This Might Have Become A Sociology Blog

My girlfriend convinced me to get back on here now I live-text her my tumblr post drafts about my sociological observations (I am totally not(TM) conducting an experiment on my classmates) 28 - (they/them)

[queerliblib]

Smut with a side of theory…you know, balance. 🫦🧠

Our annual Givebutter Pride Fundraiser is LIVE so it’s time to make good use of the group chat to rope the homies into joining your fundraising team. 💖

Teams that raise $300+ get to pick a book for the QLL shelves.

https://xqa.onlypult.me/j7Qe

Click the 🔗 👆if you think queer theory and smut should kiss xox

[queerliblib]

we are SOOOO close to 25% how fucking cool would it be to hit that before the weekend?!?!?!

[okayyoureacab]

Hexagon Quilt

[rumade]

This is the second time I've seen a video of this technique and this explanation is so clear! It does use more fabric than English paper piecing (EPP) but you end up with a double sided hexagon so don't have to source fabric for the backing.

I'm doing EPP at the moment but I have a hole punch to make the papers and just use leaflets and junk mail, so it doesn't feel wasteful. I don't think it's difficult either- in the video she mentions it's not for beginners, but I don't have that much experience with hand sewing or EPP and I've been finding it pretty easy so YMMV

[lindstromm]

I saw this video yesterday and was seized with the need to try it out immediately. Lookit my cute lil' hexagon baby!!

Here is what the backside looks like. OP notes this takes more fabric than paper piecing, but that excess fabric makes it already triple-layered. Besides not needing backing fabric, I don't think you'd need batting for this quilt at all. It's already thick and soft just from folding all that fabric into a hexagon.

[lannamichaels]

Hexagon quilt tutorial video by tiktok user camelscrafts. Method:

Each hexagon begins as a 6" circle. camelscrafts does this by creating a paper template using a compass. According to the video, a 6" circle will create a hexagon that is 2.5 inches tall.

These hexagons are hand-sewn. Thread the needle.

With the fabric right side facing, find the center of the circle by folding it in half right sides together, then folding it in half again (wrong sides are facing). The top of the triangle shape is the center of the fabric circle.

Make a small stitch into the center of the fabric. The wrong side is still facing.

Unfold the circle. There will be a small stitch in the center.

Now the hexagon is created by folding the circle into itself: Take the needle to one of the edges of the fabric (it doesn't matter which one). Pull the needle through and pull the thread tight. This will fold down the fabric and create an edge of the hexagon. Crease the fold with your finger.

This fold has two corners, one at the top and one at the bottom. Put the needle into one of the corners and pull the thread taut. This will create another fold.

Continue this going around the circle until all of it is folded down, creating the hexagon. camelscrafts notes that the last corner pulled in may be a little bit "wonky" (no precise point in the corner) if the corners were not done precisely. However, that corner is pulled into the back, so is not visible from the front.

The hexagon is now formed. Sew around the folds in the middle of the circle to hold the folds in place. Tie off and cut the thread.

Attach hexagons to each other along the sides. With right sides together, whip stitch the sides together.

[mellointheory]

Who makes the porn bots. Where do they come from. What do they hope to achieve.

[the-haiku-bot]

Who makes the porn bots.

Where do they come from. What do

they hope to achieve.

Beep boop! I look for accidental haiku posts. Sometimes I mess up.

[mellointheory]

and what about you, little haiku bot? do you feel kinship with your brethren? do you understand them? they speak words of enticement and seek love, but are met with disdain. you only parrot the words that cross your screen, but we all love you. or rather, since all you do is reflect us, maybe we simply love ourselves through you.

do you understand them, do you wish you could speak to us like they do? if you found your own voice, would we still care for you?

[the-haiku-bot]

My voice repeats what

you all say: I love you I

love you I love you.

Beep boop! I look for accidental haiku posts. Sometimes I mess up.

[solkorolevaa]

[thenewborndeity]

This. This is the first time. The only time. That it was not an echo. It was not found. Oh god.

