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@antidurian
Anne Lamott, Bird By Bird: Some Instructions on Writing and Life North American; United States, pub. 1994
touch starved
im sorry everyone i made them hug
i just feel strongly that work shouldnt be the Main Activity of five days out of the week
fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck
goose
NEW EARTH PHOTO JUST DROPPED FROM ARTEMIS II
thats my home
you can see the atmosphere. that halo around the edge, that's my air. the green on the upper right is my aurora. those are my clouds, my sunlight.
and its yours! this is your home. this is the home of everyone you ever heard of and everyone you will ever meet. every animal you've been curious about. every plant you've ever picked, and sniffed. its mine and its yours and its theirs. everything is here. its all that i have. its all that you have too.
"ryland is rocky's dog" this "ryland is rocky's goldfish" that. ryland is a giant but extremely fragile and skittish creature that rocky keeps off property with an entire team of dedicated carekeepers. ryland is rocky's horse.
Ohhh my god. James Ortiz do you promise.
👎👎👎👎
i really love this genre of image
The best part of that video is that the owner found the ORIGINAL plush later on the beach and took another video with it after their grandmother stitched it back up
I love the death grip after the toy was fixed up. Lessons were learned. Try to steal it this time you fucking bird. I dare you.
dirty dirty dirty
ok I know I seem insane for watching project hail mary for the fourth time in 10 days but I got to watch it with the directors commentary tonight and it’s incredible how much thought and love went into this film by EVERYONE. the directors, ryan gosling himself, the sound department, costumes, set production, cameras. everyone has so much pride and the story is so beloved by all. anyway here are some of my favorite things from the commentary
no one knew how to pronounce eridani (air-id-ah-ni or air-re-deni) so they just literally never said it in the film
the “good luck” at the beginning is supposed to have been written by the astronauts on the ISS who delivered ryland to the hail mary
the mop ryland was dancing with was called moppy ringwald
when ryland calls stratt after successfully breeding astrophage and he says “carl and I made a baby,” that was ryan gosling calling sandra hüller on her day off and she had no idea that’s what he was going to say. that “what” was her genuine first reaction
the scientist whom ryland called a stagnating waste of carbon was the bearded guy sitting next to him and stratt in the initial phm meeting
the idea of the soundtrack being so hopeful was supposed to be like there were two different planets cheering him on
when ryland is sitting on the beach in that don’t-go-crazy room and sees a figure walking towards him, that’s him on erid at the end. he’s seeing himself
among the markings on rocky were the petrova line mission patch, his rank, family crest, and wedding band
rocky always stamped his claw on the ground twice for a question
they wanted to make it so that eridani could have different tones. so it could be a given series of keys for one word and then you could change the frequencies for happy, sad, scared, etc.
after rocky wakes up and asks ryland if they caught the taumeoba and ryland shakes his head no and then yes, the directors went “what an odd thing to do”
ryan gosling wrapped all the gifts that ryland gave to rocky himself
the entire reason that exchange panel was put on rocky’s ball was so that ryland could pass him the little beanie earth
the movie starts with an upside down shot of ryland waking up. the epilogue starts with a right-side up shot of ryland waking up. he also makes his bed and brushes his teeth to show how time has passed LOL
their headcanon for explaining the rocky nature of the beach is that the eridians tried to emulate sand but got the scale of the grains wrong
rocky had them create a beach, and wave machine for the beach, and a tree for ryland so that he felt closer to home, but rocky was all he needed for that
”I have this artistic idea but not the skills to achieve it to the standard I want.”
congrats! Now you have a motif! A recurring theme! A focus for your art! Something to haunt you!
Seventeen still lives of dandelions? Three hundred poems about grief? A sketchbook dedicated to your grandmother’s house? Two books trying to unravel the complexities of familial relationships?
Don’t let the fear of it not being perfect on the first try stop you from being Weird About It!
Please view Hokusai's gradual working towards The Great Wave Off Kanagawa, over a period of 39 years.
An early exploration of the themes Hokusai would keep coming back to is Spring in Enoshima, done in 1793 when he was 33. The wave is small and there are no boats, but Mt Fuji is clear in the background, and Enoshima is in Kanagawa, so we are clearly beginning to work towards something here.
