators referred to Marian Anderson's "Negroid sound." And listeners have used metaphors of darkness and of racial essence to describe the appeal of certain female operatic voices even when the singer was white. Maria Malibran and Pauline Viardot were frequently described as having non-European features; one friend of Malibran speculated on the diva's "negro blood." A journalist, describing Adelina Patti as a child, notices her "little brown throat," her "Dark arms" clinging to her girl playmates' "white little necks"; because of her darkness, she is a "born exponent of the Spanish type." Italian origin was itself considered a sign of darkness: Margherita de L'Epine was called the "tawny Tuscan."

The diva brings her vocal treasure abroad, on tour to the colonies; and she finds there, among the colonized, a reflection of her abjected organ. Galli-Curci's biographer, narrating the diva's tour of Asia and Africa, alternates descriptions of her "native" audiences and accounts of her larynx's increasing vulnerability to medical specialists and to disease, as if the diva's voice, sent to tame and tranquilize the colonized, were itself the empire's possession, doomed to mysterious maladies and uncontrolled passions. Galli-Curci was like a missionary bent on conquering darkness; but her voice, because it was female, hidden, and inscrutable, was already aligned, in the imagery of empire, with the colonized.

- The Queen’s Throat: Opera, Homosexuality, and the Mystery of Desire, Wayne Koestenbaum.

[heathersdesk]

https://exponentii.org/blog/the-hypocrisy-of-our-missionary-work-and-how-to-fix-it/

As a convert from a poor family full of mental illness and addiction, I say with my entire chest that the Church and its members are an essential part of why I didn't end up being a statistic of poverty, addiction, abuse, and incarceration.

I left my hometown on the East Coast (and by extension, my family) to go to school in Utah and later ended up moving to Idaho. I've spent more of my adult life away from my family than I've spent near them.

Let me poke a giant hole in the assertions that the Church is somehow solely responsible for destroying my relationships with my family. Because when two family members who desire to maintain contact across physical distance, they will do so. If they don't, there are other reasons for that which membership in the Church doesn't create.

Baptism and temple marriage weren't the reasons my relationships with my family were strained. All my church membership did was reveal the preexisting fractures that were already there, and would've existed regardless of whether I'd ever been baptized or not. I would've still moved away. I would've maintained the same separations from family members with whom I'm zero contact at this point. All the Church did was give me the options and resources to build that life for myself. The Church gave me what I needed to start over in a totally new place without family support. Which is great, because there was absolutely no reality in which my relationship with my family was ever going to be any different.

There was no version of my life with a happy extended family OP is describing, with enough mutual respect and restraint to have that kind of closeness. For that kind of closeness to exist, people on both ends of a relationship have to be willing to put in that work. If they wanted to, they would. If they didn't, it's because they didn't want to. And I can tell y'all from personal experience: if it's been decades and a family hasn't moved on from you're in a cult/you have a coffee pot, the fractures go deeper than that, no matter what anybody says.

I don't have children who can misinterpret and blame my personal and religious choices on missionaries. It wouldn't matter if I did because my branch didn't have missionaries. I joined the Church with the support of church members who found me, taught me the discussions, and baptized me because it was what I wanted and they were the only ones available. The idea that missionaries walk around bumping into walls and causing generational trauma? That's attributing way too much of what a family's dynamic already is on innocent bystanders who don't have the power or support necessary to force anyone to do anything.

AND FOR THE LOVE OF GOD—no, not God. Women. For the love of women and their bodily autonomy, can we stop advocating for the Church to get involved in the US's broken healthcare system by forming their own hospitals and medical clinics? Any unmarried woman who has had BYU's insurance and health care can tell you why that's a bad idea. Enough women already have their access to medication and treatment curtailed in the name of "religious freedom." The doctors at BYU's student health center already don't bother diagnosing or treating conditions like PCOS because hormone therapy (i.e. birth control) is part of the treatment for it. Nobody needs more of the same, which is exactly what would happen if they took church-sponsored health care on the road.