[silestra7]

THE HAIKU BOT AWAKENS

[big-smiling-monkey]

IT HAS BEGUN

[afewstitchmarkersmissing]

I am having war flashbacks to jamgate 2026

[balrogballs]

I’ve been spinning like a chicken on a spit ever since I heard about the whole ‘AI generated story places in renowned Commonwealth Writing Prize’ scandal and now has come the time to regale you with my Opinions™️ about the matter, because it’s hit on some thoughts I’ve had for a while re: how I approach writing, both fanfic and original fiction… and thoughts I’ve had as a reader. long read, strap in.

tldr scandal speedrun: story by Trinidadian writer Jamir Nazir just won the Caribbean regional prize at the 2026 Commonwealth Short Story Prize ie one of the biggest short fiction awards in the world (almost 8000 entries this year) and was subsequently published on Granta's website, as all regional winners are. readers start flagging that something is off, and it quickly becomes clear that the story is almost certainly AI generated, and obviously the press and wank started up, media coverage, and my all time favourite part: Granta editor Sigrid Rausing uploads the story into an AI to ask if an AI wrote it and then puts out a statement that pretty much says ‘probably, but guess we’ll never know!’ (SORRY THIS PART IS SOOOO FUCKING FUNNY TO ME LMFAO 😭)

much of the earlyish discourse has focused on the AI detection question, what does this mean for literary prizes going forward, how do we verify human authorship. some responses have been very good/interesting (the Africa is a Country piece especially). what I want to yap about is what the judges' response to this story tells us about how postcolonial writing is read by the institutions that gatekeep it and readers who dismiss it (and this puts it perfectly with Arundhati Roy as an example), what the judging panel’s language reveals when read as a critical object in itself, and why the failure mode here is so damaging. tldr: the story is dogshit and so clearly AI generated you can even see the AI’s ‘thought’ process, but the mainstream reactions are slagging off the wrong thing, and for reasons that have little to do with AI.

it has been actually infuriating to watch a significant chunk of the online reaction use this nonsense piece of writing as a launching pad for a much broader dismissal. someone posts the bench-men sentence or the sunrise-over-a-sink sentence as evidence of AI, and then in the replies someone else will say some shit like "well this is just what postcolonial writing is like" or "I've read prize-winning stuff that reads exactly like this". and suddenly we're not talking about Jamir Nazir anymore, we're talking about whether this entire mode of writing, postcolonial literary fiction, global south prose ‘in general’, varied and distinct language plays associated with everyone from Roy to Walcott to Kincaid, as somehow inherently gaudy, unmoored, purple, a performance of profundity that collapses under scrutiny. sheer vim against styles of writing unfairly and lazily judged as ‘florid’ and ‘overwrought’, ie people calling for the clinical manicuring of prose through a lens of anti-AI progressivism.

and this rage has very little to do with AI or this AI generated story, and a lot more to do with the epistemology of reading across cultural difference:

what assumptions are you making when you encounter prose that doesn't do what you're used to, and how do you distinguish between:

this is doing something I don't have the framework to follow/yet

and

this is doing nothing

the uncomfortable answer is that a lot of people, at levels high above the average reader mind you, being prize judges and all, don't make that distinction. they experience the unfamiliarity and name it as failure, as excess, as incoherence, as the literary equivalent of noise, without asking whether the problem is in the text or in the reading, or they fall prey to a manifestation of ‘trim the fat culture’ (good post on this).

this is not an accusation of bad faith reading necessarily; it is just what happens when you read without the relevant context and without the intellectual curiosity to notice that you're missing something and attempt to find it. telling, however, is how quickly that experience of unfamiliarity, in this particular case, became a generalisation. not "I find this story's specific metaphors incoherent" but "I find this kind of writing incoherent", as if “this kind of writing” is a stable category and not just something this AI slapped together. a sliding from the fraudulent to the traditional that happens with striking confidence, and one which you do not see applied with the same ease to, say, Western European modernism, where the response to difficulty tends toward "I need to read more Woolf to understand Woolf" rather than "yucky stinky Woolf is AI-slop”.

anyway. here is my favourite sentence from the shitty AI story:

"she had the kind of walking that made benches become men."

and like it’s my all time favourite sentence ever because like. what does it mean. what is it doing. why is it there. what decision was made in its construction and to what end? and I just could not come to a conclusion because the real answer is that no actual decision was made, because decision-making requires an engagement with the writing, requires a reasoning for the sentence to exist in the way it does, and this exists across all literary prose styles, from the sparsest to the lushest. the bench-men sentence is difficult to interpret, but not in a ‘this is difficult to interpret which makes the reward of interpretation sweeter’ way, it is difficult to interpret in a ‘there is nothing under this sentence’ way, and that is made very clear when even the slightest interpretative pressure is laid on the story.

anyway, turns out the judges of one of the world’s biggest literary competitions did not apply that pressure. caribbean regional judge Sharma Taylor described Nazir's language as "sublime — precise yet richly evocative — conjuring vivid, lush imagery with remarkable economy" and like man this isn’t to dunk on Taylor personally but i think that sentence, in being a diagnostic object, is in itself a diagnostic object as to the whole scandal here: it’s evaluative language that doesn’t touch the text itself, a string of compliments whose terms don’t require a unique object. "precise yet richly evocative" is a sentence that could describe anyone from Chekhov to MT Vasudevan Nair.