A second pass, eleven years later in 1803 when he was 44. The title of this one begins to get more familiar: The View of Honmoku Off Kanazawa. It has a towering wave over a smaller boat, but Mt Fuji is not present, and the boat is considerably larger and has a sail. But the feeling of danger in the wave and the smallness of the boat are here, and of course the general composition is definitely recognizable.
This is A View Of Express Delivery Boats, done in 1805, merely two years later at age 46. Here we find the wave and the boats almost exactly as we'll find them in The Great Wave Off Kanagawa, though Mt Fuji isn't present, and the location is uncertain. And it's a good picture! The wave is threatening, the boats are small -- but the feeling of "ocean" isn't really there yet, is it? It's unlikely this picture would have become a classic for the ages. But that's okay, there's still time.
And here we have it, a full 26 years later, done by Hokusai in 1831 at the age of 72. The Great Wave Off Kanagawa, one of the most recognizable pieces of art in the world. The boats are there, the mountain is there, the wave is there, and the FEELING is there. He did it! He reached the apex of his ongoing motif and theme!
Or did he? Because the whole point of a motif is not that you're striving to get to the perfect version of it, the one idealized image you carried in your head all along, and when it is done, you are also done. Hokusai is on record at the age of 73 saying he'd only just begun to feel like he was learning how to draw things properly, and that "if I keep up my efforts, I will have even a better understanding when I was 80 and by 90 will have penetrated to the heart of things. At 100, I may reach a level of divine understanding, and if I live decades beyond that, everything I paint — dot and line — will be alive." He had drawn The Great Wave, but he didn't believe he was finished -- he thought that he was still just beginning to get started.
And he wasn't finished with his ocean motif, either. Please check out his Mt Fuji At Sea, done in 1834 at the age of 75.
It's all there; Mt Fuji, the ocean, the wave. The boats are gone, but replaced with birds, flying with the wave instead of fighting against it. It's not as famous as The Great Wave Off Kanagawa, but that's not what motifs are for -- each successive work does not have to surpass the previous in terms of success, especially in terms of external success. They're there for you to keep playing with, keep remixing and re-experiencing, for as long as you think you have something to say.
I also want everybody to know that Google and most of the internet think that all of those paintings bar the last one are called "The Great Wave Off Kanagawa", so I had to do a sort of middling deep dive just to find their actual names. And then I was like "I don't think those translations are very accurate", so I went on a second quest to retranslate them, which was particularly difficult with painting three (A View Of Express Delivery Boats) because for some reason he titled that one entirely in hiragana, and it's all archaic words that were very hard to chase down without their corresponding kanji. Google suggested "the push-off is a transportation route", which wasn't particularly helpful.
All of which is to say that I probably spent a bit too much time on all of that, but it was fun; and at least I know what those paintings are called now.
and thank you so much for doing all that!
Personally I hate AI because it uses slave labor, is killing the planet and is making people stupid, but that's just me. The soulless art aspect is just one little piece of my grander disdain.
wait how does AI use slave labor? Do you mean the human works that are stolen and not credited or compensated? Because technically under capitalism everything is exploited but there are varying degrees
Aside from the scraping, AI tech companies, including openAI/chatGPT, have outsourced training their models to countries in the global south, specifically Kenya in openAI's case. These workers are working in sweatshop conditions for less than 2 bucks USD per hour. I'm on mobile, but if you search 'openAI Kenya slave labor' and related keywords, you can find multiple articles about it.
Training AI takes a heavy toll on Kenyan workers, who say they earned $2 an hour to label and sift through gruesome content for American com
and the thing about both Project Hail Mary and The Martian is that both stories are grabbing you by the shoulders, looking you in the eyes, and from behind the fourth wall Andy Weir is smiling at you saying "you are never as alone, or as far gone, as you think you are"
I just heard Project Hail Mary's genre coined as "Cosmic Hope" instead of cosmic horror, and I'm getting emotional all over again. I need to sit down. God do I love this story to bits.