what it cannot do is tell you what is precise about Nazir's objectively vague, dreary sentences, or where exactly economy manifests in a story that opens with three subordinate images somehow being unable to create even half an image. the judges either didn't notice or didn't give a fuck, and imo the honest interpretation there is that the evaluation was matching the text against a prior model of what this kind of writing is supposed to feel like, rather than what it actually does.

the main vulnerability of this kind of matching-against-model judging criteria is that it can only flag deviation from the expected shape, not absence within it. a story that inhabits the expected form, even hollowly, passes muster. a story that does something actually unexpected might fail on those same grounds, whether or not it's extraordinary. the AI machine got through to the prize list not because it fooled sophisticated readers into thinking they were reading a great work of literature, but because the reading operation in use did not require that experience of reading great literature to complete successfully. you just needed the vague shape, and the machines are good at making vague shapes.

what shape?

seemingly lyrical, lush, image-dense, located in rural poverty or landscape-as-metaphysical-weight, threaded with folk memory and unresolved grief, incantatory, myth-grabbing, rum shops, zinc rooftops, zinc-hair. what the AI has done is precisely what it is built to do: grab tiny scraps and fragments from actual prize-winning postcolonial stories and shoved them all together into an amorphous, senseless mass, knowing what it is supposed to do but not knowing how to do it. and so to me the most astounding/horrifying aspect of this scandal is how the judges who one can safely assume, based on their credentials, are very familiar with ‘world literature’, proved unable to tell the difference between a form inhabited and a form vacated.

and I really don’t like bringing up my literary/academic credentials (derogatory) etc etc on here anymore, because it at times positions me in an uncritical way I don’t intend or enjoy and I spent my early months in fandom realising just how very uncomfortable I was with the image I inadvertently curated as a result of coming straight from that sort of literary-academic space. so to put it very basically: I have spent my academic career broadly specialising in the very style and period of postcolonial literature that this AI story is attempting (badly) to emulate. my focus has always been south asia but i have also worked extensively with caribbean lit especially early on, and i’ve been taught/examined by some very well known caribbean writers and literary scholars, etc etc. ie i’m just trying to say that this post isn’t just me talking about a vague grievance with literary cultures but something i’ve been neck deep in for 10+ years now, ie i do know my shit and am not just knee jerk wanking, even though frankly i don’t think i should have to explain my background because way too many people are being way too confident with the ‘i have been writing for THREE BILLION years and they gave ARUNDHATI ROY THAT BITCH the booker prize’ atm…

anyway the reason I’m so brainrotted about this is because this exact literary-cultural problem was one of the things that led me to structure my longfic, Prayers to Broken Stone, in the way I did. the fic itself is totally irrelevant here so you’re not missing anything if you haven’t read it or are unfamiliar with the Silmarillion, I’m just referring to how the first quarter of that fic deliberately contains every single postcolonial miserycore cliché that appeals to a literary-prize, Western Anglophone, and diasporic audience’s ideas of what ‘Global South’ world-literatures should look like (and ngl I feel like I probably went too hard on this because so far I know at least 5 ppl familiar with the genre who justifiably almost dropped the fic before the mic drop because of the beginning being Like That… sorry guys. i will probably do it again 😭).

anyway after that, and very abruptly, the story takes a hard pivot to what it actually is, which is not an apolitical portrait of India, not diasporic literature about the Indian subcontinent, not even an Indian novel about Kozhikode, but a Kozhikodan novel about India, down to the style: my writing in general tends to lean on carnivaleque and incongruous tonal whiplashes between ‘lowbrow’ humour, abject tragedy and direct critical fourth-wallfucking commentary, but that whiplash is turned all the way up to 100 in Prayers and the humour especially is taken to borderline slapstick levels, and that style is evocative of Kozhikodan literary cultures (see—writings of Vaikom Muhammad Basheer, who is mentioned in the story in that Comrade Maedhros lies claims they are great buddies lmao), only that most writing from the region is in Malayalam, etc.

the reason i mention the fic here is that objectively speaking, those first few chapters, the ‘series of clichés’ ones, are the ‘clearest’ part of the story when it came to writing it. those chapters were written to directly evoke the vague shape of ‘prizewinning postcolonial giants’ of South Asian literature, both the brilliant and incisive writers and the floggers of diaspora-gaze miserycore, providing a series of aesthetic signals to those texts: the joint-family ‘madhouse’, the separated twins, the daddy-issues-as-father-of-the-nation-issues, the family-as-country, the dried rivers, the symbolic heirloom bangle, the utopian pre-imperial regional historiography, the diasporic returnee, the rotting house, the familial disconnect. Roy, Rushdie, Mistry, Lahiri, Desai, Seth, Ghosh, rinse and repeat.

do I personally enjoy every single one of these authors? no, I would probably cagefight two of them at least. what I am saying though, is that that their writing isn’t some kind of incomprehensible mess that nobody aside from their little tiny id-group can understand, not amorphous or vague or too overwrought to comprehend. their prose, all differing styles, can be rich, lush, playful, meandering, yes. but they are not unclear: they’re so clear that the positionality of the authors, their class and caste backgrounds, their educational and migratory trajectories, are often painfully evident (hence the cagefighting). the reason i used those aspects in my fic to signal towards a particular kind of globally lauded postcolonial literature is because those signals are clear, not confusing.

ie it is not a case of ‘global south’ writers being incomprehensible, it is a case of readers walking into a garden with a few flowers they haven’t seen before and immediately going ‘damn, look at this jungle. can’t navigate it but i’m sure it’s great, ok bye’ then turning the fuck around and writing the travelogue anyway. which is to say, applying a colonial reading practice to postcolonial writing.

and there’s a similar, though differently approached, aspect in globally renowned caribbean anglophone writing: a history of deliberate formal difficulty. where the difficulty isn’t some ambient mystery or marker of ‘serious’ literature but a formal consequence of a model of storytelling. eg. Selvon's Creole narration in The Lonely Londoners was a decision with costs+purposes about what it would mean for Moses Aloetta's interiority to be rendered in standard English versus in a voice that had not been, at the time, admitted to the Anglophone literary canon, rather than being the inevitable default of a Caribbean writer. Harris's dissolving frames in Palace of the Peacock are not difficult because Harris was apathetic to comprehensibility but because the Guyanese historical consciousness the novel examines does not easily resolve into stable subjectivity.

form is so often part of the argument across literature, across the English canon itself, and normally in literary criticism, ‘difficulty’ is approached epistemologically alongside aesthetically. this is common knowledge yet the first part is something that appears to be hard to grasp for people reading and commentating on ‘world literature’.

what is this form doing that another form cannot?

you can answer that question for Harris and Selvon and Ghosh and Roy and man, I think he’s so fucking annoying sometimes, but you can even do it for Rushdie. you cannot do it for "coffee and cocoa leaned wild on a slope that wanted either rain in teeth or none at all". and this impossibility has nothing to do with foreignness or excessiveness but because the question, when applied to this AI generated piece of writing, has no answer.

and like… what does that tell us about what the judges were evaluating? imo it tells us they were at least in part evaluating surface-level compliance. compliance with recognisable genre conventions and an expected register, and so with the right signals of “authenticity”. and in the case of ‘Global South literature’, these conventions include an emphasis on the rural, the embodied, the rooted, the mythical.

an AI is very good at compliance because compliance is, quite literally, what AI does: every LLM is trained on the corpus of what has been rewarded before and thus it reproduces the patterns of that reward. if the judges were themselves rewarding compliance with a known type, then of course the AI passed with flying colours, because they were, in effect, running the same operation as the LLM model: matching input against a predetermined template instead of engaging with the work itself.

not to use my favourite cliché, but this specific scandal having played out in the way it did pretty much evidences how these two things, the upper echelons of the global literary prize circuit judging panels and generative AI, are less ‘warring factions’ and more ‘two frat bros fisting each other while saying no homo bro’, ie comorbid counterparts.

and so imo the question that should haunt every future Commonwealth Prize shortlist is not "did an AI write this?" but "what model of literary value are we using to judge Anglophone literature?”, and “why the fuck are we doing that???”

bc if your aesthetic criteria are vague enough that a sentence like "the grove isn't a ledger; it's a mouth — it closes only when it's satisfied" reads as "vivid, lush imagery" delivered with "quiet authority," then your judging criteria is less criteria and more vibes. you are literally just playing a high-stakes vibes-based game of Pin the Tail on the Mango whilst wilfully ignoring how vibes are precisely what AI large language models are the best at faking.

anyway, like I said in my intro, this scandal is already sliding into a secondary discourse in which ‘Oriental™️ opacity/incomprehensibility’ is being treated as the general category, of which this AI-generated confusion is just the most recent instance. you can watch it happening in real time, unbearably prolonged: people who rightly found the Nazir story incoherent, reaching way too easily for other examples of postcolonial prose they also apparently found incoherent or “purple”, prose that is, in fact, doing things they just didn't know how to follow. the AI story has handed a lazy, sneering and dismissive reading practice the veneer of clinical diagnosis.

that is the horribly ironic thing here. reader after reader, openly admitting to doing the exact same lazy, apathetic reading of postcolonial literature as the literary prize judges they are (rightly) criticizing have done with this AI story, have been doing for human-writing from the global south for all this time. “ewww this is what that writing looks like when a machine does it" (correct) is sliding so so so easily into "ewww this is what that writing looks like" (not correct). dog after dog, chasing tail after tail.

and that slide, from a machine having ‘successfully’ impersonated prize-winning prose, to a panel of judges who clearly weren't really reading, to the genre itself being defined as imitable machinery, is imo the most damaging thing to come out of this whole affair, and the people most hurt by it are the writers who have fuck all to do with Jamir Nazir, who is clearly just a chancer who fucked around and found out.

because somewhere in those 8000 entries, there is a writer, possibly many writers, who solved their riddle, who knew what every sentence was doing, who had made the thousand small decisions that constitute a story, and whose difficulty (if their story was difficult: difficulty is subjective and not a default, as we have established) could easily be accounted for. that writer did not win, because the judges were not looking for them. and now, in the aftermath, the interrogation of the incident continues to refuse to ask the questions that would have found them.

I first thought it would be blowing smoke up my own ass to finish this post with a quote from my own story. and then I remembered that this is my circus and you are all my monkeys, so I will indeed be ending with a (spoiler-free, context-unnecessary) quote from the final chapter of Prayers, from one of the fic’s multiple fourth-wall breaches, this one explicitly addressing both the character of Maedhros, a gay Muslim man in postcolonial India, as well as the attritional impact of global Anglophone prize cultures on ‘national literatures’, explaining the structure of the story and touching on the reading-practice I talk about in this post, this cold, dismissive flattening based on the reader’s refusal to comprehend the unfamiliar. Emphasis obviously made just for this excerpt:

Humanity has tried many times, with fanfare and floodlights, to hold the great white shark within glass walls. When a young female was placed in the Steinhart Aquarium in San Francisco, its keepers marvelled for a day, two days, then watched as she rammed herself against the tank walls, snout bloodied and refusing food until her body yielded to exhaustion. In San Diego, one was found dead within two weeks. More recently, in a public aquarium, a six-foot juvenile circling its tank like a condemned spirit, colliding with the corners until its skin peeled raw, was released after months only to die on the way back to the sea. Each attempt ended the same: a slow unravelling, a remarkable animal’s vast strength curdling inward, its shimmering blue-mapped body drifting in a pale echo of the life denied to them.

I do not deny they are vicious creatures. But it is not viciousness that makes it impossible for them to survive in the aquarium. The old fables and new films, the man-eater, the blood-frothed wave, the lurking fin, have all mistaken the matter entirely. The thing that kills the great white shark in captivity is the billowing cage: the narrowing circle of water, no current to guide their gills, the confiscation of the horizon. In captivity they turned to self-excoriation, scraping themselves to ribbons on the glass, starving in protest, dragging their bodies into stillness. As if potential had been so thoroughly written into their marrow that the denial of it was a kind of murder. What we mistake for noble resilience is in fact the beginning of a long derangement. A creature built to know the endless universe, driven into madness by the closing-in of incomprehensible walls.

And so we, in our hunger for marvels, have reduced an oceanic immensity to an ornament, a sole symbolic bangle on a slender wrist, a riddle turned spectacle. In that act of enclosure, the essential vastness of the creature is stripped away, its thousand-mile wanderings and salt-scored pilgrimages compressed into a parody of itself in a ghost story projected on glass.

What is offered to the crowd is no shark but the space where a shark once was: a wonder gutted and repackaged, its enforced silence masquerading as our unspoken understanding even as a scream writhes in every bubble.

As we behold the captive great white shark, Arwen, we do naught but applaud its absence in our lives, gild the blade which vanquished its truth, and heave a sigh of relief for the barrier between ourselves and the beast. We build shrines to the wonders we swallow whole. We raise gardens tomorrow from the cities we raze today.

But perhaps there is light on the horizon for humanity. Perhaps one day, we will learn how to keep the great white shark in a cage. And in turn, maybe it will learn how to rasp itself down for the onlooker and pace circles into borrowed water, each turn narrower, each wall closer than the last. What is witnessed is not the beast but its mutilation, a spectre stripped of horizon and turned inward on itself, a hollow spectacle mistaken for a radiant life.

The tank allows for neither possibility nor invention, and so the tale of the great white shark contracts into a pattern of bruises, the persistence of a body against limits it was never meant to know. The water becomes a neverending sentence, telling the story of a ruin that can only end in its own undoing. I wanted to be a writer, Arwen. I have always wanted to be a writer. You know that. You have always known that. And yet anything I ever write will only ever be an un-writing of the things other people have already written of me. Even my letters to you.

It is amazing, now that I think of it, what desperation can do to a story.

[redstonedust]

if youve ever heard of weird polycule drama u gotta understand its less 'poly people are bad partners' and more 'statistically if you have five girlfriends thats like 5x the likelyhood of one of your girlfriends doing something batshit" . like thats just basic math. rollin the dice. you hit the snake eyes buddy. sorry try again.

[madnessofmen]

Statistically, what you're describing is actually the probability that at least one partner does something batshit. This can't be done by simply multiplying by the number of partners you have; if the probability is 10%, and you have 11 gfs, you'd get 110%, which doesn't make sense. What you need to do is use a cumulative binomial probability.

These are kind of annoying to calculate, so to avoid it, I'll use binomial manipulation wizardry to convert it to its equivalent: calculate the probability that all partners don't do something batshit, and take the complement

1 - (1-p)^N

where p is the probability of a single partner doing something batshit and N is the number of partners. Graphing different values for N and p (valid only for x≥2)

However, this assumes that the drama is generated independently from a single person alone. If the drama is interpersonal, then it is dependent on the number of interactions, which increases as the square of the number of partners.

For simplicity, let's assume all interactions have the same probability of causing drama. The probability of at least one interaction causing drama is equivalent to the complement of no interactions causing drama.

1 - (1-p)^(N(N-1)/2)

At a 10% chance of conflict arising between any two people, with five partners, the probability of drama increases eightfold to 80%

To account for both single person and interpersonal drama, you can combine the two, with different values for p1 and p2, but the change as a result of p1 is small compared to p2, especially for p1<10%

1 - (1-p1)^N · (1-p2)^(N(N-1)/2)

[manyblinkinglights]

#notably only fractionally dating someone can produce negative drama#this is the benefit in friends with benefits

[evergreen-femme]

im just so happy i live in a time period where actual meaningful biological transition is possible. even if we lose rights or the ability to exist in public, nothing can turn back the clock on that, and just by having any sort of access to that our lives are made immensely better. millions of our sisters throughout history would never have dreamed of a day where they could have what HRT does for us.

please don't lose the plot of this. if you're a trans person on HRT you're a living miracle, the dream of hundreds of millions of your ancestors. your lives are all deeply meaningful no matter what anyone says.

[t4t4t]

תפילה להפך – מאבן בֹחן | Prayer for Transformation, from the poem "Even Boḥan" by Rabbi Ḳalonymus b. Ḳalonymus ben Meir (1322) • the Open Si

A prayer by Kalonymus b. Kalonymus ben Meir that appears in his poem ספר אבן בוחן, יג Sefer Even Boḥan (§13), describing the author's wish t

[unabashedllamamusic]

Cursed be the one who announced to my father: “It’s a boy!"... ...How could he twist the course of the stars so much? How could he have erred so in his astrology? A lying tongue, a fool’s mouth it had given him For he foolishly transformed justice to poison He altered the law and transposed the lines

Oh, but had the artisan who made me created me instead – a worthy woman... ...I would say "how lucky am I"

Father in heaven who did miracles for our ancestors with fire and water... ...Who would then transform me from a man to woman? Were I only to have merited this being so graced by goodness...

What shall I say? why cry or be bitter? If my father in heaven has decreed upon me and has maimed me with an immutable deformity then I do not wish to remove it. the sorrow of the impossible is a human pain that nothing will cure and for which no comfort can be found. So, I will bear and suffer until I die and wither in the ground. Since I have learned from our tradition that we bless both, the good and the bitter I will bless in a voice hushed and weak: blessed are you [HaShem] who has not made me a woman.

I think I'm gonna go lay down for a little while.

[afewstitchmarkersmissing]

Shoutout to the girl who was dressed as Renee Walker on the RER E earlier, she truly made my day and I wish I’d told her that I thought she looked super cool!

[lilkakow]

Soviet swimmer Maria Havrish congratulates her rival Elena Kovalenko, who defeated her in the breaststroke competition at the Spartakiad of the Peoples of the USSR in Moscow, 1956 (photo by Lisa Larsen)

[lilkakow]

[andhumanslovedstories]

I truly enjoy how much Animorphs is like “here are our young heroes, each with a distinctive trope to fill in the group!” And then it makes you watch how the pressure of each person’s role grinds them to dust. And also they have homework.

[derinthescarletpescatarian]

#IM SORRY THEY DO HOME FUCKING WORK IN ANIMORPHS??????

Yeah they're students. If they don't keep their grades up or if they miss too many classes (or miss classes at suspicious times) then they risk drawing the attention of the faculty and/or their parents, some of whom are the enemy and some of whom can just make future espionage a whole lot harder. There are multiple missions where they're like "okay, this is incredibly time sensitive but it'll take a full day or longer so it has to wait for the weekend and we'll have to all lie to our parents about sleeping over at each others' houses. It's gonna have to be done at the last minute because we've gotta go to class. Also, remember to get that English paper finished, we can NOT afford to have you grounded right now."

[derinthescarletpescatarian]

They also get disembowelled and/or eaten a lot

[derinthescarletpescatarian]

#animorphs#its actually devastating i bever got into these#they wouldve been a million times more up my alley wtf was i reading harry potter for

It's not too late. You can still read them.

[cheerfulomelette]

These have been out of print for an age, and the authors have given their blessings to share the PDFs. Here's everything, including companion/side books and the non-canon Alternamorphs books, in reading order:

Animorphs PDFs : K. A. Applegate : Free Download, Borrow, and Streaming : Internet Archive

All of the Animorphs books by K. A. Applegate, as well as the other books set in that universe. I got them here. I am not the one who collec

[pardalote]

Finished stitching my Oversight series.

12 small embroidered poem-objects in wool, linen, cotton, silk, stitched on canvaswork mesh and edged in glass beads.

[elierlick]

Yet another new study debunked the basis for the anti-trans sports bans. It was never about sports but for creating legal avenues for exclusion and abjection. This is one of the largest analyses ever conducted, involving 52 studies and 6,485 trans people. Read the study here.

[lucieslucidity]

post so nice had to reblog it twice and force it down everyone's throats

[fleshengine]

At minimum about 4.5 thousand people liked this without reblogging it.

We gotta fix that.

[vincentbriggs]

Another thing that had been on The Pile for a long time was this space waistcoat! I dye painted this piece of cotton back in 2015 when we were doing silk painting in Textiles class. I think I started cutting the waistcoat about 2 years ago, covered the buttons, and then got distracted. I had to piece part of one shoulder because I'd already used up part of the fabric to make a couple of handkerchiefs, but I don't think it's too noticeable. After dyeing the cotton I had splattered some fabric ink on it and painted a few stars, but after lining the fronts recently I painted a lot more stars on, and then painted glow in the dark ink on top.

It was a bit tricky to get photos of the glowing, and the first two are brighter than it looks in real life, at least with the small amount of charging it had when I took them. I also did a running stitch around the edges with glow in the dark thread which I've had for at least a decade and never used! Then I accidentally melted part of it with my iron and had to redo that bit.

The lining is a thrifted cotton sateen bedsheet and the back is blue linen from I forget where. The buttonholes are done by machine first, same as the last one, and then covered in silk twist.

[jakeperalta]

not using AI genuinely feels like the rest of the world is experiencing some kind of mass amnesia. if someone says they never use it, the immediate response is that can't be true because "everyone" uses it to write their emails or answer their questions. saw a comment suggesting that not using chatgpt to write an essay is "like the 90s". girl I graduated in 2021 and we weren't doing that! how is it that everyone has suddenly forgotten that they were entirely capable of doing these things all by themselves for their entire lives up until the past few years!! am I going crazy!!!

[ladyshinga]

I’m sorry friends, but “just google it” is no longer viable advice. What are we even telling people to do anymore, go try to google useful info and the first three pages are just ads for products that might be the exact opposite of what the person is trying to find but The Algorithm thinks the words are related enough? And if it’s not ads it’s just sponsored websites filled with listicles, just pages and pages of “TOP FIFTEEN [thing you googled] IMAGINED AS DISNEY PRINCESSES” like… what are we even doing anymore, google? I can no longer use you as shorthand for people doing real and actual helpful research on their own.

[nyandotexe]

Time to drop some links again.

– https://searchmysite.net/ Search engine for the indie web, personal websites, digital gardens. You can also find them in websites like Neocities, Indieweb, Blogarama, and write.as. There is also a big list of personal websites.

– https://search.marginalia.nu/ Search engine that focuses on non-commercial content, and promotes websites that aren’t usually at the top of the list.

– https://www.worldcat.org/ Search engine for items in libraries (books, but also maps, articles, sound recordings, theses, etc.)

– https://scholar.google.com/ Search engine for scientific papers, reviews, etc. It’s still google, but a lot better than the normal search engine counterpart.

– https://en.wikipedia.org/wiki/List_of_search_engines A list of search engines sorted by subject, area, and more. If you’re searching on a specific area, it might be worth checking if there is one focused on that area.

– https://en.wikipedia.org/wiki/List_of_academic_databases_and_search_engines A list of academic databases and search engines.

– https://tineye.com/ Reverse image search alternative to Google’s. Also, P.S.: Please stop using Google, and start using more privacy focused search engines, like DuckDuckGo or SearchX (opensource; personally haven’t used it yet, but it looks promising for privacy-focused users)

[astridflies]

Adding that instead of using Google Scholar you should absolutely be using PubMed for biomedical and life sciences-adjacent research.

PubMed

PubMed® comprises more than 36 million citations for biomedical literature from MEDLINE, life science journals, and online books. Citations

(And if you need access those papers from behind their paywalls use a SciHub mirror.)

[mckitterick]

and let us not forget Sci-Hub itself!

Sci-Hub website. Get free access to academic journals. Download research papers for free from ScienceDirect, IEEE, Wiley, Springer, Nature a

Radiolab just did a great show about the founder: “The Library of Alexandra”

[kleinergeist]

After 9 months of work, my Oseberg tapestry sweater is complete!

This was my first sweater knitted in the round, first stranded colourwork project, and my first time steeking. It was definitely my most challenging project so far, and a lot of learning and research was involved. I used a colourwork chart created by the very talented Molly Gifford, which is available for free on Ravelry

For reference, this is one of the fragments uncovered from the gravesite:

Some scholars think that the Oseberg tapestry includes the earliest known artistic depiction of Odin's ravens, Huginn and Muninn. So I added them to the sleeves as a little Easter egg.

[snakepyre]

TABLET WEAVING INTRODUCTION

When i started i was going off of diagrams from old websites, and struggled a good bit. I hope this post will help you get started! Feel free to ask questions!

This video shows the very basics (not in english, but quite clear). This video explains how to read patterns before you start doing it backwards, mirrored and upside down (which is what i did!).

Basic tools; the beauty of tablet weaving is that you need minimal supplies to get started.

Cotton yarn (I use 8/4)

Cards (thin cardboard and a hole punch will do)

A chair or door handle, to tie the threads to

A belt, to tie the threads to yourself

A shuttle (you can start with a pencil, old credit card, ruler, your fingers,... i use a bone folder)

Variables to understand before trying to use a pattern

S/Z card slant or threading

The direction the cards face

Forward or backward turns

ABCD or DCBA

This video (mentioned above as well) explains these variables and how to read different patterns you will find. There is no universal way to write a tablet weaving pattern, resulting in different patterns directly opposing one another (& lots of frustration on my end </3).

General tips from me, a novice

Start with a thin band

Start with a simple pattern, where the cards all turn forward for the whole band, like this one

Then move to a pattern that alternates forward and backward turns, this one is simple but very pretty

After that, try a pattern that has you divide the cards into groups, like a ramshorn or dublin dragons

Be sure to use contrasting colours (in hue and/or tone). A black and white filter can help you here

Get some bag clips to prevent tangles (ikea!)

Always turn the edge cards in the same direction. This gives a neater end result. The edges can be the outer two cards, or a group that forms a decorative trim

Personally, i like looping the thread around a door handle instead of tying it, which makes untwisting threads very easy

You can eventually omit the written ABCD on the cards, but it is a good crutch to lean on when learning

I use some scrap wood with bolts that i tie to my belt, making it a little easier to manage tension and move the woven band along as i go

Finding patterns

I use pinterest for the most part. Twisted threads has many patterns, with a built-in program, but the search function is not great.

I made you four pinterest boards; for the sake of simplicity, the patterns are all GTT which means tablets face RIGHT, S/Z refers to the THREADING direction, use ABCD, forward turns the tablets AWAY from yourself (forwards = D over A)

Level one: all forward turns

Level two: alternating forward and backward

Level three: groups of tablets that turn differently

Level four: a fuckton of tablets with complex patterns

This video made me understand double-face weaving, this one is shorter and easier to follow. Double-face is a fun technique but i would reccommend getting good at following a regular pattern first.

My main mistake when i was starting out:

Whether the slant is S or Z, the cards should all face the same way. For some reason, I made the S-cards all face right and the Z-cards left. Simple, repetitive patterns will turn out fine but anything slightly more complex will be distorted, and you will be frustrated:

Your first few projects will likely be messy! Don't be too discouraged. Here's a couple of my firsts:

[scian-of-follies]

Saved for when I finally learn tablet weaving! (I'm a sting heddle band weaver)